California State University, Northridge the Process Of

Home , Charlie Tuna

CALIFORNIA STATE UNIVERSITY, NORTHRIDGE

THE PROCESS OF THE FUNCTIONAL SYNDICATION \\ OF A RADIO PROGRAM

A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in

Mass Communication(

Joan Carol McClain

___.--/ .. ·

January, 1978 The Thesis of Joan Carol McClain is approved:

Ray • T1ppo Date

D. Burrows Date

utierrez (Chairman)

California State University, Northridge

ii TABLE OF CONTENTS

Chapter . Page

1 INTRODUCTION 1

2 RADIO AS MEDIUM 6

Radio's Role in the Television Era 6

Advertising and Radio 14

3 ROLE OF SYNDICATION IN RADIO 25

Various Ways to Syndicate a Radio Show 27

Types of Syndicated Programs 31

Advantages and Disadvantages of Syndication 33

4 PROCESS INVOLVED TO SYNDICATE "COOKING ON AIR" 39

Type of Show 39

Target Audience 49

Station Types to Air the Show 54

Production 56

Marketing a Syndicated Show 59

Legal Considerations 71

Costs 77

5 THE SYNDICATION PACKAGE 88

Demonstration Tape 88

Written Material 88

A Week of "Cooking on Air" 89

6 CONCLUSIONS 91

iii APPENDICES Page

1 QUESTIONNAIRE TO SYNDICATION FIID1 97

2 QUESTIONNAIRE TO PROGRM4 MANAGERS 99

3 QUESTIONNAIRE TO ADVERTISERS 101

4 QUESTIONNAIRE TO STUDENTS 103

5 RADIO NET\tJORKS AND ASSOCIATES 104

6 CALIFORNIA STATIONS TO CONTACT FOR SYNDICATION 105

7 POTENTIAL UNDEmvRITERS 111

8 GLOSSARY OF TERMS 114

iv THE PROCESS OF THE FUNCTIONAL SYNDICATION

OF A RADIO PROGRAM

Joan Carol McClain

This study is a three-fold project to: 1) evaluate the

significance of syndication in modern radio in order to ascertain the procedures necessary for syndicating a radio show; 2) analyze these procedures to determine the necessary steps and the feasibility of an individual syndicating his own show; 3) to package the radio program 11 Cooking on Air" for radio syndication.

It is intended that any student interested in research ing radio syndication or in preparing a radio program for syndication can use this paper as a guide to the necessary steps to follow.

Topics such as the role of syndication in radio, the various ways to syndicate a radio show, the types of syndi cated programs being aired, advantages and disadvantages of radio syndication, and the process involved to syndicate a radio program are discussed. The radio show "Cooking on Air" was thoroughly evaluated and used as an example of how to package a show for syndication. Things to con sider are: type of show, target audience, station types to air the show, production, marketing a syndicated show, legal considerations, and costs are discussed.

v Along with the written paper is a syndication package which includes a demonstration tape allowing radio stations or advertisers an opportunity to hear the general sound of the show, an outline of thirteen weeks of "Cooking on Air", and details of what a syndication package should include.

The methodology incorporated in preparing this thesis included extensive interviews with professionals in the field. Syndicators who had been connected with highly successful syndicated radio programs were interviewed, along with radio station program directors, and advertisers. Each group interviewed provided a different perspective and added things to consider when thinking about the syndicaton of a radio program.

This thesis should be used as a working manual and outline to be used by anyone interested in radio syndication.

By using this study as a guide it will point out to an individual the important things to think about before wasting a lot of time and money trying to syndicate a show and perhaps finding out in the end that the show will not sell, or hopefully, discovering that it will be successful if packaged for syndication.

vi j .

CHAPTER 1

INTRODUCTION

In March 1975 National Public Radio station KCSN fm

in Northridge, California aired the first show of "Cooking

on Air". The show communicates nutrition, time-saving

ideas in meal preparation, money saving techniques, con

sumer problems in the supermarket, and features. guest per

sonalities. ·The show first appeared as a weekly fifteen

minute program. After a few months the feedback from the

show was so overwhelming that the staff at KCSN extended

the show to two days a week for fifteen minutes each day.

During the next two years, phone calls, speaking engage ments, live specials, and more guests were added to the

show.

Judging from the positive feedback received from the

show in the form of telephone calls and letters, as well as knowledgeable professionals in the field of food science and radio, the show's host, J.C. McClain, thought that

"Cooking on Air" could be more effective through radio

syndication. Radio syndication is the actual distribution of a show to several radio stations. By syndicating "Cook

ing on Air" it could reach a number of radio stations throughout California~ and, eventually, across the nation.

1 2

The syndication of a radio program involves much more research and preparation than simply airing it over one station. Because "Cooking on Air" has limited funds and no contacts, it is necessary to examine the potential success of the show as a syndicated program both in terms of popu larity and financially.

This study is a three-fold project to: 1) evaluate the significance of syndication in modern radio in order to ascertain the procedures necessary for syndicating a radio show; 2) analyze these procedures to determine the necessary steps and the feasibility of an individual syndi cating his own show; 3) to package the r~dio program "Cook ing on Air" for syndication.

The methodology incorporated for the first objective was to conduct a literature search in order to attain an overview of radio as medium.

Because there was no literature written with regard to radio syndication it was then necessary to conduct inter views with professionals in the fields of radio syndication, radio and advertising. A questionnaire was prepared for each group (see Appendices 1 through 3). Individuals were contacted by telephone, then each was interviewed in person.

The first group interviewed was syndicators who actually work at syndicating radio shows. Five syndication firms were chosen: 1) Diamond P Enterprises, producers and syndicators of special programs such as the Dick Clark 3

Solid Gold Show, Steve Adler representative; 2) Watermark

Inc., producers and syndicators of special programs such as

American Top 40 and Jacques Coisteau Show, Tom Rounds rep resentative; 3) American Armed Forces Radio and Television

Service (AFRTS), transcription service to base stations around the world and syndicators of special programs such as the Charlie Tuna Show, Jack Giles representative; 4)

Drake Chenault, 24-hour programming service and syndication firm of special shows such as History of Rock-and-Roll,

Buddy Scott representative; and 5) Earth News, syndicator of news shows such as Earth News, Jim Brown representative.

The syndicators were chosen based on the following criteria: all were professional and established in their field, all were, or had been, involved w~th the syndication of a successful radio show, and all were located in the Los

Angeles area. (Because a great majority of successful radio programs originate in Los Angeles, and because many of the big syndication firms have their offices and their top management in Los Angeles, it was not necessary to go out of the Los Angeles area to conduct the interviews.)

After conducting interviews with all five of the syndication firms, it was then necessary to talk with radio station program directors in order to find out a station's viewpoint on syndication. Because the syndication of a radio program would mean airing it over stations in large, medium, and small size markets, it was necessary to inter- 4

view proqram directors in all three market sizes. The

following radio stations were chosen:

Large market: Los Angeles station KIIS, adult contem

porary format, Charlie Tuna program director; and station

KABC, talk format, Bruce Marr program director.

Medium market: Palm Springs station KPSI, adult con

temporary format, Michael Murphy program director; San

Diego station KFSD fm, classical format, Hal Rosenberg

program director; and Santa Barbara station KRUZ fm, adult music and talk format, Randall Chase program directors.

Small market: South Lake Tahoe station KOWL, adult contemporary format, Greg Pellant program director;

Mammoth Lakes station K~~T fm, adult music format, Bob

Kigerness, program director; and !-1ount Shasta station KvvSD, adult contemporary format, Iola Huntington program director.'

Market size was determined according to the population in a given area. Only those stations in California were chosen because at the onset of syndicating "Cooking on Air" it will only be offered to California stations. Also, it was convenient and practical to only interview stations in

California. All interviews, except those stations in Los

Angeles, were conducted over the telephone.

The third group interviewed were advertisers. After discussions with the syndicators and program directors it became apparent that because of the importance of advertis ing revenue to radio, media representatives could contribute l .

valuable information to the research being conducted. The

following advertisers were interviewed:

Alpha Beta, represented by Elisaman, Johns, & Laws,

Phil Wolfe representative; Sunkist Growers, Ray Cold rep

resentative; and Lawry's Foods, represented by Daily and

Associates, Burt Pierce representative.

These three advertisers were chosen because all rep

resent food products which, for a radio cooking show, would

be the type of product(s) one might expect to find sponsor

ing or being advertised on a cooking show, all use, or have

used, radio as an advertising medium, and all were located

in Los Angeles.

The limitations found in conducting research through

an interviewing schedule were that only cooperative rep

resentatives were interviewed, and the people interviewed may have been bias in their answers because all were so

directly involved in their specific field. The information gathered from research and the inter views conducted were evaluated in order to determine the necessary steps involved to syndicate a radio program.

These steps were then analyzed, and based on this infor mation "Cooking on Air" was packaged for radio syndication.

The following discussion represents the results of

the research that was conducted. e .

CHAPTER 2

RADIO AS MEDIUM

Throughout history people have sought ways of achiev

ing instantaneous mass communications. The development of radio broadcasting is one medium, and a very influential one indeed, that brings the world alive with just one turn of a switch. Radio's impact on society and its constantly changing role is important for anyone entering the field to understand in order to consider programming and future trends in radio. This chapter will discuss radio's role in the television era in order to illustrate how radio program ming has become specialized, then review the influence of advertising and advertising revenue on radio today.

Through this discussion it will be illustrated where radio has come from, where it is going, and how syndicated radio programming fits into radio's future.

Radio's Role in the Television Era

With the rapid rise in popularity of television in the early 1950's radio began losing big star entertainment and advertising revenues to its new "rivial". Indeed many people thought radio would soon die. Radio had either to look for new audiences to serve or discover how to serve

6 7

old audiences in new ways. Radio chose the latter and rediscovered its potential in new and firm ways.

Radio first abdicated its position as a mass enter tainment medium by transferring its emphasis to a personalized information service. It gave up premium listening time in the entertainment slot of 7 to 11 p.m. Radio programmers recognized that the head of the household would be available primarily during the early morning hours and drive time; that daytime listening would be from house wives; and that teenagers represented a large potential 1 audience through popular music and its stars.

Unlike television, radio could provide immediate news, on-the-spot interviews, telephone conversations with listen ers, serve the needs of the local community, and be flexible enough to change its message within minutes of broadcast.

Network officials, station managers, and program directors, on the basis of establishing radio's new role had to define who the radio listener was and various pro gramming formats. No longer did each station have to be all things to all people like its television counterpart.

A radio station could choose a specific kind of audience and concentrate on filling the needs of that audience. For instance, each urban area has multiple audiences. Certainly teenagers are interested in Top-40 and progressive-rock stations. Others prefer country and western music, whereas others prefer classical stations, as some enjoy news and 8

and conversation stations. Also an advertiser can deter mine the demographics of the audience he wants to reach and can find a station that programs to that audience at a cost he can afford. This is the formula for the success of 2 modern radio station operations- specialization.

Radio is a medium people can either turn on or off at their convenience. People usually do not listen to radio for long periods of time, the exception would be the all talk format.3 It is difficult to generalize greatly about the types of audiences that various stations attract or the factors of broadcasting that appeal to groups of people.

However, most sources agree that there are some radio listening tendencies that apply across the nation. The following outline describes those tendencies of listeners: 4

Drive time (morning traffic) 6 to 10 a.m. - People are getting up, dressing, preparing for work or school, and

~re in transit. They have a desire for news and informa-· tion. They want to know the news of the world and the community. They use the information partly for social purposes, they have something to talk about with acquaint ances and fellow workers. They want to know what the weather will be so they will know how to dress. The radio helps them be punctual by giving time checks. People also like to hear light entertainment. Adult-pop music, all news stations, and stations with strong news departments rate relatively high. Most advertising dollars are spent 9

in this period, and the highest sets-in-use figures occur here.

Daytime 10 a.m. to 3 p.m. - Children are mostly in school, and many people are at work. Fewer men are avail able to listen, unless they can listen at work or~ like salespeople, they travel by car. News tends to be less important, especially sports news. Radio ,is used more for entertainment or companionship while people do other things, such as domestic arts. An exception is the noon hour, when many people have an opportunity to catch up on the news again. The audience is predominantly females of the child rearing age or retired people. (This particular time period is important when thinking about syndicating a radio cook ing show because this group would make up the desired target audience for such a show.)

Afternoon dirve time 3 to 7 p.m. - Children get out of school, and people drive home from work. Stations and programs that do well in morning drive time again do quite well during this time, although stations that appeal to the young pick up. Top-40 stations frequently show their best audience shares of the day in afternoon and early evening.

The audiences are especially large in areas where there is much auto commuting.

Evening 7 p.m. to midnight - From 6 a.m. to 6 p.m. the radio audience is relatively large. Between 6 p.m. to 7 p.m. the audience fades and shifts to television. Although 10

ratings go down generally, audience shares are proportion ately stronger for progressive-music stations. FM stat~ons rate relatively stronger because much FM listening is done in stereo and by people who prefer it to television, such as youths and classical music lovers. Adult-pop stations lose audiences to television more than other radio station types. Conversation stations do relatively well because they provide an alternate service to television.

Figure I on page 11 illustrates the pattern of radio listening and television viewing during the day. It is interesting to note that radio listening surpasses televi sion viewing for two-thirds of the broadcast day.

Some listening patterns are noticeable among various age groupings. Most sources.agree that teenagers are probably the most experimental listeners, in that they are less resistant to change than older people. 6 (Teenagers tend to prefer the Top-40 stations.) Older teenagers who are beginning to assert independence from their peers and who are beginning to identify with another group are known as the transition group, they are beginning to establish their listening habits.

Gradually radio stations in almost every market have been moving in the direction of specialization. That is, specialization with a particular type of programming in order to achieve maximum penetration within the station's 7 desired target audience. The term format as used in radio 40 Figure 1 Average Quarter Hour Ratings Monday-Friday, 6:00 a.m. to Hidnight 5 35

30 RADIO TELEVISION

~ 25 1-3 zH Gl 1-cJ 0 20 zH 1-3 CJ)

TIME OF DAY

f-' 6am 7 8 9 10 11 Noon 1pm 2 3 4 5 6 ..-· 7 8 9 f-' 12

refers to the type of programming done by a station and the specific routine the station follows. Most station program directors, as well as most syndicators, will agree that a station's format is its identification with its listeners and stations try not to break away from their regular for- 8 mat. (At this point the question can be raised as to how a station determines its format. According to program directors Charlie Tuna (KIIS, Los Angeles) and Bruce Marr

(KABC, Los Angeles) the ratings determine format. If a station is losing in rating points it may be reorganized with a completely new format.) 9

The general format types are as follows: 10

• all-news offering news, commentary, sports, or

special reports,

· all-talk featuring panel discussions, audience

participation with open phone lines, special pro-

grams that may include a wide variety of topics

such as sports, women's news, cooking, restaurant

information, and news,

· contemporary (rock-and-roll, Top 40) music airing

the latest in rock-and-roll and current popular hits,

middle-of-the-road (MOR) programming, general appeal

music, somewhere between hard rock and classical,

· country and western (C&W) including everything from

the "Nashville" sound to Bluegrass to borderline

pop such as Johnny Cash, 13

classical music including old as well as new sounds,

• ethnic stations such as Black or Chicano music, news

topics, and cultural information. Some ethnic

stations talk in a foreign language,

• religious programming featuring music, drama, ser

mons, talk such as Oral Roberts, and some news

topics,

• educational programming including special children's

shows, music, and National Public Radio,

• jazz music, and,

oldies and rock-and-roll music.

Frequently format types may overlap where a station may feature a specific format during a specific time period.

Formats are consistent to allow the listeners to know exactly what they would hear if they tuned in during a specific time period and day.

Summary

The above discussion has brought out a few points that are important to someone thinking about starting a radio program, and, especially, someone thinking about syndicat ing a radio program. The following points are significant:

1. Radio has moved from a mass appeal medium to a

specialized format style. It is important for

a syndicator to know what specialized format his

show will fit into. 14

2. Radio stations like to keep to their general

format. A syndicator will not be able to sell his

show to a specific station unless it blends in

with the station's format.

3. The general listening tendencies of radio listen-

ers were identified. This is utmost importance

for a syndicator to know in order to identify

at what time period his target audience will be

listening to radio.

4. The general format types were described. Before

a syndicator tries to air his show it is import-

ant to identify which general format type his

show would fit into.

Advertising and Radio

Back in 1922 when Secretary of Commerce Herbert

Hoover heard that some radio stations were con~idering advertising his remark was: "The American people will never 11 stand for advertising on the radio". Even during those formative years people realized that the only possible way to finance radio was through the sale of air time to advertisers. The situation has not changed and today advertising is the primary source of revenue for radio

stations. Without it most stations would be forced to close and go off the air. 15

One thing that has changed in the way advertising

affects radio is the influence advertisers have over radio

content. During radio's "heyday" (1930's and 40's) the

advertising agencies dictated much of the radio content.

Many radio programs such as the Mercury Theatre, were

actually produced by the advertising agencies then aired

on specific stations. Because these advertising agencies

produced the shows they had exclusive rights over what the

contents would be.

Today, however, radio station program directors as

well as advertising executives contend that advertisers

have no direct influence over the content of what is aired

on the radio.l2 However, if the ratings of a radio station

begin to drop or if the demographics of a radio station are

not right for the advertiser, their agency will drop the 13 advertising. (Obviously this works both ways. In Los

Angeles radio station KIIS' program director, Charlie Tuna, was forced to drop the syndicated show "Hitbound" which was

sponsored by some record companies because, according to

the American Research Bureau (ARB) ratings, the show was

losing in rating points over a period of time which meant 14 the station was losing listeners because of the show.)

Although advertisers today have no direct influence

over a station's program content, stations are still dependent on the revenue acquired through advertising. For

this reason it is necessary to examine why and how 16

advertisers, or in many cases, the advertising agency representing the product or service, purchase radio air time.

Three advertisers were interviewed: Alpha Beta, represented by Elisaman, Johns, & Laws, Phil Wolfe representative, Sunkist Growers, Ray Cole representative; and

Lawry's Foods, represented by Daily and Associates, Burt

Pierce representative. Also some library research was conducted.

The reasons for advertising on radio, or any other medium, are to promote a good or service, inform the public, goodwill, or introduce a new product on the market. This information coupled with a desire for the product or service 15 usually leads to a sale.

Before an advertiser selects radio as the medium that can best promote his product or service, a number of . 16 questions must be cons1dered:

· Will radio reach the target audience?

· What is the cost per thousand listeners?

Will the message be best received by the target

audience through an audio medium, i.e. radio?

For example, Sunkist Growers advertising manager, Ray

Cole, explained that in terms of properly presenting his product, oranges, they must be shown visually as an exciting, colorful, juicy fruit. On a cost per thousand basis, radio may be cheaper, but Cole thinks that television is his most efficient medium to properly present his product. 17 17

On the other hand, Lawry's Foods advertising manager,

Burt Pierce, spends 75 percent of his advertising budget on radio because he thinks an audio medium best represents 18 Lawry's line of food products.

Once an advertiser or the advertising agency selects radio as the advertising medium to advertise his product, the question then arises as to which radio station to advertise on.

In a small market with only one or two radio stations there may not be a choice as to which station to advertise on. However, in a larger market such as Los Angeles with over 60 stations, the advertiser must look at the ratings and demographics to determine where and when to advertise in order to reach his target audience. As previously pointed out, there are some distinctive listening patterns of various age groupings, but to be more specific, a rating book such as ARB can break down the demographics of a listener to a specific radio station during a specific time period. The advertisers interviewed agreed that when their advertising message is heard by their target audience

(assuming their target audience have a need or desire for the product or service) they achieve the most efficient 19 results.

Once the advertiser determines which radio station can produce an audience with a composition similar to his target audience then he must decide whether to purchase spot 18

advertisements or sponsor a specific show.

Most radio advertising time is sold as spot adver 20 tisements rather than the sponsorship of a specific show.

Spot advertisements are commercial announcements that are aired on a revolving basis during specified time periods.

For example, an advertiser such as Alpha Beta will purchase a package of ten commercials to be aired during a five day period. The advertiser will tell the radio station representative that he would like the ads aired between the hours• of 6 a.m. to 6 p.m., but that he is not interested in sponsoring any specific show. The station will give Alpha

Beta perhaps one commercial during morning drive time and one during the daytime period one day, then the following day perhaps give Alpha Beta one commercial during drive time and one during afternoon drive time. In other words, the advertiser knows he will have two commercial announcements aired a day, but he does not know the exact time the commercials will be aired. Purchasing spot announcements is a cheaper way to advertise than purchasing commercial announcements d ur1ng. a spec1. f.1e d t1me. . 21

The purchase of radio advertising time and the exact rates charged by a radio station will be dependent on: the number of advertisements aired during a day or a week; the time period the advertisement is aired (morning and afternoon drive times being the most expensive periods); and the market size the radio station is in. 19

The three advertisers interviewed agreed that the purchase of spot advertisements allows them more flexibility

and is a much more efficient way to spend advertising money. 22 (Lawry's Burt Pierce commented that he would con

sider the sponsorship of a food oriented show if enough 23 radio stations would be willing to air such a show. This was of great interest to the scope of thinking about syndi cating "Cooking on Air".)

Most of the advertisements on radio purchased by

Lawry's Foods are bought on a revolving plan. This plan allows Lawry's six spots per day in which to run a commer cial: one advertisement during the morning drive time (6 a.m. to 10 a.m.), one advertisement during the afternoon drive period (3 p.m. to 7 p.m.), two advertisements during the daytime period (10 a.m. to 3 p.m.), and two advertisements during the evening period (7 p.m. to midnight).

Occasionally Lawry's will purchase a participating spot advertisement on a specific show such as the KNX Food

News Hour. When they purchase this type of advertising time, KNX will air one 60-second advertisement during the show which is from 10 a.m. to 11 a.m. Monday through

Friday. Lawry's will pay $125 for this type of advertisement time, which is considered quite expensive for radio.

Burt Pierce, Lawry's representative, explained that when ever they purchase advertisement time during this hour they receive positive feedback because the show's ratings 20

are good, and the show attracts the same type of audience that they are trying to attract. Pierce thinks that this type of advertisement purchasing is an efficient way to spend advertising revenue. 24

Sunkist Growers purchase radio advertisement time on a cooperative plan. They purchase 60-seconds .of advertising time, schedule half of the commercial promoting oranges then give the other 30-seconds of time to a grocery market providing the market will feature Sunkist's products. This type of plan is a way for Sunkist to give an allowance to the grocery market for featuring their oranges. Sunkist allows the trade (supermarket) to select the radio stations and the time periods to air the commercials. Sunkist also

~ill pay the supermarket involved, then the supermarket will pay th e spec1. f.1c rad. 10 stat1on.. 25

When an advertiser decides to sponsor a specific show he purchases commercial time during the airing of the show.

This is a much more expensive way to advertise. However, it may be much more efficient to advertise this way if the 26 message is received by the advertiser's target audience.

The advertisers interviewed explained that they are reluctant to sponsor specific radio shows. Phil Wolfe from

Alpha Beta explained that simply by saying that a program was sponsored by Alpha Beta does not give enough of an advantage to the advertiser to make it worthwhile spending the extra money. Wolfe usually purchases spot advertising 21

time and has never sponsored a radio show. 27

Summary

The above discussion has focused on advertising and radio. It was explained that although advertising revenue supports radio stations, advertisers have no direct in fluence over the content of radio programming. However, advertisers usually will only purchase advertising time when a station shows good ratings and when a station attracts a target audience similar to the audience they want to attract.

Once an advertiser has decided to advertise on radio, and which radio station to purchase advertising time on, it is then necessary to determine whether to purchase spot advertisement or sponsorship of a show.

Spot ads were defined as commercial announcements that are aired on a revolving basis during specified time periods.

The exact rates will be dependent on the number of adver tisements aired during a day or a week; the time period the advertisement is aired; and the market size the radio station is in.

Show sponsorship was defined as the purchase of adver tising time during a specific show. This type of advertis ing is more expensive than purchasing spot ads.

The information in this chapter has provided a basis for investigating packaged programming for radio and the 22

role of syndication in radio. 23

REFERENCES

1 Joseph S. Johnson and Kenneth K. Jones, Modern Radio Station Practices, (Belmont, California: Wadsworth Publishing Company, 1972), p. 8-9.

2 Ibid., p. 9. 3 Interview with Bruce Marr, Radio station KABC, Los Angeles, California, 12 August 1976.

4 Johnson, p. 44. 5 Ibid., p. 8 0

6 Ibid., p. 45 7 Raleigh J. Gaines, Modern Radio Programming, (Blue Ridge Summit, Pa: Tab Books, 1973), p. 45.

8 Interviews with Bruce Marr, Radio Station KABC, Los Angeles, California, 12 August 1976; Charlie Tuna, Radio Station KIIS, Los Angeles, California, 10 August 1976; Steve Adler, Diamond P. Enterprises, Los Angeles, California, 27 July 1976; and Tom Rounds, Watermark, Los Angeles, California, 23 August 1976. 9 Interviews with Bruce Marr and Charlie Tuna. 10 Johnson, p. 46.

11 Robert St. John, Encyclopedia of Radio and Televi sion Broadcasting, (Milwaukee: Cathedral Square Publish ing Company, 1968), p. 48.

12 Interviews with Bruce Marr, Radio Station KABC, Los Angeles, California, 12 August 1976; Charlie Tuna, Radio Station KIIS, Los Angeles, California, 10 August 1976; Ray Cole, Sunkist Growers Inc., Los Angeles, California, 23 September 1976; Burt Pierce, Daily and Associates, Lawry's Foods, Los Angeles, 27 September 1976; and Phil \volfe, Elisaman, Johns, & Laws, Alpha Beta, Los Angeles, 23 September 1976.

1 3 Interviews with advertisers Ray Cole, Burt Pierce, and Phil Wolfe.

14 Interview with Charlie Tuna. 24

15 Interviews with advertisers Ray Cole, Burt Pierce, and Phil Wolfe. · 16 Ibid.

17 Interview with Ray Cole.

18 Interview with Burt Pierce.

19 Interviews with advertisers Ray Cole, Burt Pierce, and Phil Wolfe. 2 0 Interviews with Bruce Marr, Charlie Tuna, Ray Cole, Burt Pierce, and Phil Wolfe. 21 Ibid.

22 Ibid.

23 Interview with Burt Pierce.

24 Ibid.

25 Interview with Ray Cole.

26 Sol Robinson, Radio Advertising - Hot to Sell It and Write It, (Blue Ridge Summit, Pa: Tab Books, 1974), p. 4 7 0 27 Interview with Phil Wolfe. CHAPTER 3

ROLE OF SYNDICATION IN RADIO

Radio syndication is the actual distribution of broad-

cast programming distributed independently to a number of

radio stations. In most instances the syndicated show is

sold exclusively to only one radio station in a market.

During the 1930's to late 1950's radio programming

was stablized in content and pattern. Radio stations con-

centrated on half-hour weekly program series in news,

commentary, comedy-variety, mystery, audience participation,

music, personality, and dramatic shows. These shows were

actually produced by advertising agencies with the networks

supplying only the studio facilities, engineers, and

musicians. Then the shows would be distributed to network

affiliates, or, in some cases, the shows would be offered

to independent stations for purchase. The significance of

this is that even the smallest radio markets could offer

quality entertainment to listeners.

Shows such as "Against the Storm", "Amos n' Andy",

"One Nan's Family", "Our Gal Sunday", "The Aldrich Family",

Art Linkletter's "House Party", Jack Bailey's "Queen for

a Day", 11 You Bet Your Life", and "Truth or Consequences" were among the most popular program series distributed . 1 across the na t 1on.

25 26

Unfortunately many of the radio series faded out of 2 ra d 10. or b ecame t e 1 ev1s1on . . ser1es. . As radio programming became more specialized to serve the needs of specific audiences the syndication of programs became less popular. 3

However, in recent years, syndication of radio programs has become a popular trend as well as a profitable one. A variety of programs, mostly taped, are being made available to stations across the nation. For example, syndication to contemporary stations only began in the late 1960's4 with a show called the "History of Rock-and

Roll".5 The "History of Rock-and-Roll" was originally a

48-hour program special aired on Los Angeles station KHJ in

1969. The show received so much favorable response that it was brought out as a syndicated program available to stations across the country. (The success of the show also established the syndication firm of Drake Chenault that has since branched out into automated programming.) The significance of this show was that it got contemporary radio stations, which up until that time did not like the idea of syndication, interested in buying other syndicated shows and in realizing that syndication programming could bring . . . 6 qua 1 1ty enterta1nment to stat1ons.

The following discussion will focus on the various wayt to syndicate a radio show, the types of syndicated programs, and the advantages and disadvantages of radio syndication. 27

Various Ways to Syndicate a Radio Show

There are a number of ways to distribute a syndicated

radio show: 1) barter or trade-off, 2) underwrite, 3) spon

sorship, 4) buyout, 5) media brokerage, and 6) cash sale.

Each will be discussed below.

1) Barter or trade-off. A syndicated show that is

given to a radio station in exchange for air time is known

as a barter or trade-off agreement. For example, a national

advertiser such as Coca-Cola sponsors the "Dick Clark Solid

Gold" show. Clark or the syndication firm representing his

show then gives the show to radio stations who are willing

to air it. There are twelve commercial minutes in one hour

of the show. Coca~Cola may keep some of the commercial

time, perhaps three minutes, then allow the station to sell

the remaining commercial time. Coca-Cola has given the

program to the station in exchange for three commercial

minutes of air time contained in the show. The radio

station has acquired a show which is in part sponsored by

a national advertiser, plus commercial time to sell as

local spot advertisements during the show. The sales manager at the station can offer for sale this tommercial

time as an incentive for local advertisers to take part,

alongside a well-known national advertiser such as Coca

Cola, in the sponsorship of a quality show at a price the

local advertiser can afford. 28

A barter agreement has several advantages to the

syndicator, radio station, and sponsor. The sponsor can usually afford to pay more money than a radio station. A

station that may not have a budget large enough to purchase extra programming, but may have air time available, is receiving the show in exchange for that air time. The sponsor, rather than purchasing advertising time from several different stations, pays the syndicator for the show that will attract its target audience on several . 7 stat1ons.

2) Underwrite. When a syndicated show is under-.· written, the advertiser or advertising agency purchases all commercial minutes during the show. This is also known as total sponsorship of a show. For example, 11 Earth News 11 is underwritten by Clairol Herbal Essence. Jim Brown, the show's creator and host, then exchanges the show for air time with some four hundred stations across the country.

The underwriter profits by having its advertisements run

11 11 in a controlled environment , and the station profits by receiving a popular show in exchange for air time. 8

3) Sponsorship. The sponsorship of a syndicated show is when an advertiser or advertising agency purchases participating advertising time during the airing of the show. The advertiser may sponsor a show for a short period of time or for a long period of time, depending on the contract agreement. For example, during the airing of the show "American Top 40" the following advertisers sponsored

the show during the month of April 1976 at station KERN in

Bakersfield: Korb's Clothing, Pantworld, Translex Stereo,

Wherehouse Records, Brocks Department Store, Sage Music,

and Pepsi-Cola. 9

4) Buyout. A buyout agreement is when a sponsor

purchases the entire show from the syndicator, and is then

free to handle the distribution of the show in whatever manner they choose. This can be handled through a barter

agreement, the sponsor may choose to sell the show to radio

stations, or the show may be used for public service pro . 10 granun1ng.

5) Media Brokerage. When the syndicator coordinates

the syndicated show with radio stations and advertisers it

is referred to as media brokerage. For example, Tom Rounds at the syndication firm Watermark may try to sell the

Casey Kasem "American Top 40" show to either radio stations or advertisers. Rounds, representing Watermark acts as the 11 b ro k er b e t ween the ra d 10. s t a t'1on and a d vert1sers.. .

6) Cash Sale. Direct cash sale of a syndicated show occurs when the syndicator sells the show directly to a radio station who then obtains advertisers willing to purchase participating spots during the show. For example,

Watermark was able to convert from a media brokerage strategy to a direct cash sales approach because radio stations found "American Top 40" was making rating points 30

for them. Once the program directors realized the potential for the show they were willing to pay Watermark for the show, rather than having Watermark give them the show in . . . 12 exc h ange f or a1r t1me.

The syndicators interviewed agreed that the most advantageous way to syndicate a show is to acquire an underwriter who will purchase the show. However, this may be quite difficult.13 As pointed out earlier, the advertisers interviewed do not think this is the most efficient way to use rad 10. as an a d vert1s1ng . . me d"1um. 14 However, some advertisers such as the Department of Agriculture are will 15 ing to purchase programming to be aired as public service.

The program directors interviewed in major markets are reluctant to accept barter agreements for several reasons.

First, there is often no air time available, the station may be in a sold-out position with advertisers or may simply have enough programming. Second, program directors often say they can do a better job of producing their own shows. Third, the syndicated show may break the station's format rather than fit into it.16 For example, Bruce Marr, program director at Los Angeles station KABC thinks that a lot of syndicated shows are "clutter", meaning they take . . . . . 17 p..way from h1s stat1on's format wh1ch 1s talk rad1o.

On the other hand, stations in medium, and especially

:;mall sized markets welcome barter programming because it

~s a way of receiving quality programming without putting i.- _l. ------

out cash money. These stations hav~ small staffs and very little, if any, extra money to purchase shows, which makes 18 this type of agreement ideal for them.

Types of Syndicated Programs

There are perhaps as many types of syndicated shows as one can think of, however, in general they can be cat egorized into five groups: 1) news, 2) music, 3) talk,

4) public service programming, and 5) sports. 19 1) News. News which includes editorial comments and documentaries, is one of the oldest types of syndication.

One of the most popular syndicated news programs is

"Earth News" created by Jim Brown.

2) Music. The largest percent of syndicated programs. are a combination of music and talk. 20 Some of the most successful shows are "American Top 40" distributed to over

350 stations worldwide; "Dick Clark Solid Gold" featuring oldies, hit singles, and interviews with the artists who made the hits; "American Country Countdown" a weekly series of the top hits in country music; '"King Biscuit

Flower Hour" presenting a series of rock concerts; and

"Wolfman Jack" playing popular hits along with Wolfman's humor.

3) Talk. Talk shows are becoming more popular be cause listeners are now more interested in this type of ( ·-----·----

programming and most radio stations can not afford the

time and money necessary for the research of most talk

shows. 21 Talk shows include drama, comedy, educational,

information, and entertaining variety shows. Among the most popular shows are the "National Lampoon"magazine;

"Mystery Theatre"; and "Golden Days of Radio".

4) Public Service Programming. Since all radio stations must provide community involvement and public service, syndication of public service programs are quite popular. Program director Charlie Tuna at Los Angeles station KIIS explained that his station goes public service on Sunday mornings from 1:30 to 9:00, then again Sunday evenings until early Monday morning. During this time

KIIS features some network programs such as ABC's "Issues and Answers" along with some syndicated public service shows. 22 (It should be noted that if the show "Cooking on

Air" were syndicated it is quite possible that it would be sold as public service and be aired during these off hours of radio.) Some popular public service syndicated shows include "Banners of Faith", "The New Experience" and "Viewpoint on Nutrition" sponsored by the Department of Health, Education and Welfare.

5) Sports. Syndicated sports shows can include everything from play-by-play coverage to specials on individual events and athletes. One popular show is

"Sports Challenge" hosted by Dick Enberg. 33

Advantages and Disadvantages of Syndication

Radio syndication offers several advantages to a

radio station, the talent (the person(s) hosting the show

or featured on the show), and the sponsor (advertiser).

The most obvious advantage to a station, especially

one in a medium or small sized market, is an improved

sound quality and the ability to feature popular names or

entertainment at a price the station can usually afford.

For example, over 64 radio markets subscribe to the "Dick

Clark Solid Gold" show. Clark can not possibly be in all

those markets at once·, and many of the markets could never

afford to have him appear personally. However, through

syndication he can send his sound to the largest as well as

the smallest market. 23

Program directors in large, medium and small sized

markets can benefit through syndication by including

syndicated shows in their station's format, yet at the

same time a syndicated show can add a unique quality to

the station's sound. This type of programming can add

rating points to a station, thus allowing the station to

charge more money to advertisers for the purchase of

advertising time.

The sales manager at a radio station can use syndi

cated.programming as an incentive for a local advertiser

,to have an opportunity to sponsor a popular high-quality 34

show. For example, each hour of the "Dick Clark Solid

Gold" show is produced with a generic open and close.

Clark then customizes each hour for the various stations airing his show. He uses their individual call numbers, slogans, identification, and even customizes local commercials.24

Regardless of the quality of a show's content or pop ularity of its talent, if the show has a sterile generalized sound not personalized to the individual stations airing it, it will not sell. The program directors interviewed and the syndicators interviewed agreed that a station does not want to break away from its regular format. 25 Therefore, any syndicated show must blend into a station's sound to make the audience think the syndicated show is a part of the station's format.26

The talent on a syndicated show can benefit from syndication by being exposed to as many markets as will air the show. It is just as easy to record a show and dis tribute it to fifty stations as it is to broadcast a show over one station.27

The major drawback to anyone starting a syndicated show is financial backing since it takes a lot of capital investment money to get started. Also .there is always the risk that the show will not receive the desired acceptance anticipated. Therefore, the providers of the financial backing will want a high rate of return on their invest------L

ment to justify taking the risk.

Advertisers can benefit from sponsoring a syndicated show both in terms of sales volume and in terms of good will and identification with a popular show. The goal of most syndicated progran~ing is to acquire sponsors, or an underwriter who can demonstrate an immediate financial return and help absorb production costs.28

Summary

The above discussion has focused on the role of syndication in radio. The following major points were focused on:

1. The varibus ways to syndicate a radio show which

are barter or trade-off, underwrite, sponsorship,

buyout, media brokerage, and cash sale. It was

pointed out that of the various ways to syndicate,

having the show underwritten is by far the most

advantageous to a syndicator. 2. The types of syndicated programs were identified

and examples of each type were given. When think

ing about syndicating a radio cooking show "Cook ing on Air" the show would fall in.the talk or

public service categories.

3. The advantages and disadvantages of syndicating

a radio show were pointed out and discussed from

the radio station's point of view, from the talent 36

or syndicator's point of view, and from the

advertisers point of view.

From the information obtained in this chapter it is now possible to discuss the process involved to syndicate the radio show "Cooking on Air". 37

REFERENCES

1 Jim Harmon, The Great Radio Comedians, (Garden City, New York: Doubleday & Company, 1970), p. 1-56. 2 Ibid. 3 Ibid. p. 57-59

4 "Syndicating," Broadcasting, October 21, 1974, p. 48.

5 Interview with Tom Rounds, Watermark, Los Angeles, 23 August 1976; and Buddy Scott, Drake Chenault, Canoga Park, California, 10 March 1977.

6 Interview with Tom Rounds.

7 Interview with Steve Adler, Diamond P. Enterprises, Los Angeles, California, 27 July 1976.

8 Interview with Jim Brown, Earth News, Malibu, California, 12 March 1977.

9 Interview with Tom Rounds.

10 Interview with Steve Adler.

11 Interview with Tom Rounds.

1 2 Interviews with Charlie Tuna, Radio Station KIIS, Los Angeles, California, 10 August 1976; and Bruce Marr, Radio Station KABC, Los Angeles, California, 12 August 1976. 13 Interviews with Steve Adler; Tom Rounds; and Jack Giles, AFRTS, Los Angeles, California, 14 October 1976.

14 Interviews with Bruce Marr; Charlie Tuna; Steve Adler; and Tom Rounds. 15 Interview with Charlie Tuna.

16 Interviews with Charlie Tuna; and Bruce Marr.

17 Interview with Bruce Marr.

18 Interviews with Michael Murphy, Radio Station KPSI, Palm Springs, California, 11 January 1977; Hal Rosenberg, ·Radio Station KFSD fm, San Diego, 11 January 1977; Randall Chase, Radio Station KRUZ fm, Santa Barbara, 11 January 1977; 38

Greg Pellant, Radio Station KOWL, South Lake Tahoe, Califor nia, 12 January 1977; Bob Kigerness, Radio Station KMMT fm, Mammoth Lakes, California, 12 January 1977; and Iola Huntington, Radio Station KWSD, Mount Shasta, California, 13 January 1977.

19 Interviews with Steve Adler; Tom Rounds; and Jack Giles. 20 Broadcasting

21 Interviews with Bruce Marr; Charlie Tuna; Steve Adler; and Tom Rounds.

22 Interview with Charlie Tuna.

23 Interview with Steve Adler.

24 Ibid.

25 Interviews with Bruce Marr; Charlie Tuna; Steve Adler; and Tom Rounds. 26 Ibid.

27 Interview with Steve Adler.

28 Interviews with Steve Adler; Tom Rounds; and Jack Giles. CHAPTER 4

PROCESS INVOLVED TO SYNDICATE "COOKING ON AIR"

After conducting interviews with syndicators, radio

station program directors, and advertisers (see Chapter 1

for a listening of names) a careful evaluation of each

interview was conducted. After thoroughly examining each interview the following major factors are of utmost when considering the syndication of a radio show:

• type of show,

• target audience,

• type of radio station to air the show,

• production of the show,

• marketing a syndicated show,

• legal considerations, and

· costs.

The following discussion will address itself to each of these factors and illustrate why and how "Cooking on Air" was packaged for radio syndication.

Type of Show

As previously discussed there are a number of shows that are syndicated. However, just because someone has an idea for a syndicated show does not mean it will sell.

Steve Adler from the syndication firm Diamond P Enterprises

39 40

explained that he has a file of over 400 rejected syndi-

cation ideas. Adler judges an idea based on his experience

and arbitrary opinion. He also gets as much feedback as

possible from program_directors and people in the field of

radio. For example, he might telephone over 150 program

directors at different size stations and at different types

of markets to obtain opinions about a show idea before the

show is actually produced. 1 On the other hand, syndicator

Tom Rounds from Watermark and syndicator Jack Giles from

AFRTS both agreed that they don't have the time or money

to conduct testing or obtain opinions. They judge an idea

from personal reaction and success of a similar past show. 2

After interviewing the syndicators it became evident

that there is no pattern as to how shows are judged. Be-

cause these syndicators judge shows from their personal

reactions, and all are connected with highly rated syndi-

cated shows, their opinions regarding the feasibility of a

syndicated radio cooking show such as "Cooking on Air" was

regarded as the first step in evaluating such a project.

In general, the syndicators interviewed agreed that

the idea of syndicating a cooking show might work because

cooking (including all related areas such as nutrition, wine information, diet, culinary equipment, consumer news

from markets, etc.) hits home and is something people are

concerned with. Also there are no shows in this area

presen tl y b e1ng. a1re . d f or synd' 1cat1on. . 3 Graham Kerr did 41

have a syndicated radio cooking show. However, he has

recently given up his career as a personality gourmet chef

to devote his time to religious activities. 4 (For several

years CBS affiliated radio station KNX in Los Angeles has

aired a daily hour-long cooking show, once hosted by the

late Mike Roy, then the late Denny Bracken, now hosted by

Ralph Story. From this hour CBS devoted the daily five minute "Meet the Cook" program which is available only to

CBS network affiliates.)

The syndicators interviewed cautioned that simply reading recipes over the air would not work, the recipes must be tied in with something that the audience can enjoy and relate to. For example, a show featuring a personality guest, i.e. film star, recording star, sports figure, chef, politician, etc. discussing his/her favorite dish, special diet, or any area of food might interest those in the audience who are bored with cooking as well as those who 5 are always seeking more information in this area. Steve

.Adler from Diamon~ P advised that chefs featured on such a show would have to have something unique about them because many people in the audience in all likelihood would not be familiar with the chef or his restaurant. 6

A five minute show, as opposed to a longer show, used as an insert on radio stations was thought to be the best 7 format. As pointed out by Jack Giles from AFRTS, a big problem with syndicated radio programs is that many of the 42

shows are too long and break away form the station's regular programming. A.short insert, however, does not necessarily interrupt the regular format. Also there will be more stations willing to air the show if it can fit into a 8 station's format. Tom Rounds from the syndication firm

Watermark suggested that a five minute show such as a cooking show could be inserted before or after the news as a sort of public service-informative-entertainment program. 9

All the syndicators agreed that such a show should be produced generically (giving no specific mention of the date) and could be aired as often as three times a day, 10 depending on a particular station's needs.

A cooking show presents several positive aspects that other syndicated shows can not offer such as: public affairs, if valuable information is given; community involvement, listeners can write in asking questions that could be answered on the air or they could ask for copies of recipes given during the show; no competition of other similar shows (other than in the Los Angeles market where the KNX Food News Hour is aired most markets do not feature th1s. t ype o f programm1ng.. ) 11

Taking into consideration the feedback from the syndicators several radio stations were contacted to gather more information about the feasibility of syndicating a cooking show. 43

Discussion with Program Directors

Program directors in large, medium, and small sized markets were contacted and interviewed. The basic informa tion the program directors could give would be whether or not they thought the idea of a radio cooking show would suceed as a syndicated program.

Bruce Marr, program director at talk station KABC in Los Angeles, said he would not purchase a syndicated cooking show because such a show could not have an open phone line. KABC's format is to have open phone lines with as many shows as po_ss~ble. If Marr decided to add a cook ing show to the station's format he would add a live show.

At the present time KABC features a Sunday restaurant show with open phone lines that is aired for two hours in the morning and two hours in the late afternoon. 12

Charlie Tuna, program director at contemporary station

KIIS in Los Angeles said his station features music along with personality disc jockeys. Because KIIS is obligated to devote a specific amount of time to public service programming a nutrition type of show might be good for the station. Tuna would like to incorporate public service announcements into the station's regular programming. For example, along with the news presented each hour he would like to feature a job line, gardening tips or anything that the audience would be interested in hearing. Obviously this type of added information would have to be kept to 44

a maximum of five minutes. 13 At the present time KIIS

features a syndicated show "Viewpoint on Nutrition" that is

aired at 4:40 a.m. on Sunday.

Both Marr from KABC and Tuna from KIIS thought the

idea of featuring a guest personality on a syndicated cook-

ing show was good. However, they both agreed that the show

must be short and unique (meaning something they could not 14 do themselves) and conveniently fit into a station's format.

Because stations KABC and KIIS are in the large Los

Angeles market it was also necessary to discuss the fea-

sibility of a cooking show with station directors in medium and small markets. In other words, outside Los Angeles where the chances of selling or airing the show would be

far greater.

Since a majority of syndicated programs are sold to the medium and small sized markets15 a sample of six

California stations in these types of markets was contacted.

These stations include:

Medium markets - Palm Springs station KPSI, HOR or adult contemporary format, I•lichael Murphy program director;

San Diego station KFSD fm, classical format, Hal Rosenberg program director; and Santa Barbara station KRUZ fm, adult music and talk format, Randall Chase program director.

Small markets - South Lake Tahoe station KOWL, adult contemporary format, Greg Pellant program director; Mammoth

Lakes station KMMT fm, adult music format, Bob Kigerness, 45

program director; and Mount Shasta station KWSD fm, adult

contemporary format, Iola Huntington program director.

The stations were selected according to population

size in the market they serve, then at random in the

Standard Rate and Data Sheet (SRDS). Only those stations

in California were selected because of the expense to call

them, and at the onset of syndicating "Cooking on Air" it will only be offered to California stations.

Reactions from the stations in the medium sized markets about the idea for a syndicated cooking show could be described as vague interest. The program directors said they would be interested only if the show was unique in 16 content, and was short (not more than five minutes) • One point brought up by Randall Chase from Santa Barbara station KRUZ fm was whether or not a food oriented show would relate to what the local people eat and cook. 17 The three program directors in the medium sized markets agreed that they would like some wine information included in a cooking type of show and that the show must sound personable to their audience. 18

The stations in the small sized markets were enthu- siastic about a syndicated show, but the program directors said they could not afford to spend extra money on pro gramming. The directors agreed that if a show was given to them as a barter agreement they would air it since they did have air time available. The idea of featuring guest per- 46

sonalities was of interest to the stations as well as the . . 19 idea of featuring wine and nutritional 1nformat1on. One

significant point was brought up by Greg Pellant, station

KOWL, South Lake Tahoe, and Bob Kigerness, station K~~T fm,

Mammoth Lakes. Both program directors were interested in

a longer show such as ten or fifteen minutes instead of

only five minutes. 20

Discussion with Advertisers

A third group interviewed regarding the idea of a

syndicated cooking show was advertisers who might have

products or services appropriate to sponsor a cooking type

of show, or at least purchase advertising time during the

show. The most likely advertisers that might sponsor a

cooking show were those representing food products, cook-

ing utensils, wholesale and retail markets, and companies where food and cooking would be of interest. Three compan-

ies in the Los Angeles area were chosen: Alpha Beta Markets

represented by Elisaman, Johns, & Laws Associates, Inc.,

Phil Wolfe representative; Lawry's Foods represented by

Daily and Associates, Burt Pierce representative; and

Sunkist Growers, Ray Cole head of advertising.

All three adv~rtising representatives said they would

be interested in a syndicated radio cooking show only if

the show attracted their target audience, i.e. women be-

tween the ages of 18 and 49 years old. The advertising 47

directors agreed that a cooking type of radio show would be

a likely candidate in attracting such an audience. However,

they were much more interested in a station's reaction and

in seeing the ratings for such a show. 21 (Unfortunately

before such ratings could be available, the show would have

to be on the air first.)

Burt Pierce representative from Lawry's Foods did

indicate a strong interest in underwriting such a show and

asked to hear a pilot and specific ideas of the final show

and its format.22

Analysis of Discussion

An analysis of the information obtained regarding the

idea of a syndicated cooking show indicates that there is interest in this type of show as long as it is kept short, its content is unique, and it attracts rating points of a certain type of audience. It is obvious that probably the only way "Cooking on Air" could be syndicated is if the show's length is short. If the show is any longer than five minutes it should not be syndicated, but rather aired on one station.

Unfortunately none of the syndicators interviewed had any experience in the syndication of a cooking show nor had they ever been confronted with such an idea. They were relying on their instincts to judge the feasibility of such a show idea. 48

The program directors interviewed had a similar

problem. None had ever aired a syndicated cooking show

(except for KIIS's airing of 11 Viewpoint on Nutrition .. at

4 a.m. on Sunday). The large market stations, KIIS and

KABC, would prefer doing their own live cooking show. The

medium market stations, KPSI, KFSD fro, and KRUZ fro, seemed more interested in the shmv as long as the show could

attract a desired audience, add rating points to the

station, and have a personal sound. The small market

stations, KOHL, K~lT fro, and KWSD fro simply didn't have the money to purchase extra programming. The only way they

could air such a show would be through a barter agreement.

Taking into consideration the response from the inter views as well as the response from 11 Cooking on Air 11 during the two years it was aired at Northridge station KCSN fro,

it can be concluded that there is above average interest

in a syndicated radio cooking show under the following con ditions:

• the show is kept short, approximately five minutes,

· the contents of the show are unique,

· the show attracts a specific target audience

appropriate for the radio station airing it and

advertisers who might place ads during the show, or

who might be interested in underwriting it,

• personalize the show to the specific station airing

it. 49

It appears that the most successful format for "Cook

ing on Air" would be as follows:

• five minutes in length to be aired five days a week,

• produced generically (no mention of date of time) to

give stations as much flexibility as possible,

· feature guests who are interesting personalities, and

• personalize the show as much as possible for the

particular stations airing it.

Target Audience

Before a show can be packag~d and marketed for syndi cation it is necessary to define the target audience in order to establish whether or not this group ddes indeed listen to radio and is saleable to advertisers. As pointed out by the syndicators interviewed, a show will sell as long as it appeals to the station's or the advertiser's target audience. 23

It was pointed out in Chapter 2 that there are some general radio listening tendencies that apply across the nation. The validity of these patterns was discussed with program directors Charlie Tuna, KIIS, and Bruce Marr, KABC to determine if their data correlate with the academic findings of researchers. When they were asked to describe their target audience the response was in terms of age.

Bruce Marr at KABC said the station's format aims toward __ i._ ___ . _____ -- _l

listeners between the ages of 25 and 49 years. 24 Charlie

Tuna at KIIS explained that his station's format, adult

contemporary, is designed to attract their target audience

of listeners between the ages of 25 and 34 years. Tuna

went on to explain that the station's goal within the next

few years is to attract the "ideal" audience of everyone

from 12 to 49 years. With an audience in this range and

high ratings the station can charge advertisers as much

as $400 to $500 for one 60-second advertising commercial

during prime time. 25 In other words, the ratings determine

demand for a station's format and the format is designed

to attract an audience that will appeal to the advertisers

in order to get as much money as possible for air time.

The advertisers interviewed said that their target aud 1ence. 1s . women b etween the ages of 18 and 49 years. 26

As explained by Burt Pierce for Lawry's, it is worth

spending $500 for one 60-second commercial if a radio

station can deliver an audience that Lawry's has determined

can be persuaded to buy the company's line of products. 27

When the syndicators, program directors, and adver-

tisers interviewed were asked who would be the potential

target audience for a syndicated radio cooking show, they

all agreed it would be women (more specifically housewives).

Jack Giles said that it would be family women who are at home during the day.28 Steve Adler from Diamond P. and

Buddy Scott from Drake Chenault agreed that it would be - - J

housewives between the ages of 25 and 49 years. 29

The program directors agreed that the target audience would mainly consist of women at home during the day.30

Charlie Tuna at station KIIS said he did not think teenagers would be interested in a radio cooking show unless it was 31 put to "rock-and-roll" or featured rock stars.

Advertising representative Burt Pierce from Lawry's said he thought a cooking show would attract women during the afternoon who are bored. These women, in all probab ility would also be a spending audienc~. 32 On the other hand, advertising representative, Phil Wolfe from Alpha Beta said he was doubtful as to whether a cooking show would attract a spending audience because several years ago he saw the ratings for the old Mike Roy Cooking Show on Los

Angeles station KNX, and these ratings indicated that a lot of retired people listen to the show. 33 (KNX was contacted by telephone and asked to describe their audience during the KNX Food News Hour. The breakdown was 60 percent women over 25 years and 40 percent men over 25 years. After asking seven people at KNX whether the listeners were working men and women, housewives, or retired, no one could give an answer.) 34

A questionnaire was given to 75 junior college students who were taking an evening gourmet cooking class. The questionnaire was distributed to the students to determine if there was an interest regarding a radio cooking show -- - L

and the demographics of the students who might be interested

in listening to such a show. There was one bias in the

sample of people taking the questionnaire, all were taking the gourmet cooking course as an elective course for their own enjoyment. The questionnaire was distributed to the

students during their regular class meeting and collected at the end of the meeting. (See Appendix 5.) Results of the questionnaire indicated that 85 percent of the students would be interested in listening to a short cooking show.

Of this group 45 percent were working men, some of the men worked and were full-time students at the college, all were over the age of 23. The women constituted 55 percent and ranged in age from 21 to 57 years. There was a wide range of occupations among the women, the predominant ones were housewives, school teachers, and secretaries.

Analysis of Discussion

In analyzing the interviews with the syndicators, program directors, and advertisers, and the questionnaire given to the students to determine who would be the target audience of a syndicated radio cooking show it would appear that women at home during the day would make up a large majority of the audience.

There are several limitations regarding the inter views and questionnaires. First, the syndicators and program directors interviewed, with the exception of KNX 53

Los Angeles, were giving their personal opinion judged on their experience in the radio field. None had first-hand experience with a radio cooking show. Everyone in this group had access to the ARB rating book which did help

justify their statements. However, their answers during the interviews came before they consulted the rating book.

Also the program directors almost always described their audience as being that group that advertisers are inter ested in attracting. (Although many women would probably listen to a cooking show, it is also quite possible that a significant percentage of men might also enjoy the show.)

The advertisers interviewed were a bit more reliable because all were food oriented companies who were inter ested in the demographics of this type of programming. How ever, none had ever taken full sponsorship of a broadcast cooking show.

As pointed out above, the students taking the question naire had a built-in bias because all were taking a food oriented course as an elective. Therefore, all the students had a definite interest in the area of cooking. It would be expected that a large majority of the group would be interested in this type of programming.

A telephone discussion with a salesman from ARB rating service, verified that, the daytime listening audience would consist primarily of women who are at home during the days and some retired people. 54

Judging from the response of a recipe contest con

ducted in the spring of 1976 for "Cooking on Air" at KCSN,

and from mail received for the show, approximately 68 per

cent of the listeners were women, while 32 percent were men.

Unfortunately there is no breakdown of the age or occupation

of these listeners.

In conclusion, it would ~ppear that the target audience

for a syndicated radio cooking show would be women between

the ages of 25 and 49 years who are at home during the day

time hours. These women would tend to listen to radio

during the daytime period, 10 a.m. to 3 p.m. while they are

working at home or driving. The composition of this audience

is similar to the type of audience advertisers described as

their target audience.

Station Types to Air the Show

Once the target audience can be identified then it is

necessary to determine the type of radio station this segment

of the audience listens to. In the preceding discussion

it was established that the target audience would be women

between the ages of 25 and 49 years who listen to the radio

during the daytime hours. In Chapter 2 radio formats and

general listening patterns among various age groupings at

various periods of time were discussed. The period between

'10 a.m. and 3 p.m. appears to be the time when the greatest 55

number of this target audience would be listening to radio.

The syndicators interviewed thought a syndicated radio cooking show would conveniently fit into any talk show format, 35 whether it be news, music and talk, or telephone talk.

Tom Rounds from Watermark added that any station that could make a profit from the show would be interested in airing l •t . 36 Steve Adler from Diamond P and Jack Giles from AFRTS said that because most syndication is sold to radio stations in medium and small sized markets it would be necessary to identify stations in those markets which are popular with the potential audience and where the syndicated show could fit into the station's format. 37

Tom Rounds from Watermark brought up some significant points regarding selling the show to staions. For instance, only sell one show to a single market which means that station has the exclusive right to broadcast the program in a particular market. 38 For example, only one station in the market of San Francisco/Oakland/San Jose/San Rafael can broadcast the syndicated show "American Top 40". There are approximately 750 exclusive markets in the United States available to air syndication.

In order to identify potential markets, stations, and formats that might be interested in airing "Cooking on Air" the Standard Rate and Data Service (SRDS) was carefully reviewed. A list of the radio stations that will be offered the opportunity to air the show appears in Appendix 6. The 56

stations were selected on the following basis:

• all stations were in California which will be the

only state offered "Cooking on Air" until the show

is established as a syndicated program,

• all the stations were commercial stations; for the

past two years "Cooking on Air" has been aired on

National Public Radio which means no programming

receives pay and there are no commercials, and

all the stations had a general format that possibly

would be interested in the syndication of a cooking

show.

As can be seen from the chart of radio stations, many of the formats are listed as middle-of-the-road, music, or adult stations. SRDS does not clearly define "adult" format.

However, the chart does serve as a reliable guide to start sending information regarding the syndication of a cooking show. (It should be noted that in the Los Angeles market radio station KNX, a CBS network affiliate was not included on the list. KNX already airs the KNX Food News Hour and wrote a litter stating that they would not be interested in "Cooking on Air".

Production

The production of a syndicated radio program is rather subjective because it depends on the show and the specific- 57

ations of the radio station(s) that air it. There are,

however, a few generalizations that apply to most syndicated

shows.

Each show should be duplicated on one-quarter-inch

heavy tape with a seven-inch reel, or be recorded on a disc (record). 39

The open and close of each show would be generically

produced to allow radio stations maximum flexibility. Many

syndicators then produce a customized open and close for

each station airing their show. This is done in order to give the program a local sound. 4° For example, Diamond P sends each station airing "Dick Clark Solid Gold" show a

tape with an open of Clark identifying his show, the station

and the city, then a closing tape is aired at the end of

each show where Clark again identifies the station and the next time his show will be aired on that station. 41

A cue sheet should accompany each tape or disc. 42 The cue sheet is merely a written collection of sequential cues indicating the exact running time of each sequence by writing the first few words or last sentence of the end.

Alongside of this is posted the number of minutes and seconds for each sequence. This is of utmost importance in order to let the disc jockey airing the show know exactly when to start it, when to insert commercials, when the show will end, and the exact amount of time the show will run. 58

The actual production of "Cooking on Air" will be done as follows:

· the show will be duplicated on one-quarter inch

heavy tape with a seven-inch plastic reel; for initial

purposes tape is cheaper than duplicating the show

on discs,

· all shows will be produced with a generic open and

close, then a customized open and close will be

recorded for all stations airing the program,

• a cue sheet will accompany all tapes,

· the length of each show will be five minutes and

intended to be aired five days a week.

The format and approximate time of each show will be as uniform as possible to include:

1. Open show with a tickler to arouse audience in-

terest (approximate time 10 to 20-seconds),

2. Break for a 30-second underwriters commercial,

3. Body of the show (approximately 4 minutes),

4. Break for 60-second commercial by station's sponsor, 5. Closing (approximately 10 to 20-seconds) . It should be noted that if an underwriter is obtained for the show, and they choose to keep the first 30-second commercial, then the actual length of each show will be

4-minutes 3-seconds, however, if no underwriter is obtained then the length of the show will be 5 minutes. (The com- 59

, rnercial/economic aspects of the show will be discussed under

the section titled Costs.)

Marketing a Syndicated Show

Perhaps the most important consideration when attempt

ing to syndicate a show is the actual marketing of it.

Unless the marketing presentation and approach are effect

ive and directed to the proper channels, even the highest

quality show will not sell. Marketing actually consists

of two parts: 1) the design of the syndication package,

and 2) selling the package. The following discussion will

review each aspect of marketing then analyze how "Cooking

on Air" will be packaged and attempted to be sold for radio

syndication.

Syndication Package~

The syndication package is simply the material or

demonstration of the show that is sent to a potential buyer,

i.e. radio station, or in some cases an advertising agency

Nho will underwrite the show. (As will be pointed out

La·ter, "Cooking on Air" will be attempted to be sold to

tn underwriter.) The reasons for the package are to present

reneral information about the show and illustrate the show's

ormat and sound. 43 Steve Adler from Diamond P and Tom

ounds from Watermark explained that the material in the - t

package can be varied and take on many forms, but its

primary function should be to get the potential buyer

interested in the show and thinking about purchasing it or

airing it in a barter agreement.44

All syndicators precede this package with a mailer to

stations they want to air or buy the show. 45 The mailer

advertises the show and usually has a tear-off card to send

back to the syndicator indicating interest in seeing the

syndication package, which is actually a tape or disc

demonstration of the show. Tom Rounds from Watermark ex-

plained that it is too expensive to send out a demonstration

to everyone he would like to purchase a particular show

because most of the recipents would probably throw the

package away. 46 To illustrate this point, Steve Adler from

Diamond P said that on the average, out of 500 inquiry cards only 30 to 50 stations would actually end up signing a contract. 47

As stated earlier the actual package can be varied to accommodate each individual show. The "Dick Clark Solid Gold"

show is initially presented to potential stations in the form of a small disc which briefly explains the program, its availability, format, excerpts from future shows to illustr ate its sound, and suggestions of how the show can be used to benefit a station. This disc is accompanied by a sheet of paper with a brief outline of what is said on the disc and phone numbers to inquire about further information. 61

A different type of package is presented for the syndicated show."American Top 40". The syndication firm,

Watermark presents their package in the form of a notebook.

This notebook consists of a biography of the host Casey

Kasem, newspaper clippings about the show, information about how the show is put together, suggested ways for radio station sales managers to sell the show to advertisers, general information regarding the show's format and sound, availability of the show, and where to inquire about further information.

Most packages include a disc or tape cassette which gives narration explaining the show along with pieces of the show so that the station personnel can get an idea of what it will sound like~ 48 Tom Rounds from Watermark explained that he receives leads either from mailers or word-of-mouth, he then sends out the syndication package and lets it sell itself. Rounds considers the package as promotion for a new or existing 49 show. Jack Giles from AFRTS advised that if the syndication does not have a well-known talent, then the package becomes even more important because it must convince the potential buyer of the show's quality as well as that of the talent and the professionalism of the syndication firm, 50 l. f one 1s . 1nvo . 1 ve d •

If the syndicator decides to first approach a potential sponsor or underwriter for the show then an entirely 62

different marketing strategy is addressed. Instead of send

ing a mailer to the advertising agency an appointment should

be set up with the head of the media advertising department.

During the meeting the syndicator must "sell" the show J::>y

explaining the advantages it will be for the advertiser and

the fact that it is a more efficient way for them to spend

advertising revenue. 51 As discussed earlier, if a particular

show attracts the advertiser's target audience it is more

efficient for them to spend the extra money to purchase ads

during the show, or, in some cases, underwrite the entire

show. For this reason it is of utmost importance to con

tact advertisers who are trying to attract the same target

audience as the show will attract.

An an~lysis of the information obtained regarding the

syndication package and a review of several syndication

11 11 packages, i.e. "Dick Clark Solid Gold , "American Top 40 ,

11 "The Robert W. Morgan Special of the V'Jeek , and Drake

Chenault Formats for '77 reveals that it is necessary to

present "Cooking on Air" in the form of a package to

potential buyers. (See Chapter 5, The Syndication Package).

Since only the name "Cooking on Air" existed for the

show it was necessary to create an identifying logo to

appear on all pages and to design a package for the show.

Based on the interviews and observation of other syndi cation packages it was decided to include the following

information in the syndication package: 63

• response card to be mailed to the list of radio

stations in Appendix 6,

• demonstration tape consisting of an introduction

about the show, narration describing the host,

suggested ways for stations to localize the show,

how the station can fit the show into its format,

merchandising ideas, and brief excerpts from future

shows,

• written material to include an introduction about

the show, biography of the host J.C. McClain,

information about the show (a local show, the audi

ence, programming, commercial format), a sample list

of thirteen weeks of future shows, and suggested

ways for stations to sell the show to potential

sponsors.

The presentation to potential underwriters will not include a response card or a demonstration tape because, as mentioned earlier, it will be much more efficient to discuss the purchase of the show face-to-face with an advertiser. At the time of the meeting written material would be presented to include: an introduction about the· show, biography of the host, information about the show

(audience, programming, and commercial format), a sample list of thirteen weeks of future shows, and suggested ways the show can benefit the underwriter. During this meeting the tape containing one week of "Cooking on Air" would be 64

played in order to give the potential underwriter an idea of the show's format and sound.

Selling the Package

As discussed earlier there are a number of contract agreements that can be made when syndicating a radio show.

The first decision the syndicator must make is whether or not he will attempt to sell the show himself or hire a syndication firm to handle the production and marketing.

The function of the syndication firm can include pro duction, brokerage, ·marketing, management, and programming.

Steve Adler explained that someone (talent) can come to

Diamond P with an idea for a show, and if it's good he will handle all production, including costs, and distribution of the show. For this service Diamond P receives a percent of the show's profit. 52 Commission fees for a syndicator's services varies according to the exact work performed and the type of contract agreement involved. These fees on the average are at least 50 to 60 percent. 53

The syndicators interviewed feel that because they have the contracts at the radio stations and are in daily contact with the business it is easier for them to sell 54 shows than it is for an individual (the talent) . Steve

Adler from Diamond P said the best way to sell radio syndication is through a national advertiser, which is very difficult because advertisers or advert~sing agencies 65

usually are not interested in purchasing or sponsoring radio

programs. He said they "talk an ·entirely different language

than syndication people". Adler's point was that if adver

tisers won't talk with the established syndication firms

they certainly will not talk with an individual who is re 55 presenting himself.

In analyzing the question of whether an individual

should try to market his own show there appears to be

positive as well as negative points. The advantages that

a syndication firm can offer an individual trying to market

his show are:

1. contacts with radio stations,

2. representation by a professional, and in some

cases, a well-known syndication firm,

3. the syndication firm can save an individual time

and money by contacting the desired stations and/

or advertising agencies, and mailing out the -

appropriate material to potential buyers, and

4. in many cases, allowing the firm to take, or share,

the risk of possibly not selling the show or

making a profit.

The disadvantages of handling the show's marketing through a syndication firm are:

1. at least 50 percent commission fee will be charged

by the firm, the exact amount will depend on the

services performed, .and 66

2. occasionally a syndication firm will listen to an

idea, reject it, then borrow the idea to produce a similar show. 56 (The cases in which protection

of an idea have been denied are many. The fre-

quency of litigation over ideas indicates the

large number of ideas marketed which are not

original. Also it indicates the failure of those who market original ideas, through ignorance, to

sa f eguar d t h e1r. property r1g. ht s. 57

The above discussion can be summarized to a simple question of is it worth an individual's time and investment to syndicate his own show or should the individual accept less profit and seek the expertise of a syndication firm.

Jim Brown from Earth News is an example of an individual who syndicated his own show. Six years ago Brown began airing Earth News as promotion for Earth Magazine, which went out of circulation after fourteen issues. The news show, however, was so well received by Los Angeles radio station KRLA that Brown decided to obtain an underwriter and try to syndicate it as a barter agreement. Brown said he had no trouble talking to advertisers as an individual representing his own show. He explained that any individual can easily understand the advertisers approach to purchasing radio advertisement time, and to help, read the "trade" journals, or simply be aware and listen to advertisers.

Today Earth News is syndicated to 400 rock stations across 67

the nation and is aired twice a day for three and a half minutes. Underwriters such as Budwiser Beer, Annie

Greensprings Wine, and, at present Clairol Herbal Essence 58 have purchased the show.

One very significant factor when considering market ing a show as an individual or through a syndication firm is the type of radio show being marketed. Earth News is a short three and a half minute program that features news, editorials and documentaries. The initial production and marketing of this type of show are reasonable enough for an individual to undertake. (Also, Brown realized that the only way he could make money from such a short show was to get a sponsor to absorb the costs.) 59 On the other hand, a show such as "American Top 40" or "Dick Clark Solid Gold", each three hours long, involves production and marketing on a much more elaborate scale. Steve Adler from Diamond P said that his firm handles the production and distribution for the "Dick Clark Solid Gold" show because his firm has the contacts and expertise in the field, and Dick Clark does not want to spend the many hours necessary to market the show. 60

Based on the information obtained during interviews it was decided to sell ''Cooking on Air" without the assist- ance of a syndication firm. The reasons for this decision were based on the length of the show, approximately five minutes, the relatively simple production necessary, the 68

fact that the host has had two years experience with "Cook

ing on Air" at Northridge station KCSN fm, and to acquire

the maximum profit possible without appropriating revenue

to a syndication firm. (See cost section~)

An individual should approach the marketing of a show

in the same manner that a syndication firm would, i.e. try

to sell the show to radio stations or obtain an underwriter.

The only realistic way a short show such as "Cooking on

Air" could make money would be to acquire an underwriter.

Without an underwriter the show would have to be sold to

radio stations that, as explained earlier, may not have the

funds available to purchase programming, but may have air

time available to air the show.

The cost of a show to a radio station is based on the

size market the station is serving. For example, "Dick

Clark Solid Gold" show is sold at a much higher rate in a large marke~ such as Los Angeles than it is sold in a

small market such as Des Moines, Iowa. 61 Taking this

into consideration, it would be very difficult to make a profit from "Cooking on Air" if the show were sold to

individual radio stations. As pointed out earlier, most

syndication is aired in small and medium sized markets because these stations often have air time available but very little revenue to purchase extra programming.

Steve Adler from Diamond P and Tom Rounds from Water mark both said that advertisers do not talk radio language, 69

don't understand the benefits of sponsorship rather than

purchasing spot.or revolving advertising time, and are 62 difficult to talk with. On the other hand, Jim Brown from

Earth News has obtained a number of sponsors over the years

for his syndicated show and does not find advertising

agencies difficult to work with. 63

While conducting research for this paper three ad-

vertisers were contacted and interviewed. It was not dif-

ficult to make an appointment to discuss radio syndication

with them. However, the gentlemen were told in advance that

the discussion was related to a thesis project. Perhaps

these gentlemen were more open to talking with an individual

who was taking an academic approach to the purchase of

radio advertising time than talking with a syndicator re-

presenting his firm, and who would be primarily interested

in selling them programming.) The advertisers were quite

easy to understand and were very willing to discuss the

sponsorship of a radio show and their company's advertis-

ing objectives. Out of the three advertisers interviewed,

Lawry's Foods was very interested in the possibility of

underwriting a radio cooking show. 64

If an underwriter can not be obtained, which is quite

likely to happen, then radio station program directors would

... be contacted about the purchase of the show. The first

.contact should be made by sending a mailer to the appropri-

.ate stations in order to obtain response as to which stat- 70

ions are seriously interested in the show •. Also ads can

be taken out in .trade journals to promote the show. After

response cards are received then the syndication package

should be sent to those stations indiciating an interest in

the show.

If a station is interested in the show the program

director may ask the syndicator to act as a broker between

~ the station and advertisers, the station may pay for the

show, then direct sales representatives to sell particip-

ating spots for the show, or the station may incorporate

the show into its format and air it without a sponsor.

The approach to be taken for "Cooking on Air" will be

to first contact Lawry's Foods since advertising director

Burt Pierce indicated a strong interest in the show. If

Lawry's will not underwrite the show then the companies

listed in Appendix 7 will be contacted.

Appendix 7 represents a list of several potential companies who might be interested in underwriting a radio cooking show. The list was selected from a Home Economist

in Business directory listing companies interested in the general area of food. Note that all of the companies are located in the greater Los Angeles area. Obviously if none of these companies were interested in underwriting the

show, then research would have to be conducted to find other potential companies. 71

Legal Considerations

To prevent any legal problems that may arise while

trying to start a syndicated show, or any problems that

could occur while the show is being aired, it is advis-

able to engage in the services of an attorney who specializes in entertainment problems. There are no flat rules regard-

ing the amount of legal protection afforded to syndicators

from individual radio stations. An injured party is free

to sue the syndicator as well as the radio station airing

the show.

Basically the production and syndication of "Cooking

on Air" or any syndicated program involves three legal risks

of doing business: personal injury liability, copyright

infringements, and contract disputes. There are many other

aspects of law and government regulation that directly

affect radio stations, however, they are not relevant to a

syndicated radio show and beyond the scope of this paper.

The risk of personal injury liability lies primarily

in the possibility of being sued for libel or for violat- 65 ing a person's right to privacy. Caution should be taken

to prevent against violating any copyright when airing

"Cooking on Air".

Contract disputes, although not as dangerous from a

liability standpoint, potentially pose the major legal obstacles that the show will face. It is very important 72

that agreements between the show's underwriters, radio

stations, or any parties involved with the show be docu-

mented in written contracts.

Personal Injury Liability

Personal injury liability involves defamation, which

is a statement which ·tends to harm the reputation of an-

other as to lower him in th~ estimation of the community or

to deter their persons from associating or dealing with

him. 66 There are two kinds of defamation: slander, which

is an oral or verbal defamation, and libel, which is written.

Of the two, libel is considered the more serious because it

usually causes greater damage.67 (It should be noted that

due to the wide publication associated with radio broad- 68 casting, defamation over the radio is considered libel.)

The libel issue is important to a syndicated radio

program such as "Cooking on Air 11 because of the heavy

emphasis placed on celebrity interviews. If a celebrity, or any other guest on the show utters libelous statements

during the interview, and they are eventually broadcasted

over a radio station, the host, radio station, and inter viewee could be sued by the injured party. 69

The right of fair comment would dictate the statements

regarding community or consumer issues made on "Cooking

on Air 11 and would not be considered defamatory even if a 70 party was lnJured,. . as long as no rna 1'1ce was 1nvo. 1 ve d • 73

It is possible that controversial issues might occur on "Cooking on Air". Such debatable issues might include the use of sugar, perseveratives, wine or liquor, meat in the diet, etc. These and other topics, known or unknown, could be considered controversial by some people. These people may take offense to the show and demand equal time to discuss their side of a specific topic. However, under the law these people would not have any legal recourse against the show because of the fairness doctrine which is the FCC mandate stating that television and radio stations must offer broadcast time to "both sides" of public issues.

When controversial issues are presented on "Cooking on Air", and recognized as such, the opposing side should be pres ented in order to be fair to all concerned and present an unbiased approach.

To ensure no risks, all interviewees for the eventual syndication of "Cooking on Air" will be required to sign a release form which will establish three important points:

1. That the person has appeared voluntarily and is

willing to be presented on the air;

2. That he or she agreed to appear gratis (without monetary charge); and

3. That the producer or licensee is free to make

certain uses of the program. 74

A copyright is the right not to have one's mental work,

as expressed in written or other objective form, copied or

commercially used by another. It enables a writer to

protect and profit from his labors. There are two types of

copyrights available in the United States, common law and

statutory. 72

"Cooking on Air", or any syndicated radio show must

exercise caution when publishing (broadcasting) material

created by others, such as recipes, music, etc. For example,

before a recipe can be used it should be determined whether

it is covered by a statutory copyright. If it is, written

permission must be obtained from the author prior to

publication. It should be noted that recipes contained in

cookbooks are almost universally covered by statutory copy rights.73

Recipes and other published materials which are not

covered specifically by a statutory copyright can be used

on "Cooking on Air". Publication wi~hout formal registr

ation waives the common law copyright. 74 ·The risk of

being sued because some individual claimed his common law

·be almost impossible and very costly. Even if infringe-

_ment could be proved, the damages caused by broadcasting on

ncooking on Air" would be small compared to the cost of

iitigation the author would have to pay. 75

A second copyright consideration pertinent to all syndicators is the use of music for broadcast. In the case of "Cooking on Air" music would be played at the beginning and the end of the show. The American Society of Composers,

Authors and Publishers (ASCAP) and the Broadcast Music Inc.

(BMI) are trade associations protecting musical performance rights. These organizations issue a license to all radio stations which entitles them to the use of all ASCAP and

BMI music. Since all radio stations are required to carry a license and since all performers belong to one of these organizations it would be rare that copyright would be wiolated. 75

At the time of this writing all syndicated shows are protected under the radio status with ASCAP and BMI.

Contracts

The subject of contract law is important for a syndicated show and for "Cooking on Air" because of the many legal agreements that the syndicator may have to execute.

There are two types of agreements that "Cooking on Air" should be concerned with: those that require written con-· 76 tracts and those which do not.

Every contract, whether oral or written, requires the 77 following elements:

·mutual assent (offer and acceptance),

·consideration (value given for value recieved), 76

· capacity of the contracting parties, and

· legality of the object of the contract.

It can be assumed that all contracts would involve a

legal object and would be made between consenting adults.

The biggest problems with contracts are agreements between

the parties on what were the exact terms and conditions

offered and accepted, and what was the agreed upon con-

s1. d erat1on . f or t h e serv1ces . g1ven. . 78

A syndicator must adopt the policy of using written

contracts for all agreements with all radio stations and

underwriters. The written contract should thoroughly cover

the following: 79

· services to be rendered by the syndicator,

• compensation for the services,

how and when the compensation is conveyed to the

syndicator,

· rules or deadlines for termination of th~ agreement,

· statement regarding the rights of others to use

material from the show,

· insurance requirements of both parties, and

· attorney's fees in case there is a court judgement.

Summary

It would appear that several things must be done in

order to avoid any legal disputes. The following things

·will be done wiht "Cooking on Air": 77

1. Obtain comprehensive liability insurance;

2. Edit the tapes of all remarks which could possibly

be libelous;

3. Obtain a release form from all guests appearing

on the show whereby they waive all rights to all

material relating to their interview;

4. Obtain written permission before using any recipes

or other documents covered by a copyright; and

5. Consult an attorney regarding the wording and

content of written contracts.

\'lhen syndicating "Cooking on Air" tapes will be sent

to radio stations, and depending on the exact contract,

the show will be aired at a specific time on specific days,

during a specific time period. Once the airing date has

expired the radio station must either destroy the tapes of

mail them back to the syndicator.

Costs

The economic purpose of syndicating "Cooking on Air"

is to make a profit for the syndi~ator. The profit would

be the revenue derived from the sale of the syndicated show

less the costs of production and the overhead of running a

business (which in a sense is what an individual would be

·doing if he were syndicating his own show). 78

In order to calculate how the syndicator can make money from the show it is necessary to add up all the costs for the first 13 weeks of programming. (All radio stations purchase or contract to air a minimum of 13 weeks of shows.)

The procedure must then be to decide at what point the show will break even and begin to make a profit. This section will discuss how much it will cost to produce 13 weeks of

"Cooking on Air", how much an underwriter would be charged to purchase the show, the costs to a radio station, and the limitations of calcuating costs.

Costs to Produce 13 Weeks of "Cooking on Air"

The costs for "Cooking on Air" are divided into the following categories:

1. Fixed costs (set up company and operational costs);

2. Semi variable costs (production costs); and

3. Variable costs (costs to "Cooking on Air" per

station airing the show) .

Fixed costs include:

Legal fees required_for start up expenses $300

Accounting fees (taxes, etc.) $250

Legal fees (consulting fees) $300

Rent (first year use syndicators home) 0

Insurance (liability) $500

Advertising mailers (3,000 @ .20) $600

Phone $300 79

Promotional brochures with demo tape

(100 @ $12 each) $1200

Travel and entertainment promoting show $2500

Total fixed costs $5950

Semi variable costs include:

Studio time including engineer

(1 hour per show times $45 hr) $2925

Master tapes ($4.85 per tape & reel) $63

Travel (celebrity interviews, gas, milage

in town, airfare, etc.) $1000

Total semi variable costs $3988

Variable costs include:

Tape duplication $4

Tape materials $5

Postage $2 Total variable costs per tape distributed

to each station airing show $11

It should be noted that after the first 13 week series of shows the operating costs would be reduced a little for each new series because "Cooking on Air" wouldn't have to do as much promotion, travel, etc.

Reviewing the fixed costs and the semi variable costs shows that at least $9,938 is the absolute minimum amount 80

of revenue acceptable from an underwriter. As pointed out

above, for each station airing the show it will cost "Cook

ing on Air" approximately $11 per station per tape.

How Much an Underwriter Would be Charged

The price an underwriter would pay the syndicator,

"Cooking on Air", would depend on the number of radio

stations that will air the show, plus the $9,938 for fixed and semi variable costs.

It is obvious that an underwriter probably would not be willing to pay any amount of money to a syndicator un less they were convinced that: 1) the syndicator could guarantee a specific number of radio stations willing to air the show; 2) the show would attract the underwriters target audience; and 3) in most cases they would want to see that purchasing syndicated programming rather than individual advertising time at the stations would be the most efficient way to advertise.

The format set up for "Cooking on Air" provides the underwriter with one 30 second spot at the beginning of each show. (There is also a 60 second commercial spot at the end of each show that the radio station can sell to local advertisers, or the underwriter may choose to use.)

The best formula for knowing exactly how much to charge an underwriter is to first get the rate card for each station willing to air the show. (SRDS lists all 81

advertising rates for all stations in the nation.) Second,

calculate how much it will cost to purchase advertising

time on each station for 65 30-second advertising spots.

Third, add the amount for the total number of stations.

To persuade the underwriter to purchase "Cooking on Air", the syndicator should point out to them how much it will cost to purchase advertising time at all the individual

stations, then to show that the purchase of the show would be cheaper, plus they would receive a 30-second commercial.

For example, the underwriter could get five 30-second spots on KTOT (Big Bear) for $105 by going directly to the station and buying the time. By using the format described above, he can get the same coverage for only $90 by under writing "Cooking on Air". In other words, the syndicator must charge the underwriter a little less than the radio station would charge. This is the big selling point to purcnasing syndicated programming. Other advantages of using "Cooking on Air" would be association with the show

(the listeners would think the underwriter produced, etc. the show), the show would attract the underwriters target audience, and rather than the underwriter going to several stations to purchase advertising time, they could pay

"Cooking on Air". The syndicator would be the one placing the show with different stations, thus relieving the under writer the expense of setting up and administering the many accounts. 82

Costs to the Radio Station

The radio station would be exchanging air time in return for the show "Cooking on Air", plus the option to sell the 60 seconds of advertising time to a local sponsor.

Limitations to Calculating Costs

Each syndicator interviewed said there is no set formula to calculate how much syndicators charge underwrit ers, or radio stations. Each syndicator said costs depend on the type of show being syndicated, the costs to produce the show, how many stations will air it, who the underwriter is, how much talent is involved, etc. 80

Also because radio syndication is not an academic field, there are no books covering the subject, or any articles giving a definite formula.

Summary

The above discussion focused on costs and how a syndicator can make a profit. The following things will be done for "Cooking on Air": 1. Calculate all costs incurred to produce 13 weeks

of "Cooking on Air"i

2. Make an estimation of the number of radio stations

to air the shOWi

3. Find out the rate for advertising for each station

from SRDSi 83

4. Approach an underwriter and give them a fixed cost

for utiderwriting 13 weeks of "Cooking on Air",

knowing that it will be a bit cheaper for the

underwriter to purchase the syndicated show, than

to purchase ad time from each individual station;

and

5. Place the show with the radio stations, the

syndicator's selling point being that they will

receive a quality show underwritten by a known

firm, and have the opportunity to sell 60 seconds

of ad time during the show. 84

REFERENCES

1 Interview with Steve Adler, Diamond P Enterprises, Los Angeles, California, 27 July 1976.

2 Interviews with Tom Rounds, Watermark, Los Angeles, California, 23 August 1976, and Jack Giles, AFRTS, Los Angeles, California, 14 October 1976. 3 Interviews with Steve Adler; Tom Rounds; and Jack Giles. 4 . Interv1ew with Graham Kerr, Northridge, California, 31 August 1976. 5 Interviews with Tom Rounds; and Jack Giles.

6 Interview with Steve Adler

7 Interviews with Tom Rounds; and Jack Giles.

8 Interview with Jack Giles.

9 Interview with Tom Rounds.

10 Interviews with Tom Rounds; arid Jack Giles. ll Ibid.

12 Interview with Bruce Marr, Radio Station KABC, Los Angeles, California, 12 August 1976. 13 Interv1ew. w1"th Ch ar 1"1e Tuna, Ra d"10 Stat1on. KIIS , Los Angeles, California, 10 August 1976/

14 Interviews with Bruce Marr; and Charlie Tuna. 15 Interviews with Tom Rounds; and Jack Giles.

16 Interivews with Michael Murphy, Radio Station KPSI, Palm Springs, California, 11 January 1977; Hal Rosenberg, Radio Station KFSD fm, San Diego, California, 11 January 1977; and Randall Chase, Radio Station KRUZ fm, Santa Barbara, California, 11 January 1977. 17 Interview with Randall Chase.

18 Interviews with Michael Murphy; Hal Rosenberg; and Randall Chase. 85

19 Interviews with Greg Pellant, Radio Station KOWL, South Lake Tahoe, California, 12 January 1977; Bob Kigerness, Radio Station KMMT fm, Mammoth Lakes, California, 12 January 1977; and Iola Huntington, Radio Station KWSD, Mount Shasta, California, 13 January 1977.

20 Interview with Iola Huntington. 21 Interview with Phil Wolfe, Elisaman, Johns, & Laws for Alpha Beta, Los Angeles, California, 23 September 1976; Burt Pierce, Daily and Associates, Lawry's Foods, Los Angeles California, 27 September 1976; and Ray Cole, Sunkist Growers, Los Angeles, California, 23 September 1976.

22 Interview with Burt Pierce.

23 Interviews with Tom Rounds; and Jack Giles.

24 Interview with Bruce Marr.

25 Interview with Charlie Tuna.

26 Interviews with Phil Wolfe; Burt Pierce; and Ray Cole.

27 Interview with Burt Pierce.

28 Interview with Jack Giles.

29 Interviews with Tom Rounds; Jack Giles; and Buddy Scott, Drake Chenault, Canoga Park, California, 10 March 1977.

30 Interviews with Michael Hurphy-; Hal Rosenberg; Randall Chase; Greg Pellant; Bob Kigerness; and Iola Huntington.

31 Interview with Charlie Tuna.

32 Interview with Burt Pierce.

33 Interview with Phil Wolfe.

34 Interview with KNX Radio, Los Angeles, California, 12 March 1977.

35 Interviews with Rom Rounds; and Jack Giles.

36 Interview with Tom Rounds.

37 Interviews with Tom Rounds; and Jack Giles. 86

38 Interview with Tom Rounds.

39 Interviews with Tom Rounds; and Jack Giles. 40 Ibid •.

41 Interview with Steve Adler.

42 Interviews with Tom Rounds; and Jack Giles.

43 Ibid.

44 Interviews with Steve Adler; and Tom Rounds.

45 Interviews with Tom Rounds; and Jack Giles.

46 Interview with Tom Rounds.

47 Interview with Steve Adler.

48 Interviews with Tom Rounds; and Jack Giles. 49 Interview with Tom Rounds.

50 Interview with Jack Giles.

51 Interviews with Buddy Scott; and Jim Brown, Earth News, Mailbu, California, 12 March 1977.

52 Interview with Steve Adler.

53 Interviews with Tom Rounds; and Jack Giles.

54 Ibid. 55 Interview with Steve Adler.

56 Interview with Buddy Scott.

57 Samuel Spring, Risks & Rights in Publishing, Television, Radio, Motion Pictures, Advertising and the Theater, (New York, W.W. Norton & Company, 1952), p. 258.

58 Interview with Jim Brown.

59 Ibid.

60 Interview with Steve Adler.

61 Ibid. 87

62 Interviews with Steve Adler; and Torn Rounds. 63 Interview with Jim Brown.

64 Interview with Burt Pierce. 65 Interview with Mike Gorfine, Entertainment Attorney, Beverly Hills, California, 5 October 1977.

66 Harriet F. Pilpel and Theodora S. Zavin, Rights and Writers, (New York: E.P. Dutton & Company, 1960), p. 14.

67 Ibid. p. 15.

68 Interview with Mike Gorfine, Entertainment Attorney.

69 Ibid.

70 Ibid.

71 Ibid.

72 Pilpel and Zavin, p. 114.

73 Interview with Mike Gorfine, Entertainment Attorney.

74 Pilpel and Zavin, p. 117~118

75 Interview ASCAP, Los Angeles, California, (telephone) 5 October 1977.

76 Interview with Mike Gorfine, Entertainment Attorney.

77 Pilpel and Zavin, p. 262.

78 Interview with Mike Gorfine, Entertainment Attorney.

79 Interview with Jack Giles. 80 Interviews with Tom Rounds; and Jack Giles. ' '

CHPATER 5

THE SYNDICATION PACKAGE

The syndication package consists of two parts: a

demonstration tape, and written material. A description

of each will follow.

Demonstration Tape

The tape is six minutes ten seconds in length. Its contents include an introduction by the show's host, ex cerpts from future shows, narration explaining pertinent

information about the show, and where to inquire about more

information. (See the Demonstration Tape.)

Written Material

The written material is a notebook with the demonstra tion tape inserted inside a pocket and the following sec tions:

· "Cooking on Air" - an introduction about the show; · J. c. McClain a biography and picture of the host; · The Program - a local show, the audience, program

ming, and commercial format;

Sample Shows - an outline of thirteen weeks of

future shows;

88 89

• The Bottom Line - appeal of concept to specific

target audience, placement of commercials in prestige

daily special, merchandising benefits, and where to

call for further information.

It should be noted that the same sections appear for both the radio stations and advertisers, however, the word

ing to the advertisers differs slightly. (See the syndica tion notebook. )

A Week of "Cooking on Air"

One week of "Cooking on Air" was produced in order to present the general sound of the show. An outline of the week includes:

The Pleasures of California Wine

Show 1 - Christian Brothers Winery, Brother Timothy

guest. Brother Timothy tells consumers how

to read California wine labels and dis

cusses vintage dating.

Show 2 - Robert Mondavi Winery, Margaret Biever guest.

Biever discusses how to give a wine tast

ing party, the proper food to serve, and

what to do with leftover wine.

Show 3 - Hanns Kornell Champagne Cellars, Hanns

Kornell guest. Kornell tells how to open

champagne bottles, and how the bubbles get 90

inside champagne.

Show 4 - Robert Mandavi Winery, Robert Mandavi

guest. Mandavi tells about the time Pres

ident Nixon took his wine to Paris to serve

to Soviet leader Brezhenev, what is being

served in the "dry" White House of the

Carter administration, and why Americans

are buying more wine than in the past.

Show 5 - Louis Martini Winery, Louis Martini guest.

The show includes the host giving some

information about cooking with win, then

Martini compares California wine to French

wine.

Each show is five minutes in length. 92

disadvantages of syndicating a radio show were pointed out and discussed.from the point of view of the syndicator, the advertiser (underwriter), and radio station.

Chapter 4 thoroughly discussed the process involved to syndicate the show "Cooking on Air". The significant areas discussed were: type of show (five minute cooking show), target audience (women 25 to 49 years) , type of radio station to air the show (talk format or adult music and talk), production of the show (five minutes to be aired five days a week), marketing the show (ideally it will be sold to an underwriter) and the syndication package was described, legal considerations (an entertainment attorney will be consulted), and costs (the fixed, semi variable, and var iable costs were given) to air the show.

From this information it was possible to package

"Cooking on Air" as a syndication radio show.

Much of the information gathered for this study came from interviews with professionals in the fields of radio, syndication, and advertising. The major problem with regard to the interviews was that they were based on per sonal opinion and could not be backed up with much documented information. For example, Steve Adler, syndi cator from Diamond P said he judges shows based on his

~experience and personal opinion and not on research. Also

:while the interviews were being conducted the interviewees itended to give answers that would benefit them. For example, 93

Steve Adler from Diamond P and Tom Rounds from Watermark said

that within five years it will be common for advertisers to

underwrite and sponsor syndicated radio shows because

television time is virtually sold out and it is becoming too

expensive.

However, when the advertisers commented on this state

ment, there was general agreement that they could not fore

see this happening in the future.

An analysis of the interviews with the syndicators

would appear that they were too optimistic about radio

syndication becoming the wave of the future. It is true

that many more syndicated radio shows are selling, but after

conducting research, and talking with program directors, the

major emphasis in radio programming is in localized radio,

not packaged national sounds.

Another problem with the interviews was that not one

person interviewed had everthought about syndicating a

radio cooking show. For this reason it was not possible

for any of the interviewees to give completely accurate

answers regarding the potential of such a show.

With regard to the feasibility of an individual

syndicating his own radio show it is possible to do (one

of the men interviewed, Jim Brown at Earth News, success

fully did it). However, unless an underwriter or someone

. can be obtained to provide financial backing it is not

feasible. The initial investment will depend on the type 94 of show, length, etc. However, unless an individual has sufficient funds to back the show, he can not depend on sur viving through making money at the onset of the show. The reasons for this are simple, a syndicated show demands an initial investment to get started, then the return from that investment will not be realized until sometime in the future.

It is true that an individual can take his idea to a syndication firm which is the most feasible thing.to do if the show is longer than five minutes. However, with such a short show as "Cooking on Air" it is not profitable to let a syndication firm keep a minimum of fifty percent.

If "Cooking on Air" is to be a short five minute syndication show then to be realistic, not much money can be charged for it. Therefore, the only way to make a profit, and the profit would not be that great unless, perhaps, a hundred stations aired the show, would be to acquire an underwriter who would be willing to pay the host

(syndicator) a fixed fee for a specific number of shows.

It was determined that "Cooking on Air" would feature

)ersonality guests to include celebrities, chefs, and any

~nteresting names that the general public would know. A

1ajor problem incurred was contacting such celebrities.

Chefs, wine experts, and sports figures were easy

nough to contact, but many hours were spent on the phone

rying to acquire celebrities to interview for the show.

he phone calls were made to agents who were quite helpful, 95 but it became apparent that the majority of the celebrities contacted were simply too busy or out of town. Commitments were made with the celebrities listed in the brochures, and perhaps once the show got started it would become easier to make contacts.

One fortunate thing about a five minute show is that one interview that lasts an average of one hour, provides enough material for several shows. For example, the one interview may cover a wide range of topics which could be produced into perhaps five shows. Therefore, it is not necessary to conduct hundreds of interviews, just a con trolled number that contain valuable information.

A final analysis of this project is that had this writer known the results of this study, i.e. the amount of work involved to syndicate a radio show, the initial amount of money required to set up a syndication, and the fact that a cooking show could only sell as a five minute insert, I would have tried to sell the idea and my services to a single commercial radio station. The reasons for this are simple, I would like to see "Cooking on Air" run as a longer show, and it would be much easier to sell the show to one commercial station, then syndicating it to several,or possibly hundreds, of stations.

Whether or not "Cooking on Air" will ever become syndicated will depend on whether an underwriter can be acquired. If an underwriter, such as Lawry's Foods, were 96

willing to pay me a flat fee for a minimum of fifty-two weeks of programming, then the idea might be profitable.

However, without an underwriter the initial costs and time involved are too g~eat for a ·single individual to absorb.

It is hoped that this study will serve as a guide for others thinking about syndicating a radio show. By using this study as a guide it will point out to an individual the important things to think about before wasting a lot of time and money trying to syndicate a show and perhaps finding out in the end that the show will not sell, or hopefully, discovering that it will be successful if packaged for syndication. 97

APPENDIX 1

QUESTIONNAIRE TO SYNDICATION Firu4S

1. What is the background of the company?

2. Exactly what aspects of syndicaton is the company in

volved in?

3. ·what are the various ways to syndicate a show?

4. What are the positive and negative points of barter, sponsorship, buyout, media brokerage, merchandising,

and cash sale?

5. What are the possibilities of getting a syndicated

show on the air?

6. What specific things does your firm look for in a

syndicated show?

7. How do you determine public demand for a particular

type of show?

8. ·· Do you aim toward any particular market segment when

marketing a new show?

9. How and exactly who promotes a new syndicated show? 10. What is your feedback?

11. Who determines how long a show will stay on the air?

12. How is a syndicated show packaged? What information must be included in the package?

13. What costs, including production, are involved when

packaging a new show for radio syndication?

14. How long must a show run before a profit can be made? i .

15. Are there any legal considerations to think about when

syndicating a radio show?

16. Do you think a syndicated radio cooking show would sell?

17. What market segment do you think would listen to a

radio cooking show?

18. What type of cooking show would a radio audience be

interested in? Diet/Consumer news/Recipes/ Gourmet

cooking/Wine/International cooking/Nutrition informa

tion, etc.

19. How long should the cooking show be aired, and how

often during a week?

20. What type of stations do you think would be interested

in airing the show?

21. Are there any other people in the field who could add

more information about radio syndication or radio

cooking shows? 99

APPENDIX 2

QUESTIONNAIRE TO PROGRAM DIRECTORS

1. Describe your station's format.

2. What market segments do you aim toward?

3. How do you determine your format?

4. Do you air any syndicated programs? Why or why not?

5. What are the shows and w-o are the syndicators?

6. Do you air any shows that the station has acquired

through a barter agreement? If yes, what are they?

7. Is the station in a sold out position with program

ming or ad time?

8. If the station has air time available why don't you

air barter shows?

9. What things do you look for in a syndicated show?

10. Do you think it's good practice to break the station's regular format for a special program?

11. How much air time has to be devoted to public service

programming?

L2. How do you fill this time? _3. What is your feedback?

.4. What role, if any, do sponsors or advertisers have

in determining the station's format or content of

any show?

5. Have you ever aired a syndicated cooking show?

5. Would you be interested in a syndicated cooking show? 100

17. What market segment do you think would listen to a

radio cooking show?

18. What type of cooking show would a radio audience be

interested'in? Diet/Consumer news/Recipes/Gourmet

cooking/Wine/International cooking/Nutrition informa tion, etc.

19. How long should the cooking show be aired, and how

often during a week?

20. Are there any other people in the field who could add

more information about radio syndication or radio cooking shows? 101

APPENDIX 3

QUESTIONNAIRE TO ADVERTISERS

1. Describe your company's advertising objectives?

2. What media do you use for advertising?

3. Approximately what percent of your advertising budget is spent for radio ad time?

4. How useful is radio to your advertising objectives?

5. How do you purchase radio ad time? Do you think this

is the most efficient way? 6. Has your company ever sponsored a radio show? If yes

what show? If no, why not?

7. Who is your target audience?

8.. How do you select the radio stations that you will

purchase ad time on?

9. What is your feedback after an advertising campaign?

10. Have you ever considered sponsoring a syndicated radio cooking show? 11. Have you ever purchased participating time during a

radio cooking show?

12. Would a syndicated radio cooking show be of interest

to you? 13. What type of cooking show would interest you?

14. Do you foresee your company taking on the sponsorship

of radio shows in the future?

15. Are there any other people in the field who could add 102

more information about radio syndication or radio cook

ing shows? 103

APPENDIX 4

QUESTIONNAIRE TO STUDENTS

Name Age IYlale/Female ------Occupation------Are you a full-time or part-time student------1. Do you ever listen to any radio cooking shows? ------2. If yes give the name(s) of the show and the station it

is aired on.

3. Are you interested in a radio cooking show?------4. What type of cooking show would interest you? Check 2

Diet , Wine___ , Economic cooking___ , Consumer news ___

Popular personalities or chefs____ , A combination of

all the above , Other suggestions------5. How many minutes would you want this type of show

aired? ------6. How many times a week would you want this type of show

on the air?------7. Would a 5 minute syndicated radio cooking show be of interest to you? ______

8. If yes, what time of the day would you want this type

of show aired? Early morning (6 to 10 a.m.) , During

the day (10 a.m. to 3 p.m.) , Late afternoon (3_to

7 p.m.) , Late evening (7 p.m. to midnight) ------

THANK YOU 104

APPENDIX 5

RADIO NETWORKS AND ASSOCIATIONS

National Networks

American Broadcasting Company 1330 Avenue of the Americas New York, N. Y. 10019 Columbia Broadcasting System 135 West 50th St. New York, N. Y. 10020

National Black Network 1350 Avenue of the Americas New York, N. Y. 10020 National Public Radio 2025 M. Street, N. W. Washington, D. C. 20036

National Associations

American Association of Advertising Agencies (AAAA) 200 Park Avenue New York, N. Y. 10017 American Federation of Television and Radio Artists 1350 Avenue of the Americas New York, N. Y. 10019

American Women in Radio and Television 1321 Connecticut Avenue, N. W. Washington, D.C. 20036 Association of Public Radio Stations 1730 Pennsylvania Avenue, N. W. Washington, D. C. 200006 National Association of Broadcasters 1771 N Street, N. W. Washingotn, D. C. 20036 National Association of Educational Broadcasters 1346 Connecticut Avenue, N. W. Washington, D. C. 20036 105

APPENDIX 6

CALIFORNIA STATIONS TO CONTACT FOR SYNDICATION

Arcata KXGO fm D.A. Plank Broad- 220 w Adults casting Co. Drawer QQ Arcata 95521 707/822-3666 Bakersfield KAFY Box 6128 1000 w Adults Bakersfield 93306 805/366-4411

KGEE Box 937 1000 w News 207 Truxtun Ave. Talk Bakersfield 93302 805/327-3587

KPMC Box 1709 10,000 w Talk Bakersfield Music 93302 805/327-5121

Big Bear KTOT Box 2810 250 w MOR Lake Big Bear Lake 92315 714/866-3434

Burney KAVA 1450 Park Ave 1000 w MOR Burney, 96013

Carlsbad KARL fm Box 949 3000 w Adult Carlsbad 92008

Coachella KCHV 115 Indio Blvd 5000 w Adult Indio Husic 714/347-2333 Talk

Coalinga KOLI Box 1164 500 w Adult Coalinga 93210 209/935-0735 106

Market Station Address Facility Format

Concord KWUN Box 1480 500 w Talk Concord 94520 415/685-1480

Dinuba KRDU 597 N. Alta Ave lOOOw Husic Kinuba 93618 Talk 209/591-1130

El Centro KAl-iP Box 1018 lOOOw Adult El Centro 714/352-2277

Eureka KINS Box 0 5000 w MOR Eureka 95501 Talk 707/442-5744

Fresno KARM 5845 E. American 5000 w News Fresno 03725 Talk 209/486-8181

KPHD fm 2125 Barton 50,000w MOR Fresno 93703 209/255-8383

Hemet KHSJ Box 1076 500 w MOR Hemet 02343 News 714/658-3208

Indio KCHV Drawer II 5000 w Adult Indio 92201 714/347-2333

Jackson KNGT fm Box 609 165 w Adult 2N. Hwy. 49 & 88 Jackson 95642 209/223-0241

King City KRKC Box 625 1000 w MOR King City 93930

Lompoc KKOK 3640 Buellton Rd. 500 w MOR Lompoc 93436 Talk 805/736-5656

KNEZ Box 960 500 w MOR Lompoc 93436 805/736-3496 107

Market Station Address Facility Format

Los Angeles KABC 3321 La Cienega Bl 5000 w Talk Los Angeles 90016 213/663-3311

KFI Box 74607 50,000w MOR Los Angeles 90004 Talk 213/382-2121

KFWB 6419 Hollywood Bl 5000 w News Los Angeles 90028 Talk 213/463-5151

KGIL 14800 Lassen St. 5000 w MOR San Fernando 91343 Talk 213/984-9191

Mammoth KMMT fm Box 1284 3000 w Adult Lakes Marrunoth Lakes 93546 714/934-2591

Modesto KBEE fm Box 3131 10,500 .· Adult Modesto 95353 209/523-7756

KCEY Box 170 5000 w MOR Turlock 95380 209/632-1390

KTRB Box 3839 10, 000 vl MOR :t-1odesto 95352 209/523-0737

Monterey KIDD 459 Pierce St lOOOw MOR Monterey 93940 408/372-8154

Morror Bay KBAI Box 464 500 w MOR 19 Country Club Morro Bay 93442 805/772-2263

:t-1ount KVJSD Box 484 lOOOw MOR Shasta Mount Shasta 90667 916/926-2124

Ojai KOVA fm 1205-A I·1:arlcopa Rd 152 w News Ojai 93023 MOR 805/646-1434 108

Market Station Address Facility Format

Oroville KORV Box 1340 1000 w MOR Oroville 95965 916/533-1340 Palm KDES 821 N. Palm Canyon SOOOw MOR Springs Palm Springs 92262 714/325-1211 KPSI 174 N. Palm Canyon 1000 w Adult Palm Springs 92262 714/325-2582

Paradise KEWQ Box KEvlQ 500 w Adult Paradise 95969 916/877-3872

Petaluma KTOB 21 Washtington Bl lOOOw MOR Petaluma 94952 707/763-1505

Redding KQMS Box 1400 -lOOOw Adult Redding 96001 916/246-1400

KVCV Box 1918 lOOOw MOR Redding 96001 916/243-1515

Ridge- KLOA Box 938 250w Adult crest Ridgecrest 93555 714/375-8888 Sacra- KFBK Box 15779 so:, OOOw News men to Sacramento 95813 Talk 916/442-0476 KGMS 937 Enterprise Dr. 1000 w I-10R Sacramento 95825 916/929-5467

Salinas KBEZ fm 933 N. Main St. 18,500w MOR Salinas 93901 408/422-5363 KWAV Box 1271 18,000w Adult Monterey 93940 MOR 408/373-0969 109

Market Station Address Facility Format

San KCAL fm Box 390 3000w Adult Bernardino Redlands 92373 714/793-2757

KOLA fm 9316 Main St 31,000w MOR Riverside 92501 714/825-9952

San Diego KDEO ,, Box 2908 lOOOw Adult San Diego 92112 714/583-9100 KFMB 1405 Fifth Ave 5000w Adult San Diego 92112 714/232-2114

KFSD fm 1540 6th Ave 100,000 Clas- San Diego 92101 sical 714/239-9091

KLRO 233 A Street 2,150w Talk Suite 205 Music San Diego 92101 714/239-1217

KSDO 1450 7th Ave 5000 w News San Diego 92101 Talk 714/234-8361

San KCBS 1 Embarcadero Center 50,000 News Francisco San Francisco 94111 Talk 415/982-7000

KFOG 900 N. Point 7900w Adult San Francisco 94109 415/885-1045

KGO 277 Golden Gate Ave 50,000 News San Francisco 94102 Talk

San Jose KBAY fm 1245 S. Winchester 14,500 MOR San Jose 95128 408/249-5229

San Luis KATY Box 841 1000\v Adult Obispo San Luis Obispo 93401 805/543-1340 110

Market Station Address Facility Format

Santa KIST 735 State St lOOOw Adult Barbara Santa Barbara 93101 805/966-3981

KRUZ fm Hotel Carrillo 105,000w Adult Santa Barbara 93101 805/925-2582 Santa Maria KSMA Box 1240 lOOOw !.fOR Santa Maria 93454 805/925-2582 Santa Rosa KSRO Box 1598 5000w Adult 627 College Ave Santa Rosa 95403 707/545-3313 So Lake Tahoe KOWL Box 4100 lOOOw MOR So Lake Tahoe 95729 702/588-6681

KTHO 3351 Lake Tahoe Bl lOOOw MOR So Lake Tahoe 95705

Stockton KJAX fm 110 N. El Dorado 3000w MOR Stockton 95202 209/948-9292

K~.VG 5635 Stratford lOOOw Adult Circle Stockton 95207 209/478-6453 Truckee KTRT Box 1400 lOOOw Adult Truckee 95734 916/587-3332 Vacaville KUIC fm 406 Main St 2850w Adult Vacaville 95688 707/446-0200

Yreka KSYC Box 1490 lOOOw News Yreka 96097 916/842-4158 111

APPENDIX 7

POTENTIAL UNDERWRITERS

Company Mailing Address Phone Number

Alpha Beta 777 So. Harbor Bl 213/694-4811 La Habra, CA 90631

Ad agency Eisaman, Johns & Laws 213/469-1234 Advertising, Inc. 6255 Sunset Blvd. Los Angeles, 90028

Broadway Dept. Glendale Galleria 213/240-8411 Stores Glendale, CA 91204

Bullocks Dept. 7th & Hill Sts. 213/486-5452 Stores Los Angeles 90055

Bullocks Wilshire 3050 Wilshire Bl 213/382-6161 Los Angeles 90055

Calif Honey Box 32 213/698-5210 Advisory Board \ivhittier, 90608

Carnation Co. 5045 Wilshire Bl 213/931-1911 Los Angeles 90036 Clinton's 515 W. Seventh St. 213/485-1814 Restaurants Inc. Los Angeles 90014 Dairy Council of 3400 W. Sixth St. #401 213/736-2447 Calif. Los Angeles, CA 90020

Denny's Inc. 14256 E. Firestone Bl 213/521-4152 La Mirada, 90637 Estee Lauder 7046 Hollywood Bl 213/461-4081 Suite 800 Los Angeles, 90028

General Electric 2062 Business Center Dr. 213/752-6347 Company Suite 220 Irvine 92715

H.J. Hinz 15751 Brookhurst 213/554-1500 vlestminster 92638 112

Company Mailing Address Phone Number

Hunt-Wesson 1645 W. Valencia Dr. 714/871-2108 Foods Fullerton 92634 International 616 S. Stanford Ave. 213/628-1702 Pacific Seafoods Los Angeles, CA 90021

J. C. Penny · 24 Fashion Island 714/644-2313 Newport Beach 92660 Joshua Tree 2425 Manhattan Beach Bl 213/675-7141 Redondo Beach 90278

J.W. Robinson 221 No. Glendale Ave. 213/247-3300 Dept. Stores Glendale, CA 91206

Knudsen Corp. 231 E. 23rd St. 213/747-6471 Los Angeles 90011 Kraft Foods Co. 6950 Artesia Buena Par, 90620.

Laura Scudders 847 W. 15th St. 213/772-5151 Long Beach 90813

Lawry's Foods Inc. 568 San Fernando Rd. 213/225-2491 Los Angeles 90065

Ad agency Dailey & Associates 213/386-7823 3807 Wilshire Blvd. Los Angeles 90010

L.A. Herald 1111 S. Broadway 213/748-1212 Examiner Los Angeles 90051

Los Angeles Times.Mirror Square 213/625-2345 Times~ Los Angeles 90053 Lindsay Olive P.O. Box 278 213/562-5121 Growers Lindsay, 93247

Ludford Fruit 1421 S. Western Ave. 213/737-8212 Products Inc. Los Angeles 90006 May Company 801 s. Broadway 213/488-4098 Stores Los Angeles 90014

Newcraft/ 8383 Wilshire Blvd. 213/655-1111 Panasonic Suite 800 Beverly Hills, CA 90211 113

Company Hailing Address Phone Number

New Zealand Meat 401 N. Brookhurst 714/533-6531 Producer's Board Anaheim, CA 92801 Proctor & Gamble 8141 E. Second St Downey, 90241 Sears Roebuck 900 S. Fremont Ave. 213/576-4818 and Company Alhambra, CA 91802 simplicity 200 Madison Ave. Pattern Co. New York, 10016 So. Calif. Edison P.O. Box 1040-1324 213/393-7602 Co. Santa Monica 90406 So Calif Gas 810 S. Flower 213/689-3142 Co. Los Angeles 90017 Sunkist Growers P.O. Box 7888 213/986-4800 Van Nuys 91409 114

APPENDIX 8

GLOSSARY OF TERMS

ARB - American Research Bureau: broadcast audience market survey service.

CPM - Cost-per-thousand: index of broadcast advertising listening audience effectiveness, expressed in dollars. To calculate take the average quarter hour of listeners per radio station divided by the cost per commercial spot which equals CPM.

Network station - One of ·three huge combines (ABC, CBS, NBC) supplying programming and advertising material to affiliated u.s. broadcast stations. Stations interconnected for broadcast of such material.

Local station - Programming/advertising generated within broadcast station's coverage area.

SRDS - Standard Rate and Data Sheet: index of broadcast rates for stations throughout the U.S.

Common law copyright - Those copyrights that are automati cally created upon creation of any manuscript or other form of expression without any required act or formality. The copyright can exist forever unless the author takes out a formally created statutory copyright or publishes the work and tries but fails to conform to the formalities of obtaining a statutory copyrighti-·: Therefore publication or statutory registration destroys a common law copy right. A common law copyright can protect the author even if he doesn't know such protection exists. The copyright is intangible personal property which is separate and distinct from the manuscript that it protects.

Statutory copyright - Those copyrights that are available under the provisions of the Copyright Statue of 1909 as amended. The Federal courts alone have court jurisdiction over statutory copyrights whereas the states have jurisdiction over common law copy right. CUE SHEET FOR TAPE CASSETTE

Side 1

Demonstration Tape, 6 minutes 10 seconds.

Music .... Good day to you and welcome •...• • ....•.. thanks for listening and bon appetit.

Show 1

Christian Brothers Winery, Brother Timothy guest,

5 minutes.

Music .... Good day to you and welcome ...•

.••.• today on Cooking on Air.

Show 2

Robert Mondavi Winery, Margaret Biever guest,

5 minutes 1 second.

Music .•.. Good day to you and welcome .••.•

•...•. today on Cooking on Air.

Show 3

Banns Kornell Champagne Cellars, Banns Kornell guest,

5 minutes 1~ seconds.

Music .•... Good day to you and welcome •..•.

...... today on Cooking on Air. Show 4 Robert Mandavi Winery, Robert Mandavi guest,

5 minutes 2 seconds.

Music .•.•• Good day to you and welcome •••

..•. today on Cooking on Air.

Side 2

Show 5 Louis Martini Winery, Louis Martini guest,

5 minutes.

Music .•.. Good day to you and welcome •.•.

..•. today on Cooking on Air. Five Minutes Five Days a Week

Air is a syndicated 'w where the· creator ·.c. McClain brings Cooking on Air appeals to that all nd people to life. so important audience that advertisers . the show are per like to see on rating charts - 'oks, well-known chefs, women 25 to 49 years old. winemakers. For a : each day, your Cooking on Air is created for your .n travel with J.C. to station and audience in a very .aurants, kitchens, personal style. !llars where cookft.ng !Cipes ·and just plain Lared by J. C. .and her Five Minutes Five Days a Week

Cooking on Air is a syndicated J.C. to exotic restaurants, kitchens, radio cooking show where the and wine cellars where cooking creator and host, J.C. McClain secrets, recipes and just plain brings good food and people to talk are shared by J.C. and her life. Featured on the show are guests. personality cooks, well-known chefs, and famous winemakers. Cooking on Air appeals to that all For a few minutes each day, so important audience that you like radio audiences can travel with to see on the rating charts - women 25 to 49 years old.

·~ '\ Back in 1975 J.C. McClain J.C.'s interviews take her decided to combine her to some of the world's talents in journalism and favorite places to eat and home economics by creating drink such as Paris, New and hosting the radio show Orleans, wine country of Cooking on Air at Los Angeles California, New York, Vienna, radio station KCSN fm. Mexico, and just about any place where good people, food~ A gourmet cook in her own and drink come together. right, J.C. studied cooking in France, developed numerous Born in Santa Monica, California, recipes, free-lanced as a f.ood she holds a bachelors degree cdnsultant, and is currentlY in journalism with a minor in food teaching gourmet cooking at science, and a masters degree in Fullerton Junior College. mass communications from California State University at Northridge. She has had the rare opportunity of She currently resides in Hermosa meeting and interviewing some of the Beach, a suburb of Los Angeles. world's most colorful cooks from Julia Child to Graham Kerr to wine connoisseurs Robert Mandavi and Louis Martini.

''. 75 J.C . McClain J.C.'s interviews take her combine her to some of the world's journalism and favorite places to eat and mics by creating drink such as Paris, New g the radio show Orleans, wine country of Air at Los Angeles California, New York, Vienna, ion KCSN fro. Mexico, and just about any place where good people, food, cook in her own and drink come together. . studied cooking developed numerous Born in Santa Monica, California, ree-lanced as a £ood , . ~ she holds a bachelors degree , and is currently in journalism with a minor in food ·ourrnet cooking at science, and a masters degree in Junior College. mass communications from California State University at Northridge. .d the rare opportunity of She currently resides in Hermosa td interviewing some of the Beach, a suburb of Los Angeles. 1st colorful cooks from Julia ;raharn Kerr to wine connoisseurs Ldavi and Louis Martini. ------,-----·---·------·---··------~~-~---~----·-·--,·--

Air is a daily cooking THE AUDIENCE: Cooking on Air is for ring guest personalities everyone interested in food and people, out their favorite recipes, but the show is tailored to the same aurants, and sharing cook audience that advertisers direct many s with your audience. Each of their ads to - women 25 to 49 years~ special in itself, tightly round a particular guest PROGRAMMING: A majority of stations air Cooking on Air as a 5-minute weekday p~ogram. Because each program allows you maximum flexibility, you are not limited to 5 minutes per day. OW: J.C. McClain do~s Many stations have decided to air the n-to help give the show show during morning traffic, afternoon, sound. Each show is and evening traffic - three times each ith a generic open and day. You will know the best way to will then provide you blend the show into your station's iety of local opens to format. the show, and we'll do hing at the close of each COMMERCIAL FORMAT: .There is one 30- don't forget, J.C. will second commercial spot available at s of on-air promos for the beginning of the show, and one 60- hout the week, all customized second commercial spot available at the your station's call letters, end of the show. The 30-second under slogans and I.D. writers commercial follows the introduction, then just before the close of each show you insert your sponsor's 60-second commercial. ------,------~--- ~- ~-~~- -~-~-~---

Air is a daily cooking PROGRAMMING: A majority of stations ·ing guest.personalities air Cooking on Air as a 5-minute week 'ut their favorite recipes, day program. Because each program .urants, and sharing cook- allows maximum flexibility, it is not with your audience. Each limited to 5 minutes per day. Many pecial in itself, tightly stations may choose to air the show ound a particular guest during morning traffic, afternoon, and evening traffic - three times each day.

COMMERCIAL FORMAT: There is one 30- E: Cooking on Air is second commercial spot available at -produced for everyone the beginning of the show, and one in food and people, but 1 emphasis on women 60-second commercial spot available ars old. at the end of the show. If you decide to underwrite the show the 30-second commercial spot is yours at no charge. bert Mondavi guest fromRobert Mondavi Winery other Timothy guest from the Christian Brothers Winery rgaret Biever guest from Robert Mondavi Winery uis.Martini guest from Louis Martini Winery nns Kornell guest from Hanns Kornell Champagne Cellars WEEK IN JULIA CHILD'S KITCHEN American in a French Kitchen .yone Can Make a Souffle With a Top Hat .at to do When Unexpect·ed Guests Arrive· for Dinner 1oking with French or American Wine lat to Cook When You Have No Time or Money )0KING WITH THE ATHLETES !ggie Smith of the Los Angeles Dodgers guest 1rothy Hamill 1976 Olympic Ice Skating Champion guest .11 Harris of the Los Angeles Rams guest !te White CBS Photographer and Mountain Climber of the Mt Everest Bicentennial Expedition guest _ck Monday of the Los Angeles Dodgers guest TOUR OF FAMOUS RESTAURANTS IN SWITZERLAND Lning on Top of the Matterhorn Fondue Party in Zurich 1ere the Swiss Bankers Dine 1e Swiss Cheese Story 1ose Little Liqueur-Filled Chocolates That You Can Make at Home at Herbs and Spices.Can do to Ordinary Hamburger Gourmet Picnic oking.with Wine rnishes to Brighten Up a Dish ncent Price's Favo~ite Meal IMPORTED WINE WORTH ALL THAT MONEY ench Burgundy e White Wines of Germany .e Great Wines of France, The Rothschild Family .e Great Wines of France, Bordeaux .e Magic of French Champagne :LEBRITIES IN THE KITCHEN .rbara Feldon Tells How to Stay Thin .ncent Price Cooks a Romantic Dinner for Two .rsha Wallace Tells How She Lost 100 Pounds 1ap Opera's Hottest Couple Doug and Julie Discuss Health Foods !tty White Really Can Cobk lRLD FAMOUS RESTAURANTS IN THE UNITED STATES ,ckefeller Eats Oysters at Anto1ne's in New Orleans !member When Nixon Celebrated at Perino's in Los Angeles .ub 21 Where the Beautiful People Relax and Dine in New York LS Vegas Features Gourmet Dining While You Gamble .ning on Top of Nob Hill in San Francisco TOUR OF FAMOUS RESTAURANTS IN AUSTRIA AND THE BAVARIAN ALPS 1e Best W1enerschn1tzel is 1n Salzburg 1e Sweet Pastries of Vienna tuerkraut and the Olympics Put Innsburk on the Map -~~~~ n1~~~ ~~~~o~ ~~~o ;n ~ho ~1~~k Pnr~~r rFTS YOU CAN MAKE IN THE KITCHEN 1l1a Ch1ld Tells How to Make Rum Balls ~rbara Feldon's Favorite Gift is Homemade Wine Jelly =tty White Tells How to Make Edible Greeting Cards 1ocolate-Filled Liqueurs Make Wonderful Gifts for All Occasions incent Price Bakes Bread for His Friends )W TO SAVE MONEY ON YOUR FOOD BILL )Ur Best Friend in the Kitchen is Knives ~lia Child Tells How to Turn Leftovers into Gourmet Meals here is More Than One Way to Serve Roast Beef, Vincent Price guest JW to Make Chicken Taste Like Lobster hopping Tips from Betty White HE HEALTHY NATURALS ennis Weaver Discusses Vitamins Jap Opera's Hottest Couple Doug and Julie Tell How to Improve Your Health Through Nutrition hat is Organic Food he Vegetarian Diet, Nutritionist Winifred Morice guest ennis Weaver Discusses Growing Your Own Herbs for Better Health OTDOOR COOKING ete Wh1te CBS Photographer and Mountain Climber of the Mt. Everest Bicentennial Expedition Talks About Food for Backpacking arsha Wallace Tells How to Barbecue Lamb eggie Smith of the Los Angeles Dodgers Grills the Perfect Steak arbecue Hamburgers and Hot Dogs, An American Tradition ood to Cook When You Camp, Rick Monday of the Los Angeles Dodgers guest •appea ·s ··. age~'group·'wonl~U': ; ,,;;:''''•'•·'c1'c'·Y'>,;e •. ;,;::;.;;. . Many' advertisers ampaigns to this "purchas .ce. The show is written d for any listener inter-. • ·~: od food and·unique.peopie, ~ecial emphasis on women ars old. · Well-known per~o:Ilalfties on your ·station with thatextra touch of 1F COMMERCIALS IN PRESTIGE . local flavoring, the perfect· com- .AL: Your sponsors can bination to. excite audiences and . . the security of knowing .advertisers. :,Ac ,·now ~~for additional will run in a "controlled information anct ' ' ~"~,.,The sponsor's important .l.run in an important. show, · local sponsors an oppor-: .,;•: le identified with national . .es. Also, for an· additional .11', record commercials for , ~:· ~ ~ . ~ ~ ~ ~ · how"' is~ ~ prod'uced .·for any' radio ~.~ :: terested in good food~· arid let will steners a le. But, above.all else, ·method of identi~-·-:·....;_· the sponsor,· Air is customized to the the .. show, and the. suJ::>scribing station. woman who buys your produce. 1 can .• h~$f~{h~•ioppor:f~D.i ty ~of sponsor F COMMERCIALS IN PRESTIGE ing a popular'·~radio·:'sl1ow featuring well AL: You can appreciate the .. known personali,!:.:!J:~.~•.• ·~EOIIl 0 ~11 oyer .the knowing that your commercial ' world, .the perfect'?'doinbination .to · 11 · excite radio' ~ ,,, > s .. · ·.. tions. · · a "controlled environment •. ant message will in.an· addi t ;s::;;:;-., ~~~#:~~~~~:±'':ix:..:,;.~~~ how'that will give'you 3 · to be identified with rsonalities ..