WEBVTT 1 00:00:13.620 --> 00:00:18.280 From the big 89, the beat goes on. 2 00:00:19.260 --> 00:00:20.800 89 WLS. 3 00:00:22.440 --> 00:00:23.340 One beautiful day. 4 00:00:23.480 --> 00:00:24.060 Good morning. 5 00:00:24.200 --> 00:00:25.240 8.35. 6 00:00:25.240 --> 00:00:26.980 Bella's most music time. 7 00:00:27.560 --> 00:00:31.100 Clark Webber's show for Tuesday morning and Brooke Benton's next. 8 00:00:31.660 --> 00:00:38.040 People like to tell you what you can't do. 9 00:00:38.120 --> 00:00:38.120 10 00:00:38.620 --> 00:00:39.360 5.22. 11 00:00:39.620 --> 00:00:40.360 Mallory Battery. 12 00:00:41.400 --> 00:00:42.600 I'll go live and wait. 13 00:00:42.620 --> 00:00:47.380 They may be right, but who's to say? 14 00:00:49.040 --> 00:00:54.920 You know you've got your own song to sing. 15 00:00:54.920 --> 00:00:57.180 Do your own thing. 16 00:00:57.180 --> 00:01:01.840 Do your own thing today. 17 00:01:05.900 --> 00:01:11.300 Being free means you can be your own self. 18 00:01:15.580 --> 00:01:22.260 And that means doing things your way. 19 00:01:23.660 --> 00:01:24.900 Don't be afraid to be a stranger. 20 00:01:24.900 --> 00:01:24.900 21 00:01:24.900 --> 00:01:24.900 22 00:01:24.900 --> 00:01:24.900 23 00:01:24.900 --> 00:01:24.900 24 00:01:24.900 --> 00:01:24.900 25 00:01:24.900 --> 00:01:24.900 26 00:01:24.900 --> 00:01:24.900 27 00:01:24.900 --> 00:01:24.900 28 00:01:24.900 --> 00:01:24.900 29 00:01:24.900 --> 00:01:24.900 30 00:01:24.900 --> 00:01:24.900 31 00:01:24.900 --> 00:01:24.900 32 00:01:24.900 --> 00:01:24.900 33 00:01:24.900 --> 00:01:24.900 34 00:01:24.900 --> 00:01:24.900 35 00:01:24.900 --> 00:01:24.900 36 00:01:24.920 --> 00:01:29.380 I don't want to be a puppet tied to a string. 37 00:01:29.600 --> 00:01:31.360 Do your own thing. 38 00:01:31.960 --> 00:01:34.580 Do your own thing today. 39 00:01:38.060 --> 00:01:43.300 From WLS, 13 souvenir years ago today. 40 00:01:43.880 --> 00:01:46.600 1955, nearly a generation ago. 41 00:01:47.320 --> 00:01:51.360 For pop music and its audience, the end of one era and the beginning of another. 42 00:01:51.920 --> 00:01:54.040 A song from the fifties, a souvenir. 43 00:02:04.420 --> 00:02:08.020 In 1956, a new form of music burst on the scene. 44 00:02:08.500 --> 00:02:11.340 They called it rock and roll and labeled it for kids. 45 00:02:14.660 --> 00:02:15.840 Hardly anyone listened. 46 00:02:16.760 --> 00:02:19.540 But Presley moved Dylan and Dylan moved the Beatles. 47 00:02:19.540 --> 00:02:25.180 Hey Jude, don't make it bad. 48 00:02:25.380 --> 00:02:28.500 And the Beatles sparked a whole new revolution in sound. 49 00:02:29.140 --> 00:02:32.380 The music became more appealing and the new audience responded. 50 00:02:33.000 --> 00:02:34.960 They were sophisticated, affluent. 51 00:02:35.520 --> 00:02:38.800 Suddenly they were the audience all advertisers wanted to reach. 52 00:02:39.500 --> 00:02:44.300 And representing a broader and older demographic, WLS developed a new strategy 53 00:02:44.300 --> 00:02:47.980 to reach an even greater numbers that growing market and programming, 54 00:02:47.980 --> 00:02:51.280 which was to play such a key role, belonged to John Rook. 55 00:02:57.100 --> 00:03:01.960 John Rook came to WLS as operations director with a highly sophisticated approach 56 00:03:01.960 --> 00:03:06.180 to programming, a scientific precision and control never before attempted 57 00:03:06.180 --> 00:03:10.880 in the Chicago market, one that would deliver the target audience advertisers wanted. 58 00:03:11.640 --> 00:03:16.300 First thing on Rook's mind, analyze the sound of WLS and perfect it to reach 59 00:03:16.300 --> 00:03:19.000 in greater numbers, the 18 to 49 age spectrum. 60 00:03:19.600 --> 00:03:25.440 Rook's answer, the now famous WLS more music format, more music, more audience, 61 00:03:26.100 --> 00:03:27.340 Mass Appeal Radio. 62 00:03:36.860 --> 00:03:40.860 One way Rook controlled the sound was to listen, even in the morning on the way 63 00:03:40.860 --> 00:03:43.060 to the office, take Clark Webber's show. 64 00:03:47.000 --> 00:03:50.800 There you go, Mom. WLS souvenir year, 1955. 65 00:03:51.280 --> 00:03:55.740 If you were sweet 16 back then, you wonder where in the heck the time has gone. 66 00:03:59.860 --> 00:04:03.240 So I monitor constantly the competitors as well as the lessons, 67 00:04:03.700 --> 00:04:06.720 and I dictate into a tape recorder the things that I find wrong. 68 00:04:06.740 --> 00:04:09.420 And I can always tell when a song is being played out of category 69 00:04:09.420 --> 00:04:11.400 or when an engineer misses a cue. 70 00:04:11.420 --> 00:04:13.320 I listen for things you'd never even notice. 71 00:04:13.960 --> 00:04:16.640 But if those things that make the difference in our sound 72 00:04:16.640 --> 00:04:21.000 and why more and more people buy it, I guess I'm a perfectionist. 73 00:04:21.220 --> 00:04:22.400 And we're never perfect. 74 00:04:23.100 --> 00:04:25.260 At the station, there are always questions. 75 00:04:27.500 --> 00:04:28.240 How about the oldies? 76 00:04:29.260 --> 00:04:32.500 I really, John, I find between like eight and 10 o'clock. 77 00:04:32.740 --> 00:04:36.620 I am really uptight when it comes to some of what are you running an hour now? 78 00:04:36.620 --> 00:04:39.840 You're running like three, four, four, four, sometimes five. 79 00:04:39.860 --> 00:04:42.720 And you figure if we're going to hold between what, 55 and 60. 80 00:04:42.720 --> 00:04:46.940 A souvenir song chosen from the right year, played at the right time, 81 00:04:47.440 --> 00:04:50.360 attracts an older audience that identifies with older songs. 82 00:04:51.080 --> 00:04:53.220 Rook and Weber program the show with this in mind. 83 00:04:53.820 --> 00:04:56.840 On 1960, then I dropped back to like about a 57 84 00:04:56.840 --> 00:05:00.600 and then through there and then I finally figured with what sincerely is 1955. 85 00:05:00.620 --> 00:05:02.080 Well, the Moir sisters. Yeah, great. 86 00:05:02.500 --> 00:05:03.340 Yeah, great. Yeah. 87 00:05:03.400 --> 00:05:06.160 The ID in front of it, in the intro in front of it, 88 00:05:07.240 --> 00:05:11.040 telling him 13 years ago and then you following it relating to the 89 00:05:11.960 --> 00:05:13.400 the gal out there. 90 00:05:13.640 --> 00:05:16.800 Well, you figure 50, she's got a couple of kids, right? 91 00:05:16.800 --> 00:05:18.900 She's no longer the beautiful teenager she was. 92 00:05:19.160 --> 00:05:21.500 And when she heard that, she thought she was. Yeah, I'm here. 93 00:05:33.820 --> 00:05:37.160 This market is the vital market, 18 to 49, 94 00:05:37.740 --> 00:05:40.180 and all with discretionary income to spend. 95 00:05:41.280 --> 00:05:42.900 WLS is where you find it. 96 00:05:45.900 --> 00:05:48.400 68 degrees under sunny skies in Chicago. 97 00:05:48.960 --> 00:05:51.900 Things are running smoothly in space, and that apparently includes 98 00:05:51.900 --> 00:05:53.580 the noses of the astronauts. 99 00:05:54.000 --> 00:05:57.660 WLS News talked with Doug Ward at Mission Control in Houston about a cold 100 00:05:57.660 --> 00:05:59.560 shared by the three astronauts. 101 00:05:59.920 --> 00:06:01.760 I reported that 102 00:06:01.760 --> 00:06:06.460 under Wally Schirra appeared to be holding his own and that Don Ively. 103 00:06:06.600 --> 00:06:09.200 WLS News is both immediate and human. 104 00:06:09.200 --> 00:06:11.380 Succinct local and national coverage. 105 00:06:11.940 --> 00:06:15.140 In the morning, it's attracting the businessman as he drives to work 106 00:06:15.140 --> 00:06:16.720 and the housewife still at home. 107 00:06:17.300 --> 00:06:20.980 And the news, how you get into it, out of it, and what you say 108 00:06:20.980 --> 00:06:23.720 is another important facet of programming strategy. 109 00:06:24.480 --> 00:06:26.960 We programmed to deliver that audience in the morning 110 00:06:27.520 --> 00:06:29.540 and our ratings prove it works. 111 00:06:35.720 --> 00:06:36.920 89 WLS 112 00:06:38.920 --> 00:06:39.440 1966 113 00:06:40.420 --> 00:06:44.000 was a souvenir year. 114 00:06:48.900 --> 00:06:52.300 In show business, there's always a producer and a director. 115 00:06:52.760 --> 00:06:55.980 Television, motion pictures, even with a hit record. 116 00:06:56.500 --> 00:06:58.060 I was operations director at L.S. 117 00:06:58.120 --> 00:07:01.320 John Rook has become, in a sense, our producer and our director. 118 00:07:02.040 --> 00:07:04.880 All of us have worked closely with John to perfect this format. 119 00:07:05.680 --> 00:07:08.880 We've simplified the sound, we've reduced the conversation, 120 00:07:09.520 --> 00:07:12.080 we've shortened and combined the call letters and the jingles. 121 00:07:12.380 --> 00:07:15.940 And we've sort of redefined the role of an on the air personality. 122 00:07:16.940 --> 00:07:19.980 John has an uncanny sense about an audience and the way to reach each 123 00:07:19.980 --> 00:07:20.780 and every listener. 124 00:07:22.460 --> 00:07:25.340 I think the thing that stands out most is the fact that he has an innate ability 125 00:07:25.340 --> 00:07:27.320 to detect irritation in a program. 126 00:07:27.660 --> 00:07:31.240 And that's something that's a gift, because, boy, many of us just don't have that. 127 00:07:31.740 --> 00:07:34.060 He he can project himself into the role of a listener. 128 00:07:34.060 --> 00:07:37.740 And yet he can maintain his equilibrium as a program director. 129 00:07:38.600 --> 00:07:42.460 Now, as a result of this, he's able to spot those things, take them out, 130 00:07:42.600 --> 00:07:43.780 remove the irritation factor. 131 00:07:44.020 --> 00:07:47.360 And in other words, he removes the dross and then sits there with nothing 132 00:07:47.360 --> 00:07:50.260 but pure gold. And it's really paid off. 133 00:07:51.140 --> 00:07:55.760 The payoff for the WLS tighter programming strategy is higher ratings across the board. 134 00:07:56.160 --> 00:08:00.740 As the format improves, the numbers climb, whether it's teens, young adults or adults. 135 00:08:00.740 --> 00:08:05.900 Demographics show that our mass appeal radio does pay off from Clark Webber 136 00:08:05.900 --> 00:08:09.840 mornings to Art Roberts, who communicates with and entertains the housewife 137 00:08:09.840 --> 00:08:11.360 from 10 until two. 138 00:08:11.700 --> 00:08:15.400 Award winning Larry Lujak, the leader on all rating services in the important 139 00:08:15.400 --> 00:08:20.060 afternoon drive time period and the night, the more youthful market where WLS 140 00:08:20.060 --> 00:08:24.680 maintains a consistent lead, spotlighting Chuck Buell, Chris Stevens and Jerry K. 141 00:08:25.520 --> 00:08:29.300 With WLS's strong position in the Chicago radio market established 142 00:08:29.300 --> 00:08:34.120 and growing every day, the responsibility for selling WLS, the product 143 00:08:34.120 --> 00:08:36.700 falls to general sales manager Bob Williams. 144 00:08:36.940 --> 00:08:40.400 It's good for us, but we got to make sure it's good for the advertiser, too. 145 00:08:40.720 --> 00:08:43.440 Otherwise, it doesn't make sense. 146 00:08:43.900 --> 00:08:46.780 Williams works with his research team, Bill Rice and Ed Dutie, 147 00:08:46.780 --> 00:08:50.000 to maximize the sales effort of the entire staff. 148 00:08:50.560 --> 00:08:54.820 The newest tool in sales strategy is BRI, Brand Rating Index, 149 00:08:55.260 --> 00:08:59.100 the syndicated marketing service that matches people to levels of consumption 150 00:08:59.100 --> 00:09:03.560 in more than 300 product categories, isolating the heavy users, 151 00:09:03.860 --> 00:09:05.560 who they are and where to reach them. 152 00:09:06.380 --> 00:09:10.240 Now, what does your information on a BRI show? 153 00:09:11.580 --> 00:09:13.740 Is their marketing strategy correct? 154 00:09:13.840 --> 00:09:17.100 Are they aiming for the correct demographic? 155 00:09:18.460 --> 00:09:19.340 Not entirely. 156 00:09:19.760 --> 00:09:22.880 They're getting part of the demographic they should be getting, 157 00:09:22.920 --> 00:09:24.300 but they're not getting all of it. 158 00:09:24.460 --> 00:09:25.600 So what are they doing? 159 00:09:25.680 --> 00:09:28.740 Are they aiming for an older audience in their radio buy? 160 00:09:28.740 --> 00:09:33.320 All right. Now, does it make sense for us to suggest they cancel 161 00:09:33.320 --> 00:09:35.640 what they're doing and invest their money with us? 162 00:09:35.780 --> 00:09:36.700 No, not at all. 163 00:09:36.800 --> 00:09:40.660 I think what it needs to do, it should be, I think, a two station buy in this case. 164 00:09:41.020 --> 00:09:45.020 They've got a good station that's delivering one end of the demographic group. 165 00:09:45.180 --> 00:09:49.080 That's great. Look, at no time do we want to go out 166 00:09:50.320 --> 00:09:54.600 based on the BRI information we have and make a recommendation 167 00:09:54.600 --> 00:09:57.660 that somebody bring all of his dollars to us 168 00:09:57.660 --> 00:10:00.040 because we destroy the credibility. 169 00:10:00.860 --> 00:10:03.060 Well, we would establish a credibility gap 170 00:10:03.060 --> 00:10:07.260 between us and the agency and the client. 171 00:10:07.820 --> 00:10:11.300 It's got to be good for the client as well as for us. 172 00:10:11.620 --> 00:10:15.820 Well, it's a dangerous thing to try to tell an advertising department 173 00:10:15.820 --> 00:10:19.680 or a client himself that their marketing strategy is wrong. 174 00:10:19.940 --> 00:10:23.240 But hopefully, based on the kind of information that we can provide 175 00:10:23.240 --> 00:10:26.880 through the BRI, the time buyer 176 00:10:27.660 --> 00:10:30.660 the account executive, the advertising manager, 177 00:10:31.180 --> 00:10:34.240 we'll know that what we are trying to do is to provide 178 00:10:34.240 --> 00:10:35.840 helpful and meaningful information. 179 00:10:36.080 --> 00:10:37.160 And that's the name of the game. 180 00:11:02.060 --> 00:11:05.080 More music, sophisticated programming strategy, 181 00:11:05.540 --> 00:11:09.560 in-depth marketing research through BRI to ensure you the most effective 182 00:11:09.560 --> 00:11:14.100 radio buy and the format that delivers the largest audience in Chicago radio. 183 00:11:22.240 --> 00:11:25.820 Mass Appeal Radio, that's WLS, the leader in Chicago. 184 00:11:26.180 --> 00:11:27.640 Now carving out a broader view of the world of radio. 185 00:11:27.640 --> 00:11:30.300 The WLS is a high-end radio market share with expertise and results. 186 00:11:30.820 --> 00:11:34.060 The ratings reflect the strategy WLS delivers. 187 00:11:34.760 --> 00:11:36.360 And that's the name of the game.