                                  T H E

                          E S T A B  - L O I D
                    ---------------------------------
                    Issue #9                  3-29-86
                    ---------------------------------

                A weekly electronic magazine for users of
                    The Establishment BBS (894-6526)
                    owned and operated by Thane Smith

                        Editor - Gene B. Williams

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                                (c) 1986

    THIS ISSUE:

         School is coming to a close. Some of you will just be off
    for the summer. Others will be heading to college next year. And
    still others will be starting a life of work, work, work.
         But that work, work, work can turn into fun, fun, fun - IF
    you choose your career wisely.
         There are a number of job categories. These can be everything
    from the job being great and money great to the job being lousy and
    the money lousy - and everything between. Obviously everyone wants
    a job that is great and that pays great. Very few end up with such
    jobs. Most will end up in the middle of that employment bell curve,
    and get a job doing something you don't mind doing, and that pays
    well enough so you can live and even save a little.
         There are several problems that job seekers have. First, some
    have unrealistic goals. They want that top job, but don't want to
    spend the time and effort to get there.
         Second, some set their goals too low, and accept anything just
    because it's easier and more available.
         Third, quite a few people look at certain jobs, and then go
    for those, thinking that particular as glamorous, or as something
    that it's really not. (For example, those who know me often look
    at the freedom I have. I work from home, at my own schedule, can take
    off whenever I wish, and have a fair degree of national fame. What
    they *don't* see are the years of work to get to this point, of
    missed sleep during that period, of working virtually around the
    clock at deadline time, and of the financial shakiness of the
    business.)
         Over the next few weeks, I hope to concentrate on careers and
    jobs in general. If everything goes according to schedule, this
    week is the article by Chris Mitchell on jobs in broadcasting;
    next week will be my own article on how to be a writer; we might
    or might not have other guest articles from other users about
    their careers; then an article on finding a job in general.
         Your response is important. What kind(s) of careers are
    you considering? Which ones would you like to see covered here
    in the magazine?

         As an introduction to this week's article:
         The guest author is Chris Mitchell. He has been involved in
    broadcasting most of his life. It is even a family tradition for
    him. At present he is the midday DJ on KUPD. If you haven't
    already done so, listen in. It's just my opinion, of course, but
    to me Chris is one of the best in the business. If you have dreams
    of getting into broadcasting, listening in (and paying attention
    to what he does) is an education all in itself.

                  GETTING STARTED IN RADIO BROADCASTING
                            by Chris Mitchell

         "It all started at a small 5,000 watt station in Fresno,
    California..."  If you ever saw the popular TV situation-comedy
    "The Mary Tyler Moore Show", you're probably familiar with that
    line from one of "ace anchorman" Ted Baxter's rambling speeches.
    In my case, and now we're talking real life, it was a very small
    1,000 watt station. In fact, we had to turn the power down to 250
    watts after sundown to avoid interference with other distant
    stations on the same transmitting frequency!
         You see, during the daytime hours, many stations around the
    globe can share the same "dial position" without bumping into
    each other... but once the sun goes down, elaborate precautions
    must be taken to ensure that stations sharing the same frequency
    do not interfere with one another. (The FCC, or Federal
    Communications Commission, is responsible for trying to keep
    everyone properly separated.) This has to do with some basic
    electromagnetic phenomena that allow literally world-wide
    communications for some radio services, while at the same time
    complicating matters of others... but we digress.  We'll touch on
    the subject of electronics at a more appropriate time.
         When I was trying to start out in this crazy business of
    broadcasting, in late 1969-early 1970, I was very lucky to get a
    full-time radio job with very little experience. Of course,
    anyone is lucky to be hired the first time out, at ANY job!  I
    didn't know how fortunate I was at first. I found out much later
    that there had been a big shakeup at this first radio station I
    applied to. Many people had quit or had been fired--that very
    day--and the station's management was desperate for any "warm
    bodies" with FCC broadcasting licenses.
         I happened to walk in to "the right place at the right
    time". The ink was barely dry on my FCC license. (Licensing
    requirements for commercial radio operators--including DJs and
    "board operators"--have been almost completely eliminated over
    the last few years. Most radio stations' chief engineers have
    much more stringent standards for making sure you're qualified
    than the government does anymore.)
         My first radio station had a very simple format at the time.
    We'd play `0pre-recorded tape for the first 30 minutes of each
    hour, and then play sets of 3 pre-selected records in a row to
    fill the remaining half hour. The only "disk-jockeying" required
    was reading the legally required station I.D. at the top of the
    hour, and a few minutes of live news each hour. Pretty simple,
    but as I recall it felt to me like I was cross between Dick Clark
    and Walter Cronkite!  It's not easy to "luck into" full-time
    broadcasting jobs that easily. Starting pay: $1.75 an hour.
    Shockingly low, isn't it?  I was ecstatic!
         A true success story started in an even more off-hand way a
    couple of generations earlier. Hugh Downs, a veteran of well over
    10,000 hours on the air as host of TV's "Today", the game-show
    "Concentration" and, of course, "20/20", actually applied for his
    first radio job on a whim. He was passing by a local radio
    station when he decided to stop in and try for an announcing job.
    To his delight he was hired, and thus began a fantastic career
    which has spanned nearly 5 decades. Starting pay: $12.50 a week.
    Mr. Downs went on to an announcing job with NBC just a few short
    years later, and is now reportedly earning over a million dollars
    a year.
         Naturally, the days of snagging beginning jobs in the ways
    just described are pretty much over. In the modern world it takes
    a lot of hard work and careful preparation to even get a chance
    in the world of broadcasting.
         It might be helpful to know something about my personal
    background. I've had one year of college, which isn't very much.
    And that was during the time that I was already working in radio
    professionally. However, I come from a "radio family", so I had
    an advantage in that respect.
         My dad was an owner/operator in a nation-wide chain of radio
    stations for over 30 years. (In fact, my mother was an officer in
    the corporation.) My brother has been in broadcasting since 1963.
    He earned his bachelor's degree--in philosophy no less!--while
    spending 4 years sharpening his skills at his college station.
    After working in literally every phase of the business, he is now
    a consultant, advising many different radio stations instead of
    plying his trade at just one.
         Looking back now, I must say I regret that I haven't earned
    my college degree yet. Not necessarily a degree in
    broadcasting... but a diploma can be a valuable addition to your
    repertoire. It also looks dynamite hanging on your wall!
         Let's assume you're really serious about going for a career
    in the broadcast field. First of all I would say, and this is my
    opinion only, avoid broadcasting schools. Sure, you may get some
    hands-on experience with the equipment and some time in front of
    the microphone, but you still have to start out at or near the
    bottom when you get a "real" job.
         It's almost a standing joke among professionals who came up
    through the ranks "the hard way": some broadcast school graduates
    think they know more about various aspects of the business than
    people who've been doing it professionally for many years. They
    feel that they should be promoted to the top echelon immediately,
    and without having to "pay their dues."  This is a really good
    way to get started on the wrong foot with your potential peers!
    This phenomenon has also been noted concerning nightclub or
    roller-disco DJs who can't tell the difference between a Saturday
    night sock-hop (200 paying teen-age customers) and a Saturday
    afternoon major-market radio audience (2,000,000 potential
    listeners who could care less about the color of your skates).
         Naturally, some people progress much more quickly than
    others. Some become "stars" at age 20; some never quite make it
    at all. Ego is a large part of it. Everyone has an ego, but
    learning how to deal with it properly, exploit it, respect it and
    nurture its health is not so easy. Laying the proper foundation
    can help. Let's talk more about education.
         Perhaps you're enrolled in a regular four-year university.
    Naturally, you'll want to take some mass communications courses,
    and trq uo get on with the campus radio station (if there is one)
    or score a part-time job with a local commercial station.
    However, you might be better off majoring in the business or
    business administration fields. This will teach you things that
    you can use no matter what career area you ultimately decide
    upon, and will prove invaluable if you ever rise to a management
    position in broadcasting.
         Another alternative would be community colleges. They're
    less expensive, and many of them are very good. As I mentioned,
    while you're completing your degree in college you can go for
    that part-time job in radio. You'll probably start out "running
    tapes".  You know--the public affairs or syndicated programs that
    you often hear on Saturdays and Sundays. You don't get to talk
    much at all on the air, but you get to hang around, learn the
    equipment, and generally get exposure to the industry. Then maybe
    after a while an airshift will open up (usually midnight to six,
    once per week, to start with.)  From there, you just progress
    with your talents.
         There are several people where I am employed who've finished
    their college while working for us part-time. In fact, two of
    them just graduated last spring. Oddly enough, the one who got
    his degree in broadcast journalism is now working in real estate,
    and the one who was taking pre-law is still in radio!  You see,
    by the time your four years are over, you may decide that you
    don't like broadcasting or just aren't very good at it (a hard
    decision to make). If you have a degree in computer science or
    forestry or whatever, it's easier to switch gears and go in a
    different direction. Radio and TV are great, but certainly not
    for everyone.
         Another way for young people to get going is through
    internship. Nowadays, many stations utilize interns for research,
    news, promotions, sales, engineering, and other duties. School
    credit is often given, and it's another good way to get exposure
    to the industry.  (The pay, however is lousy. As in zilch.)  To
    find out more about becoming an intern, contact the program
    directors or operations managers of the radio stations that
    interest you locally, or discuss it with the appropriate
    department heads at your school.
         Here are some basics that any potential broadcaster should
    be thinking about:  BE WELL-ROUNDED. LEARN HOW TO WRITE. GET YOUR
    TYPING SKILLS UP THERE. You may not be in the news department,
    but learn how to WRITE news copy and learn how to READ copy COLD
    (that is, without having pre-read it.) Learn how to WRITE
    commercial copy. Learn how to SPELL. Learn how to READ -- OUT
    LOUD. (This may sound weird, but when I was a little kid I would
    practice reading out loud while sitting on the john. Magazine
    ads, tissue boxes, anything. Plus, the acoustics in the bathroom
    are pretty darn good!)
         If it seems that I've put a lot of emphasis on the above
    points, it's because they're very important. It's amazing how
    many people don't know the basics, and they suffer for it. A
    colleague of mine recently was talking to a representative of a
    major advertising firm who didn't understand the meaning of the
    term, "simulcast".  That's not a word you hear at the grocery
    store every day, but it's one that you should certainly know if
    you're involved in broadcasting. The bottom line here:  build a
    good foundation with the basics.
         Simply listening to the radio is a part of the educational
    process that many people overlook. For Pete's sake, resist the
    urge to limit your listening to your favorite station!  And turn
    it UP when the song ends and the announcer goes to work (the
    average listener does just the opposite.)  How did s/he get from
    music to a commercial?  When was the commercial scheduled in the
    hour?  Why do you suppose that is?  What did you like or dislike
    about the DJ's delivery?  What stood out about the commercial?
    Then back to the music, smoothly we hope.
         Why is that record on?  Why don't they play heavy-metal
    music at 11 o'clock in the morning?  What's the ratio of "new
    music" to established hits or oldies?  I'm not going to answer
    these questions for you... you've got to be able to think for
    yourself in this business or you won't advance very far. The
    knowledge is in books or can be picked up by keeping your eyes
    and ears open, and your mouth shut--unless your microphone
    happens to be turned on!
         Learn as much as you can about the equipment, too. You don't
    have to be a whiz of an engineer, but some people find it very
    interesting, and everyone should know the fundamentals. How does
    a microphone work?  How does a speaker function?  What's the
    difference between AM and FM radio?  (Hint: the answer to this
    last question is not, "FM plays better music"!)
         Having some sense of the equipment and your responsibilities
    for its operation can actually be very important. Remember that
    small station I mentioned in the first paragraph of this article?
    Once, someone forgot to reduce the power output of the station at
    sundown. At about 9 o'clock that evening we received a frantic
    call from some announcer in Hawaii--we were in Reno, Nevada--and
    he couldn't hear his own station because we were coming in on top
    of him so loudly!  (Remember, radio signals can travel fantastic
    distances and do strange things when conditions are right.)  We
    apologized, turned the power down immediately and all had a good
    laugh about it, including our new friend in Honolulu.
         Luckily the incident went no further than that. The operator
    on duty (who forgot to reduce power) could have gotten into very
    serious trouble with the FCC, not to mention with his employer.
    It's very possible to find yourself facing up to $20,000 in fines
    and up to 10 years in Federal prison for major infractions of the
    FCC's Rules and Regulations. When a station manager is informed
    of gross misbehavior by an employee, the first (and natural)
    reaction is to get rid of that person instantly. Usually,
    "walking papers" are issued as soon as someone can be called in
    to cover the remainder of the airshift. Remember: a $10 million
    radio station is not a toy!
         Now let's say that you feel ready to step out and launch
    your meteoric rise to fame and fortune. There's an important
    point that should be addressed along these lines. Your first job
    or jobs might not be in the exact area that you're interested
    in... perhaps not even in the ball park. You can't just waltz in
    and become the morning DJ at your favorite station in Los Angeles
    or New York simply because you're such a devoted fan and a nice
    person.
         Your chances of landing that critical first job are much
    better at smaller stations in smaller, outlying communities. Are
    you getting into this business because you want to be a big
    "star" right away, or because you feel you're an effective
    communicator?  There's some amazingly good radio going on in
    smaller towns all across the country, and the experience can be
    very rewarding. In fact, many people find small and medium
    markets perfectly suited to their needs and talents, and have no
    burning desire to join the rat-race in the top 5 or 10 markets.
         My first job was at an Adult Contemporary station, sort of
    "light rock", in the 154th largest radio market in the country.
    It was a little boring to me, but time well spent. The same
    station subsequently changed to a Modern Country format. I
    survived the changes, and even learned to appreciate country
    music!  Then I had several part-time jobs with various other
    formats, including MOR (middle-of-the-road) and classical.
         My first salaried job was News and Public Service Director
    at a Top-40 station. This may sound impressive, but it was mostly
    "rip 'n read" news--straight off the wire service with no time
    for re-writing--followed by endless hours of typing 3x5
    file cards. (Remember what I said about typing?  And learning to
    read copy well without having seen it before?)
         Then on to various air-shifts with that station, before
    ultimately being "blown out". In this business that means
    "fired"--usually with little reason and no warning. Looking back,
    and listening to old tapes of myself, I realize that I was canned
    for a simple but brutal reason:  I was pretty horrible on the air
    in those early days!
         I went "across the street" to another station and got my
    first taste of AOR, or Album Oriented Rock. That was during the
    super-laid-back "underground" days; the format was, "Play one of
    the new records about once an hour, if you think of it."  After a
    year, I left that station (philosophical differences with the
    management, ha ha) and went back to the Top-40 station which had
    fired me. It may seem odd, but in this business you often see the
    same people drifting in and out of the same stations over and
    over again over the years. Actually it's not so odd, considering
    that in this country there are only about 10,000 radio stations
    total. It's a relatively small industry, job-wise.
         I wound up staying with the Top-40 station for nearly 9
    years, eventually attaining the position of Operations Manager
    for the Top-40 AM and its newer, automated FM sister-station. I
    then moved to a larger market, where I recently ended a five year
    stint as a DJ with one company. Over those five years, I was
    assigned to every full-time shift at various times:  the morning
    show, mid-days, afternoons, evenings and overnights. In addition,
    I was called on to do "remote" broadcasts everywhere from
    shopping centers to recreational areas on the river, as well as
    hosting parties in local nightclubs and appearing at movie
    premiers in New York, Los Angeles and around town locally.
         I recently felt it was time to make yet another change, and
    accepted the position of Production Director for a popular
    Contemporary Hit Radio station in this area. This is as much an
    administrative (middle management) position as it is a creative
    one, and the opportunities for growth are that much better. A
    Production Director needs to be able to work with the DJs, the
    salespeople, the programming department and top management, as
    well as the various clients--the people who actually buy
    commercial time on the radio station (and ultimately make it
    possible for you to get paid!)
         As you can see, there are a lot of twists and turns, ups and
    downs in this business. Those two long stints, 9 years and 5
    years, are fairly unusual. You often have to move around a lot
    more than that. (Like it says in the theme song to `WKRP in
    Cincinnati', "...town to town, up and down the dial.")  In my 17
    years in broadcasting, I have worked for 9 different companies. I
    have also worked as a janitor and a warehouseman between radio
    jobs, among other things.
         Now more bad news. Being a disk jockey or news person is
    fun, but unless you're very talented, very lucky and very
    persistent, you won't make very much money. The financial
    potential is better in sales and management, especially in
    television. Or in real estate...
         When it comes to on-air personnel, or "talent" as we're
    called, I don't think it's much of an exaggeration to say that
    20% of the people are nailing down 80% of the money, and the
    other 80% of the people are competing for the remaining 20% of
    the money.
         One avenue that's open to the successful broadcaster for
    augmenting his income is talent work outside of his regular
    station duties. Many advertisers like to have one person act as
    their spokesperson on radio or TV, and many times they'll use
    known radio personalities for the job. It sometimes takes years
    to cultivate these arrangements, but it's a fun (and lucrative)
    side of the business.
         If you still think the broadcast industry may be for you,
    and want to get started now, here is a short list of books to
    buy, or at least borrow from the library:

    BUILDING YOUR BEST VOICE, by Henry Jacobi. You don't need a great
    big booming voice to make it--just learn how to use what God gave
    you to best advantage!

    THE ASSOCIATED PRESS STYLEBOOK AND LIBEL MANUAL. A reference book
    put out by The Associated Press. Consists mostly of accepted
    forms for the news writer, but is a good thing to have on your
    shelf.

    PROGRAM DIRECTOR'S HANDBOOK, by Bob Paiva. A good introduction to
    the subject of being a P.D.

    A BETTER WAY OF WRITING, by Edward Goldfinger, should be looked
    into if you would seriously like to sharpen your writing skills
    (and you should.)  It's more of a self-study course, and a
    tremendous bargain at only $55.00.

         There are many more very good books out there. Check your
    library under BROADCASTING, RADIO AND TV, and anything else you
    can think of. If you can afford it (they are very expensive),
    subscribe to one of the industry's trade papers.  "Radio &
    Records" and "Billboard" are two very good ones, published in the
    L.A. area. If you'd like subscription information, you can
    contact "Radio & Records" at: (213) 553-4330, or "Billboard" at:
    (213) 273-7040.
         To sum up, it's not all glamour. When you look at a movie
    star, you see glitter and mansions in Beverly Hills and lots of
    money. What you don't see is the years of acting school while
    waiting tables, the years of starving while doing community
    theater or off-off-Broadway, the hundreds of guys and gals who
    don't make it.  It's not fun and games all the time, but if you
    are prepared with a well-rounded education and learn the ropes
    carefully, you can build a career in the entertainment industry
    that can be very satisfying. Remember:  the key word is
    "industry".  Why do you think they call it "show business?
    There are millions of advertising dollars on the line every day.

         Good luck!

    UNTIL NEXT TIME

         Next week we'll cover writing and journalism as a career.
    As Chris mentioned, solid writing skills are important. It
    doesn't matter what your career is. Almost everything has a
    requirement of being able to communicate. The higher you want
    to go, the more important that becomes.
         Hope to see you here then.

         Remember, if you have a particular career you'd like to see
    discussed in the magazine, DO let me know. Also, if you are involved
    in a career and would like to do a guest issue, drop me a note. For
    both, preferably do so in the mail section.

Zephyr Magazine is © Gene Williams. All rights reserved.