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fredalan · 7 months ago

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Michael Cuscuna by Jimmy Katz

Michael Cuscuna R.I.P. 1948-2024

Our fantastic friend, then client, Michael Cuscuna, record producer/historian extraordinaire and co-founder of Mosaic Records, passed away on April 19, 2024. Both of us –Alan and Fred– wrote remembrances that we’re reposting here.

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Michael Cuscuna by Thomas Staudter

I knew the voice of Michael Cuscuna before I ever met the man. Growing up in an area of New Jersey where we could pull in both New York and Philadelphia stations, I would listen to him DJ at WMMR out of Philly. He had a quintessential FM DJ voice — soft-spoken, intimate, gravelly, authoritative. He didn’t yammer on, but I remember he was clever and his sense of humor was dry as a bone. He played a mix of progressive rock and some things that clung to the precipice of musical genres.

Years later our paths merged. I started seeing his name on the backs of albums I’d play on my college jazz radio show — now I was the DJ, and he had become a prolific producer, supervising dates for a diverse list of artists, including many dedicated to the avant garde. He also produced for Bonnie Raitt and other groundbreaking musicians. I am searching my memory in vain to recall how we became connected, but he was also creating a monthly promo disk sent to radio stations by Crawdaddy Magazine and I became his producer, using the free facilities of the college station to record and edit. He would collect the interview tapes from the magazine’s feature writers, I would edit them into a coherent radio show, then he would come in and record his host segments. Out of that association, I started writing reviews for Crawdaddy of new jazz releases. He was as wickedly funny in person as I remembered him on the radio. I was a little in awe of his extraordinary knowledge of music — an artist’s historical significance, how a musician’s style linked that person to the artists that came before and after, and why certain artists deserved more recognition than they had received by the public. He turned me onto a lot of music. I think we did the show for a couple of years.

More time passed, and Michael came into my life again through my partner at our media advertising agency, Fred/Alan. By now, Michael had established himself as an important compiler of jazz reissues that went above and beyond what was typical at the time. Starting with Blue Note Records, but ultimately including the libraries of other labels, he’d go into the vaults and unearth the unreleased sides and alternate takes and place them alongside the more well-known songs. His two-fer series for Blue Note was particularly noteworthy. On the back of that success, he and a former Blue Note executive named Charlie Lourie created Mosaic Records. Their concept was to do numbered, limited editions in luxurious box sets aimed at the collector market. Initially vinyl only, they switched to CDs when that was the prevailing release format. The boxes were gorgeous, each with a booklet filled with photos, an essay by a prominent jazz historian, and absolutely accurate discographical information. They specialized in “complete” collections depending on the frame they decided was relevant. That frame might have been the three-day recording binge from 1957 by organist Jimmy Smith that resulted in enough material for three CDs, the unreleased complete recordings of Charlie Parker’s live solos recorded by Dean Benedetti, or the complete Capitol recordings of the Nat King Cole trio, a box that weighed-in at 18 CDs. They were sold only through the mail, direct to consumers. But they weren’t reaching the market and needed help. In an earlier era, my partner Fred Seibert had attached himself to Michael to learn as much as he could about producing records. Knowing the two of us, Michael asked if we could come up with a direct marketing campaign. In our typically arrogant belief that we knew how to do almost anything or could figure it out, we said yes.

We began producing a catalog that was mailed out to jazz enthusiasts, slowing building a list of devoted listeners and buyers. My job was to write that catalog. We dissolved the advertising agency in 1992, and mailed catalogs gave way to internet promotion, but I continued writing the sales copy for each release, save one or two that I didn’t do for reasons lost to time. I just wrote one last month for an upcoming set featuring vibraphonist Bobby Hutcherson.

I developed a format for my essays. I started with some thesis about why that artist deserved more recognition, or why the music from that era was crucially important — in other words, why you absolutely had to own that collection. I segued into a couple paragraphs of biography, followed by a few paragraphs where I singled-out important tracks or tried to convey in words the feeling, the sound, the artistry of the musician. I wrapped it up with more “don’t delay” language. In all those years, each and every time I approached a new assignment I had two thoughts crowding my mind — will Michael agree with my thesis? Will Michael take issue with the way I chose to describe the music? Each package gave me an opportunity to do a deep dive into the music, but I knew I didn’t have Michael’s personal connection to many of the artists, or his historian’s perspective on the music. And by the way, he was himself a damn good writer. It never stopped thrilling me when he’d send back an email merely correcting a calendar date, or the number of unreleased tracks, with a message that he thought it was otherwise perfect. More than anything I wanted to impress and satisfy Michael. I was alway so happy that I could.

I think they had done four releases when we got involved in 1984. The company is closing in on 200 box sets. I can’t believe it’s been a 40-year association.

We lost Charlie more than 20 years ago. This weekend, Michael passed after a long illness. I will miss his husky laugh, his personal stories about the musicians we both obsessed over, and the gratitude he expressed each time I turned in an assignment.

To many, his name was a name on the back of an album jacket. To those of us who knew him, we know him as someone who single-handedly rescued the Blue Note archive and other treasures from oblivion, who introduced us to overlooked artists such as saxophonist Tina Brooks, and who demanded we take a second look at music that was significant and mind-blowing. As a colleague, as a client, but mostly as a music lover, I am forever in his debt. My sympathies to the family of this enormously important figure in music. RIP Michael Cuscuna.

–Alan Goodman (repost from Facebook)

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Michael Cuscuna, photograph by Jimmy Katz

Michael Cuscuna

Michael Cuscuna, one of my great inspirations and sometime collaborator, passed away this weekend (April 19, 2024) from cancer. Being a cancer survivor last year myself, when someone I’ve known and worked with for over 50 years it hit particularly hard.

Blue Cuscuna: 1999 promotional sampler from Toshiba-EMI [Japan]

Michael has been the most consequential jazz record producer of the past half century, a man who had not only a passion, but the relentlessness necessary to will the entire history of the music into being. Don’t believe it? Check out the more than 2600 (!) of his credits on Discogs. Substantial and meaningful he might have been, but to me, he was a slightly older friend who was always there with a helping hand. Hopefully, I was able to hand something back on occasion.

As I said when he answered “7 Questions” eight years ago: “I first encountered Michael as a college listener to his “freeform,” major station, radio show in New York, and was fanboy’d out when a mutual friend introduced us at [an] open rehearsal for [Carla Bley’s and Michael Mantler’s] Jazz Composer’s Orchestra at The Public Theater (MC has a photographic memory: “It was Roswell [Rudd]’s piece or Grachan [Moncur III]’s. You were darting nervously around the chairs with your uniform of the time – denim jean jacket, forgettable shirt and jeans.”) By 1972 or 73, he’d joined Atlantic Records as a producer, and since that was my career aspiration, I’d give him a call every once in awhile. He’d patiently always make time for my rambling and inane questions, and I never forgot his kindness to a drifting, unfocused, fellow traveler.

“...patiently always make time for my rambling and inane questions...” says a lot about Michael. His raspy voice could sometimes seem brusque, but ask anyone and they will tell you that he always made time to talk. Especially about jazz.

I desperately wanted to be a record producer and Michael was one of the first professionals I encountered. He had already produced my favorite Bonnie Raitt LP when somehow or other I bullied my way into his Atlantic Records office, where he was a mentee of the legendary Joel Dorn. Over the next few years, Michael was often amused at some of the creative decisions I made, but he was always supportive and even would sometimes ask me to make a gig when he couldn’t. When I spent a year living in LA, he invited me over to the studio while he was mining the history of Blue Note Records that would define his life for the next half century. I completely failed to understand what the great service to American culture he was about to unleash. Along with Blue Note executive Charlie Lourie, Michael’s research resulted in a series of double albums (”two-fers” in 70s speak), but little did the world know what was on Michael’s and Charlie’s minds.

The Cuscuna/Lourie Blue Note “Two-Fers” that ignited Mosaic Records

“I don’t think it’s generally understood just how imperiled the musical and visual archives of Blue Note Records were at one point, and just how heroically Michael stepped in to make sure this unparalleled American music survived for future generations. If you like jazz, you owe the man.” –Evan Haga

(Joe Maita does a great interview about Michael's career here.)

Fast forward a few years. The air went out of my record producing tires, I became the first creative director of MTV, I quit MTV and along with my partner Alan Goodman started the world’s first media “branding” agency. Leafing through DownBeat one day I saw an ad that started a new relationship with Michael that would last, on one level or another, for the rest of his life: the “mail order” jazz reissue label Mosaic Records.

Charlie Lourie & Michael Cuscuna at Mt. Fuji Jazz Festival, Japan 1987. Photograph by Gary Vercelli / CapRadio Music

Long story short, in 1982 Michael returned my check for the first two Mosaic releases with a note asking for some help. Initially, Mosaic wasn’t the sure fire, instant success Michael and Charlie had hoped for, did I have any ideas? I did, but no time to do anything other than make suggestions, we were busy trying to get our own shop off the ground. This cycle repeated itself for another couple of years when this time when Michael called he said Mosaic was on death’s door. Fred/Alan was in better shape, so Alan and I, on our summer vacation, came up with the first Mosaic “brochure,” convinced the guys we knew what we were doing (I’d read a few paragraphs in a direct mail book in a bookstore) and, with nothing to lose, Charlie and Michael took the plunge with us. Success! 42 years later, the former Fred/Alan and Frederator CFO at the helm, Alan and I always answer any call from Mosaic.

The first Mosaic Record box set 1983

There aren’t many people in the world like Michael Cuscuna. The world’s culture will miss him. I will miss him. Most of all, of course, his wife and children will miss him.

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#Michael Cuscuna #Mosaic Records #RIP #Alan Goodman #Fred Seibert #Charlie Lourie

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adagencychennai · 2 years ago

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brandsnbehind98 · 3 years ago

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fred-frederator-studios · 5 years ago

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Dale Pon, R.I.P.

Pretty much the most famous media advertising campaign in history is “I Want My MTV!” –the May 2020 Google search returns 184,000 results, more than 30 years after the last flight ran– and it was the result of the brain of Dale Pon.*

* As I explain in detail in the pieces below, writer extraordinaire Nancy Podbielniak was the word spark for the campaign; it was George Lois who suggested ripping off “I Want My Maypo!” Dale Pon was the person who took these notions and turned them into brilliance.

Dale persuaded me and the powers that be at MTV that he could make it work, Dale who convinced MTV programmers to recording artists to participate for no fees. It was Dale who took the paltry budget allotted and strategized how to maximize the network’s cable distribution. And finally, it was Dale Pon’s dogged persistence and genius that caused cable operators across America to beg us to please stop running the campaign before all the telephone operators quit in frustration from all the people “demanding their MTV!!!”

My great friend –and better mentor– Dale Pon, passed away from difficulties due to Parkinson’s and Covid19. There’s no way to convey all of the ways people expressed their sadness to me today, but one of them probably encapsulated things best by saying “Complicated but brilliant, creatively inspired, strategic like chess master , we were lucky to have been touched by his talents...” All too true.

Dale could be –to say the least– a challenging personality. Determined to win, he could be a bulldozer crushing an ant. Warm at his core, he could be beyond generous will all he had at his disposal. Unlike many others with talent and raw intelligence, he was quick to share his remarkable thinking, lavish in his ability to elevate the talents of the shy and uncertain, and as bountiful with praises as he could be lacerating with his critical observations. He loved as deeply as he was able, and a constant explorer for the meanings of life.

When it came to the work, there was no one better at understanding media, and getting fans interested in its rewards. I don’t know if it was his methodologies and personality, or the fact that media promotion wasn’t all that well respected in the ad biz, but Dale didn’t have too much of a profile in the advertising world. I think, ultimately, he was much more focused on the work than on the publicity. So, things being what they are, what I’ve collected seems to be the most comprehensive look at his career, at least the parts that I’ve directly touch. By no means is it comprehensive, I know nothing about his radio days in the early 70s, and little about his work after I joined the cartoon industry. But all of what I have is yours, below.

I’ll lead with what a few of his colleagues and friends wrote a few years ago for Dale’s birthday. And then, below that, all the various campaign pieces (written from my perspective, of course) I’ve recalled over the years.

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April 2016, on the occasion of Dale’s birthday.

Dale Pon, my mentor and friend. Fucking smart.

Dale Pon’s been on my mind lately, as he is almost every day, because of the ways he taught me to think about …. um,everything. I’ve written about some other important mentors before, but Dale’s influence was so staggering I could never figure out how to sketch it out in anything shorter than book length.

“Dominate the space.” (He was referring to graphic design, but it might have served as a life philosophy).

“Of course, there’s an absolute truth.”

“You remember the first thing you see, but the last thing you hear.”

“The power of three.” (Broke that rule with this list.)

“Advertising is a frequency medium.”

“You make album tracks. I make hit songs.”

I’m not sure that he ever thought of himself as particularly quotable, but as you’ll see below, I wasn’t alone in internalizing. There were hundreds more bon mots, most of which he probably forgot as soon as he said them but stuff I’ve never been able to shake off, to this day.

His resume doesn’t do him justice, but quickly… For 40 years, Dale Pon was at the forefront of media programming and promotion for many of the major media companies, CBS, NBC, Viacom, Storer Broadcasting (where we met). He specialized in radio throughout his career, but when Bob Pittman moved into cable television, he prevailed there too (“I Want My MTV!” is still returns hundreds of thousands of Google search results, 30 years after it went off the air). He was wildly successful in an advertising agency partnership with ad legend George Lois, before setting up a solo shop, Dale Pon Advertising, in New York City.

Dale was brash and loud, very, and he certainly wasn’t to everyone’s taste. The friend who first recommended me for one of his jobs called in a rage when he quit and said if I really needed a gig so badly… I knew Dale’s work from its supremacy of the metropolitan subway system for the New York country music powerhouse (a paradox if there ever was one) WHN Radio, but it hadn’t occurred to me that actual human beings created advertising, or that it took any real brain power. Dale quickly disabused me of that notion, as he sent me to his tailor to buy me my first three piece suit (more appropriate for Park Avenue media than the cut off shorts I wore to our interview).

Most of all, he was really fucking smart. And deeply, articulately, astute about media. He could tell the story of radio stations or television networks better than anyone, and persuade their audiences to fall profoundly in love, by sticking to the basic human emotions like truth, desire, love. (My favorite? “Love songs, nothing but love songs” for WPIX-FM, directly appropriated for an Off-Broadway show). He didn’t end it there, with a creative, strategic and statistical brilliance that combined, to quote Bob Pittman (from another context completely) “math and magic.”

What I appreciated most was his intense, almost overwhelming desire to teach me everything he knew at exactly the moment I was desperate for his knowledge. In fact, as I observed him with myself and others over the years, it would be fair to say that if you wasn’t interested in being taught, Dale Pon wasn’t interested in you. And, not for nothing, it went both ways. He’s was as incisive a questioner and listener as one could want. Curious, intrigued, dying to know anything on almost any subject. In my case, it meant that we generally spent six or seven days together all the years we were together in two different media capitals. Whew!

Difficult? Challenging? Exasperating? You bet. I wouldn’t trade that time for anything.

Dale’s the one who changed the course of my work life, and as Scott Webb says below, “he changed me.” It’s because of Dale that I stumbled on my understanding that I wasn’t a music guy after all, or even a TV baby, but a pop culture sponge. I wouldn’t had the chance to participate in any of the culture shiftings I got to observe first hand. Who knows, maybe I would’ve stumbled through a life of complete dissatisfaction. That’s how profound his influence was on me.

Dale’s birthday recently passed by, and stuck for cogent things to say about him, I reached out to a few friends who’ve crossed his path and might be better at expressing themselves than I ever could. You’ll notice they’re pretty powerful personalities themselves, but Dale made an impression. Boy, did he make an impression. (I left out some of those controversial moments and unproductive comments.)

Well, our friends didn’t let us down. They got to the heart of the matter in ways I never could. Thanks everyone.

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Herb Scannell: Mythical.

Dale Pon is mythical.

He’s the man who “wanted his MTV” and got the world to say the same. My friend Fred always claimed that he learned whatever he knew from Dale and whatever I know I learned from Fred so it all comes back to Dale. Or blame them both. Happy Birthday Dale! Forever young!

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Bob Pittman: The Mad Scientist.

Dale Pon is the mad scientist of advertising. Full of passion, always with a breakthrough idea and the urgency to get it done quickly with no compromises. He made a huge contribution to my successes at WNBC Radio, MTV and even Six Flags theme parks. One of a kind….happy birthday to him from a big fan!

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Scott Webb: “Most people don’t know how to think.”

Dale Pon didn’t just change my life he changed me. He encouraged me to be brave and fearless and never stop solving problems. He is one of the smartest people I have ever met and the teacher I will never forget.

You never know how things are going to happen. After 4 years at Sarah Lawrence, one of the most expensive liberal arts schools, I was clueless about a career. My secret wish was to write comics (mostly because I had no talent to draw). Unlike most of my class at SLC my parents were basically working class folks with a yankee work ethic who expected me to not move back home after graduation.

One January evening, I was talking with my friend Betsy K who had just graduated. She had just returned home from job hunting in the city. She had an interview at WNBC Radio; they weren’t hiring but were looking for interns. “What’s an intern?” I asked. I was so naive.

I immediately fell in love with the energy of the radio station. I had to work there.

“You’ll be working for Dale Pon. He’s very demanding. Do you think you can handle that?” asked Buzz Brindle, a WNBC program director. Me? Of course! I’ve got my Yankee work ethic and my Sarah Lawrence education. I thought I was ready for anything. But I was not ready for Dale Pan.

Dale was bigger than life, louder than anyone else in the company and frequently slammed the door to his tiny office. I found him brilliant, charismatic and intimidating.

My first big assignment for Dale was to create a chart of all the radio stations in New York and rank them by ratings performance over the past 2 years. I wanted to do a great job for him but the truth was that I was terrible at chart making. I was a liberal arts comic book kid and he had me doing statistical analysis and I knew if I did a bad job I would probably face his famous wrath behind a slammed closed door. But despite my inept chart building, Dale painstakingly taught me how to read the Arbitron reports and methodically went through my work and instructed me how to correct it. I learned more from him over that 5 month internship than I had in my last 2 years of college. But my lesson wasn’t in statistical analysis or radio promotion. Dale had high expectations of me, he believed in me and he was demanding in the pursuit of excellence.

A lot of people at the station didn’t like Dale mostly because he would raise his voice to make a point or because he was passionate about his beliefs, or would not hold back his opinion when something was mediocre, pedestrian or just plain stupid. Dale expected greatness in people, work and business. His mission was to win and often people found that difficult to embrace. I, on the other hand, found it awesome. I guess he reminded me of the comic book heroes I admired so much - characters who were extraordinary and could do things other people thought were impossible. Most people at the radio station were happy to have a job and get a paycheck and could care less about being #1 but for him that was all that mattered.

It didn’t hurt that he was so smart and insightful. He had the uncanny super power of understand exactly what the problem was – and he taught me that creativity was the ability to solve problems in fresh, innovative and smart ways.

“Do you know why I hired you?” he asked me at the end of my internship. “I didn’t want to hire one of those kids who studied advertising or media in college. Those kids have been ruined. They show up thinking they already know everything - and they haven’t even had a job yet. You didn’t know anything but you were willing to learn and think. Most people don’t know how to think.”

Those were some of the most important words I ever heard. They lit a fire of confidence and trust in myself that did not exist before and served me throughout my life, not just in work but in life.

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Bill Sobel: He yelled at me on the phone…no idea why.

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Noreen Morioka: “Good creates things, and Evil destroys it.”

There is no doubt that we all have a great Dale Pon story. Dale never did anything average. He did everything in extremes. Whether you were laughing so hard that you couldn’t breathe or wanting to shake him like a rag doll, Dale is unforgettable.

One of my favorite Dale Pon stories is when he was pitching a new name for a network. Since the channel was going to be all re-runs of a lower level, Dale named it Trash TV. I loved it, but when I presented my designs, he thought what I did wasn’t trashy enough and proceeded to get another designer to put flies swarming around the proposed logomark. When he presented his concept to the network president, he stopped at the building dumpster and pulled out garbage to bring up to presentation. Needless to say, the meeting didn’t go well, and the president was furious that Dale brought garbage into his beautiful office. Stern words were exchanged on both sides and security was called to take Dale and garbage out of the office. He called later to let me know they were going to search for another name. The network changed their name several times since then, and each time Dale would just smile. We all knew his solution was genius.

Like you, Fred, Dale taught me a lot. He taught me never to settle, always come back stronger and most importantly what the difference between good and evil was.

“Good creates things, and Evil destroys it.” Thanks to this simple Dale Pon-ism, I live my life by.

I will always have a deep respect and love for that guy. Happy Birthday, Dale. You are the true original.

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Tina Potter: So thoughtful.

Dale is a magnanimous gift-giver. I once told him the Chrysler Building was my favorite building in NY, and the next time I saw him, he brought me a beautiful framed B&W print of the building! So thoughtful. I still have it!

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Judith Bookbinder: ANYTHING IS POSSIBLE.

I learned a lot from Dale in a very short time.

Dale taught me that ANYTHING IS POSSIBLE.

If you want to make something happen, figure it out or find someone who can do it for you.

This simple wisdom is something that has served me throughout my professional life.

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Ed Salamon: Directness and Simplicity.

I always appreciate the opportunity to say something nice about Dale, but the stories that first came to mind involved women, drugs, and fistfights. Or were otherwise too self-incriminating. Here’s what I’ve come up with:

The genius of Dale’s creativity is its directness and simplicity (like “I Want My MTV!”). Unfortunately that sometimes resulted in it being underappreciated.

When we worked together at WHN Radio I once heard our boss say to Dale at the end of the day “We need a new ad campaign slogan for the station by tomorrow. Take twenty minutes tonight, walk around the Village and come up with something.”

When I later started The United Stations Radio Network with Dick Clark and others, we hired Dale to create the logo, which he agreed to do out of friendship for only a nominal fee. The logo was a distinctive type face, with the letters stuck together (“united”). Some in the company commented that it was too simple; others appreciated its genius.

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Tom Freston: A great bunch of guys.

Dale is a great bunch of guys. Argumentative, persistent, a perfectionist, fun, difficult, and smart as hell….winning, ultimately, most of his arguments. Happy birthday.

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Therese Gamba: “Work smarter, not harder.”

Long before there was “Better Call Saul” it was “Better Call Dale” when you were faced with a creative challenge. Dale had a long term relationship with MTV Networks having been part of the launch team for that iconic channel. So when The Nashville Network had to be relaunched as the new home of the WWE (then the WWF), oh and it had to be done in three months, there was only one person to call.

My first meeting with Dale was over lunch at the Mercer Kitchen. Fred had prepped me that Dale liked metrics and to be ready for a lot of questions. But as anyone who’s met with Dale will tell you, you can never be fully prepared for the hurricane of creative energy that is Dale Pon.

I was prepared with my Venn diagram of the overlap between TNN’s current viewers and the WWE’s viewers (no surprise, not a big cross section). Then the questions started in what felt like a ping pong match at warp speed.

Two hours into the lunch I had held my own and received the nod from Dale that I was on the right track. I was exhausted, relieved and thrilled to have passed the test. I learned that once you’ve basked in the glow of Dale’s approval, you were hooked. I also learned that I had become a member of an exclusive club, “Dale’s World.” My fellow club members all know the stories, share the memories and still live by what he taught us.

Dale always said “work smarter, not harder.” That mantra has never failed me just as Dale never failed to be supportive, inquisitive and completely one of a kind!

Happy Birthday dear Dale!

(From left): Dale Pon, Anne Grassi, Scott Webb at WNBC Radio, circa 1980.

Alan Goodman: “I’ll give you 50 bucks to fuck up this guy’s haircut.”

Two stories about Dale Pon –

1. I was in Paris with Dale (who ran our advertising agency – my mentor was now my supplier) and MTV’s VP of Programming, Les Garland. Dale and Les weren’t pals. How tense was it? We had dinner together one night in Paris and Les bought us all expensive Cuban cigars. Outside, Dale waited until Les split off to go to his hotel. The first second Les was out of sight, Dale pitched his cigar in the gutter.

We had flown on 10 hours notice so we could shoot Mick Jagger saying “I Want My MTV!” Dale had already shot a number of other MTV generation stars shouting the line, and some were even biggish. But Jagger was THE “get.” We knew that once Jagger blessed our campaign by participating, we’d get anyone else we would ever want. (We did).

We waited around the hotel a couple of days until we got the bat signal that Mick was ready, and raced over to his hotel to set up. Very quickly, what was supposed to be Dale’s shoot had become Les’ shoot. Dale was pissed, rigid with anger, sequestered with me in the adjoining room forced to watch the proceedings on a monitor. I went over to him to try to diffuse the situation. I can’t remember what I told him. But I remember his response, word for word:

“Do you think I need to hear any of this right now?”

I realized why I was in Paris. I was there, as the client, to witness who threw the first punch.

I had spent every single day of the past four months in the office trying to figure out how to do a job I had no idea how to do. I was exhausted. I had zero interest in the kind of politics and shenanigans that network executives pull, and I didn’t want to be there. That’s it, I decided. I’ve had enough. I’m a writer. I have a talent. I can make a living. I will get back home and I will immediately quit.

I said nothing. I smiled through the rest of the shoot. We stopped at a bistro after we wrapped, and had a lovely dinner and wine with the crew. It was a celebration. For good reason. We had Jagger. I stayed quiet. Silent, even. No one knew of my plans.

When we reached the hotel, Dale drew me aside and sat me down.

“You’re not going to quit,” he said. What?! Huh?! How did he know? On top of everything, the man can read minds??!

“You’re not going to quit. You are at the very beginning of something that will change the world, and you will have a great career. You have to stay there and be a part of that and do what you do really well. You cannot leave. Do you understand? You cannot quit.”

He went up to bed. I went home the next day, and didn’t quit. Instead, I stayed and helped make the thing that changed the world. And it was the beginning of a great career.

2. I went to get my hair cut at Astor Place one day. I walked up to my guy, and there in the chair was Dale. I didn’t know Dale used my guy. Dale looked up at me, looked at the barber, and told him, “I’ll give you 50 bucks to fuck up this guy’s haircut.”

…..

Scott Webb (unedited): “He didn’t just change my life he changed me.”

You never know how things are going to happen.

I was a few short months away from graduating from Sarah Lawrence College with no idea what I would do for a job. I was a kid who had grown up reading and loving comic books. After 4 years at one of the most expensive liberal arts schools I was clueless about a career. My secret wish remained to write comics (mostly because I had no talent to draw). Sarah Lawrence was a great place for me. It was there that I understood how to learn. I was naturally curious and SLC exposed me to a world of ideas and brilliant people (students and teachers). But Sarah Lawrence was not a place where I could start a career path. 5 months from graduating I felt the looming pressure of finding a job and making money. Unlike most of my class at SLC my parents were basically working class folks with a yankee work ethic who expected me to not move back home after graduation.

One January evening, I was talking with my friend Betsy K who had just graduated. She had just returned home from job hunting in the city. She had an interview at WNBC radio with a guy named Buzz Brindle. She said they weren’t hiring but were looking for interns. “What’s an intern?” I asked. I was so naive. She explained that an internship is where you work for free - for experience and to get your foot in the door. WNBC was part of NBC - one of only 3 existing TV networks at the time and my eyes lit up at the idea of of doing anything with a big media company. So I lined up a meeting with Buzz to see if I was intern material.

Buzz was sweet and avuncular and I immediately fell in love with the energy of the radio station. I had to work there. “We’re looking for interns in the promotion department” Buzz explained and I just nodded as affirmatively as possible. “You’ll be working for Dale Pon. He’s very demanding. Do you think you can handle that?” Me? Of course! I’ve got my Yankee work ethic and my Sarah Lawrence education. I thought I was ready for anything. But I was not ready for Dale Pon.

I interned at the station 2 days a week and It appeared I was the only male in Dale’s promotion team. I reported to a woman named Anne Grassi but Dale was the boss. Dale was bigger than life, louder than anyone else in the company and frequently slammed the door to his tiny office. I had never worked in an office before. I found him brilliant, charismatic and intimidating. The other interns and I would huddle in the conference room where we did our work and wait for our next assignment.

I did many things as an intern but my first big assignment for Dale was to create a chart of all the radio stations in New York and rank them by ratings performance over the past 2 years. This was no small task - this was way before computers in offices - and required me to go to the NBC research department to collect dozens of Arbitron ratings books and laboriously extract the data he wanted and lay it out graphically. I wanted to do a great job for him but the truth was that I was terrible at chart making.

I was a liberal arts comic book kid and he had me doing statistical analysis and I knew if I did a bad job I would probably face his famous wrath behind a slammed closed door. But despite my inept chart building, Dale painstakingly taught me how to read the Arbitron reports and methodically went through my work and instructed me how to correct it. I learned more from him over that 5 month internship than I had in my last 2 years of college. But my lesson wasn’t in statistical analysis or radio promotion. Dale had high expectations of me, he believed in me and he was demanding in the pursuit of excellence.

The chart was part of his battle plan to make WNBC #1 in the NYC market and when I understood the big picture of what he was doing I felt even more inspired and willing to do anything in the service of that cause.

It didn’t hurt that he was so smart and insightful. He had the uncanny super power of understand exactly wha the problem was - and he taught me that creativity was the ability to solve problems in fresh, innovative and smart ways. “Do you know why I hired you?” he asked me at the end of my internship. “I didn’t want to hire one of those kids who studied advertising or media in college. Those kids have been ruined. They show up thinking they already know everything - and they haven’t even had a job yet. You didn’t know anything but you were willing to learn and think. Most people don’t know how to think.” Those were some of the most important words I ever heard. They lit a fire of confidence and trust in myself that did not exist before and served me throughout my life, not just in work but in life.

.....

Susan Kantor and David Hyman were on the opposite side of their relationships with him, Susan as a long time account executive in Dale’s agencies, and David as a client. Drew Takahashi, a trusted friend and wonderful creative partner.

I’m particularly fond of the pull quote from David’s recollections. Having had hundreds of restaurant meals with DP over the years, waitress confusion was probably my overriding remembrance.

Susan Kantor has traveled to the upper heights of television since her time with Dale Pon in the 1980s. But when you read her memoir below he prepared her well, as he did with all of us.

Drew Takahashi is a director who co-founded (Colossal) Pictures, San Francisco, one of the most creative production companies of the 1980s and 90s, and one of the key creative suppliers to the first decades of MTV.

David Hyman became my head of marketing at the MTVi Group when the company purchased Sonicnet.com, one of David’s early digital music endeavors (he’s gone on as founder of MOG, one of the seminal digital music streamers).

…..

Susan Kantor: “Lead, don’t follow”. Love, Dale”

Hands down, Dale Pon was my most influential career mentor. Ridiculously smart, enormously passionate, admirably courageous and truthfully a little scary.

We would all brace ourselves for the moment the elevator doors opened and the sound of his fiercely determined walk in his trademarked cowboy boots could be heard. With the first, “good morning” would come a rapid fire interrogation of where we were at on all the “to do’s” he had just given us an hour ago. “Why isn’t it done yet?”

Leslie Fenn-Gershon and I used to joke about putting a Valium in his Perrier so we could get through the day.

When I got to the office in the morning there would often be a “note”, on my chair written with red Sharpie marker on yellow pad lined paper (pre-email), from Dale. His handwriting, had as much conviction as his spoken word. These encouraging notes were meant to guide, remind, teach, mentor or simply, to show his appreciation - often complimentary, occasionally piercing. I still have them.

“Lead, don’t follow”. Love, Dale

“Let’s make things happen!” Love Dale “

“There are children and there are parents. Be a parent.” Love, Dale “

“Everyone wants to be told what to do. Tell them.” Love, Dale “

“We had a good day today. Thank you for your help.” Love, Dale

As we chased rock stars around the globe helping MTV and VH1 revolutionize the music industry, and traversed across the county to position many TV and radio stations in their market, Dale always imparted the importance of what we were doing and demanded we do our very best, every day.

He recognized my innate work ethic, enthusiasm and willingness to do whatever it took to learn and succeed – he also knew how young and naïve I was. Ripe for mentorship and direction. I got both, and then some. The Dale Pon “boot camp” was not always pretty, but it was always colorful, impactful, memorable and most importantly, meaningful.

Not only did he teach me all about advertising and the importance of finding the unique selling proposition and saying it as simply as possible so people would remember it, he showed me the world and how not to be intimidated by it. He made me self-aware of my talents and my shortcomings. He also taught me there was no substitute for doing the work.

To this day, I love you Dale and I thank you for believing in me and giving me the chance of a lifetime.

Belated birthday wishes and hope to see you again soon!

…..

Drew Takahashi: “…he gleefully pushed me to do stuff I hated.“

After seeing you and the MTV crew took me back to good/bad old days. I realized I missed Dale Pon.

Back in the day I didn’t know he was a mentor. I only knew he gleefully pushed me to do stuff I hated. In the end I realized you and he knew what was better for me than what I knew. Someday I’ll learn my lesson.

Steve Linden and I went to shoot with Dale for WNBC [AM]. He asked us to meet him at Windows on the World bar for drinks and dinner. He showed up two hours later and Steve and I were suitably toasted. Then he insisted we join him in a very alcoholic dinner. I was so hungover the morning of the shoot I didn’t know how I could direct the talent, Don Imus. Dale apologized for needing to shoot something first so we didn’t roll my spot until the afternoon. Saved my ass.

Many more memories. The weirdest was him in the Colossal bathroom cleaning crabs of their guts for a surprise picnic in the middle of our animation camera shoot.

…..

David Hyman: “[He] always confused the waitresses.”

Here’s mine:

Dale came up with the name of my company, Gracenote. I think that just came really easy to him.

For a while he was a really great teacher to me. I stubbornly couldn’t take the occasional abuse that went with it, even though it was probably good for me. I was honored to be asked as the voice over for a $30 million tv ad campaign by Dale and encouraged to do voice over work. Thrilling to be informed I had career chops outside of sales & marketing.

Dale is the only person i know that would always order two margaritas for himself (at the same time). It always confused the waitresses.

.....

With Dale Pon @WHN Radio. 1977, New York City.

It was against all odds, but my late 70s stint in country music radio hooked me up with a mentor who made the difference.

Before I got to New York’s 1050 WHN, I was aware of the station. Well aware. Sometime in 1976, my friend/future partner/father of my beloved nephew and niece, Alan Goodman, asked me whether I’d seen some giant subway posters (the top photo above). Of course, I’d noticed them, with large portraits of Johnny Cash, Elvis Presley, The Eagles, Charlie Pride, Loretta Lynn, Kenny Rogers, Olivia Newton-John, Linda Ronstadt and seemingly dozens of other traditional and contemporary stars of the era. There were so many, they seemed to be everywhere. And, they were gorgeous, well designed, in a sea of drop-dead-New York graffiti, hum drum posters, homeless campers and mess, standing out like nothing we’d ever seen down there before. Too bad it was for music we couldn’t stand.

After I got the job with the station’s creative director and ad man, Dale Pon (another story for another time), I found out a bit about the thinking at the station and the advertising campaign. How did a city that was the home of the most sophisticated popular music of all time –to the likes of Duke Ellington, George Gershwin, Irving Berlin, Frank Sinatra– welcome the shitkickers in and become the second most popular radio station in the United States (or the world, for that matter)?

Dale was the supremely gifted Vice President of Creative Services, and he introduced me to Ed Salamon, the station’s innovative program director (Neil Rockoff was the General Manager who brought them together), who used a Top 40 radio approach* to country radio, upending the entire (typical New Yorker’s) notion that country music hadn’t evolved since Hank Williams.

No ordinary radio promotion guy, Dale had been a media buyer at Ogilvy, a radio upstart (a mild description) when the world switched from AM to “progressive” FM, and run radio ad sales teams. In the 80s, he would go on to successfully run his own advertising agency, and together we started one of the most famous media campaigns of all time, “I Want My MTV!”).

Dale Pon wasn’t going to promote the station as cowboy boots and hats, like the last team did. He wanted big ratings for WHN, big ratings. They all did.

* If you’re interested, Ed’s written a book that details his contrarian, and wildly successful, methods called WHN: When New York Went Country.

WHN Radio illustrations from top to bottom, all creative direction by Dale Pon 1977: New York City subway station double truck posters (L-R) Olivia Newton-John (obscured), Linda Ronstadt, Elvis Presley; Olivia Newton-John; Kenny Rogers; Television/Radio Age cover ads; Linda Ronstadt double truck subway poster.

.....

I Want My MTV! Early 1980s, New York City.

MTV had been on the air for six months and we’d fired the storied Ogilvy & Mather and hired Dale Pon’s LPG/Pon (a joint venture with George Lois) at my insistence. Now they were presenting their first trade campaign for advertisers and cable operators and my first big decision was being called into question. America is fast becoming a land of Cable Brats! “It’s audacious! Outrageous! Just like you guys.” George Lois was a big talker, a big seller, and a bit of a smart ass, loudmouth. He was also smart. Even though I knew he designed the “cable brats” thing, it was my brilliant mentor Dale, who’d never steered me wrong creatively or strategically, who was behind the whole thing. His ex-girlfriend, and now one of my best friends, Nancy Podbielniak, had written the copy. Besides, I agreed with Dale that generally trade advertising was a waste of time and bigger waste of money. Consumers were where it’s at, and weren’t all the tradesmen we were hopping to reach consumers too? If we had a knockout punch of consumer advertising our job would be done. I knew he was keeping his powder dry for the big show.

America is fast becoming a land of Cable Brats! There’s an incorrigible new generation out there. They grew up with music. They grew up with television. So we put ‘em both together – for the Cable Brats, and they’re taking over America! They’re men and women in the 18 to 34 age range advertisers want most – plus the increasingly important 12 to 17 segement. The Cable Brats buy all the high volume, high ticket, high tech, high profit products of modern America. They’re strong-willed, cunning, crazily impulsive – an advertiser’s peerless audience. They look and listen and they want their MTV. And they buy, buy, buy. Rock'n'Roll wasn’t enough for them – now they want their MTV. (The exploding 24-hour Video Music Cable Network (and it’s Stereo!)

George was certainly right. It was audacious, and it was a touch outrageous. Somehow, the tone wasn’t quite right, but after the crap Ogilvy had done for us, it was way better. Besides, hidden in there was the sand grain that was going to lead us to our pearl.

.....

I Want My MTV! 1982, New York City.

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I WANT MY MTV! took the phenomenon that had taken over the imaginations of young America and supercharged it into a famous brand with just about everyone in the country. I just googled [in 2010] “I Want My MTV” and it popped up almost 4,760,000 results. Pretty amazing for an advertising campaign that ceased to exist 22 years ago.* Pretty potent. The whole thing was the work of my mentor and friend Dale Pon. He’d been my first boss in the commercial media, at WHN Radio in New York when it was a country music station. He’d recommended me for my job at Warner Amex Satellite Entertainment Company, as the production director of The Movie Channel, and eventually as the first Creative Director of MTV: Music Television. We’d fallen in and out over the years, but in late 1981, when it came time for us to hire an advertising agency again –at first, the top dog had vetoed Dale as not heavy enough for a company like ours– with a lot of help from my immediate boss Bob Pittman, I was able to convince everyone that Dale understood media promotion better than anyone else in America. Anyone. Besides, didn’t he have “insurance” with his partner, legendary adman George Lois?

Dale Pon (via MTV: The Making of a Revolution)

No one had ever encountered an ad executive like Dale, because he had the unique ability to be completely and analytically strategic –”math and magic” Pittman might call it– and be wildly, and intelligently, creative at the same time. An almost unheard of combination, especially in media advertising. Sure, he had a volatile nature, in advertising that was often a given (look at his partner). But it was his strategic, creative abilities that really set him apart.

We’d already done our first trade campaign, the “Cable Brats,“ to the discomfort of most of the suits in the corporate marketing group (Bob and his team, me included, were in programming). But Dale didn’t buy into the efficacy of trade ads anyhow, so now were onto the big show, television advertising. The only problem was that we all recognized that an effective campaign would cost about $10,000,000. Our budget only had $2,000,000, and if we didn’t spend it quickly the corporate gods would probably take it away in the fall.

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"I want my Maypo” commercials, created by John Hubley

Looking back, the core creative ended up being the most straightforward part. Dale’s closest friend and creative partner, Nancy Podbielniak had written the cable brats copy and had a tag line “Rock'n'roll wasn’t enough for them – now they want their MTV!” That rung a bell in George Lois, someone who never missed a chance to abscond with someone else’s good idea, and decided to rip off his own knock off of a Maypo campaign from the 1950s and 60s (animator John Hubley originated it as a set famous animated spots, and George had unsuccessfully knocked it off using sports stars) and presented a storyboard that completely duplicated his version. Rock stars like Mick Jagger were saying “I Want My MTV” and crying like babies, implying they were spoiled children being denied. No one was buying it until Dale let me know that there was no way he’d ask Pete Townshend or Mick to cry for us. “Pride! They need to show their pride in rock'n'roll! They’ll be shouting!” After a little corporate fuss we were able to sell it in.

AMERICA! DEMAND YOUR MTV!

Now, it was the next part that was completely and utterly brilliant. Because Dale came from the school that great creative was all well and good, but unless it could move the business needle, what good was it? In this case, the needle wasn’t ratings (cable TV didn’t have ratings in 1981), but active households, distribution for MTV. Cable operators were all relatively old guys who thought The Weather Channel was a better idea; they’d turned a deaf ear to their younger employees who were clamoring for us instead.

To dramatically simplify the strategy Dale organized, he decided to only advertise in markets where:

• There was enough penetration to justify a modest ad spend.

• But where there were critically large cable operators on the fence about taking MTV.

• And that we could afford a 300 gross rating point buy (three times heavier as any consumer products agency would suggest) for at least four weeks in a row (the traditional media spend would call for pulsing 10 days on and 10 days off).

The “G” in LPG/Pon was Dick Gershon. Along with data from our affiliate group, he crunched and crunched and crunched until he came up with a list of markets and dates we could afford. It was 20% of what we needed, but everyone figured if we could really start to knock off a bunch of cable systems, get them actually launch our network, the domino effect would solidify MTV’s hold on the market forever.

Strategy in place, the creative was back on the front burner. The basic campaign was a great way to get famous rock stars endorsing our channel, but where was the close? What would actually make the 'ka-ching’ we needed? Luckily, back in the day there was only one way to for a homeowner get anything from your reluctant jerk of a cable operator (they figure they held all the cards, why should they do anything to make life better for their consumers?). And what was it that young adults loved to do? Dale knew immediately.

No one alive in front of a television set in the summer of 1982 could ever forget

Pete Townshend, with the wackiest haircut of his career, shouting at the video camera:

“America! DEMAND your MTV! Call your cable operator and say, "I WANT MY MTV!!”

We shot the spots wherever the rock stars would have us for 20 minutes (they still weren’t really sure this MTV: Music Television thing was going to be good for them). Our director and producer, Tommy Schlamme and Buzz Potamkin, got together with some puppeteers to choreograph the 'dancing’ stereo television. I asked my partner to go into the studio to edit the music sections when they weren’t rocking enough, and –poof!– famous advertising.

Nothing to it, yes?

* For comparison, “I Want My Maypo” posts 112,000 results on Google. Or “Where’s the beef?”, another famous 1980’s campaign for Wendy’s returns 176,000 (or if you only use that phrase, which has been appropriated for all sorts of uses, you get 2,640,000).

.....

“Mee, mee, me, meeee!” MTV Networks Online, 1999/2000 New York City

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MTV got Sonicnet in the middle of another transaction they thought would be more important. But as the internet heated up in the business world’s consciousness, Sonicnet.com became something they thought to pay attention to. Which meant that, as president of MTV Networks Online, I was trying to help make the thing successful.

vimeo

MTV had also acquired a then-unique personalized radio application. Coupled with Sonicnet, we decided an ad campaign would supercharge the site, something large media folks like us thought was necessary. (It wasn’t.*)

Over a few objections, I hired my brilliant, challenging mentor Dale Pon to create our campaign. Dale had done our the iconic “I Want My MTV” for me in the early 1980s and constantly proved himself to be the most creative and effective media ad man in America. The stunningly talented and perfectly musical film director Tim Newman was already on our online staff (after turning his back on a career that included some of the greatest music videos of all time), so he was really the only person who we thought could direct the spots. Dale hustled our head of marketing, David Hyman, into his one and only –and perfect– voice acting job. (And, I should put in a word for the Sonicnet logo. Designed by AdamsMorioka, from a concept developed by Fred Graver.

vimeo

You can see for yourself that Dale knew how conceive big ideas to bring out the best from stars. With Tim in the director’s chair, the results were pretty stunning. And, to cap it, Dale really knew how to use MTVi’s clout to reach for the stars (like Isaac Hayes, James Brown, Joshua Bell, Jewel, Pat Metheny, Sheryl Crow, Beenie Man, Gang Starr, Faith Hill, Lindsey Buckingham, Don Henley, Al Jarreau, Alice Cooper, Blink 182, Kenny Wayne Shephard, Bon Jovi, Buck Cherry, Charlotte Church, Christina Acquilera, Dwight Yoakam, The Ruff Ryders, Eve, Johnny Resnick (The Goo Goo Dolls), kd lang, Buck Cherry, Kelis, Lindsey Buckingham, Melissa Etheridge, Moby, Seal, Sisqo, Static X, SheDaisy, Hillary Hahn, Charlotte Church, Yo Yo Ma, and Sting.)

This campaign, like every other one I’d worked on with Dale over the decades, was a hoot. One of the best things to come out of my one year in the early corporate internet.

…..

* IMHO, one of the great mistakes media companies made during Web 1.0, was thinking that their traditional audience reach would give them huge advantage in building web destinations. They’d made the exact same mistake in the transition from broadcast to cable. It didn’t occur to them in either era that a basic misunderstanding of the newest medium –not knowing what the audience wanted from the upstarts– would not attract anyone to their websites.

And, by the by, the same mistake has been made from popular websites bungling the transition to mobile. And, so it goes.

#Dale Pon

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maheshsomani · 5 years ago

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Post RERA Directives On Issuance Of Advertisements

Section 37 of the RERA Act and rules made thereunder envisages that the authority has the right and allowed with the power to generate directions in the proper time to the real estate agents, allottees and promoters as it is considered as necessary for them.

Karnataka RERA has recently given directives for displaying/advertising of the real estate projects on Print Media, outdoor hoardings, FM Radio or via SMS on electronic media, the listed factors below should be mentioned:

The Registration Number issued by the Authority should be mentioned on the corner of the advertisement on the outdoor hoardings or in any other visual medium during the advertisement of projects on Print Media. The font used for the said advertisement should be more than half of the lettering and numbering size used for it. There should not be any disclaimer clause mentioning the changing “information is subject to change”. The “RERA Registered” information should not be less than 10% of the length and breadth of the advertisement generated in print media whichever will be higher in the number of the measurement. The Registration Number issued by the Authority should be prominent and frequently mentioned during the advertisement of the project done on FM Radio or through electronic media and SMS.

If the Completion certificate was applied before 11/07/2017 has been obtained the same information has to be mentioned in the advertisement. The registration number of Karnataka RERA should be mentioned in the display board installed on the site.

‘These variant of directives by RERA authority will certainly boost the confidence of consumers at large and brings more transparency in information so provided. These advertisements will show the similarity of the facts of information at all places of advertising media. Advertising and PR agencies need to adhere to the same in the strict formats. The post era of RERA creates a level playing confidence amongst property seekers and other stakeholders of the real estate industry. These directives will soon be followed by other RERA authorities in their respective state/UTs. Both promoters and real estate agents need to follow them in a strict version with a true spirit of law. Thus, creating a more compliance culture amongst real estate industry players.” Said, Mr. Mahesh Somani: Vice President – NAR India ( National Association of Realtors, India ).

#RERA

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globalteachonline · 2 years ago

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What you'll learn Create effective audio ads – ones that sell your client’s or business’s products and services. You'll learn tips, techniques and secrets from two audio ad veterans – each with over 25 years of experience and the principals of The Norman Agency – "The Sound of Marketing®".You'll learn everything you need to write audio commercials that sell – and how to get them produced.You'll learn how to develop the all-important Creative Brief;Powerful opening lines you can use word for word;Customizable script concepts;How to determine production budgets;Where and how to get your commercials produced;How to find and work with professional voices;How to work with celebrities;How to work with clients who voice their own spots;How to create testimonial commercials that feature customers of the advertiser;How to find sound effects and music for your ads;How to present your scripts to clients;How to get the best out of recording sessions;How to give error-free scheduling instructions to radio and other media that will run your ads;And much more.Show moreShow lessAudio Advertising – A Booming and Growing Industry AM & FM radio, satellite radio, streaming services, podcasts. Together, they’re a booming, multibillion industry. And all of them carry audio advertising. That means there are outstanding opportunities for those who know how to create radio commercials and other types of audio ads – and those opportunities are growing. How Do You Take Advantage of the Opportunities? But to take advantage of them, you must know how to create audio commercials that sell. This course provides you with a step-by-step, start-to-finish process that will enable you to easily write audio commercials and get them produced. You’ll be able to create commercials that work to sell all kinds of products, services and more. Who Are We to Teach You? How do we know? Because we – your instructors, the principals of The Norman Agency, “The Sound of Marketing”® – have created thousands of audio advertising campaigns during our careers, for consumer-focused products and services as well as B2B clients. And what we’ll teach you are the skills and techniques that we use year in and year out. What Are You Going to Get from This Course? · 3 hours of lectures · proven techniques · downloadable examples · customizable templates · the confidence to write and get your audio ads produced · access to your instructors through the comments section; answers to your questions within two business daysWho this course is for:This course is designed for you if you’ve never or rarely written and produced audio commercials (that is, ads for radio – AM/FM, satellite – podcasts, streaming services and other media), but you’re in one of the following groups:Staff Copywriters who have recently been hired by a radio station or an ad agency;Freelance copywriters who want to add these skills to their list of services;Radio station producers and freelance producers who might have to write commercials;Radio station sales reps who need to write commercials for their clients;Marketing managers who want to knowledgeably create or supervise the creation of commercials;Business owners who want to fully understand the whole process or write their own ads;Announcers or actors who want to offer audio ad writing as an additional service for their clients;PR practitioners who want to provide audio ads to their clients;Advertising and media students who want to add new skills to their job-search toolkit;Podcast producers and hosts who have to create commercials for their shows;And many others.This course is NOT for people who want to learn the technical skills of recording. In other words, we won’t be covering – and in this course, you don’t have to know or learn – anything about how to use production software or hardware.

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ritzmediaworldrmw · 5 months ago

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Best FM Radio Advertising Agency in Delhi NCR Noida Ritz Media World

Radio advertising is still there and well in the changing world of advertising, where different trends come and go, then the radio is very far from being out of date. The Ritz Media World is the most famous name in this long-lasting medium, which has its strong commitment to the achievement, creativity, and the customer satisfaction.

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adagencychennai · 2 years ago

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Radio Advertising Pondicherry

Cost Of Radio Ads In Pondicherry Radio advertising in Pondicherry is the promotion of products or services during radio commercials or programs. Buying commercials, frequently called spots in the radio industry, to promote their products or services in Pondicherry. Advertisers pay commercial radio stations for airtime and, in exchange, the radio station broadcasts the advertiser’s commercial to…

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1079mixfm · 5 years ago

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New Post has been published on https://mix1079.net/yourbestcher/?utm_source=TR&utm_medium=1079mixfm+on+Tumblr&utm_campaign=SNAP

Give us your best Cher and win an exciting VIP Experience!

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GIVE US YOUR BEST CHER Official Contest rules

1. NO PURCHASE NECESSARY TO PARTICIPATE OR WIN. VOID WHERE PROHIBITED, SOME RESTRICTIONS APPLY.

2. SPONSORS: Entravision Communications Corporation (“Entravison”), owner and operator of radio station KVLY-FM, 107.9 MIX FM, located at 801 N. Jackson Rd (the “Station”, and collectively, with Entravision, the “Sponsors”).�� The administrator of the Contest is Entravision.

3. DATES OF THE CONTEST: The “RICOS FIESTA WITH 107.9 MIX FM” contest (the “Contest”) will take place from February 18, 2020, to 1:00 pm Central Time on March 16, 2020 (the “Contest Period”).

4. ACCEPTANCE OF OFFICIAL RULES: By entering, you agree to be bound by these Official Contest Rules (these “Official Rules”). Written copies of these Official Rules are available by mail upon written request to 801 N. Jackson Rd McAllen, TX 78501, Attention: Promotions Director with a stamped, self-addressed return envelope.

5. HOW TO ENTER: Visit https://mix1079.net/ricosfiesta/ during the Contest Period and follow the instructions to complete and submit the entry form. You must include an original recipe with Ricos Product(s) as ingredient(s) (“Submission”). Entrants represent and warrant that their Submission is the original work of such entrant, it has not been copied from others, and it does not violate the rights of any other person or entity. Entrant further represents and warrants that their Submission adheres to the fundamental spirit of the Contest and does not contain any defamatory, obscene or otherwise unlawful matter or depict anyone engaged in any illegal, immoral or lewd act, any violent or pornographic material or contain any other inappropriate content (as determined by Sponsor). Limit: One entry and photo submission per person and one entry per e-mail address during the Contest Period. All entrant information, including e-mail addresses, is subject to the Privacy Policy of the Sponsor. By submitting your entry form you authorize the Station to announce your name on air.

6. PRIZES: Each winner will receive one Ricos Product prize pack (each, a “Prize”) that includes the following products: Ricos Product bag, 1 keychain, 1 koozie, 1 sticker, 1 cheese can, 1 nacho chip bag. The estimated retail value of each Prize is $50 (Fifty Dollars and 00/100). One (1) grand prize winner will be chosen to participate in a Facebook Live with DJ Roxy at the 107.9 Mix FM Studios (the “Grand Prize”) on or between Wednesday, March 18 and Friday, March 20, 2020, at a time to be agreed upon mutually between the Grand Prize winner and the Station. The winners may pick up their Prizes at the offices of the Station located at 801 N Jackson Road, McAllen, Texas 78501. A list of prize winners is available by mail upon written request to 801 N. Jackson Rd., McAllen, TX 78501, Attention: Promotions Director with a stamped, self-addressed return envelope.

7. HOW PRIZES ARE AWARDED: Each Friday during the Contest Period, a panel of judges comprised of certain Station employees and a representative of Ricos or their agency will select a potential winner from all entries received during the prior week. On or about; February 21, 2020, February 28, 2020, March 6, 2020, March 13, 2020, and March 17, 2020, the judges will also select a potential Grand Prize winner from all entries received during the Contest Period. The judges will score entries based on the following criteria: quality (33%), originality (34%), ease of preparation (33%). The entry with highest overall score will be declared the potential winner of such week (in the event of a tie, the entry with the higher score in the alignment with brand values criteria will prevail). Any potential winner will be notified by mail, email and/or telephone. If a potential winner: (i) cannot be contacted; (ii) does not respond within five (5) days from the date the Sponsor first tries to notify him/her; (iii) fails to return the official affidavit of eligibility and release as specified in Rule 10; (iv) refuses the applicable prize; and/or (v) the applicable prize or prize notification is returned as undeliverable, such potential winner forfeits all rights to win the Contest or receive the applicable prize, and an alternate potential winner may be selected. Upon contacting a potential winner and determining that he/she has met all eligibility requirements of the Contest, including without limitation the execution of required waivers, publicity, and liability releases and disclaimers, and, at Sponsor’s discretion, successful completion of a background check, such individual will be declared the “winner” of the Contest. Participants must provide legal proof of eligibility (Eligibility requirements are set forth below). The Grand Prize winner will be notified by telephone by a representative of the Station on March 17, 2020.

8. ELIGIBILITY: The band representative must be at least eighteen (18) years of age with a valid social security number at the time of entry. Employees and the families of employees of the Sponsors and their affiliates, subsidiaries, agents, distribution, advertising and promotion agencies, or any other companies engaged in the development, production or distribution of Contest materials are not eligible.

9. CONDITIONS OF PARTICIPATION: By participating in the Contest, you agree to be bound by the decisions of the Sponsors. Persons who violate any rule, gain unfair advantage in participating in the Contest, or obtain winner status using fraudulent means will be disqualified. Unsportsmanlike, illegal, disruptive, annoying, harassing or threatening behavior is prohibited. The Sponsors will interpret these rules and resolve any disputes, conflicting claims or ambiguities concerning the rules or the Contest and the Sponsors’ decisions concerning such disputes shall be final. If the conduct or outcome of the Contest is affected by human error, any mechanical malfunctions or failures of any kind, intentional interference or any event beyond the control of the Sponsors, the Sponsors reserve the right to suspend and/or modify the Contest, or any part of it, or to make such other decisions regarding the outcome as the Sponsors deems appropriate. All decisions will be made by the Sponsors and are final. Future contests or tie-breakers, if any, may be significantly more difficult than the initial contest. The method of determining prize-winners if a tie remains after completion of the last tie-breaker will be at the Station’s discretion. The Sponsors may waive any of these rules in their sole discretion. The Sponsors’ failure to enforce any term of these Official Rules shall not constitute a waiver of that provision. Any and all improprieties should be reported immediately to Entravision Communications at 956-687-4848. The Sponsors reserve the right at their sole discretion, to disqualify any individual who violates these rules or applicable law, tampers with the entry process or the operation of the Contest, engages in any conduct detrimental to Sponsors, the Contest or any other entrant (in each case as determined in Sponsors’ sole discretion), or acts in violation of these Official Rules, to lock out any individual whose eligibility is in question, and to cancel, terminate, modify or suspend this Contest at any time. The Sponsors disclaim any responsibility to notify participants of any aspect related to the conduct of the Contest. WARNING: ANY ATTEMPT BY ANY PERSON TO DELIBERATELY UNDERMINE THE LEGITIMATE OPERATION OF THE CONTEST IS A VIOLATION OF CRIMINAL AND CIVIL LAWS AND SHOULD SUCH AN ATTEMPT BE MADE, THE SPONSORS RESERVE THE RIGHT TO SEEK FROM ANY SUCH PERSON DAMAGES AND ANY OTHER REMEDIES AVAILABLE TO THE SPONSORS TO THE FULLEST EXTENT PERMITTED BY LAW.

10. RELEASE: Unless prohibited by law, acceptance of any prize offered constitutes permission to use the name, voice, and/or likeness (photo, videotape or film) and basic personal information of participants in any medium selected by the Sponsors for purposes of advertising and promotion without further compensation to the participants. Unless prohibited by law, each participant hereby releases the Sponsors and their parent entities, affiliates, subsidiaries, advertising and promotion agencies and their respective directors, officers, employees, representatives, and agents from any and all liability for any injuries, loss or damage of any kind to person, including death, and property, arising in whole or in part, directly or indirectly, from acceptance, possession, use or misuse of a prize, participation in the Contest and any participation in any activity relating to the Contest. In order to participate in the Contest, Participants must sign an official affidavit of eligibility and release, provided by the Sponsors. Sponsors are not responsible for printing or distribution errors and may rescind or revoke this Contest based upon any such error without liability at their sole discretion. All federal, state and local laws apply.

11. LIMITATION OF LIABILITY: IN NO EVENT WILL THE SPONSORS, THEIR PARENT ENTITIES, AFFILIATES, SUBSIDIARIES, RELATED COMPANIES, THEIR ADVERTISING OR PROMOTION AGENCIES OR THEIR RESPECTIVE OFFICERS, DIRECTORS, EMPLOYEES, REPRESENTATIVES, AND AGENTS, BE RESPONSIBLE OR LIABLE FOR ANY DAMAGES OR LOSSES OF ANY KIND, INCLUDING DIRECT, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES ARISING OUT OF YOUR ACCESS TO AND USE OF THE CONTEST OR THE DOWNLOADING FROM AND/OR PRINTING MATERIAL DOWNLOADED FROM THE CONTEST. SOME JURISDICTIONS MAY NOT ALLOW THE LIMITATIONS OR EXCLUSION OF LIABILITY FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES OR EXCLUSION OF IMPLIED WARRANTIES SO SOME OF THE ABOVE LIMITATIONS OR EXCLUSIONS MAY NOT APPLY. CHECK YOUR LOCAL LAWS FOR ANY RESTRICTIONS OR LIMITATIONS REGARDING THESE LIMITATIONS OR EXCLUSIONS.

12. DISCLAIMER OF WARRANTIES: THE CONTEST AND THE GRAND PRIZE ARE PROVIDED “AS IS” WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE OR NON-INFRINGEMENT.

13. GOVERNING LAW AND JURISDICTION: This promotion is governed by U.S. law and is subject to all applicable federal, state and local laws and regulations. Void where prohibited. All issues and questions concerning the construction, validity, interpretation, and enforceability of these Official Contest Rules, or the rights and obligations of entrant in connection with this Contest, shall be governed by, and construed in accordance with, the laws of the State of Texas, U.S.A., without giving effect to the conflict of laws rules thereof shall take place in the State of Texas, in the City of McAllen, County of Hidalgo.

#cher #contest #enter to win #prizes #video contest

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effieworldwide · 5 years ago

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Winner Spotlight: “Highway Gallery” by Louvre Abu Dhabi & TBWA\RAAD

May 16, 2019

2018 MENA Effie Awards

GOLD – Media Innovation – Existing Channel SILVER – Travel, Tourism, and Transportation

Louvre Abu Dhabi opened in 2017 as the first universal museum in the Middle East, with a world-class collection of archaeological treasures and fine art spanning thousands of years. At launch, the museum welcomed crowds to a series of sold-out events - but just a couple of months post-celebration, visitor volume stalled.

Together, Louvre Abu Dhabi and agency partner TBWA\RAAD needed to attract locals to the museum – and the solution would need to counteract the UAE’s lagging enthusiasm for museums in general, and lack of awareness about the Louvre Abu Dhabi in particular.

Enter “Highway Gallery,” a series of masterpieces from Louvre Abu Dhabi displayed along the most highly-trafficked road in the UAE. The project integrated OOH and radio, with interpretations of each piece broadcast through the speakers of each passing car.

After successfully changing attitudes and attracting visitors, “Highway Gallery” took home a Gold and Silver Effie in the 2018 MENA Effie Awards competition.

Below, Remie Abdo, Head of Planning at TBWA\RAAD, shares insight into how she and her team got people sampling the museum and excited about the Louvre Abu Dhabi. Read on to hear how the team challenged the definition of innovation and found inspiration from unlikely sources.

What were your objectives for “Highway Gallery”?

RA: Louvre Abu Dhabi opened its doors in November 2017. As the first universal museum in the region, and with unprecedented architecture and innovative exhibitions, it ticks the ‘first’ and ‘ests’ checklist of the country’s superlatives. Add to that a string of opening events a 360 campaign, concerts and performances, global and regional celebrity visitors, a 3D laser mapping light show, and several ribbon-cutting events… and you won’t be surprised to know that opening month, tickets sold out.

However, the reality wasn’t that sweet.

Two months down the lane, once the opening hype faded, UAE residents were not that interested in visiting anymore. Fear of the ‘Eiffel Tower Syndrome’ — becoming a touristic landmark that locals don’t visit — became the new worrying reality.

The objective was as simple, and complex, as getting UAE residents to the doors of the museum.

What was the strategic insight that drove the campaign?

RA: To solve the problem at hand, we dug for the problem behind the problem. We asked, why weren’t UAE residents interested in Louvre Abu Dhabi beyond the opening ceremonies? One would have thought they’d be excited to have the Louvre in their capital city.

The UAE population consists of two major groups, the Emiratis (15% of the population) and the expats (85%). We investigated each separately.

We discovered that Emiratis believed museums ‘are not for them.’ They found museums boring and archaic, and they are more into other forms of entertainment. Their interest in Louvre Abu Dhabi was limited to their interest of having the ‘Louvre’ in their country – another prestigious milestone.

Expats were skeptical, likely to agree with the sentiments: ‘a Louvre without the Mona Lisa is not the Louvre’, ‘this will be a replica of Louvre Paris’, ‘this won’t be like the Louvre’. They were quick to compare Louvre Abu Dhabi to the Louvre in Paris, and were not interested in a doppelgänger.

Their pre-judgement wasn’t founded. Emiratis didn't know what museums were exactly, as they had never had any locally – and when they traveled, museums weren’t on their bucket lists. And expats didn’t know what Louvre Abu Dhabi could offer - and how could they love something they didn’t know?

The insight was clear: UAE residents were not into ‘Louvre Abu Dhabi’ museum, not because they didn’t love it, but because they didn’t know it.

What was your big idea? How did you bring the idea to life?

RA: Alex Likerman, author of The Undefeated Mind, said ‘Trying something new opens up the possibility for you to enjoy something new. Entire careers, entire life paths, are carved out by people dipping their baby toes into small ponds and suddenly discovering a love for something they had no idea would capture their imaginations.’

Aligned with this thinking and our insight, Louvre Abu Dhabi needed to give residents a taste of the museum in order to capture their minds and drive them to visit. In the FMCG world, the solution would have been a no-brainer: distribute free samples of the product. Borrowing from retail best practices, the strategy boiled down to one question: How do we give a sample of the museum?

We introduced The Highway Gallery: A first-ever roadside exhibition featuring 10 of Louvre Abu Dhabi’s most magnificent masterpieces on giant, can’t-miss, 9x6 meter (approx. 30x20 foot) vertical frames. Among the works featured were Leonardo da Vinci’s La Belle Ferronnière (1490), Vincent van Gogh’s Self Portrait (1887), and Gilbert Stuart’s Portrait of George Washington (1822). The frames were placed as billboards along over 100km (approx. 62 miles) of the E11 Sheikh Zayed Road, the busiest highway in the UAE with an average of 12,000 cars commuting daily and the road that leads to Louvre Abu Dhabi.

But neither the size of the exhibition nor the choice of the artworks was a rich enough sample of the museum. Louvre Abu Dhabi needed to give a sneak peek into the artworks with their corresponding stories, beyond the aesthetics. Without context, the artworks lose their value.

Hence we used old ‘FM transmitter’ technology to hijack the frequencies of the most-listened-to radio stations on the highway. The FM devices synchronized and instantaneously broadcasted the story behind each art piece through the radios of cars passing by the frames. This was the world’s first audio-visual experience of this kind.

Example: When a car passed by the frame featuring Vincent Van Gogh’s Self Portrait (photo above), the passengers could hear on their radio speakers: “Say hello to Vincent Van Gogh, one of the greatest artists of the 19th century and the grandfather of modern art. He painted this Self Portrait in 1887, just three years before his death at 37. The impassioned brushstrokes reflect more than his artistic style, they reveal Vincent at his happiest and most-inspired. See them up close in our museum gallery Questioning A Modern World”.

What was the greatest challenge you faced when creating this campaign, and how did you approach that challenge?

RA: There were many challenges, but two notable ones.

The first, and easier to tackle, challenge was technical. We were innovating with an old medium, and when you’re the first to try something, it often doesn’t work quite right the first time. Until the very first day of the exhibition, we were still fixing bugs here and there. In such situations, disappointment settles in at some point, and you feel judged -- especially by those who told you ‘you can’t do it’… but the key in such situations is to use this frustration as a motive.

The second challenge was a bit bigger than us. Museums, in general, don’t appreciate creating replica of their artworks, and definitely not using these replicas as giant OOH media. We had to do a lot of selling to the client and go through multiple layers of approvals that got progressively more difficult.

How did you measure the effectiveness of the effort?

RA: The objective was to get UAE residents to the door of Louvre Abu Dhabi in the absence of all opening ceremonies. And we did just that. By the end of the Highway Gallery Exhibition, the declining numbers of visitors was a thing of the past, as the museum exceeded its monthly target x1.6 times. This time people were going to appreciate the artworks, ultimately achieving the museum’s main objective of footfall for the art.

Of course, we got some freebies along the way: Louvre Abu Dhabi followers on social media grew 4.2%; the online negative sentiment around the museum was reduced to only 1% and the positive sentiment grew 9%; Louvre Abu Dhabi brand recall registered a 14% uplift (regional average = 7%).

The Highway Gallery also got free local, regional and global coverage with CNN calling the gallery the “first of its kind in the world,” Lonely Planet stating that “Abu Dhabi became a lot more interesting,” The National regarding it as a “Highway to Heaven,” etc.

The museum became part of the conversations about Abu Dhabi through the press, but even more so through the people themselves. After stagnant Louvre Abu Dhabi online mentions during the previous months, the Highway Gallery garnered a 1,180% increase in mentions.

What are the most important learnings about marketing effectiveness that readers should take away from this case?

RA: Shifting perspective, as a means for innovation

‘Traditional media’ is a repelled expression in today’s world. Say “billboard” or “radio” twice and you will be labelled as the ‘traditional’ ‘non-digital’ ad person stuck in the old ways of doing things. With innovation, Louvre Abu Dhabi gave two traditional media a well-needed resuscitation, turning them into the most innovative and modern media combination of today.

The advertising industry witnesses changes by the minute – media channels deemed obsolete, processes reckoned too old. We naturally tend to discard the old and jump on the new to be perceived as innovative. However, this case proves that a new perspective on the old can create even more innovative solutions.

Good artists copy, great artists steal

It is unthought-of for a refined art industry to plagiarize from a mass FMCG practice. Drawing the parallel between an experience-based industry and a commodity-driven industry allowed the museum to find an unprecedented solution to its problem. Who said we can’t sample a museum?

In advertising, looking into adjacent industries is considered common practice. To create truly disruptive solutions however, looking into far-fetched industries to extract best practices can broaden our thinking, and ultimately make all the difference for the industry we are in.

Were there any unexpected long-term effects of this campaign?

RA: Last month, we launched the Tolerance Gallery, a sort of “Highway Gallery version 2” in support of the UAE’s ‘Year of Tolerance 2019.’ We placed sacred artworks representing different religions, from the Louvre Abu Dhabi’s collection, along the same Highway. This innovation is also set to be adopted soon by the Abu Dhabi government to alert drivers in cases of extreme fog to avoid road accidents. Several additional usages are being considered by different industries.

Remie Abdo is Head of Strategic Planning at TBWA\RAAD.

Remie would like to live in a world where purpose is our bread and butter, insights are our currency, storytelling is our language, common sense is more common, and free time is free.

An advocate of purpose, she tries to add sense to everything she does. On a personal level, she tailors her own clothes; grows her own vegetables and fruits, swaps consumerism with cultural-consumerism; obsesses about problem solving; and enjoys sharing ideas.

The same applies to her career. She is a firm believer that advertising is not an industry but a mean to a higher end; that of finding true solutions to real problems, influencing mindsets and shaping cultures for the better.

Her ethos: “If I am leaving my kid behind to work extra hours, I’d rather make it worthwhile”, continues to bear fruit in the shape of Cannes Lions, WARC, Effies, Dubai Lynx, Loeries, London International Awards, as well as judging global awards shows.

Remie started her career at Orange Telecom, BNP Paribas and the French Football Federation in Paris. After her Parisian adventure, she entered the agency world in Dubai making her way up from junior planner to Head of Planning at TBWA\RAAD Dubai today.

Read more Winner Spotlight interviews >

#Winner Spotlight #MENA Effies #MENA Effie Awards #TBWA #Louvre Abu Dhabi #TBWARAAD #Marketing Effectiveness Playbook

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haulix · 7 years ago

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The position of Associate Director, Music Licensing will pitch US Latin frontline and catalog repertoire to advertising agencies, film & TV studios, video game companies, trailer houses and music supervisors. This individual will build, develop and maintain relationships with various contacts in order to secure deals on behalf of US Latin catalog artists.

Manager, Merch Production (WMG - NYC)

This is a fast paced, high volume position that requires multi-tasking, resourcefulness and problem solving skills. The Manager works closely with internal customers to develop and manage merchandise concepts for tours, e-commerce and retail. Responsibilities include sourcing merchandise, locating and onboarding new vendors, maintaining vendor relationships and troubleshooting issues. Daily duties include price sourcing for all requested items, securing and delivery of art files, creating purchase orders, managing shipping logistics, tracking orders/shipments and managing the master production schedule. Duties also include the maintenance of the department calendar, master quote list, manual purchase order list and finessing of work flow systems. Assists the department head with training and mentoring of the Production staff on all systems and processes.

Music Licensing Executive (Spirit Production Music - Los Angeles, CA)

Spirit Production Music is currently seeking a Music Licensing Executive to join our team in Studio City, CA. At Spirit Production Music, we strive to provide our clients with a wide range of extraordinary music products and services. The Music Licensing Executive maximizes music licensing revenue for Spirit Production Music, as well as music services revenue for Spirit Music Collective, in North America through business-to-business sales.

Sound Engineer (RIA Global LLC - Washington DC)

Washington DC office of an international radio broadcaster is looking for a Sound Engineer for a brand new state-of-the-art radio facility in the heart of D.C. The facility is still under construction and this is a great opportunity to get in on the ground level. Candidates for this position should have experience in live radio.

Music Coordinator (Amazon Studios - Santa Monica, CA)

We are seeking a Music Coordinator to join the dynamic music team supporting the Studios Film and TV productions. Amazon Studios are building an effective way to develop commercially viable feature films and episodic series.The Music Coordinator will work closely with the TV Music Executive and be an integral part to the music team. The successful candidate will be highly organized and motivated to create streamlined processes to ensure efficiency. You will be expected to leverage strong communication and interpersonal skills in order to partner effectively across divisions and with external partners.

Music Licensing Contract Specialist (Netflix - Los Angeles)

Netflix seeks an experienced Music Licensing Contract Specialist to help support our expanding slate of Originals content. This role will work closely with our Music Licensing Managers and our Music Contract Administrator and will have broad responsibility for reviewing, drafting and negotiating a high volume of contracts for the Music Group.

In this unique and exciting role, you will be the Music Group’s first Music Licensing Contract Specialist. This is not your traditional licensing contract role: in this role you will manage vital components of our music license review and negotiation process and will have visibility into all facets of our music business from a studio perspective, a “network” perspective and even from a music publisher perspective. As this is a new role, you will have the opportunity to shape Netflix’s music licensing process.

#music industry job board #job board #jobs #marketing #production #studio manager #hiring #now hiring #new jobs

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midassourcecodes-blog · 8 years ago

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blackkudos · 8 years ago

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Armstrong Williams

Armstrong Williams (born February 5, 1962) is an American political commentator, entrepreneur, author of a nationally syndicated conservative newspaper column, and host of a daily radio show and a nationally syndicated TV program called

The Right Side with Armstrong Williams

. Williams is also founder and CEO of the Graham Williams Group, an international marketing, advertising, and media public relations consulting firm, and is a political talk show host on TV and radio. Williams was labeled by

The Washington Post

as "one of the most recognizable conservative voices in America."

He has been described in the press as the business manager and confidant of Ben Carson and made a confirmation of Carson's endorsement of Donald Trump for President on March 10, 2016.

Early life and career

One of ten children, Armstrong Williams was born on February 5, 1962 in Marion, South Carolina. Williams was reared on the family's 200-acre tobacco and hog farm. He displayed an early gift for writing and public speaking, winning a high school orating contest in 1976. Graduating in 1981 from South Carolina State University, he received his B.A. in Political Science and English. He is a life member of Phi Beta Sigma fraternity.

Williams was formerly vice president for a governmental and international affairs public relations firm, B&C Associations. He also served as confidential assistant to the chairman of the U.S. Equal Employment Opportunity Commission (Supreme Court Justice Clarence Thomas), presidential appointee to the U.S. Department of Agriculture, legislative assistant to the U.S. House of Representative Carroll Campbell (former governor of South Carolina) and legislative aide and advisor to U.S. Senator Strom Thurmond.

In 2004, Williams was appointed by President George W. Bush to the President's Commission on White House Fellows. The Commission's responsibility is to select qualified candidates to serve as Fellows to Cabinet-rank offices. Past fellows have included Cheney, Powell and Labor Secretary Elaine Chao.

Williams is the cousin of South Carolina State Senator Clementa Pinckney, who was a victim of the Charleston church shooting.

Career

"No Child Left Behind" controversy

In January 2005, USA Today reported that documents obtained under the Freedom of Information Act revealed that Williams had been paid $240,000 to promote the controversial No Child Left Behind Act. USA Today claimed Williams was hired "to promote the law on his nationally syndicated television show and to urge other black journalists to do the same".

As part of the agreement, Williams was required "to regularly comment on NCLB during the course of his broadcasts," and to interview Education Secretary Rod Paige for TV and radio spots that aired during the show in 2004". The contract with Williams was part of a $1 million contract between the U.S. Department of Education and the public relations company Ketchum Inc.

Melanie Sloan from Citizens for Responsibility and Ethics in Washington told USA Today that the contract may be illegal "because Congress has prohibited propaganda ... [A]nd it's propaganda." United States Representative George Miller (D-CA), a member of the House Education Committee, called the contract "a very questionable use of taxpayers' money" that is "probably illegal."

After the USA Today revelations, Tribune Media Services (TMS) terminated its syndication agreement with Williams. In a statement to Editor & Publisher (E&P), TMS stated: "[A]ccepting compensation in any form from an entity that serves as a subject of his weekly newspaper columns creates, at the very least, the appearance of a conflict of interest. Under these circumstances, readers may well ask themselves if the views expressed in his columns are his own, or whether they have been purchased by a third party." In response, Williams initially told E&P that he intended self-syndicate his column. E&P contacted 10 newspapers listed as clients on Williams's Web site to ask if they would continue to carry the column; the majority stated that they would not. Williams later told the Associated Press "even though I'm not a journalist — I'm a commentator — I feel I should be held to the media ethics standard. My judgment was not the best. I wouldn't do it again, and I learned from it."

White House Press Secretary Scott McClellan said it was a matter for the Education Department. According to Associated Press the Department of Education stated that the deal was a "permissible use of taxpayer funds under legal government contracting procedures." McClellan remained noncommittal on whether White House staff knew of the deal with Williams. "I'm not sure that senior staff was consulted before this decision was made. I haven't heard anything to that effect," he said. Three days after the story broke, McClellan claimed he was unaware of the details of the contract and that specific questions should be directed to the Education Department. As to whether Williams should have disclosed the details of the contract in his columns and on-air appearances, McClellan would only concede that "those are all legitimate questions." Asked whether he would investigate whether other journalists were on the payroll of the administration, McClellan replied, "I'm not aware of any others that are under contract other than the one that's been reported on in the media."

Following the revelations of the Williams contract with Ketchum, the watchdog group Citizens for Responsibility and Ethics in Washington announced that it had filed Freedom of Information requests with 22 agencies requesting copies of all contracts with public relations firms.

The USA Today revelations caused controversy within the PR industry as well. As soon as the story broke, Edelman Public Relations' CEO Richard Edelman posted a note on his personal blog criticizing Ketchum's deal with Williams. "This kind of pay-for-play public relations takes us back in time to the days of the press agent who would drop off the new record album and $10 to the deejay. It makes our industry's efforts to 'clean up' behavior in newly created PR markets such as China and Russia look decidedly ridiculous," he wrote. The Public Relations Society of America (PRSA) issued a statement saying "the relationship should have been disclosed up front, no question."

On September 30, 2005, the Government Accountability Office released a report concluding that the payments to Williams were illegal on the part of the Department of Education because the government's role in the public relations effort was not disclosed.

Radio

Williams is heard on GEMS 105.9 FM, Nassau, Bahamas every morning at 8:10 a.m. est, WGCV 620 A.M, Cayce, South Carolina, Monday-Friday 4-5 p.m. and SiriusXM Urban View 110 6-7 p.m. est. In 1991, Williams began his radio career at WOL in Washington, D.C. Four years later, in 1995, Williams' local show was syndicated by The Talk America Radio Network.

In 1998, Williams united with The Salem Radio Network, which syndicated his national radio show to 26 of the top radio markets in the country. In 2002, he reunited with the Newark, New Jersey-based Talk America Radio Network. Williams joined the lineup at WWRL 1600 A.M., New York's Urban Talk in March 2005 as co-host with Sam Greenfield on Drive Time Dialogue. He co-hosted "The Sam and Army" show at Air America Radio WWRL 1600 AM, New York's Progressive Talk from 5:00 a.m. to 9:00 a.m. (EST.) with Sam Greenfield.

Williams began hosting a nightly talk show in 2008 on XM Satellite Radio Power 128 (now SiruisXM Urban View) called The Armstrong William's Show. William's radio program features his own opinions, values and ideology related to political and current issues.

Television

Williams has extensive experience in television programming. Since 1995, he has produced weekly television shows which are nationally syndicated. He is a frequent guest on television shows and networks that include MSNBC, Sky News, DC TV and the Joy Behar show. Williams has produced prime-time specials with US Supreme Court Justice Clarence Thomas, poet Maya Angelou, former Vice President Dick Cheney, and Israeli Prime Minister Benjamin Netanyahu.

In 2003 he launched his own company, The Right Side Productions, which produces and syndicates, with Langer Broadcast Radio Network, his television program to media outlets including Sky Angel and The Liberty Channel. Williams was hired as a political analyst by Sinclair Broadcasting Group for its News Central program.

From 2002 to 2005 Williams hosted On Point with Armstrong Williams, a monthly primetime television special and a joint venture with Comcast, Radio One, and Right Side Productions, that aired on cable network TVOne, included guests such as former Vice President Dick Cheney, former Secretary of State Colin Powell and former Secretary of State Condoleezza Rice.

Howard Stirk Holdings

In early 2013 Williams began expanding his outreach by entering into media ownership with the purchase of two television stations, from a larger part of a $370 million acquisition of Barrington Broadcasting by Sinclair Broadcast Group. Howard Stirk Holdings LLC, which Williams owns, was given ownership over NBC affiliate WEYI-TV in Flint-Saginaw-Bay City, Michigan and CW affiliate WWMB in Myrtle Beach-Florence, South Carolina. Both stations remain operated by Sinclair under a local marketing agreement.

On December 4, 2014, the FCC approved the transfer of station licenses for WMMP, Charleston, South Carolina, WCFT-TV, Tuscaloosa, Alabama, and WJSU-TV, Anniston, Alabama from Sinclair Broadcasting to Howard Stirk Holdings, foregoing any operational agreements. Howard Stirk Holdings operate these stations independently. Criticism of Howard Stirk existing as a shell company of Sinclair are alleged.

On January 28, 2015, Intermountain West Communications Company filed to sell KVMY to Howard Stirk Holdings. HSH had agreed on January 14 to purchase for $150,000 the stock of the Sinclair subsidiary that was a party to IWCC's sale of KSNV-DT and currently holds the license of KVCW; KVCW and KSNV themselves remain under Sinclair ownership. The transaction was finalized on October 30. Howard Stirk Holdings revealed in its January 2015 application to purchase Las Vegas station KVMY that it again planned to acquire the WLYH-TV license from Nexstar Broadcasting. The sale was completed on November 12, 2015.

Stations currently owned by Howard Stirk Holdings

1 Operated under a LMA by Sinclair Broadcast Group

Other business interests

Armstrong Williams is sole proprietor of Stirk Real Estate with holdings in the nation's capital.

Williams is a National Board member of the Carson Scholars Fund, a 501 (c) (3) non-profit charity that was founded in 1994 by Johns Hopkins Pediatric Neurosurgeon Dr. Benjamin Carson and Candy Carson to recognize and reward students in grades 4-11 who strive for academic excellence (3.75 GPA or higher) and demonstrate a strong commitment to their community. He also served on The Boards of the Presidents Commission on White House Fellows, under former United States President George W. Bush, the Independence Federal S&L Bank Board of Directors, and the NEWSMAX Advisory Board.

Williams is the Founder and CEO of the Graham Williams Group, an international marketing, advertising and media public relations consulting firm. He also owns Armstrong Williams Productions LLC with David Modell from Baltimore, Maryland.

Wikipedia

#Armstrong Williams

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