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Jackson Armstrong Interview

D

dj_niceshot

Guest
Rollye James Interview of the former night jock @ KB... (interview on Sept 9)
Great stuff...
Highlights....

His confession that he used to listen to 'KB as a kid and dreamed of working there, until he finally did. His childhood hero was Dick Biondi.

-He also revealed the salary he made at KB: just $18,500 a year!

-KB used to be trounced by no-signal WYSL, and Armstrong admitted no one liked him much when he first arrived. But after a few books he took off, and then some, saying he earned an unheard of 85 percent share with teens in his timeslot.

-While KB was raking in the money from his show, they refused to give him a raise. He then negotiated a deal with a station in Pittsburgh for more dough, and submitted his resignation. When KB found out he was leaving, they suddenly offered to renegotiate and pay him substantially more than what Pittsburgh was offering. But since he already agreed to the job, he felt obligated to take it and left Buffalo.

-He took major shots at the owner of the old WMEX in Boston, who apparently put the 'cheap' in cheapskate. In fact, he insists the pennypinchers of today are nothing compared to the way owners used to act. He left 'MEX and came to CHUM, although he said nothing about his time here.


-Speaking of cheap, he says he got his first on air job at WCOG in Greensboro, North Carolina in 1964 only because he had the proper class of FCC license, and station management was able to get someone who could take the required transmitter and maintenance readings and do an airshift at the same time - saving them a salary.


-He believes Bill Drake, while undeniably successful, isn't the genius many make him out to be. He points out that almost every single station he ever changed to his vaunted play-the-hits-and-shut-up format was a high powered clear channel AM monster, with a killer signal, which naturally gave it a ratings advantage.

-On that subject, he told the story of how Drake was called to Ohio to change over what I think was then called WUBE at 1230 AM. Armstrong said he got into the cab from the airport, asked the driver to take him to the station and requested he turn it on while he was going so he could listen to it. When he discovered it was a 1,000 during the day, 250 watts at night go nowhere operation, Armstrong claims he told the driver to turn around and take him back to the airport. He flew out the same day without ever actually calling or making it to the studio.

-Armstrong went to WIXY in Cleveland, which at 1260 had signal problems at night and was always trounced by the clear channel giant at 1100, then called WKYC. But Armstrong became so popular with teens he always won the book - even in parts of the city and the state where he knew he couldn't be heard! He later wound up working for the flame throwing competition.

-He once stopped a riot at Beatles concert in Cleveland. While police and station personnel were trying to figure out what to do as kids stormed the stage, Armstrong stepped up to the mic and screamed through the P.A. system, "If you guys don't sit down right now, they (John Paul George and Ringo) are leaving the stage for good!" It worked - the kids calmed down and the show went on, saving WIXY a major headache.

-He claims he always changes his schtick and keeps trying to 'improve' as a jock every year, because if you keep relying on the same old thing, everyone will eventually get tired of you. Maybe that's why he's been so popular for so long.

He's a class act and proved again this weekend why he's still among the Leeeeeader's of the pack
 
> -He also revealed the salary he made at KB: just $18,500 a
> year!

Let's put that figure in perspective. It was 1970. I would argue that $18,500 was good money back then for a 24-year-old doing an evening air shift. Heck, seven years later, when I started in this biz, I was earning $6,700 a year at my first job at a small Olean station. Jackson is an incredible talent. And it sounds like KB's management at the time took advantage of his abilities by refusing to give him a raise until it was too late. Sure, $18,500 is pocket change today. But it wasn't 35 years ago.
 
> Rollye James Interview of the former night jock @ KB...

>
> -KB used to be trounced by no-signal WYSL, and Armstrong
> admitted no one liked him much when he first arrived. But
> after a few books he took off, and then some, saying he
> earned an unheard of 85 percent share with teens in his
> timeslot.

Ah, Jack, I love you like a brother, but you DO tend to exaggerate a bit here and there (don't we all).
KB was NEVER "trounced" by WYSL. They came close a few times, but it never happened.
Also, while Jack says nobody liked him at first, I think that's wrong. Some people were a bit taken aback by his style, but everybody listened and talked about his show right from the get-go. 5 minutes later, everybody liked him.



>
> -While KB was raking in the money from his show, they
> refused to give him a raise. He then negotiated a deal with
> a station in Pittsburgh for more dough, and submitted his
> resignation. When KB found out he was leaving, they suddenly
> offered to renegotiate and pay him substantially more than
> what Pittsburgh was offering. But since he already agreed to
> the job, he felt obligated to take it and left Buffalo.


Again, not totally true. Jeff Kaye says that he never had an opportunity to make a counter-offer. Jack said he had a new job and was going to Pittsburgh, and that was that.


>> -He believes Bill Drake, while undeniably successful, isn't
> the genius many make him out to be. He points out that
> almost every single station he ever changed to his vaunted
> play-the-hits-and-shut-up format was a high powered clear
> channel AM monster, with a killer signal, which naturally
> gave it a ratings advantage.

I'm not disputuing Jack's opinion, but rather offering a different one. Many of us who came out of the personality school of top 40 have always disliked what happened to radio after Bill Drake's success. I think it's important to note here that it wasn't the Drake stations that killed top 40, it was the imitators who never really "got" what Drake was all about.

The Drake top 40s, er top 20s, were actually brilliant because the talent who worked there were brilliant...and smart enough to understand what to do and how to do it when they only had 15 second breaks. Take a class "A" talent like just about anyone on WRKO or KHJ and make them discipline themselves on air and you get a format that sizzled with creativity and excitment.

Copy that format and adjust it to your market with the best talent your country has to offer (CHUM) and it works. Copy the format "because it worked in New York City so it should work here" and you have 3x5 card radio where neither the personalities nor the management understand WHY the format worked in NYC...and sounds like crap.

I strongly believe it's that kind of Drake-wanna-be radio that Jack is railing against in this interview, in which case I agree with him whole heartedly.
>
>
 
> Sure, $18,500 is pocket
> change today. But it wasn't 35 years ago.
>

Pocket change, Mark? Ask any board-op at Entercom and they'd tell you 18-5 is major cash. And I suspect there are some NPR affiliates in markets like East Spoonfish where 18-5 would be a nice check, too.
 
> > Sure, $18,500 is pocket
> > change today. But it wasn't 35 years ago.
> >
>
> Pocket change, Mark? Ask any board-op at Entercom and they'd
> tell you 18-5 is major cash. And I suspect there are some
> NPR affiliates in markets like East Spoonfish where 18-5
> would be a nice check, too.

I never heard a jock say he got into radio for the money and that applies to myself as well....We do (did) it because we love it. Personally I always thought playing records on the radio and getting paid for it was like stealing money!

Mike
 
This Personality Thing That We Obsess About

>
> I'm not disputuing Jack's opinion, but rather offering a
> different one. Many of us who came out of the personality
> school of top 40 have always disliked what happened to radio
> after Bill Drake's success. I think it's important to note
> here that it wasn't the Drake stations that killed top 40,
> it was the imitators who never really "got" what Drake was
> all about.
>

Ah, John Larsh... super talented broadcast legend, in and out of his own mind.

A masterful analysis, DB, my compliments to you. You may have forgotten the "North Carolina Water Skiing Championship" story that circulated around 1430 Main Street, later disproved by a certain afternoon drive personality who liked to pierce the egos about him, all the while his very own grew larger.

It was a wonderful era of broadcasting, certainly the Golden Years of Top 40.

But enough of this subtle sniping.

What I wanna know is just what the hell personality radio is? It seems to have a murky definition. Like a Supreme Court justice once said of pornography, "I can't define it, but I know it when I see it."

Yes, we all know about the jocks who were funny, did voices, phoners and told jokes and witty anecdotes. Some of us may even remember casts of characters in a jock's show. The Engaged Woman, Straps the Secretary, the Gorilla.

Many of us claim to have a disdain for liner readers and the Q-jocks who made a living screaming QEWWWWWWWWWWWW! at the top of their lungs.

But let's take a guy like Jason Bojohn, who was in Buffalo for a cup of coffee. He was a night jock at the Super-Q (later QFM97, now 97 Rock) and the very fact that I remember him must mean he made an impression. maybe he talked-up intros better than any other jock on the radio... maybe it was his down-home-southern 'tude. The guy actually booked for warmer climates after he saw Buffalo's first snowfall. That alone is mildly funny in and of itself. Maybe he was just a good jock. Beats me. Coulda been the name.

George Hamberger was a Q-jock, albeit not a typical one. He also was one of the first WYSL-FM progressive jocks and he did WGR, WBEN and CFTR. Personality? Yes. How is it defined? Beats me, but I remember Hamberger, so HE must have made an impression as well.

Jeff Kaye thought enough of WYSL that he hired a slew of their jocks: Jack Sheridan, Tim Kelly, Tom Donahue, Jim Pastrick and Al Wallack all got a pass from Jeff Kaye. Word is Kevin O'Connell had a shot at KB, but for some reason, turned it down.

So the MASTER muster have heard something in those guys and what they were doing on WYSL, which as you mentioned, came close, made life competitive, but never beat KB.

D-B, your analysis of the Drake jocks was informative and descriptive.

But I've heard BAD personality jocks who just sucked-wind doing lame-ass bits that went nowhere and by the same token, I've heard LINER jocks read a liner, hit a post, drop a funny inuendo and do more in an 11 second intro than a bad personality jock did in a two minute bit. This applies to Neaverth and Beach, two of the duefully acclaimed personality jocks in Buffalo. When they stepped to the plate, chances are they'd get on base, occasionally hit a home run, but they also got rung-up more than a few times.

Most of us decry the effects left by Bill Drake on Top 40 radio and Lee Abram's misguided decrees on Progressive and Album Rock radio, but the fact is, it's not the RULES that restrict air personality, it's how they apply and bend the rules.

Personality? Beats me. I only know who I know by virtue of what they do and say and it doesn't take two minutes to tell people who you are and what you're about.

-9-
 
In other words...

> Personality? Beats me. I only know who I know by virtue of
> what they do and say and it doesn't take two minutes to tell
> people who you are and what you're about.

Let me see if I can encapsulate your thoughts more concisely:

Brevity is the soul of wit!
 
Re: This Personality Thing That We Obsess About

Re-read your post, my friend. You define "personality" perfectly, albeit with way to many words for Bill Drake.
As someone once said (on air) to describe me: "He's got personality! A ROTTEN personality..."
 
> > > Sure, $18,500 is pocket
> > > change today. But it wasn't 35 years ago.
> > >
> >
> > Pocket change, Mark? Ask any board-op at Entercom and
> they'd
> > tell you 18-5 is major cash. And I suspect there are some
> > NPR affiliates in markets like East Spoonfish where 18-5
> > would be a nice check, too.
>
> I never heard a jock say he got into radio for the money and
> that applies to myself as well....We do (did) it because we
> love it. Personally I always thought playing records on the
> radio and getting paid for it was like stealing money!
>
> Mike
>


So you never ate or went to any kind of store? I don't think anyone gets into radio to get rich but covering ones checks is a nice feeling. I remember when the HR office asked "What do you want?" I replied "I would like to be able go to the store without coupons and not regret it".
 
> > I never heard a jock say he got into radio for the money
> and
> > that applies to myself as well....We do (did) it because
> we
> > love it. Personally I always thought playing records on
> the
> > radio and getting paid for it was like stealing money!
> >
> > Mike
> >
>
>
> So you never ate or went to any kind of store? I don't think
> anyone gets into radio to get rich but covering ones checks
> is a nice feeling. I remember when the HR office asked "What
> do you want?" I replied "I would like to be able go to the
> store without coupons and not regret it".

Let me clarify, most of us didn't get into radio to make a lot of money but hopefully enough to cover the bills.

Mike
 
Re: This Personality Thing That We Obsess About

>
> Jeff Kaye thought enough of WYSL that he hired a slew of
> their jocks: Jack Sheridan, Tim Kelly, Tom Donahue, Jim
> Pastrick and Al Wallack all got a pass from Jeff Kaye. Word
> is Kevin O'Connell had a shot at KB, but for some reason,
> turned it down.
>


I have the distinct honor of having been hired by Jeff 3 times; and that he found it absolutely (and justifiably) necessary to fire me only twice.
 
September 13 quotes:

>> Ah, Jack, I love you like a brother, but you DO tend to
> exaggerate a bit here and there (don't we all).
> KB was NEVER "trounced" by WYSL. They came close a few
> times, but it never happened. <<
---------------------------------------------------------------
>> I'm not disputuing Jack's opinion, but rather offering a
> different one. Many of us who came out of the personality
> school of top 40 have always disliked what happened to radio
> after Bill Drake's success. I think it's important to note
> here that it wasn't the Drake stations that killed top 40,
> it was the imitators who never really "got" what Drake was
> all about.
>
> The Drake top 40s, er top 20s, were actually brilliant
> because the talent who worked there were brilliant...and
> smart enough to understand what to do and how to do it when
> they only had 15 second breaks. Take a class "A" talent like
> just about anyone on WRKO or KHJ and make them discipline
> themselves on air and you get a format that sizzled with
> creativity and excitment.
>
> Copy that format and adjust it to your market with the best
> talent your country has to offer (CHUM) and it works. Copy
> the format "because it worked in New York City so it should
> work here" and you have 3x5 card radio where neither the
> personalities nor the management understand WHY the format
> worked in NYC...and sounds like crap. <<
---------------------------------------------------------------
September 11 posts elsewhere:

http://members2.boardhost.com/scrapbook/msg/166101.html

http://members2.boardhost.com/scrapbook/msg/166113.html

http://members2.boardhost.com/scrapbook/msg/166142.html
 
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