The Radio Day.

 

In the early days of broadcasting, when the Red Apple Club and the Merry Old Chief were features received by the marveling listener, the arrangement of a daily schedule of radio programs was a job to tax the ingenuity of the most versatile of variety -house impresarios. Today the term "program building" in broadcasting may be applied either to the process of combining various entertainment and advertising units into an individual performance complete in itself or to the task of arranging a series of such units into a sequence of acts for the day or the week. The problem of the program builder is to present entertainment that will hold the wavering attention of the great number of listeners; the income of his station depends ultimately upon that. To accomplish this he must consider the domestic and work habits and the attitudes, at various hours, of his listening audience. He must keep in mind the potential purchasers of the product to be advertised who will be reached during certain hours of the day. The program director of the network or of the local station, however, conforms to certain principles in the booking of the daily programs. The average radio station is on the air approximately 18 hours a day, from six o'clock in the morning until twelve o'clock at night; the director divides his day into approximately six parts of 3 hours each. The local director should be less concerned with the quality of a single act than with the entire program for the day. In the majority of the stations associated with the various networks, the director aims to get variety and entertainment value by inserting contrasting local features between the programs received from the network. It is essential that he build up for his station a reputation for excellent programs in order to induce the listener to tune in to that station automatically. To create this interest he must present a sequence of performances that are varied in character, all the time bearing in mind that different classes of people listen to programs at different times during the day. The better practice is to avoid developing a type of listening audience, as this discourages certain sponsors. In building programs, however, the director is conscious of the strata to which his station appeals. In larger cities, where there are a number of stations, one may appeal to the "carriage trade," using fine music and educational features for sustaining programs. Another station will feature sports broadcasts and dance selections. In many cities one station will direct its programs to foreign -speaking audiences. The result is that programs are arranged to conform to the policy of the station as established by sponsors and listeners. No hardand-fast schedule exists for assembling the daily offering. 

From six o'clock until nine in the morning the program director will arrange programs to appeal to the lower and middle class in the wealth bracket. During this period there is a great deal of activity in the home. The head of the family is leaving for work, children are getting ready for school, and the mother is preparing breakfast; there is little opportunity for attentive listening. The programs for this period should be cheerful, bright, and lively to start off the day. Announcements should he short and musical selections brief and popular. Talks during this period lose their value unless they are short, and each must be a complete unit in itself to be quickly digested with the breakfast. Fifteen -minute programs are preferred at this time; they will be largely musical. There may be broadcasts of morning news. A soloist and pianist may present songs which may, from day to day, offer new versions and lyrics submitted by the radio audience. During the second period, from nine until twelve o'clock, the audience is largely housewives. While the mother is engaged in her household tasks, she will have the radio turned on and will be listening to shopping news or cooking recipes. Announcements may be longer (luring this period and the programs may be largely special features arranged for the feminine listener. It is during these hours that the majority of women are heard over the radio as announcers and speakers. Women may give long commercial plugs, may describe the latest fashions, discuss 'interior decoration, and carry the burden of the programs. Skits that will appeal to the housewife are the types that predominate during this period. The program director will be careful to vary the programs and avoid putting two dramatic skits together. An organ program or an electric -transcription library furnishes selections appealing to the women; thus the presence of the station's orchestra is not required during the forenoon. 

The noon hour is not considered a valuable hour for commercial sponsors in metropolitan areas. During this time there is generally a news broadcast or a religious program. However, the rural listener is an excellent prospect for midday programs. In examining the programs of stations we find that weather reports, market news, crop conditions, and information of interest to the farmer are broadcast around the noon hours. Between twelve and three o'clock the listener is inclined to be more leisurely, with the result that longer talks and educational programs, traffic -court programs, and others of this type are broadcast in the early - afternoon hours. The housewife is a good prospect for early -afternoon programs; this is the time for intimate chats concerning the personal problems of the mother, such as those dealing with health and reading, child care, or dressmaking. However, the program schedule must not be allowed to become monotonous, and consequently the musical, the dramatic, the conversational, and the straight radio address must give variety to the hours of listening. The late -afternoon programs bring the children to the radio, and their value as allies in an advertising campaign is not overlooked by the sponsors. It is a general principle that the commercial plugs in daylight programs may be longer than those in the evening programs. Daylight hours reach not only the feminine and youthful audience; there is an increasing tendency upon the part of masculine workers in small shops to turn on their radios and listen as they work. Consequently these afternoon programs, while they may appeal primarily to the feminine and youthful audience, must have qualities that will interest the workers as well. Of course, during this period there are sports broadcasts.

The networks generally release the period between six and seven - thirty o'clock to the outlet station for its own local programs. During this time the broadcasting of news seems to be a feature of nearly all stations. There may be sports résumés and dinner -music programs. With the start of the evening -program period the length of commercial copy is reduced. The whole family comprises a potential audience in both rural and urban areas, with the result that programs in the early evening are designed to appeal to all members of the family and to all wealth brackets. The program designed for children and the one designed for the feminine listener give way to a type designed to entertain the entire family. During the winter months this period is the most valuable of the radio day; the charge for the broadcasting facilities is highest between seven and ten o'clock in the evening, with the result that sponsors endeavor to present programs of an excellent caliber. There is a constant search upon the part of the program director for originality and distinctiveness in program types. There have been air waves of popularity from the jazz orchestra to the symphony orchestra, from crooning to operatic selections, from the Red Apple Club to the amateur show, from radio dialogue to the theater of the air, and from the Merry Old Chief to the popular comedian. In each instance the radio showman has overworked and exhausted the popularity of the type so that new ideas must be sought. After ten o'clock in the evening, entertainment of a light nature is stressed, with dance orchestras and musical programs predominating. As the evening grows later, sustaining programs are presented by the station and must be arranged in such a way as to build up a listening audience that will attract sponsors to these hours.

All programs over the air are made up of music or talk; there are no other fundamentals than these from which to draw. The builder of programs must be ingenious in devising different arrangements. Music by itself for a long period is not advisable; it is much better to have the music interrupted by short skits or dialogues or monologues. A radio program should be harmonious, that is, all features of the program should fit together smoothly. If the parts are not properly related, the result is discord and lack of effectiveness. In constructing the longer period for a sponsor, the builder may seek either a smooth harmony of entertainment or a contrast. As listening has been found to be an arduous occupation, there is a trend toward a contrast of component parts of the entertainment rather than a homogeneous linking of the whole. This results in a demand for variety in comedy, drama, music, and information; for unless the program contains a variety of entertainment features, certain members of its audience who demand those features will tune off. The tendency seems to be to present at least two features upon every program-an excellent orchestra and dramatics, music and a comedian, or amateurs. The feeling is that sponsors, by maintaining this formula in the building of their programs, gain a larger audience than if they presented merely a single feature. The program must start off in such a way as to attract the listener immediately and then must maintain that interest; however, the tempo of the musical numbers may be changed. The broadcaster must keep abreast of the thought, activities, and mental habits of the public. Audience interest is fickle. It is the business of the radio showman to give the public what it wants today. The program must be fresh and contain novelty from week to week. Dramatic surprises should be permitted so that the director may infuse new interest, new characters, and new entertainment ideas from time to time. As in every entertainment field, the impresario must constantly be seeking originality, ingenious combinations of old acts, new styles, unusual rhythms, or unique humorous situations, and his finger must be upon the pulse of public interest. It is a fact that famous people are received with much enthusiasm in spite of radio disabilities. That is, a famous flier may have an unsatisfactory voice over the air and yet be a drawing feature on the radio entertainment bill. In the radio play, or in any presentation in which the content is more important than the personalities, the trained radio performer is more valuable than the individual who has only a name or reputation to offer. When the program builder has people on his program who are not famous, he must see that their diction is perfect, that their personalities are pleasing, and that their performances will be a drawing card to the sponsor. Standard radio generalship demands carry-over value in the program; that is to say, some popular fundamental feature must remain the nucleus of the program from week to week. An extremely important factor in a musical program is variety. The musical director in choosing selections will avoid having series of numbers in the same key or rhythm. Such selections are generally chosen with an ear to their tempo, which is selected to fit the product being advertised. Even in the selection of musical numbers for a 15- or 80 -minute program, variety is sought by the musical director in order that the appeal may be wide. Variety is essential in any program, regardless of the type. The hour at which the program is broadcast should be especially considered. The type of music played on an afternoon program should usually be different from that on the evening program. One must never forget the mood of one's audience. While piano music is not the most popular of musical programs, short piano programs of 15 minutes are often well received. If the artist is a noted concert pianist, the public will listen to an entire program of his over the air, but these occasions are rare. Popular music is generally liked, but jazz in most cases is disliked. It is difficult for a program director to say how long a successful program should be. This is a problem for which no rule can be laid down but the rule of common sense. The broadcaster must remember that the length of the program is first of all determined by the amount of money the sponsor of the program wishes to spend. He must then try to find out which will have the greater advertising value-several short programs or fewer long programs. In determining the length of each individual program or "act" in this variety show of the air, the director must recognize the fact that, regardless of the type of performance, the broadcast version should be shorter than it would be if it were presented visually to an audience. The element of timing is vital. A few seconds one way or another can, and often does, spell disaster for the program director and result in the loss of a long-time contract with a sponsor. The program builder must have a fine sense of timing or tempo, for pauses are as important as situations and gags. The listener must be given time to digest and appreciate what he hears. The pause must be accurately timed as to its location and duration. Every program is based upon the advertising program and upon the product of the sponsor. The program builder should know all about the product before building his program: what it is used for; who uses it; its distinctive package; trade -mark; slogan; price; how frequently it is purchased; and to what class of society it is soil. Is it of interest to men, women, or children; does it appeal to urban or rural purchasers; is the article a necessity or a luxury; and what are its competitors? When all these questions have been answered, the program builder may formulate his idea and work it into a program. When this program is roughly worked out, the idea is submitted to the sponsor for his approval. The program is then finished; musical selections are chosen; actors, announcers, and artists are selected. The program is rehearsed and timed, and, when satisfactory from the broadcaster's standpoint, it is audited by the sponsor. Ile may discard it entirely, suggest changes, or approve of the performance. Sponsors have found that straight announcements have greater advertising value in their commercial plugs than statements or testimonials by actors or artists upon the program. The handling of commercial announcements requires a knowledge of sales psychology. Such announcements must not be too lengthy or too frequent. It has been found that the brief and skillful handling of the commercial announcement rather than excessive and incessant sales talk creates effective response and approval. Consequently, advertisers are condensing their sales announcements. The announcer, however, should not be forced to an unpleasantly rapid delivery of the sales message in order to effect a crowding of excessive material into the period allowed for the commercial announcement. 

Radio stations, advertising agencies, and special agencies conduct surveys to determine the popularity of programs, presentation types, and stations. These surveys not only concern themselves with the preference of the listener but also with his economic and social status and his intelligence. The listener's habits and his activity while listening are also discovered by surveys. This information is sought to determine whether the program is reaching the audience to whom the product advertised will appeal. Surveys of this type are made by mail questionnaire, mail response to broadcast offers, personal interview, or telephoned questions. The interview survey by a trained staff brings the most satisfying results. Devices which attach directly to the radio receiving set and which record electrically the stations tuned to are being used experimentally at present. These electric recording devices have a stylus, resting upon a tape, which is connected to the dial. Tastes vary from time to time; however, there is slight change evident in audience response to program types. Thus the program type has less to do with. its popularity than has its presentation. In order of wide appeal, popular music comes first, followed by comedy and drama. Then comes the sports broadcast, followed by classical music. The speech pro- grams are next in the popularity ranking, then news, talks, religion, education, children's programs, special features, and finally women's programs. These radio measurements also disclose a tendency to select programs rather than to remain tuned to a single station, but only 70 per cent of the time does the listener realize to what station he is tuned, and only about 35 per cent of the time can he identify the sponsor. Hence it is the program that is important. In 1938 it was estimated by the Joint Committee on Radio Research that there were 26,666,500 radio families in the United States, and that these sets are turned on an average of 5 hours a day: Probably the best known of the surveys is the continuous Crossley, Inc., survey made for the Association of National Advertising, which concerns only network programs of national interest. In 1940 it was estimated -that there were 29,300,000 radio sets in United States homes and 8,000,000 in automobiles. The program builder should be familiar with all the programs that are being broadcast by various stations. He must evaluate their ideas and improve upon those that have been originated by others. He should have a complete knowledge of just about everything in the broadcasting station, particularly dramatics and music. He need not be the last word as a dramatic director but he should be surrounded by persons in that field who are capable.

The alert program director will study the community in which his station is located and build programs to appeal to listeners. One Detroit station, recognizing the fact that that city had over 400,000 Polish listeners, has arranged programs in Polish for the listeners. Because of the large listening audience, this program is sponsored and the price that is charged the sponsor is more than that charged for the ordinary program in English. This station also presents programs in German, Czechoslovakian, Bavarian, and Italian. A foreign resident speaking these languages is put in charge of the program and sells time. The announcements are all made in the language and the musical portion of the program consists of recordings, which are generally obtained from the native land, and live talent from the local foreign settlement. These programs are presented at hours when the small station would find it difficult to compete with the excellent chain programs that are offered by local stations. They are very popular and have a distinct and positive audience. Frequently competition between various language groups makes for better programs. Nearly 400 stations now accept foreign -language programs. A few stations are recognizing the fact that a large proportion of laborers work all night in the cities; thus some stations are on the air for 24 hours a day. One station broadcasts programs that would appeal to

the owners of beer gardens between twelve and two o'clock in the morning, presenting 10 minutes of dance music, followed by 10 minutes of music of a character that will force the listener to sit at a table where it is hoped he will drink beer. Such programs also find sponsors among the all-night barbecue stands that are equipped to deliver food. The early morning programs from five -thirty on are excellent mediums to reach the invalid, the milkman, and the all-night worker. They largely consist of requested musical selections. Such programs furnish an excellent advertising medium, building up a listening audience for the station. This is one of the problems of the program director-the creating of an audience that will be a sales factor for daylight programs. While the evening hours bring the finest programs from the networks, the local station relies upon the daylight programs for its greatest audience and income; consequently its daylight and evening rates are usually the same. In the evening the local manager must arrange special features, such as the foreign -language programs, local news broadcasts, and club programs, to attract the resident from the networks. Local merchants would be wise to recognize that competition is less during the daytime. A high proportion of existing radio stations are licensed to serve the particular needs of the areas in which they are located. Station managers are searching for good local -program material. The most important developments in broadcasting will probably occur in the improvement of local programs rather than in any change of national programs. According to Franklin Dunham of the N.B.C., the gauge for the successful program is threefold: "(1) the popularity of programs which compete with the one being evaluated, (2) the attractiveness of the first two or three minutes of the program, (3) whether the whole content of the program, rather than some part, holds the interest to the end." 

 

The World Broadcasting System prepares a special -day program for the use of those who have subscribed to its transcription library. Special -day programs may be arranged by local statons. There are patriotic and religious holidays, sentimental holidays, as well as national holidays. There are also the various weeks, such as Book Week, Safety Week, and Health Week. Programs for these days may take a variety of forms. New Year's Day, with its new vistas of hope for the world and the individual, offers many splendid opportunities, both serious and light, for broadcasting. There is also the opportunity for a résumé of the outstanding events of the past year, or a forecast of the events of the future. Patriotic programs positively flood the air waves. Dramas about Lincoln are pretty well overdone, but some of his sayings could be presented with  appropriate musical background. Also, there are many poems about the Great Emancipator, showing different sides of his character. The possibilities for Valentine's Day are as numerous and as varied as the messages sent on that day. Many excellent scripts have been written for Memorial Day, using the theme of the Unknown Soldier. A brief sketch of this type follows. Hallowe'en, while primarily a children's holiday, might be made tc appeal to the adult with a ghost story of the weird happenings within a haunted house. Armistice Day might bring forth a program showing what has happened to the treaty of Versailles, how other treaties ending wars have lasted and been observed. What Thanksgiving means to Americans gives us an opportunity to get a little bit away from the Pilgrims. The original proclamations issued by Governor Winthrop of Massachusetts, or the first Thanksgiving Day proclamation by President Washington could be used on this day. Christmas offers many approaches. The subject of radio programs for special days is endless. Many educational broadcasters and local and regional stations find such programs timely and of interest to the listener. Novelty is the greatest desire of the broadcaster, and yet it is decidedly an elusive quality, because, once a novel program is originated, it is adopted by others and soon becomes commonplace. Novelty attracts listeners; attracting listeners is the broadcaster's business. In an effort to originate new ideas and techniques of broadcasting, the Columbia Broadcasting System presented an eight -week experimental series called " Forecast." These were sustaining programs, each developed along a novel line with the idea of attracting sponsors who would purchase and further develop such trial shows. There was the "Battle of Music," which consisted of a contest between a swing orchestra and symphonic organization. A trial program was entitled "When You Were 21," drawing upon the slang, news, sports, books, and plays of a year when listeners were coming of age. The program, "Duffy's Tavern," was a series of music-hall terms. "Of Stars and States" illustrated what kind of program and talent could be provided by a different state each week. "The Life of the Party" carried the illusion of a, good-natured get-together. Commercial broadcasters arrange their programs to appeal to the great majority of listeners. If it were possible for them to have a program that would appeal to every listener, that would be their ideal. I feel that there are instances where the minority should be considered in some programs. However, there is always an audience for every good program. The program builder considers his average listener as the resident of. a middlesized town, earning approximately $2,500 a year, the father of a small family. He has had a high-school education and his children will probably stop their school training at the end of highschool. The average listener owns an automobile, attends the movies. His principal reading is the newspaper. It is felt that sports and headlines, politics and business are his news interests. In determining his fiction preferences, those magazines which have the largest circulation give to the broadcaster an idea of the material which can form the basis for dramatization for the average listener