Gary Stevens, Top-Rated Deejay From Detroit, Has Become the Fifth Good Guy on New York’s WMCA. This Is What It’s Like
THE NEW SCENE. What’s it like for an out-of-town deejay to move into New York and try to become part of a team of Good Guys on a highly rated station in the big town? How does he react to the change of climate, change of scene, change of audience and a change of hours? How does he feel about four -sheets posted all over town reading “Is Gary Stevens really a good guy? No. He’s a great guy!”
Gary Stevens is the new Good Guy in New York. He comes from Detroit, from station WKNR where he was a top-rated disc jockey. He is now with Station WMCA in the 7 to 11 p.m. slot, the big slot, make or break slot.
He came into New York after the biggest radio night time shakeup in Gotham in the memory of most record and station people. The big guns, the big names who used to hold down the top posts and who made New York still seem like the swinging rock town it was when Alan Freed was creating all kinds of excitement at WINS in the mid -1950’s, have vanished.
WHERE ARE THEY NOW. Murray the K is no longer on WINS. WMCA’s B. Mitchell Reed, who had captured a big segment of the kid audience, has left to return to his old post at KFWB in Los Angeles. Scott Muni has been long gone from WABC. Only Bruce Morrow, the cousin Brucie of the laughs and the gimmicks is still swinging at night. The other big night names have fled, and the kids get their sounds via TV.
WINS has turned to news. WMCA let its night time slot be filled by swing-shifting its other good guys for almost two months. WNEW’s new policy of playing slightly more raucous records has led some radio-record people to intimate that the station might go rock all the way, a possibility that seems as distant as the moon landings.
The Good Guys at WMCA give away sweatshirts, appear in funny costumes, play baseball with the Playboy Bunnies, make all trade functions and are probably the closest group of guys working together since the Harlem Globetrotters.
Gary Stevens has been through all this before. He was a Good Guy at WFUN in Miami, which helped to originate the Goody Guy format. So he knows.
NEW YORK KIDS. What has surprised him is the New York kids. “They’re more hip than the kids in Detroit,” he said a while back at a luncheon at Sardi.” A lot of the things I used to do in Detroit have not made out here. I guess it’s because the kids are more sophisticated.
“It’s all part of being in New York, I think,” continued Gary Stevens. “In other cities you look for things that are happening–here anyone or anything that happens comes to you.
“I get calls from kids who want to talk to me about my show. They use words like gimmick and format, words you wouldn’t hear used in Detroit by anyone except radio people. One youngster called me up a few days after I started at WMCA and said “Man, you need more gimmicks.”
NEED TO BE TALKED TO. “Yet, in spite of all this, New York kids still need to be talked to, like normal youngsters anywhere. I’m willing to alter my style to fit the market, but I still want to be myself.
I’ll use my own gimmicks, the Wooleyburger, a ferocious animal that doesn’t talk, only growls. I have to interpret what he says. I’ll also introduce the Frog. He growls too, and I’ll have to explain what he is saying.
“And I won’t play Joe Nice-Guy, just because I’m in New York. Some jockeys come to the big city and try to please everybody. Not me. I’ll be me.
“Even though the New York kids are more sophisticated about things, they are not more hip musically. In fact they are not as aware of many of the new records as the youngsters in Detroit. That could be because they have so many radio stations in New York with all kinds of different formats. It also could be because there are so many things here to distract them from records.”
SHOW A MIXTURE. Stevens’ show is a mixture of up-to-date and on the way up rock discs, a mixture of rock and rhythm and blues that lies more in the old Alan Freed tradition than that of his predecessor B. Mitchell Reed. He intersperses his commercials and straight announcements with gags and sort-of-one line put-ons. He doesn’t sound like anyone else in town, so he has to make it on his own.
With the help of the Good Guy image that is.
Is Gary Stevens a Good Guy? Can he bring to his shows that mixture of freshness and audience appeal that WMCA wants to make that night time slot the top-rated of the pop music stations? He’s trying hard, with the Wooleyburger, one-liners, and smartly paced programming.
He’ll probably learn a lot from those smart New York kids. And they might learn a lot from him. If they like him he’ll be a Good Guy for a long, long time to come. END
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Information, credit and news source: Music Business, May 15, 1965
Gary Stevens WMCA April 8, 1965
