WRIF VOICE CROWD, SEATING CONCERNS FOR STONES CONCERTS… SEPTEMBER 26, 1981

From the MCRFB news archives:

WRIF PD Pleads For Reserve Seatings In Lieu of Crowd Rush Safety; Brass Ring Says ‘Festival Seating’ Admission Will Do Fine

 

 

 

 

DETROIT — A dome full of controversy over public safety including legal suits and radio and television editorials surrounds the upcoming Rolling Stones concert at the Pontiac Silverdome November 30 and December 1.

At issue is the practice of selling general admission tickets, also know as festival seating. Eleven persons died in the crush to get good seats in Cincinnati two years ago at a rock concert featuring the Who. Since then, public criticism of festival seating has led to seating policy reform in Ohio and orther parts of the country. There are no laws prohibiting festival seating in Michigan.

The Rolling Stones performed before a sold-out concert crowd at the Pontiac Silverdome; Monday, November 30, 1981 (Click on image for larger view)

Concerns over safety gained added weight last week when a performance by the Rolling Stones in Worcester, Mass on Monday, September 14 turned into a disturbance. An estimated 4,000 fans turned out for a supposedly secret concert for 300. Seventy police offices tried to control and quell the crowd and made 11 arrests that evening in the process.

Following the incident at Worcester, two possible shows at Boston’s 2,800-capacity Orpheum Theater were scrubbed by city officials for security reasons. Instead, Boston Mayor Kenneth H. White suggested that the band play a free concert at City Hall Plaza Sunday. This suggestion was turned down, and according to promoter Don Law’s office, no Rolling Stones dates are scheduled for Boston at this time.

The Rolling Stones tour officially begins Saturday, September 26 when the group will play two shows before an estimated sold-out crowd of 90,000 at JFK Stadium in Philadelphia.

Mick Jagger at the Silverdome November 30

In Detroit, almost immediately following the recent announcement by concert promoter Brass Ring that seats for the two Silverdome concerts would be occupied on a general admission basis, Fred Jacobs,  program director of WRIF-FM, went on the air with a plea for greater audience concerns amid crowd rush safety issues. The ABC-owned radio station’s television affiliate, WXYZ-TV, Channel 7, also editorialized against the planned seating arrangement.

Meanwhile, two University of Detroit law students has filed suit in Oakland County court to block the concert if tickets are not sold on a reserve seating basis.

Brass Ring has insisted that the concerts are safe and that the security arrangements are more than adequate,. If both concert dates are sold-out as expected, the gross income from 150,000 tickets will be estimated at $2.5 million.

The Stones current tour in support of the recently released Tattoo You LP will cover 21 cities. The expected attendance is estimated over 1.5 million fans who will pay an estimated $20 million to see the Stones perform.

The Stones were originally scheduled to play the Silverdome on November 30 only, but tickets for that concert sold-out in a few days. The heavy demand led to the addition of a second show for the following night with a limit of six tickets per customer sold by mail order only. Brass Ring Productions stated that the second performance at the Silverdome precludes a rumored appearance  by the group in an unnamed small local club.

The Stones electrified the Silverdome crowd… November 30 (Click on image for larger view)

“Every promoter in the country learned by that (Cincinnati tragedy) and everybody’s planning better,” Jeff Ellwood, spokesman for Brass Ring says in defense of the seating plan for the Stones’ appearance in Pontiac. To avoid any possibility of a rerun of the fatal crush for seats, the Silverdome gates will be opened several hours before the scheduled showtime, security has been beefed up, and a phone hotline has been installed to give updates on the event.

WRIF’s PD Jacobs says that the contents of his editorial was “non-juicy,” asking questions of who’s responsible, is there a need for festival seating, and is it safe.

“Referendum (a call-in listener poll) is running 10 to 1 against festival seating,” Jacobs says. “The promoter took our latest editorial very personally. It’s too bad because the issue here is public safety. We love the Stones, everyone at WRIF is looking forward to the concerts, but why no reserve seating?”

Used Rolling Stones Silverdome ticket stub; December 1

Law students Steven Iamarino and James Rocchio filed for an injunction in Oakland County Circuit Court seeking a temporary restraining order barring the concerts unless the reserved seats are sold.  The motion was denied by Judge Hilda Gage on September 11. She sets an October 7 court date to hear testimony on the case.

The plaintiffs Iamarino and Rocchio are suing the Silverdome, the city of Pontiac, Brass Ring and Rainbow Productions, the New York promoter, on the grounds the concerts’ proposed seating is a threat and danger to both public and personal safety.

“A class action may be approriate,” Iamarino says. The class action could include all those who requested tickets. Iamarino and Rocchio plan to submit lists of questions concerning public safety and security precautions at the Silverdome to all four defendants named.

L. Brooks Patterson, Oakland County Prosecutor, plans to step in if the Silverdome doesn’t act to “minimize the risks.”

“I consider festival seating risky,” says Patterson, “I’m waiting to see how far the stadium is willing to go to reduce the risk. By that I mena open up all the gates far in advance of the concert. If they only plan to open two or three gates a couple of hours before the show starts, we would take action in the form of a lawsuit.”

The Silverdome’s office of promotions and publicity says the entire stadium facility will be opened up. “Security and insurance coverage are contractual obligations of the promoter,” the office says, “and they are required to furnish extensive coverage.”

The State of Ohio and the city of Cincinnati took legislative action in wake of the 1979 tragedy, according to state legislative Senator Stanley Aronoff’s office. “It took 15 months for the legislation to act but now we have very detailed, stringent restrictions on festival seating, based on type of concert, area, and facility,” say Mary Williams of the Senator’s office.

“Of course, if you have a ballet and the crowd is 4,000 by admission that’s not the same concern. Cincinnati also has very strong local ordinances limiting festival seating,” she went on to add. END.

 

(Information and news source: Billboard; September 26, 1981).

Loading

ED BUSCH TALK SHOW – 1983

Ed Busch Talk Show Aircheck – 1983.mp3

Resume of Ed Busch

1968 – Present

Self-employed by Ed Busch Productions, Inc.

  • 2004 – 2005 – Producer, writer, interviewer for Black History Month television features for Cadillac and Chevrolet.  Identified subjects to be profiled within the African-American community, conducted interviews, wrote scripts for profiles and voiced the segments.  Aired on CBS 11 and channel 21 in Dallas/Fort Worth.
  • 1992 – 2003 – Voice, writer/producer of audio newsletters for Frito-Lay, Interstate Batteries and La Quinta Inns.  This consisted of interviews with the public, experts, authors and employees.
  • 1986 – 1993 KLIF-AM Dallas.  Talk show host and fill-in host.
  • 1986 – 1988 Consultant to KLIF-AM Dallas.  Responsible for helping change the station from a country music format to a talk format.
  • 1984 – 1986 Host/producer of the “Ed Busch Talk Show” national call-in talk show in joint venture with the Associated Press and carried by their network.
  • 1982 – 1983  “America Overnight” programmer/host of national call-in talk show.  Joint venture with RKO Networks and carried on 100+ stations.

1976-1982 WFAA-AM               Dallas                           Talk Show Host

1975-1976  KNBR (NBC O/O)  San Francisco                  Talk Show Host

1980s – 1990s freelance work:  Talk program consultant to WPLP-AM Tampa, WCKY Cincinnati, KFJZ –AM Fort Worth, KTBB-AM Tyler and KOA-AM Denver.  Hosted daily mid-day movie on Channel 27 (“Ed Busch and the Movies”) and a weekly TV version of my radio show on WFAA-TV Channel 8 with audience.

Recognition/Civic Highlights: San Francisco Bar Association media award for staging a trial on my program with the audience as the jury.  Dallas Independent School District award for swapping jobs with the Superintendent.  Dallas Observer voted Best Talk-Show Host.  Elected on the first-ever ballot to Texas Radio Hall of Fame.  Two-term president SPCA of Texas.  Mabank ISD bond committee member.

So adding to the earlier line up, it brings us to early  1968:  WTTO-AM Toledo

1968 WKNR FM

1969 WKNR-AM

1970, 1971: WCAR

1972 WWWW-FM

1973 (my first talk gig) WERE-AM Cleveland

And then to WFAA-AM…

Okay, I think that’s my whole life George.

Ed

PS, Dick Purtan once told me I was talented but my problem was  I’d go across the street for another $50 a week.  I guess he was right.

Ed graduated From Lincoln Park High School

W X Y Z Jingle – Lincoln Park High School.mp3

 

 

 

Loading

FLASHBACK MOTOR CITY HAPPENINGS ’68… OCTOBER 12, 1968

From the MCRFB news archives:

IT’S WHAT’S GOING ON IN AND AROUND THE DETROIT MUSIC SCENE….

 

 

 

 

The band CREAM as photographed performing at the Olympia on October 14, 1968. (Click on image for larger view).

DETROIT — Robin Seymour, host for CKLW’s “Swinging Time” TV show, recently presented his annual Swingin’ Time Revue for seven days which began Friday, September 20 at the Palms Theater in downtown Detroit. The show billing spotlighted local R&B recording talents such as the Fantastic Four, Lonette, Detroit Emeralds, Little Carl Carlton, and the Precisions. . . . David Ruffin, former lead-singer for the Temptations, filed suit with Wayne County Circuit Court against Motown Records last month for a contract release. Ruffin feels he’s been “put on ice” as a solo artist with the label ever since his split with the group several months back. . . .  Atco Records’ own the Cream are scheduled to perform on stage at the Olympia Arena on Monday, October 14. . . . Detroit’s Pioneer Recording Studio sponsored a “producer’s social” at their new studio at 20014 James Couzens. The 8-track complex boasts a 70-minute hour. . . . The Vanilla Fudge is booked into the Masonic Auditorium for Friday, October 18. . . .  followed by Jose Feliciano, who will perform there the following Friday, October 25. END.

 

(Information and news source: Billboard; October 12, 1968).

Loading

WJR-AM RETURNS TO THE CBS RADIO NETWORK… JANUARY 12, 1963

From the MCRFB NEWS archive: 1963

After More Than 3 Year Absence, WJR Returns to the CBS Network

 

 


 

CBS Radio logo 1963.

DETROIT — After a three-and-a-half-year separation, powerhouse WJR has rejoined CBS Radio, thus filling a glaring gap in the network’s nationwide coverage and adding more CBS “names” to the station’s own extensive personality roster.

The move has spelled no radical change so far in WJR station personnel, though much program shifting has been necessitated by the addition of such shows as “Arthur Godfrey Time,” Art Linkletter’s “Houseparty,” the “Garry Moore Show,” Betty Furness’ “Woman’s Word” and dozens of CBS News programs.

WJR-AM 760 newspaper ad for the Jimmy Wood Show; March 30, 1964. (Click on image for larger view)

Biggest move slices Jim Wood’s popular afternoon broadcast of “Showcase,” an easy-going blend of pop music, album instrumental tracks, interviews, from a daily two hours and 15 minutes, cut down to 50 minutes across-the-board. Most of the lost time is being made up, however, on a new “Jim Wood Show,” from 10:05 to 11:00 P.M. The new program includes some of the “Showcase” ingredients with the addition of humorous skits written and enacted by the ‘man-of-many-voices’ Wood.

The long-time WJR music variety show, “Guest House,” has been torn down after nine-years as an evening program landmark, but re-appears almost intact as “The Bud Guest Show” in the 12:30 P.M. through 12:55 P.M. slot, featuring host Guest and the WJR orchestra led by Jimmy Clark. The shift, meanwhile, has knocked out a WJR music-oriented show, “Time Out For Music,” which will now be heard on Saturdays only.

Popular WJR air-personality J. P. McCarthy, considered by record industry personnel as being the Motor City’s top-rated record-spinner, has lost his Saturday afternoon segment of “Music Hall,” but has an extra 15 minutes tacked onto his late-afternoon into early-evening daily stint. His early morning spot is left as unchanged from Monday through Saturday.

A 50,000 watt, clear-channel station,  WJR covers more radio homes than any station outside of New York, Chicago and Los Angeles — 15,500,000 people in four States plus an additional 3,000,000 in Canada. One of the nation’s pioneer stations, WJR began broadcasting in 1922 and has since become Detroit’s premier good-music radio station.

WJR has been a CBS affiliate from September, 1935 through May, 1959, when station management split with the network over the new Program Consolidation Plan. The Program Consolidation Plan (or PCP) involved compensating affiliates with free programing which they could sell to local advertisers, rather than paying the station cash for using network programming.

Cash Is Back


WJR goes CBS with these names for 1963:
Dallas Townsend; Robert Trout; Stuart Novine; Jerry Coleman; Richard Hottelet; Alexander Kendrick; Douglas Edwards; George Herman; Winston Burdett; Leonard Berstein (pictured left).
Arthur Godfrey; Allan Jackson; Art Linkletter; David Schoenbrun; Betty Furness; Garry Moore; Nancy Dickerson; Charles Collingwood; Lowell Thomas; Chris Schenkel (pictured right)

Stations consider it as an unworkable “barter” system, declared it would hurt the industry and gave the network its six-months’ contractual notice. The plan was dropped by CBS early this year and cash compensation was restored, paving the way for this week’s return.

Since the schism, the CBS Radio Network had been without a regular outlet in the important Detroit market. The NBC outlet of longstanding is WWJ, the Detroit News station. ABC owns and operates WXYZ and WKMH programs Mutual news and sports shows.

Commenting on the move back to WJR, CBS Radio President Arthur Hull Hayes said, “We welcome the re-affiliation of WJR because it reflects the renewed vigor and indestructible importance of (CBS) network radio” having now been enjoined once again in the Detroit market. END

___

(Information and news source: Billboard; January 12, 1963)


Vintage WJR-AM 760 newspaper ad for J. P. McCarthy’s “Music Hall” return; December 1964


Loading

FLASHBACK POP MUSIC HISTORY: JULY 20

From the MCRFB music calendar:

Events on this date: JULY 20

 

 

 

 

 

 

 

 

1940: Billboard magazine publishes their first combined record sales chart, ranking the hits of all major labels. Sitting atop the ten entries is Tommy Dorsey’s “I’ll Never Smile Again,” by lead singer Frank Sinatra.

Scotty Moore, Elvis Presley and Bill Black in 1954.

1954: Taking their name from their local hit recording of “Blue Moon Over Kentucky,” Elvis Presley, Scotty Moore, and Bill Black perform a concert as the Blue Moon Boys on the back of a flatbed truck outside the grand opening of a Memphis drugstore.

1961: British paper Mersey Beat announces that the Beatles — or rather, the Beat Brothers, as they were then known — have just signed their first recording contract. Not with Capitol, but with famed German producer Bert Kaempfert.

1963: The Beatles nab their first UK No. 1 LP with Please Please Me.

1965: Frank Sinatra leaves his hand prints in cement outside Hollywood landmark Grauman’s Chinese Theater at 6925 Hollywood Blvd.

Paul McCartney and Jane Asher in 1964.

1968: Aware of Paul McCartney’s various affairs, his fiancee, Jane Asher, announces on the BBC program Dee Time that she has broken off her engagement with the Beatle: “I haven’t broken it off, but it is broken off, finished… I know it sounds corny, but we still see each other, and love each other, but it hasn’t worked out. Perhaps we’ll be childhood sweethearts and meet again, and get married when we’re around seventy.” Paul, watching at home, is reportedly surprised, but rumors has been swirling for months, so perhaps not.

1970: The Carpenters appear as guest bachelor and bachelorette on ABC-TV’s The Dating Game show.

1975: Steven Van Zandt makes his first appearance in concert with Bruce Springsteen and the E Street Band.

1986: Carlos Santana celebrates his 39th birthday, as well as the 20th anniversary of his band, by playing a concert in San Francisco featuring all 17 original members of his group.

 

Deaths: Roy Hamilton; 1969.

Releases: “Judy’s Turn To Cry,” Lesley Gore; 1963. “I’ll Cry Instead,” “And I Lover Her,” The Beatles; 1964. “Do You Believe In Magic,” Lovin’ Spoonful; 1965. “Like A Rolling Stone,” Bob Dylan; 1965.

Recording: “I’m In Love Again,” “Midnight Special,” Paul McCartney; 1987.

Charts: 1963: “Surf City,” Jan and Dean; hits No. 1 on the charts. 1968: “Grazing In The Grass,” Hugh Masekela; hits No. 1 on the charts. 1968: “In The Gada-Da-Vida,” Iron Butterfly; enters the charts.

Certifications: 1963: “Concert In Rhythm,” “Memories Are Made Of This,” Ray Conniff Singers; are both certified gold.

 

 

 

 

And that’s just a few of the events which took place in pop music history, on this day….

 

Loading

GORDON MCLENDON: AN OPEN LETTER TO… APRIL 8, 1967

From the MCRFB news archives:

An Open Letter To The Music Industry: April 8, 1967

 

 

 

 

 

Gordon McLendon’s Open Letter To The Music Industry… full page ad; Billboard Magazine April 8, 1967. (Click on image for sharper scan).

 

 

(Information and news source: Billboard; April 8, 1967).

 

Addendum: Gordon McLendon, Top 40 radio pioneer and then-owner of several radio stations across the country, including the legendary KLIF in Dallas, voiced great concern in early 1967 as to which way the recording industry was heading, in allowing “raunchy” and suggestive lyrics in popular music airplay on the radio.

Gordon McLendon.

In this Billboard ad, McLendon went on to attack the recording industry, while advocating of his intent to abolish records on all of his McLendon stations, songs that were not accompanied with a lyric sheet per their review.

McLendon, at the time, strongly felt certain songs were undermining the moral character of the country by their questionable “subliminal” context expressing drug or sexual connotations, whether stated or implied, which the McLendon group would ban unsuitable for any airplay if found to be in question. He also went on in further recommending radio broadcasters across the country follow suit likewise, of the guidelines and steps he imposed in the ad.

In Detroit, it bears to note that just one month after this ad was published, WKNR station owner Nellie Knorr barred Tommy James’ “I Think We’re Alone Now” from airplay on Keener, she found the lyrics too “suggestive.” But that’s how radio was trying to “keep it clean” back in 1967.

And what was the one particular recording which prompted McLendon to state of his resolve to ban records he judged “unfit” for airplay on his stations?

…”Try It,” by the Standells.

Loading