Chapter 10
Winter quarter began January 3, 1971. This was the first winter quarter for WIDB. There are certain cycles of the calendar at the university, and WIDB was encountering these for the first time. For example, March was the time to submit budget allocation requests for the next fiscal year. The budget and allocation process seemed to change every year, but it generally had elements of input from Student Government, Administration, Board of Trustees, and some media.
In the 1970′s, there was a Finance Committee of the Student Senate that took applications and held hearings on allocations. Prior to 1971, the allocation process had its share of rancor and heated debate, but it was a well-oiled machine compared to later years. By 1971-2, the process had turned into a circus. Some organizations made requests for 20 times what they really wanted, so they could scream louder and louder when cut. Other organizations packed the hearings with uniformed supporters, who raised their fists in a not-so-implied threat when cutting their budget was discussed. Charges of racism, sexism, favoritism, and nepotism were commonplace.
The funds in question were student funds. At the time each student paid tuition, certain mandatory “fees” were added. The “SWRF” fee was discussed in an earlier chapter. The concept was that each fee created a fund that was supposed to be used for a limited purpose. That “limited purpose” often got “re-interpreted” by the administration when desirable for them.
Fees could add up to 25% over tuition. For example, in 1971, a full time undergraduate would pay about $129 per quarter in tuition, but an additional $32 in fees. Out of that $32, about $3.50 was for a “Student Activity Fee.” There was over $370,000 in student activity fees expected in FY ’72, and Student Government was supposed to allocate that amount. The funds would be for the period ending June 30, 1972.
Yet the process began in March of ’71. This money was WIDB’s lifeblood, because the station could not operate without it. So the budget process was critical to the maintenance, improvement and expansion of the station.
The budget was drafted in March, passed by the WIDB Board in April, submitted to the finance committee of the senate in early May, hearings in late May, submitted to the Student Senate in June, sent to the university president in late July, sent back to organizations for revised budgets in August, submitted to the Board of Trustees in September.
The whole idea of this process is to have the allocated funds in the organizations’ accounts by July 1, the start of the fiscal year. Yet the process was not complete until well into fall. Part of the problem was student government, which was not able to finish its part until July. But the roots of that problem lie much deeper.
From the decision-makers’ standpoint, the allocation process was far from easy. It required long hours and inevitably made enemies. Yet students willing to deal with this kept (at least some of) the power with students. If students wouldn’t take the responsibility, the administration would step in (the theory went).
The decision-makers were essentially referees as organizations fought over the financial pie. It was a delicate task, and the decision-makers were trying to learn too. Once an equilibrium was reached, (and organizations were more trusting and less insecure about the process) things were far more efficient. Conversely, if the balance was disturbed, organizations stressed about survival increased aggression. Upsetting the equilibrium led to disputes, rancor and a more difficult and lengthy process.
In March, 1971, as Charlie and the staff prepared the first annual WIDB allocation request for a full year’s operations, they had no way of knowing that competition would double and the administration would throw its wrench into the works.
In FY 71, 34 organizations applied for and received funds. In FY 72, 65 groups applied. 61 received funds. So there were a lot more hungry mouths to feed, a lot of new hungry mouths. These new organizations had worthy purposes that cried for funding. There was the Illinois Public Interest Research Group (IPIRG), student and consumer activists. There was the Mirror, which published professor and course evaluations, and became an invaluable student tool. There was the Student Tenants’ Union, Zero Population Growth and Mobilization of Volunteer Effort (MOVE). These five new applicants received 12% of the total funds available. Four other applicants, Student Government, Student Government Activities Council (SGAC), the Daily Egyptian and Graduate Student Government soaked up another 38%. So WIDB was left to fight it out among the 56 applicants left for half of a rapidly shrinking pie ($185,000). It was no way to run a radio station.
If that wasn’t enough, apparently in response to the riots the previous spring, as well as decisions to fund organizations they didn’t like, the administration and Board of Trustees decided to give all student organizations and the entire allocation process a hard time. First, the administration decided that the Student Activity fee rate and collection formulas had to be changed. Although the fiscal year began July 1, this proposed change was announced in May but not submitted to the Board until August. This bombshell, which placed into doubt the dollar amount of the pie, completely blew away any equilibrium. It was launched after the allocation process began (timed suspiciously well to ensure disruption). Although announced a few months before, the administration delayed seeking Board approval of the new fee arrangement until the disrupted Student Government hammered out the 61 allocations. Then, to add the coup de grace, the Board decided to withhold 20% of all allocations because of confusion related to the new fee structure. So all organizations were reduced ANOTHER 20%!
The administration created confusion, purposefully delayed resolution of the confusion, and then used their own created confusion as an excuse to penalize and discourage students and their organizations. This was a new administrative hard line, which continued for several years. WIDB was “lucky” enough to be rearing its head just as this started. WIDB did not cause the riots, and, in 1971, was relatively low profile when it came to administration opponents. But because WIDB was a student organization, it was lumped into a category and process which involved WIDB’s lifeblood, and WIDB’s survival would soon be at stake. More about this later.
WIDB was facing new and important challenges from inside and out. As “old guard” staff heads departed, new ones were stepping up. Actually, it was a plus that transitions at important staff positions were happening in winter, because there was less external tumult at that time. A student named Rob White visited the station. He pointed out that WIDB had no programs aimed primarily at the needs of black students. Charlie delegated this to Howie, who was still Program Director. Howie delegated to Tom Scheithe. Tom could not argue that WIDB had any black-oriented programs. WIDB’s first black-oriented program (which never had any official name, but was referred to as the Soul Show) was hosted by Rob. He called himself “Rob ‘Ol’ Blood’ White”.
The concept of “oldies” has become blurred, but the term was very clear in 1971. “Oldies” were hits from the past. They were released as singles, had “charted,” and were no longer played as current. While top-40 stations had short playlists, and would play the same current records every three hours (or even more often), a paticular record would be played from a few days to a few months MAX. After that, it was an oldie.
Oldies were more attractive than current records. Hundreds of #1 or Top Ten songs were available; these were far more popular (in their day) than just about any current record. They were also familiar and easily recognized, because one had heard them 8 or 9 hundred times. They sounded fresher compared to current hits because oldies had not been played 67 times in the last two weeks. Oldies also took the listener somewhere; they triggered a package of memories associated with listening to the record dozens of times when it had been current. For this reason, oldies are often promenently used to this day in TV commercials. At WIDB, a large portion of (if not most) requests for songs were for oldies.
WIDB played oldies every other record on the weekends, and they began an oldies show on Sunday night. Hosted by Jim Hoffman (Jim Lewis) the concept was to record the phoned-in request and play the request on the air over the bridge of the record. It was a big success. Again, no other station in the area was playing oldies and airing requests like WIDB.
While oldies were popular, and were featured on a specialty show, the primary station programming was top-40. It occupied about 110 hours out of the 132 hours programmed each week. Yet, the three “specialty” programs, oldies, soul (black-oriented) and underground, relegated to “back-burner” status in 1971, were slated to become the major pillars of WIDB’s programming in the future.
There were other important specialty programs during the first year of WIDB. Dan Mordini started the “Pillowtalk” program. Running from 1-4am on Friday and Saturday nights, the concept was to play music appropriate for intimate activities. This was a popular show, and was taken over by Susie Myers (Stacy Brennan) and Kay Kessler (Jennifer) and later by Pat Becker. One of the best promos produced in 1971 was for “Pillowtalk”, featuring Kay, Sam Glick and Jim Rohr as the announcer.
Another important show was “Anodyne”, the interview/talk/call-in show on Monday evenings. Traditionally, the GM hosted it. It was live, and the impact of each show varied. Some were very significant. Anodyne was partly for experimentation; some shows worked, some didn’t.
In less than a year of existence, WIDB had become a focal point for communication access to students. This was reinforced every time a listener called with a request, a news question, or as a contestant in a prize giveaway, when campus groups asked for publicity, or when a WIDB newsman visibly covered campus events. It was also reinforced when students like Rob White showed up and demanded that WIDB do more to serve its audience.
It is hard from today’s perspective to understand WIDB’s obsession with jingles in the early years. Most of it came from the intense desire to present as professional a sound as possible. All staffers had listened to the “BIG” (major market) top-40 stations for years. The “big” stations (WLS, WCFL, WABC, KHJ) sounded big because they had fancy jingles, fancy production, and manly, professional and versatile production voices. But these things cost money, BIG money.
Howie and Tom were determined to bring all three to WIDB, for almost no cash. There was one major advantage. They could “pirate” (steal) just about any production (jingles, music, voices) they could get their hands on. Jingle and production companies made their money by selling the right to use their product in a particular market to a certain station. If a station used something without paying, it was easy for the company to find out for several reasons. One, the station was open air and it was easy to record evidence of unauthorized usage. Two, the jingle packages contained “slogans” (such as “the beat goes on” or “music radio”) which were attributed to the station in national directories and with ratings services. Three, there was enough $ at stake for the production companies to take legal action against a medium or major market station for unauthorized usage. In short, regular commercial stations were too public with too much $ at stake to get away with it.
Not so with WIDB. It was not open air. Carbondale was definitely a small market. WIDB sold no advertising, was not listed in any directory, and there was no ratings service involved. Who would know? Even if the production companies found out about unauthorized usage, what would they do? Sue WIDB for the 500 or so dollars that would be due? The jingle business moved so fast that anything WIDB could obtain and use was pretty much obsolete anyway. In short, there was no financial benefit to WIDB for pirating jingles; the goal was just to improve the program sound. Thus, there was no motivation for the jingle companies to consider legal action.
So it was open season to steal, edit, or otherwise use just about anything. Production companies often would send free demos on high quality tape that contained useful items. Some demos contained tones to defeat dubbing. Some copies of jingle packages were available through personal contacts. But almost all of the useful items were isolated and disjointed, and no amount of fancy (for the day) editing or re-mixing could create the cohesive, consistent jingle package so desperately yearned for. The problem was that the main purpose of almost all jingles was to ID the station. So, all jingles had call letters. Some also had city of location. None, zero, said “WIDB,” or “Carbondale,” and that’s exactly what was needed. The secondary purposes of jingles were to ID a station slogan and provide transitions during program breaks, before and after records. In a top-40 format, every station was playing almost the same records. It was the jingles that made stations different. That was their identity. It was a central pillar of programming.
Howie had favored jingles used by Drake-Chenault (a name for a certain style of Top-40 format, primarily acapella), created by legendary Top-40 programmer Bill Drake and jingles used in many markets nationwide, in New York by WOR, in L.A. by KHJ and other stations in the RKO Radio Group. (In fact, a variation on the D-C jingles is still in use today on Infinity’s L.A. oldies station KRTH-FM). The Drake-Chenault jingles were also used on Howie’s pirate WLTH. But the Drake style had never received exposure in Chicago, where most of WIDB’s listeners grew up. The big Chicago stations favored TM (WCFL) and Pams (WLS). There were also jingles produced by Pepper Tanner. TM had the most melodic, best produced package and that was what Tom lusted after. Tom was a skilled editor, and he had a plan to provide WIDB with most of a modern TM jingle package!
But before Tom could proceed, an unbelievable stroke of luck provided them with a monumental production opportunity.
The better jingle packages were arranged around a particular word and music theme. One example was the “Solid Rock” package from Pams In perhaps 12 different jingles, the singers might sing “solid rock” or “The rock of… (location)” and then a station’s call letters. Once the word and music themes were set, the music tracks were recorded. Separately, the singers would add the call letters and locations. This way the same music tracks could be used over and over for stations in different markets. WLS, Chicago, used the Solid Rock package in 1972. The singers sang “The rock of Chicago, WLS.” In 1973, KGMO, Cape Girardeau, used the Solid Rock package. The singers sang, “The rock of Missouri, KGMO.” In 1971, WCFL, Chicago, used TM’s Phase II package which was the Dallas-based company’s most popular. So did KILT, Houston. The production value to a station that had no jingle package (like WIDB) was in the music tracks, not someone else’s call letters. It was believed that if the music tracks only could be obtained, it would be easy to get singers to fill in the call letters. But the production companies jealously guarded their music tracks.
During the winter of 1970, Jeff Avon somehow secured a tape of the TM “Beat Goes On” package. This was one of the best packages ever made, and it had been used by WCFL only a year or two before. Almost all WIDB’ers were familiar with it. Even Howie had listened to the Beat Goes On package by DX’ing WCFL at night in New York. This jingle package shouted “major market radio” to them. But it was not a big deal to hear the jingles sing “WCFL” or “KILT.” The big deal was that Jeff had the music tracks, in the clear, without call letters.
Howie and Tom were ecstatic! They had to get a copy of those tracks! Jeff flatly refused. He had promised that he would not allow any dubs to be made. Howie and Tom came up with a plan. First they got Jim Hoffman to persuade Jeff to drive down to C’dale from Chicago with the tape. Then, they set up their reel-to-reel playback unit on the dresser in Howie’s bedroom. It had its own speakers. But it also had a line output, which Howie and Tom connected to another reel-to-reel machine hidden in the closet. That was the recording machine. It would record whatever was playing on the playback unit.
Jim had been Jeff’s buddy at Kendall College, in Evanston. In the late 60′s, they were involved in the radio station there. They developed relationships with Chicago radio personnel, most notably Lew Witz and Jim Lupus at WCFL. “That’s where Jeff got the tape,” said Jim. While Jim transferred to SIU for the 69-70 school year, Jeff remained at Kendall. Although Jim got Jeff to bring the tape down, Jim was not a dubbing co-conspirator. “I didn’t know that Howie and Tom had rigged up a system to record,” Jim claimed.
Jeff showed up and squeezed into Howie’s trailer bedroom with Howie, Tom, Jim and Howie’s girlfriend, Diana. The plan was when Howie coughed, Diana would start the closet machine on record. It worked perfectly. Jeff only allowed them to listen to the tape. They all listened, talked about it, listened to the tape again, and, all the while, the closet machine was recording. After Jeff left, (much to Jim’s surprise), Howie opened the closet, and they listened to the tracks again! The dub came out great, and Jeff had kept his promise, since he had not allowed any dubs to be made.
Howie was fully charged. His dream of a major market jingle package for WIDB was within reach! All he needed were the singers to fill in the call letters and a few other things. Howie contacted the SIU Glee Club. “They were thrilled to be involved, very enthusiastic,” Howie remembers. He played for them the music tracks and examples of the final product. “But when we got them into the studio, we found it was very difficult to achieve the sound like the production companies. The Glee Club singers had a style that was almost operatic, which was not appropriate for a hit music station,” Howie lamented. That effort, to use singers, had to be set aside. But the dream was still on the horizon.
Tom Scheithe, Operations Director, was in line to take over as Program Director, and he shared Howie’s vision of a major market jingle package for WIDB. In contrast to Howie, who relied on studio and mixing skills, Tom relied on his editing skills. He listened very carefully, over and over, to the WCFL version of the “Beat Goes On” package. He noticed that most of the jingles ran from 8 to 16 seconds long. They had instrumental openings. The closings were either instrumental or singers singing “The beat goes on.” Those jingles that had call letters in them had them in the middle. Significantly, the bars of the jingle that had the call letters often began and ended on the same beat or note.
Tom tried to edit out the call letters. The jingle instrumental intro, singers singng “and the beat goes on” and then instrumental finish. It worked! And, it sounded better than any jingles in the market, or even in St Louis. Tom forged ahead and produced about eight of these. His “Hatchet Man” moniker took on a more complementary meaning.
The pirated TM tracks were also useful not with singers, but an announcer. Dan Sheldon made himself (and his voice) available to record phrases that were usable over 5-9 second snappy tracks. Phrases like “And the hits just keep on coming,” or “Solid gold comes together on WIDB all weekend long,” with the tracks, also served as jingles.
Tom successfully used voices in the “most music” jingle. To boost morale, Tom created a specially produced “name ID” for each jock. (just like at the big stations) These were called “jock shouts” and used out of news.
Some of the music tracks became background for station promos. Certain tracks were patterned after old hit songs. The extremely popular song “Cherish,” (by the Association), became a jingle track that WIDB used for a Pillowtalk promo, featuring the voices of Kay Kessler, Sam Glick and Jim Rohr. Here is the Pillow Talk Promo Again.
By spring, 1971, morale was getting to be a problem for some at WIDB. Despite the activity in the programming department, engineering was approaching an early nadir. Dan Mordini had left and Bob Huntington was Chief Engineer. Jerry Chabrian, who had done much engineering work himself, was also gone. It had been expected that the eight transmitters would need lots of maintenance, especially in the first year. Some would have to be relocated, most would require re-tuning, and a few might need replacement tubes. Sure enough, by late winter, many transmitters had problems. More and more floors in the Towers could not pick up WIDB. Neely went out entirely. At Steagall, Thompson Point, a steam leak overheated the tramsmitter and it blew. In the Triads, the “background” hum was so loud on 600 AM that it drowned out WIDB’s music and programs. If these transmitter needs had been fully addressed promptly, the effect on the station would have been minimal.
But there were other problems, more significant problems. The station was out of money. It was still in its first year of operation, and its $15,000 allocation had been spent. Apparently, money originally earmarked for engineering maintenance and station operations had been spent for the new President Board. The board had been installed and it was great. But now it was March, transmitters needed repair, and there was no cash. Even worse, there was no money for the UPI machine, so it was disconnected. This was a devastating blow to the news department, especially with the ongoing war and draft and the specter of the riots recurring in spring. “Part of the problem was that nobody knew how to fix the transmitters,” recalled Jim Hoffman. “Were they still under warranty? Did they have to be pulled out to fix? Was the problem the florescent lights in the dorms (which created unlistenable hum)? Why did they work before and not now? These unanswered questions, plus lack of funds, prevented the transmitters from being fixed quickly.”
There had to be some money somewhere. Charlie applied for additional Student Activity Funds. None were available, but WIDB could get a “loan.” But the “loan” could only be obtained if WIDB would have a plan to pay back the loan from funds received before June. No student activity fees would be available until July, at the earliest. The loan was needed immediately. Help came from a most gratifying source.
East campus residents had been complaining that they could not receive WIDB. This was flattering because as the transmitter problems reduced coverage, WIDB was missed. Thompson Point residents were complaining that they, also, could not receive WIDB (for different reasons). Charlie and other staff heads took their cue and approached the East Campus and Thompson Point Residence Hall Councils for a financial handout. After all, WIDB’s purpose was to serve dorm residents, and WIDB was located in a dorm. Charlie was able to secure almost $1500, and most of the transmitter problems on East Campus were fixed by the end of spring quarter, and a plan was hatched to increase coverage at Thompson Point.
But the effects of reduced coverage and being broke continued through April and May. News was being read out of newspapers (when it was done at all). Jim Hoffman had begun a special oldies show with a novel concept. The show not only solicited requests, but it recorded the telephonic requests and played them on the air, over the bridge of the song. This show was perhaps the most popular one on WIDB. Winter quarter, there was an overwhelming number of telephonic requests. By April, the station’s reduced coverage was painfully apparent, as, suddenly, few requests were received during the oldies show.
Undaunted, the production engineer who recorded the telephonic requests, decided to “manufacture” them. He cajoled staff members who happened to be hanging around the station to call the request line from the office line, “pretend” to be listeners, and the engineer would record their “requests.” This may have sounded OK over the air, but it made staff members feel silly. Newsman Allan J. Friedman recorded his request for “Mama Told Me (Not to Come)” by Three Dog Night, but, feeling silly, Al registered his protest in a creative way. First, he refused to use a phony name. Second, instead of requesting the record by title, he requested it by its serial number in the library. So, (if one could listen), one heard “Hi, this is Al, from Schneider, and I’d like to hear T-2-1 by Three Dog Night.”
The engineer cajoled another newsman into making a request, and it was getting to sound pretty lame. A voice claiming to be “Alfred” requested “Venus” by Shocking Blue. Jim could not control his on-air chuckling.
“Alfred” was actually a shy WIDB newsman, who didn’t do much at the station except show up for his shift every week and that was about it. Having joined WIDB in late winter, 1971, he became the most powerful and influential figure with respect to WIDB’s future, its role in the university and community, and with WIDB’s members. His name was Joel Preston.
Joel was a LaGrange native who worked at Lyons Township High School’s WLTL. He had been the enigmatic and elusive “Sgt. Preston” of the “Sgt. Preston and his Mounties” show on WLTL (from which no tapes have ever surfaced). Later, he served a very brief tenure as the “Virgin Jock” at WIDB (of which no recordings survived). He hosted a WSIU show where he played show tunes and MOR music, and no tapes ever surfaced from those, either. Fortunately, Joel’s administrative skills and accomplishments presented a far more lasting and impressive legacy.
There had been certain expectations in the air at WIDB as winter turned to spring. One, that the riots would return as the weather got warmer. Two, that WIDB would soon be selling commercials. Both seemed to be pretty safe bets in March, 1971. The war was still going on, (as was the draft), the anti-war groups on and off campus were as strong as ever, and nothing had really dented the great dislike (to put it mildly) most people had for the war, for differing reasons. Dean Moulton had assured Jerry in 1970 that, once WIDB had “established itself” (read: “students could run their own station”) for a year, then advertising would be allowed.
Both expectations turned out to be wrong. The indispensability of a galvanizing event was overlooked with respect to the riots. Remember, when Nixon authorized bombing and the Cambodian invasion one year before, only 150 demonstrators came out. Only after police shot dozens of students at Kent State, and local police attacked hundreds of SIU students did the army of five thousand plus students shut down SIU in 1970. There were no such galvanizing events in 1971. Things remained relatively quiet through spring quarter
In 1970, WIDB had barely been able to get its administrative act together. The staff had been preoccupied with securing and preparing a space, recruiting programming staff, getting transmitters installed and working, and promoting the new WIDB. The news department was barely functioning when the need for news became critical. As we know, the staff rose to the occasion, but at that juncture, there was no time or energy to push for the right to advertise. Even if granted, the station was ill-equipped to proceed in 1970. It was thought that the university, once committed to WIDB, would cause WIDB’s funding to be maintained, especially if there was no other revenue source. So, as of spring, 1970, it seemed to make sense not to push the advertising issue at that time.
A year later, things had changed. There was a critical need for money. The need was critical not for salaries, a jingle package or a fancy piece of production equipment, but to keep the transmitters on, to re-connect the news wire, for the station’s survival. The difficulty in obtaining even a few hundred dollars of emergency survival funds suggested the unpredictability of WIDB’s revenue stream. As WIDB proceeded further into the circus-like 71-2 annual student activity fee allocation process, this inherent instability was painfully obvious. Also obvious was that the months of hoopla, back-dooring, and hijinks indigenous to each allocation process would happen every year. It was almost like running for congress; even if you won, you had to, almost immediately, begin campaigning for the next election. Unlike other student activities, WIDB had more important things to do: serve students’ needs.
The station could either spend a lot of time and energy politicking and cultivating relationships with student government, planning and executing “dog & pony shows” for the fee allocation hearings, and fighting with the administration to release the damn funds months after the fiscal year started, or the station could channel that energy into doing what almost every other radio station did for money: sell time. Which choice was more consistent with WIDB’s purpose of supplying students with experience for a broadcast career? Which choice was more consistent with WIDB’s purpose of serving as a (financially) independent and objective source of information for students?
Charlie Muren and others at WIDB were beginning to mull this over in April of 1971. It seemed like no big deal. After all, Dean Moulton promised them a year ago that sales would be authorized after WIDB operated for a year. And, the year was up. As a courtesy, Charlie mentioned to Dean Moulton that WIDB was planning to sell time in the fall. His response began a chain of events that led to WIDB’s greatest challenge and triumph, and the university’s priority being exposed again as a mainly a dysfunctional economic handout to Southern Illinois, not an institution of learning.
Joel was showing up once a week for his news shift. He also had his shift at WSIU. Joel lived in Stevenson Arms, a freshman-approved off-campus dorm, so he could not listen to WIDB. “I saw a WIDB poster at Papa Ceasar’s,” Joel recalled. “I walked into WIDB and met Tom Scheithe and Woody Mosgers. I was expecting to see a real radio station. Instead, there were portable walls, a big board, and lots of people trying to put on a radio station.”
Joel noticed a difference from his experience at WSIU. “WIDB wasn’t such a big sterile atmosphere as WSIU was,” Joel thought. “It felt comfortable.” Within a few more weeks, Joel availed himself of an important tangential freshman benefit of WIDB: a party at a staff head’s off-campus apartment. In this instance it was Jim Hoffman hosting the blowout. “I remember coming in looking around, and I thought, ‘this is really cool’ and I looked forward to more parties.”
Joel also met Robbie Davis. Rob, who had been a jock at WIDB from the beginning, was interested in doing more at the station. He wanted to be WIDB’s first sales manager. Rob encouraged Charlie to do whatever was necessary so that sales could begin in the fall. It was expected that some prep work would be needed. Naively, Charlie and Rob figured that if they started getting ready in June, they could be ready in September.
Like many other projects, this was stumbled into sideways and backwards. Charlie was getting ready to graduate, so after the budget was assembled and submitted, and the courtesy call to Dean Moulton about advertising in the fall, Charlie must have been thinking he was pretty much done. But then an ominous call came from Dean Moulton: before WIDB could advertise, it must submit a written proposal which would set forth how WIDB operates, a description of its audience, how it is (and would be) financially supported, how the sales department would operate. So Charlie and Robbie pieced together the original WIDB sales proposal, dated May, 1971.
