868:
philosophy is that closed-campus work environments, such as retail, foster an environment where listeners hear the station continuously for several hours, multiple days in a row, which can become unpleasant after a short amount of time. Oldies and related formats do have an inherent advantage in that they have a much broader time frame (up to 30 years, compared to the current hits of a top-40 station) from which to draw their playlist and can thus play a greater variety of songs than a station bound to devote the majority of its spins to a limited list. The ideal "classic" station (of whatever format) finds the balance between playing listener favorites frequently enough to develop a base while at the same time cultivating a playlist broad enough not to
482:, while some others play syndicated or voicetracked DJs. Complete automation, with no jock, is very common in this day part. It is not uncommon to play more adventurous selections during late night programming blocks, since late night is generally not considered significant for ratings, and are not subject to federal restrictions as stringently as during the daytime. Stations are permitted to sign off during this time; in areas where AM radio is still significant (especially in the United States), local stations may be required to either sign off or cut to low-power to protect
418:
Lottery items are often bartered from advertisers, allowing both companies to charge full prices at wholesale costs. For example, cruising companies often have unused capacity, and when given the choice, prefer to pay their bills by bartering cruise vacations. Since the ship will sail in any case, bartered vacations cost the cruise company little or nothing. The promotion itself advertises the company providing the prize. The FCC has defined a lottery as "any game, contest or promotion that combines the elements of prize, chance and consideration."
1596:
onerous licensing demands made by the recording industry. Meanwhile, the rise of satellite radio services as a major competitor has brought many of the advantages of
Internet radio to an increasingly mobile listening public, including lack of censorship, greater choice, a more eclectic approach to format programming, and static-free digital sound quality. Indeed, one-size-fits-all programming is no longer seen as tenable by some, as the diversity of musical tastes among the listening public has created a proliferation of
829:) developed as a commercial compromise between top-forties-style formulas and progressive rock radio/freeform. A program director or music consultant would select some set of music "standards" and require the playlist to be followed, perhaps in an order selected by the jock. The jock would still introduce each selection, but the jock would have available a scripted introduction to use if he was not personally familiar with a particular piece of music and its artist. Obviously a computer helps a lot in this process.
168:
66:
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25:
658:. In this radio format, disc-jockeys would select one of a set of the forty best-selling singles (usually in a rack) as rated by Billboard magazine or from the station's own chart of the local top selling songs. In general, the more aggressive "Top 40" stations could sometimes be better described as "Top 20" stations. They would aggressively skirt listener boredom to play only the most popular singles.
414:, a commercial statistical service, historically used listener diaries to statistically measure the number of listeners. Arbitron diaries were collected on Thursdays, and for this reason, most radio stations have run special promotions on Thursdays, hoping to persuade last-minute Arbitron diarists to give them a larger market-share. Arbitron contractually prevents mention of its name on the air.
1048:. The jazz station, more than any other except the college station, is stereotyped as having a small listenership and a somewhat overly highbrow on-air personality, and many are college-run stations. California State University Long Beach sponsors KJAZZ 88.1, which has a fairly significant online listenership as well. Two very well known smooth jazz stations are WNUA in
1381:, a commercial statistical service that uses listener diaries. Arbitron diaries were historically collected on Thursdays, and for this reason, most radio stations have run special promotions on Thursdays, hoping to persuade last-minute Arbitron diarists to give them a larger market-share. Stations are contractually prohibited from mentioning Arbitron on the air.
464:" (defined by Arbitron as 3 to 7 p.m.), the evening rush-hour programming resembles the midday programming, but adds traffic and weather advisories for commuters. Some stations insert a short snippet of stand-up comedy ("5 O'Clock Funnies") around 5 o'clock when commuters leave work, or play specifically selected "car tunes" ideal for listening while driving.
884:
stations must occasionally change to more youthful music formats; as a result, the definition of what constitutes an "oldies" station has gradually changed over the years (and the phrase "oldies" itself is falling out of use except for the stations that still regularly play music from the 1960s and earlier). This is why many oldies stations, like
1530:
the radio, regardless of who performs it or when it was performed.) For example, the industry-wide fees payable in 2004 to ASCAP was $ 176 million. Commercial stations often get their CDs free, but still pay royalties to play it on air. Some small neighborhood stations play unlisted locally produced music, and avoid these fees.
933:
music of the 1970s, 1980s, and 1990s on their own have developed as the audiences that grew up with that music grew older and nostalgic for the sounds of their youth. The continued play of such songs on such stations has also exposed the music to younger generations that can take a renewed interest in the music, prolonging its
1180:
is a variant of the country music format; it is effectively the country music analog to oldies. Classic country is generally preserved in the rural AM stations that country music aired on before its mainstream expansion. Depending on the music mix, it can play either relatively recent classic country
908:
This preference for younger listeners caused the decline of the "Big Band" or "Standards" music formats that covered music from the 1930s to the 1950s. As the audience grew too old for advertisers, the radio stations that carried these formats saw a sharp loss of ratings and revenue. This left them
778:
Traditional free-form stations prided themselves on offering their disc jockeys freedom to play significant music and make significant social commentary and humor. This approach developed commercial problems because disc jockeys attracted to this freedom often had tastes substantially different from
456:
from another market. For a period around noon a station may play nonstop music or go to an all-request format for people eating lunch. This block is often occupied by a "no-repeat workday;" stations that offer this feature usually target captive audiences such as retail workers, who have to listen to
417:
Promotions are the on-air equivalent of lotteries for listeners. Promotional budgets usually run about $ 1 per listener per year. In a large market, a successful radio station can pay a full-time director of promotions, and run several lotteries per month of vacations, automobiles and other prizes.
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The programming usually cycles from the least attractive item, to most attractive, followed by commercials. The purpose of this plan is to build listener interest during the programming. There are several standard ways of selecting the music, such as free-form, top-40, album-oriented rock, and Jack.
883:
The oldies and classic rock formats have a strong niche market, but as the audience becomes older the station becomes less attractive to advertisers. Advertisers perceive older listeners as set in their brand choices and not as responsive to advertising as younger, more impulsive listeners. Oldies
661:
Top 40 radio would punctuate the music with jingles, promotions, gags, call-ins, and requests, brief news, time and weather announcements and most importantly, advertising. The distinguishing mark of a traditional top-40 station was the use of a hyperexcited disc-jockey, and high tempo jingles. The
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and religious programming is often on Sunday mornings, generally one of the least listened-to periods of the week. In addition, weekend evenings are particularly specialized; a dance station might have a sponsored dance party at a local club, or a classical station may play an opera. Saturday nights
402:
less air-time. Some stations share news collection with TV or newspapers in the same media conglomerate. An emerging trend is to use the radio station's web site to provide in-depth coverage of news and advertisers headlined on the air. Many stations contract with agencies such as
Smartraveler and
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With the mass production and popularity of records in the mid 1940s, as well as the birth of TV, it was discovered that a show was needed to simply play records and hire a disc jockey to host the program. One of the first disc jockeys (later called DJs) was Dick Clark. Others followed suit and today
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Internet and satellite broadcasting are not considered public media, so treaties and statutes concerning obscenity, transmission of ciphers and public order do not apply to those formats. So, satellite and internet radio are free to provide sexually explicit, coarse and political material. Typical
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format is common and popular throughout the United States and in some other countries (particularly Canada and
Australia, both of which share much of the same Anglo-Saxon and Celtic roots as the United States). Country has been a popular radio format since the early days of music radio, dating back
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format in recent years—although WCBS-FM adopted a
Classic Hits format on July 12, 2007, and the "Jack FM" format was moved to its HD2 subchannel. Unlike WCBS-FM's pre-JACK format which was centered on the 1955–1979 era, the post-JACK station was based on the 1964-1989 era because of the aging
832:
A useful, relatively safe compromise with the artistic freedom of the jocks is that a few times each hour, usually in the least commercially valuable slots of the hour, the disc-jockey can highlight new tracks that he or she thinks might interest the audience. The audience is encouraged to comment
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At their best, free-form stations have never been equaled for their degree of social activism, programmatic freedom, and listener involvement. However, to succeed, the approach requires genius jocks, totally in-tune with their audience, who are also committed to the commercial success of the radio
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in the UK. These fees or royalties are generally paid to the songwriters; the musicians themselves typically do not get a cut of radio royalties, even if they own a share of the performance rights, unless they wrote the song themselves. (Thus, a song that is in the public domain is free to play on
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The wide reach and selective, non-broadcast usage of the internet allows programmers access to special interest audiences. As a result, both mainstream and narrow-interest webcasts flourish; in particular, electronic music stations are much more common on the
Internet than they are in satellite or
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scandals of the 1950s. As a result, DJs seldom have complete programming freedom. Occasionally a special situation or highly respected, long established personality is given such freedom. Most programming is done by the program director. Program directors may work for the station or at a central
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For most mainstream country stations, the emphasis is generally on current pop country, following the same process as top 40; the remaining music in a particular station's library generally uses music from the past fifteen years (shorter for "hot country" or "new country" stations), with the exact
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Regional
Mexican is a Latin music radio format, typically including Banda, Conjunto, Corridos, Duranguense, Grupero, Huapango, Mariachi, New Mexico music, Norteña, Ranchera, and Tejano music. It is the most popular radio format targeting Hispanic Americans in the United States. The large number of
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in the radio industry is that stations will not get good ratings or revenue if they frequently play songs unfamiliar to their audience. This is why "Top 40" stations played only the biggest hits and why oldies and classic rock formats do the same for the eras they cover. An inherent danger to this
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for their weather and traffic reports instead of using in-house staff. Fewer radio stations (except on medium and major market, depending on daypart) maintain a call-in telephone line for promotions and gags, or to take record requests. DJs of commercial stations do not generally answer the phone
401:
While most music stations that offer news reports simply "tear and read" news items (from the newswires or the
Internet), larger stations (generally those affiliated with news/talk stations) may employ an editor to rewrite headlines, and provide summaries of local news. Summaries fit more news in
338:
When radio was the main form of entertainment, regular programming, mostly stories and variety shows, was the norm. If there was music, it was normally a live concert or part of a variety show. Backstage sound engineers who jockeyed discs (records) from one turntable to another to keep up with the
1064:
has been playing jazz music since 1978. Both traditional and smooth jazz stations have been in severe decline, both on commercial and noncommercial stations, since the 2000s, in part because of the formats' lower profitability compared to other formats (adult contemporary for commercial stations,
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music—began to appear across the country. While the format has no particular standard identity, most "mix" stations have rotations consisting largely of pop and rock music from the 1980s and 1990s (and often the 1970s), with some current material mixed in. In addition, stations devoted to the pop
393:
News, time-checks, real-time travel advice and weather reports are often valuable to listeners. The news headlines and station identification are therefore given just before a commercial. Time, traffic and weather are given just after. The engineer typically sets the station clocks to standard
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The radio station provides programming to attract listeners. Commercial radio stations make profits by selling advertising. Public and community radio stations are sustained by listener donations and grants. Young people are targeted by advertisers because their product preferences can be changed
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radio programs were widely popular; however, the format was indeed originally a predominantly rural phenomenon, especially on AM radio. Decades worth of efforts at mainstreaming the format eventually paid off when country radio became widely popular among a large number of FM radio stations that
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defines this block between 6 a.m. and 10 a.m., though it can begin as early as 5 a.m. (though usually not later than 6), and end as early as 9 a.m. or as late as 11 a.m. This block usually includes news bulletins and traffic and weather advisories for commuters, as well as light comedy from the
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The growth of
Internet radio from a small experimenter's toy in the mid-1990s to a huge phenomenon allowing both small do-it-yourselfers and large commercial stations to make their offerings available worldwide was seen as a threat to over-the-air music broadcasting, and was nearly shut down by
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is funded by government and private donors. Since most public broadcasting operations do not have to make a profit, no commercials are necessary. (In fact, because most public broadcasting stations operate under noncommercial licenses from their country's broadcasting regulator, they may not be
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location run by a corporate network. The DJ's function is generally reduced to introducing and playing songs. Many stations target younger listeners, because advertisers believe that advertising can change a younger person's product choice. Older people are thought to be less easy to change.
1400:
either charges subscribers or is operated by a public broadcasting service. Therefore, satellite radio rarely carries commercials or tries to raise money from donors. The lack of commercial interruptions in satellite radio is an important advantage. Often the only breaks in a satellite music
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and oldies formats are discussed above; in addition to those, however, there are several genres of music radio devoted to different aspects of modern rock music. Alternative rock grew out of the grunge scene of the late 1980s and early 1990s and is particularly favored by college radio and
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immigrants from
Northern Mexico can lead to an emphasis upon Norteña on Regional Mexican radio stations, though markets with larger Hispanic audiences can have multiple Regional Mexican stations, with variations in which region from which the music is taken and where it is popular.
1537:'s standard scale. Both XM and Sirius provide commercial packages allowing exclusive license-free use (though not rebroadcast) of their music programming by businesses. Most popular internet radio networks such as Pandora and Digitally Imported were paying royalty fees annually to
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In order to build station loyalty, the station announces time, station calls letters and frequency as often as six to twelve times per hour. Jingles and stingers (liners) help to give the station a branded sound in a pleasant, minimal amount of air-time. The legal requirement for
552:
Many music stations in the United States perform news and timechecks only sparingly, preferring to put more music on the air. News is often restricted to the talk-heavy commuting hours, though weather updates are still very common throughout the day, even on these stations.
973:
These formats all have small but very loyal audiences in the largest markets. Most follow formats similar to the above (Top 40s, Freeform, AOR and Oldies), except with a different playlist. Public service stations following these formats tend to be "freeform" stations.
1437:(for FM broadcast) or ID3 tags (for Internet broadcast). Satellite radio usually uses DJs, but their programming blocks are longer and not distinguished much by the time of day. In addition, receivers usually display song titles, so announcing them is not needed.
1030:, a now-rare format (though XM features one channel of it, called Sunny) focusing mostly on smooth jazz or classical arrangements of pop music and original compositions in a similar vein. Perhaps the best-known Adult Contemporary station currently in operation is
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does not attract listeners, the station tries to fill its broadcast day with sound. Audiences will only tolerate a certain number of commercials before tuning away. In some regions, government regulators specify how many commercials can be played in a given hour.
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However, the number of U.S. stations airing such content has grown; five terrestrial radio stations in the U.S. with a purely dance-oriented format (one of which airing it part-time during the night and early-morning hours) report their airplay to the
Billboard
432:
Most music stations have DJs who play music from a playlist determined by the program director, arranged by blocks of time. Though practices differ by region and format, what follows is a typical arrangement in a North American urban commercial radio station.
1086:
Dance music is a niche, and so-called "rhythmic pop" stations have had a fierce but not always commercially sustainable following. There was a wide spectrum of disco-format radio stations during the late 1970s, but virtually all of them died out during the
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station. This is a rare combination of traits. Even if such people are available, they often command extremely high salaries. However, this may be an effective approach for a new station, if talented jocks can be recruited and motivated at low salaries.
669:(mentioned below under Freeform Rock) and the "Mix" formats mentioned below under Oldies. Top 40 music is heavily criticized by some music fans as being repetitive and of low quality, and is almost exclusively dominated by large media conglomerates such as
489:
Weekends, especially Sundays, often carry different programming. The countdown show, ranking the top songs of the previous week, has been a staple of weekend radio programming since 1970; current hosts of countdown shows in various formats include
1351:
is typically confined to three formats: news/talk, classical music, or jazz, the last of which is declining rapidly as of the late 2000s. In other countries, where national broadcasters hold significantly more clout, formats can vary more widely.
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stations) focus on particular genres. This format is popular in England, Germany, Netherlands and some other countries, but less so in the United States (where dance is a niche format often exclusive to internet radio stations).
1509:
Stations usually adopt a music format to gain the greatest number of listeners for the least expense. Since the content has already been produced, the station merely adds the low-cost on-air programming between records.
965:(depending on the ethnicity of the area) are common. In addition to music, a limited amount of local talk programming is heard on most full-service stations. Full service tends to be heard primarily on rural stations.
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Responsible jocks would realize their responsibility to the audience to produce a pleasant show, and try to keep the station sound predictable by listening to other jocks, and repeating some of their music selections.
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and edit the call during music plays in non-major markets, as the programming is either delivered via satellite, or voice-tracked using a computer. More and more stations take requests by e-mail and online chat only.
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format is a more freeform variant of this type of format. Full-service stations will often mix the oldies, classic rock, classic hits, and adult standards music, occasionally with music found in formats such as
1099:-owned top-40 station of considerable influence. Nevertheless, there are a large number of dance music stations available both on the internet and on satellite radio, mostly specializing in various forms of
1422:
Music radio has several possible arrangements. Originally, it had blocks of sponsored airtime that played music from a live orchestra. In the 1930s, phonograph records, especially the single, let a
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tunes from the 1970s to the 1990s (generally more favorable to advertisers) or can span all the way back to the 1920s, thus playing music far older than almost any other radio format available.
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Freeform radio is particularly popular as a college radio format; offshoots include the recent (and somewhat controversial, due to its lack of on-air personalities) eclectic-pop format known as
1557:
to popularity is intimately tied to the history of music radio. Early forms of rock had languished in poor areas of the South. It was enjoyed mostly by rural blacks, with notable exposure in
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the audience, and lost audience share. Also, freeform stations could lack predictability, and listeners' loyalty could then be put at risk. Progressive rock radio (not to be confused with the
1146:, and the like. There is a general feeling among radio connoisseurs that rock radio is becoming badly watered down by big corporate ownership, leading to a considerable do-it-yourself spirit.
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introduce individual songs, or introduce blocks of songs. Since then, the program has been arranged so that commercials are followed by the content that is most valuable to the audience.
1553:, has often acted as both a barometer and an arbiter of musical taste, and radio airplay is one of the defining measures of success in the mainstream musical world. In fact, the rise of
1326:: a Christian music station typically only carries music for part of the day, with the rest of the day filled by evangelists who pay to place recordings of their sermons on the station.
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Licensing issues nearly destroyed early Internet radio. In the U.S., Congress intervened with a royalty structure that was expensive to small independent operators, but easier than the
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stations; there is a strong focus on songwriters and bands with an outsider sound or a more sophisticated sound than the "three chord wonder" cliché. Meanwhile, other stations focus on
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format was invented in the US and today can be heard worldwide. Todd Storz and Gordon McLendon invented Top 40 radio. Bill Drake and Rick Sklar have had a lasting modern influence.
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radio, and still later even more commercially developed as AOR (Album-Oriented Rock), in which selections from an album would be played together, with an appropriate introduction.
1616:
1393:, which mention the name of a sponsor and some information but cannot include "calls to action" attempting to convince the listener to patronize the sponsor, may be allowed.
478:
The overnight programming, from midnight to the beginning of drive time, is generally low-key music with quiet, if any, announcing. Some stations play documentaries or even
1371:
Commercial stations charge advertisers for the estimated number of listeners. The larger the audience, the higher the stations' rate card can be for commercial advertising.
599:. The way stations advertise themselves is not standardized. Some critical interpretation is needed to recognize classic formulas in the midst of the commercial glitz.
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For many years, many listeners have been dissatisfied with the content of radio programming since the decline of early free form-rock radio. The popularity of offshore
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are among the most popular Christian radio stations. In the United States, Christian music stations (especially ostensibly noncommercial ones) often rely heavily on
452:
The midday block (defined by Arbitron as 10 a.m. to 3 p.m., though often extended later to about 5 p.m.) is mostly music, and in many places is at least partially
1377:
A station's value is usually measured as a percentage of market share in a market of a certain size. The measurement in U.S. markets has historically been by
1142:
Narrow-interest rock stations are particularly common on the Internet and satellite radio scenes, broken down into genres such as punk, metal, classic rock,
398:). These segments are less valued by the most targeted market, young people, so many commercial stations shorten or omit these segments in favor of music.
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stations in the United Kingdom was an early symptom of frustration with the often overly safe and occasionally politicized playlists of commercial radio.
872:. Nevertheless, there seems to be a cottage industry of Internet stations specializing in specific forms of classic rock and oldies, particularly
833:
on the new tracks, allowing the station to track audience tastes. The freedom to introduce new artists can help a station develop its library.
863:
formats have been described as having the weakness of not playing new artists. This is true in a creative sense, but not a commercial one.
378:, frequency and sometimes disc-jockey or program segment. Jingles are produced for radio stations by commercial specialty services such as
998:
are related formats that play largely down-tempo pop music of various styles. The difference is mostly in the era and styles covered --
1743:
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During the mid-to-late-1990s, the "Mix" format—a loosely defined mixture of Top-40 and classic rock with something of an emphasis on
382:, in Texas. Jingles are often replaced by recorded voice-overs (called "stingers", also depending on region more often "liners").
1712:
1237:, which is as often as not the province of Oldies stations). This format is popular among all ethnic groups and social classes.
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music genre) was freeform in style but constrained so that some kind of rock music was what was always or almost always played.
1800:
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programming is generally limited to niche programs on stations that primarily broadcast other formats. An exception to this is
595:. It turns out that most other stations (such as Rhythm & Blues) use a variation of one of these formats with a different
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format eliminates DJs entirely, as do many internet radio stations. The music is simply played. If it is announced, it is by
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started as or still work on drive-time radio). Some stations emphasize music, and reduce gags and call-ins in this period.
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The evening block (defined by Arbitron as 7 p.m. to midnight), if present, returns to music. Syndicated programs such as
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Commercial stations program the format of the station to gain as large a slice of the demographic audience as possible.
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1056:, both of which were introduced in 1987, and still continue to enjoy tremendous success in the format today. Also,
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are radio's equivalent of neon signs. Jingles are brief, bright pieces of choral music that promote the station's
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1196:), there have been efforts at combining country and rock formats together, most of which have been unsuccessful.
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304:'s dramatic content, music formats became dominant in many countries. Radio drama and comedy continue, often on
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often relies heavily on the music format because it is relatively cheap and generally makes for easy listening.
530:. Other types of weekend programming include niche programming, retrospective shows and world music such as the
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for further details, and note that there is a great deal of format evolution (or, to borrow a television term,
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in the U.S. is once per hour, approximately at the top of the hour, or at the conclusion of a transmission.
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is mostly older music done in the style of standards from the early 20th century (typical artists include
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with no choice but to adopt more youthful formats, though the Standards format (also known as the
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and listener loyalty, but they are also less commercially successful than pop country stations.
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music used varying depending on the station and the style of music the listener wants to hear.
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focuses more on newer pop music from the 1970s on. An ancestor to the easy listening format is
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Due to increasing similarities between country music and some variants of rock music (such as
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The value of a station's advertising is set by the number, age and wealth of its listeners.
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Market share is not always a consideration, because not all radio stations are commercial.
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more easily. Therefore, the most commercially successful stations target young audiences.
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is an example of an American news network that is designed for music radio stations. The
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Much early commercial radio was completely freeform; this changed drastically with the
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formats is nearly extinct due to a lack of interest from younger generations, whereas
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Hour. Stations may carry shows with different genres of music such as blues or jazz.
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in New York during the 1970s exemplified this approach to progressive rock radio.
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and cult musicians. Like the music it plays, these stations can develop strong
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the station for long periods of time and can become irritated by repetition.
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has led to a large number of radio stations specializing in rap/hip-hop and
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chart, while top 40 and rhythmic stations may also air EDM songs that have
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Dance music radio focuses on live DJ sets and hit singles from genres of
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signed on in the suburban United States in the 1980s and early 1990s.
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station in California and Adam Curry's Podcast show on
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The explosive rise in popularity during the 1980s of
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in Boston is one of the few notable survivors, now a
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has become popular over the last 20 years or so and
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569:produces its own news segments under the name TX.)
311:Music drives radio technology, including wide-band
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1696:Psychologists: Christmas music bad for your health
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1702:(November 7, 2017). Retrieved November 7, 2017.
1411:stations exist that follow all of these plans.
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665:Variants and hybrids include the freeform-like
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1290:onto pop-oriented charts due to the recent
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969:Classical, pop, easy-listening, jazz, dance
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1760:the-power-of-public-sector-radio.html >
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1493:(especially in French Louisiana), Russian
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347:music radio is the most numerous format.
277:Learn how and when to remove this message
259:Learn how and when to remove this message
150:Learn how and when to remove this message
1585:with an appreciation for black music.
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650:music, now known within the industry as
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88:adding citations to reliable sources
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1971:Pirate radio
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1934:Campus radio
1925:Broadcasting
1810:Broadcasting
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1727:. Retrieved
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1645:Radio format
1622:Radio portal
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1590:pirate radio
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1386:Public radio
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1349:public radio
1338:
1308:Gospel music
1301:
1288:crossed over
1280:
1275:pirate radio
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1190:country rock
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1124:classic rock
1116:Wolfman Jack
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955:Celtic music
942:full service
939:
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919:Tony Bennett
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842:classic rock
836:Significant
835:
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800:variety hits
797:
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722:Philadelphia
716:, Famous 56
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624:classic rock
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579:Radio format
551:
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541:Dick Bartley
524:Dick Bartley
522:, Al Gross,
508:Bob Kingsley
488:
480:infomercials
477:
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454:voicetracked
451:
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396:atomic clock
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376:call letters
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341:disc jockeys
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306:public radio
294:radio format
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186:You can help
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82:Please help
77:verification
74:
50:
43:
37:
36:Please help
33:
2131:News ticker
2126:Lower third
2096:and funding
2039:Music radio
1469:Outside of
1424:disc jockey
1205:alt country
1144:indie music
1133:heavy metal
1101:electronica
1054:Los Angeles
1046:smooth jazz
1020:Josh Groban
1016:CĂ©line Dion
915:Rod Stewart
750:Los Angeles
698:Los Angeles
671:iHeartMedia
555:ABC FM News
528:Casey Kasem
447:shock jocks
404:AccuWeather
290:Music radio
2213:Categories
2188:Press pool
2094:Production
1990:Talk radio
1729:2011-01-09
1656:References
1579:Dick Clark
1575:Alan Freed
1555:rock music
1457:stations.
1167:barn dance
1120:Alan Freed
1112:Rock music
935:shelf life
636:rock music
504:Kix Brooks
438:drive time
428:Dayparting
233:improve it
110:newspapers
39:improve it
2183:Press box
2141:Score bug
2117:Graphics
2000:Specialty
1880:Satellite
1841:Satellite
1489:, French
1483:Reggaeton
1451:hard rock
1263:UK garage
1227:rap music
1201:Americana
1137:punk rock
754:Jovem Pan
734:WHTZ-Z100
710:1050 CHUM
620:Soft rock
520:Walt Love
492:Rick Dees
315:, modern
296:in which
237:verifying
190:talk page
45:talk page
2002:channels
1853:Teletext
1738:cite web
1630:Playlist
1608:See also
1379:Arbitron
1267:big beat
1022:, while
1012:Big Band
769:freeform
597:playlist
469:Tom Kent
442:Arbitron
412:Arbitron
365:dead air
363:Because
249:May 2018
198:May 2018
1895:Webcast
1868:Digital
1836:Digital
1495:Shanson
1431:Jack FM
1343:or the
1310:and/or
1255:electro
1231:R&B
1150:Country
1077:CIDG-FM
1062:Orlando
1058:WUCF-FM
1050:Chicago
902:Jack FM
898:Chicago
886:WCBS-FM
804:podcast
789:WNEW-FM
744:/, and
714:Toronto
706:Chicago
667:Jack FM
628:Jack FM
473:Delilah
372:Jingles
333:Spotify
329:Pandora
231:Please
124:scholar
1858:Analog
1817:Medium
1581:, and
1551:top 40
1487:tejano
1416:payola
1396:Also,
1316:K-Love
1247:techno
1235:Motown
1081:Ottawa
861:oldies
758:Brazil
752:, and
730:Boston
648:Top 40
642:Top 40
634:, but
585:Top 40
351:Format
188:. The
126:
119:
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105:
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1927:niche
1891:radio
1863:Cable
1831:Cable
1723:(PDF)
1716:(PDF)
1683:"N=1"
1519:ASCAP
1499:K-pop
1491:Cajun
1251:house
1073:Blues
959:polka
748:/ in
462:drive
298:music
292:is a
131:JSTOR
117:books
1889:and
1744:link
1567:WDIA
1535:RIAA
1521:and
1485:and
1475:Fado
1449:and
1320:Air1
1318:and
1265:and
1192:and
1118:and
1093:WXKS
1042:Jazz
1032:WLTW
1018:and
1006:and
994:and
961:and
940:The
921:and
894:WJMK
892:and
876:and
844:and
808:KYOU
726:WRKO
718:WFIL
686:WABC
673:and
618:and
602:See
591:and
561:and
331:and
103:news
1527:PRS
1523:BMI
1447:rap
1435:RDS
1345:BBC
1067:NPR
1060:in
1034:in
896:in
888:in
859:or
838:AOR
823:AOR
756:in
702:WLS
694:KHJ
656:CHR
654:or
563:ABC
559:BBC
471:or
380:JAM
335:).
235:by
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