Radio lecture part 2

Amos 'n' Andy

• Popularity: Most popular show of the $1930s$ and $1940s$. It aired $6$ nights a week, believed to be very funny at the time.
• Controversy: The show contained significant racial overtones, coming off as incredibly racist and degrading. The instructor expressed discomfort even playing clips, highlighting the show's controversial nature.
• Impact: Despite its controversial content, people were highly dedicated to it. During the Great Depression, there was a $25\%$ spike in radio sales because people wanted to listen to Amos 'n' Andy, even prioritizing it over essential goods like food.

War of the Worlds (1938 Radio Broadcast)

• Significance: The single biggest radio show was the $1938$ airing of War of the Worlds.
• Production: It was performed by the Mercury Theatre of the Air, produced and hosted by Orson Welles (who is also known for his film, Citizen Kane, previously discussed in a newspaper-related context).
• Disclaimer Issue: At the beginning of the broadcast, a disclaimer was given, stating it was a mock event for entertainment and not to be taken seriously. However, no disclaimers were made in the middle or at the end of the show.
• Public Reaction: Due to the lack of repeated disclaimers, many people across the United States genuinely believed New Jersey was being invaded by aliens. This led to widespread paranoia and panic, especially on Halloween eve.
• Severity of Panic: The panic was so severe that there were numerous attempts at suicide, with some individuals succeeding, as people thought the world was ending.
• Broadcast Snippet: A short clip from the broadcast was provided: an announcer describing a developing situation, mentioning a cordon of about $30$ men, Professor Pearson, a white flag of truce, a hump shape rising from a pit, and then an interruption stating, "due to circumstances beyond our control, we are unable to continue the broadcast from Grover's Mill." This was followed by a bulletin about volcanic disturbances on Mars and then a piano interlude, further contributing to the realism and confusion.
• Legal Repercussions: Orson Welles and the Mercury Theatre of the Air received a "slap on the back of the hand" and a directive not to repeat the incident. Interestingly, they also secured a contract to make their first film, Citizen Kane, as a result.
• FCC Action: Following the incident, the FCC (Federal Communications Commission) mandated that all mock news shows must include disclaimers before, during, and after the broadcast to prevent similar public misunderstanding. This event cemented its place as the most famous single radio broadcast of all time.

Transistors

• Invention: A key invention in $1947$ by Bell Laboratories was the creation of the transistor.
• Technology: Transistors are small electrical devices, which were a significant upgrade to the older vacuum tubes. They perform the same job but with stronger technology to receive and amplify radio signals.
• Advantages: They required less power, did not emit heat (unlike tube radios), were durable, and affordable. Initially, they were smaller than the size of a thumb.
• Impact: This new technology rendered the old tube radios obsolete and was considered a massive improvement in radio technology.
• Early Adoption: Texas Instruments first attempted to use transistors in $1953$. The most significant innovation came in $1957$ when Sony introduced the transistor radio, commonly known as the "pocket radio."
• Portability: The pocket radio allowed radio to go where television could not, enabling listeners to take their music to the beach, pool, or park, making music accessible anywhere and anytime. It became a hugely popular item in the $1950s$ .

FM (Frequency Modulation)

• Discovery: Edwin Armstrong discovered and developed FM radio in the $1920s$. He invented an amplifying system that greatly enhanced radio receivers' ability to pick up distant signals, making existing radios obsolete.
• Advantages: FM offered static-free reception, superior clarity, a sound quality a thousand times better than AM (Amplitude Modulation), and could transmit signals over greater distances.
• Delayed Adoption: Despite its advantages, FM's widespread adoption was delayed. David Sarnoff, head of RCA and NBC, initially provided financial backing for FM stations but later realized his financial stake in AM radio. Fearing losses if FM took over, Sarnoff pulled his funding and redirected it towards television, believing it to be the next big thing.
• Sarnoff's Opposition: Sarnoff actively worked to hinder Armstrong's development of FM, employing tactics like injunctions and lawsuits. Consequently, FM did not become widely available until the late $1950s$ or early $1960s$.
• Armstrong's Fate: Despondent from the legal battles and lack of support, Armstrong tragically committed suicide in $1954$ by jumping from a $13$-story building.
• Resurgence: In a twist of fate, the FCC decided in the $1960s$ to open up spectrum space for FM, giving it a new opportunity. By the $1980s$, FM surpassed AM in profitability, with $75\%$ of listeners opting for FM.
• Clarification: FM refers to Frequency Modulation, while AM refers to Amplitude Modulation.

Radio's Adaptation and Formats

• Shift with TV: With the emergence of television, many radio programs transitioned to TV. By the $1950s$, radio's primary programming focus shifted to music.
• Formula-Driven Radio: In $1949$, Todd Storz introduced formula-driven radio, also known as format radio. This system shifted control of programming from DJs to management, leading to internal conflicts within stations.
• Rotation: Storz observed that jukebox patrons repeatedly played the same popular songs. This insight led to the concept of rotation in radio: consistently playing the most popular songs, measured by record sales.
• Top 40 Format: This concept evolved into the Top $40$ format, which featured the $40$ most popular hits in a given week based on record sales. This format remained a radio staple for over $50$ years, especially dominant on weekends when listeners were likely at home or out and about.
• Dead Air and DJ Talk: By the $1960s$, hearing DJs talk became common. Programmers were concerned with dead air, which refers to silence on a radio station despite an active signal. To prevent this, DJs were encouraged or ordered to talk at the beginnings and ends of songs, a practice some listeners found annoying as it cut into musical elements like guitar riffs or drum solos.
• Dayparts: Radio managers created dayparts, specific blocks of time during the day (e.g., $6$ AM to $10$ AM, $10$ AM to $3$ PM, $3$ PM to $7$ PM, $7$ PM to $11$ PM). Ratings determined the music, DJs, and commercials aired during each block.
• Strategic DJ Placement: The best DJs were typically placed during morning and afternoon rush hours (e.g., $6$ AM - $10$ AM and $3$ PM - $7$ PM) to maximize listenership from commuters in their cars.
• Manager vs. DJ: There was a long-standing ideological conflict between managers, who viewed programming as an exact science based on research, and DJs, who considered it an art form based on mood and taste. Ultimately, the managers' approach prevailed because their research-driven programming generated more advertising dollars, proving that "money talks."

Alternative Radio Formats

• Progressive Rock: Emerged in the late $1960s$, primarily on college campuses. These stations played unedited versions of popular songs and lesser-known album tracks. For example, The Doors' "Light My Fire" had an unedited version of $7.5$ minutes compared to the common $4.5$-minute edited version (missing organ and guitar solos). Similarly, "Break On Through" was played with the uncensored lyric "she get high." Many of these progressive rock stations operated illegally, lacking FCC licensing, and would frequently move locations on campus to avoid detection.
• Album Oriented Rock (AOR): By the $1970s$, progressive rock evolved into AOR, a legal format that involved playing entire albums, front to back. This exposure led to an $85\%$ spike in record retail sales and helped launch major artists like Pink Floyd, Led Zeppelin, and Queen. However, by the mid-$1980s$, AOR declined due to technology allowing listeners to record albums off stereos, which negatively impacted album sales.

Format Criticality and Evolution

• Targeting Audiences: Radio formats are crucial for targeting specific audiences based on age, income, gender, and race.
• Advertising Advantage: This targeted approach enables advertisers to reach niche demographics at lower costs compared to television advertising, with the added benefit of a localized reach.
• Format Changes: Large radio markets can have up to $50$ stations. Annually, about $10\%$ of these stations will change their formats if they are not generating sufficient revenue. Managers will hire new DJs and switch to a different format, which often proves successful.
  • Examples: WLLD ($103.5$) in Tampa switched from classic rock to country and saw increased ratings. WXTB ($102.5$ The Bone) transitioned from classic rock to a news talk and information format roughly $15$ years ago, and as of the latest check, it is the top-rated station in Tampa Bay.
• News, Talk, and Information: This format gained significant traction in the $1990s$. Initially, it targeted audiences over $35$. Over the subsequent two decades, its popularity surged due to changing audience tastes. Currently, there are over $2,000$ news talk and information stations in the country, making it the second most popular format.

Modern Music Formats

• Adult Contemporary (AC): Also known as "middle of the road," this format targets older generations, playing music they grew up with. Despite the large demographic, it is not the number one format.
• Contemporary Hit Radio (CHR): Aims at late teens and twenties. While it uses television commercials to attract its demographic, it is not the number one format. This is largely due to modern technology providing alternatives like streaming services and YouTube for music consumption.
• Country: This is currently the number one format in the United States. Its history with radio dates back to $1925$ with the Grand Ole Opry. It continues to gain traction on FM. Personal anecdotes illustrate its dominance: in Fort Hayes, Kansas, there were $5$ or $6$ country stations for every $1$ rock station; in Fargo, North Dakota, there were $15$ country stations for one rock, rap, or hip hop station.
• Urban Contemporary: This format targets diverse listeners, primarily in multiplexes and cities, playing dance, rap, rhythm and blues, and hip hop. Studies suggest it could become the number one format in the next $5$ to $10$ years due to its rapid growth and increasing attention, particularly in urban areas.

Nonprofit Radio

• Wagner-Hatfield Amendment: In the $1930s$, the Wagner-Hatfield Amendment to the $1934$ Communications Act proposed reserving $25\%$ of radio transmissions for nonprofit stations, but it was defeated.
• $1948$ Rulings: Two government rulings in $1948$ facilitated the creation of nonprofit radio:
  1. Nonprofit licenses were granted on the condition that stations had no direct ties to labor, religion, education, or civic groups, promoting neutrality. The first such license was issued to Lewis Kimball Hall and the Pacifica Foundation, known for airing controversial material that led to FCC fines and numerous court cases (though they remain on air).
  2. The FCC approved the creation of $10$ watt FM stations.
• $10$ Watt FM Stations: These stations have a very limited reach. For example, a $10$ watt station in the middle of a campus might only reach as far as a lacrosse field to the north and a bank building to the south. Their primary purpose is to serve as proving grounds and training facilities for aspiring DJs, allowing them to gain experience and build demo reels for future opportunities with larger stations.

Noncommercial Networks

• Creation: NPR (National Public Radio) and PBS (Public Broadcasting Service for television) were established in the late $1960s$ as the first noncommercial networks.
• Mandate: Their mandate was to offer alternatives to commercial broadcasting, meaning no advertisements; all content had to be sponsored.
• Original Funding Plan: The initial plan involved government funding for their operations.
• Programming Examples: NPR is famous for news shows like All Things Considered and Morning Edition. PBS is well-known for Sesame Street.
• Current Funding: While originally funded by congressional funds, sponsorships, and donations, Congress has now cut all funding to NPR and PBS (current allocation is $0$). Memes circulating depicted characters like Elmo and Big Bird holding signs asking for food, reflecting this cut.
• Survival Strategy: These stations now rely entirely on corporate sponsorships (e.g., ExxonMobil) and listener/viewer donations, which are solicited through pledge drives (an activity the instructor personally experienced during their time at PBS).

Satellite Radio

• Companies: XM and Sirius, both launched in $2002$, merged into a single company in $2008$.
• Offerings: They provide over $180$ digital music, news, and talk channels through subscription packages (prices fluctuate, sometimes with student deals).
• Channel Variety: Channels are highly specialized, covering specific news topics, music genres by decade (e.g., $1950s$ rock, $1980s$ country, $1990s$ rap), comedy, sports (NASCAR, NFL, MLB), and even obscure movie themes.
• Explicit Content: A key feature is the ability to use explicit language (e.g., "shit, fuck, damn").
• FCC Stance: Unlike terrestrial radio stations, satellite radio can broadcast explicit content because it operates on a subscription model. The FCC adopts a "hands-off" approach, reasoning that subscribers are actively choosing to pay for and bring this material into their homes and cars. This conscious choice negates the need for FCC licensing regarding content, unlike free terrestrial stations accessible to anyone.

Internet Radio

• Emergence: Internet radio gained popularity in the $1990s$ with the rise of the World Wide Web.
• Two Forms:
  1. Simulcasting: Existing AM or FM stations broadcast their live signal simultaneously on their websites, allowing listeners to continue listening via the internet (e.g., from car to office computer).
  2. Internet-Specific Networks (Bitcasters): These networks are created exclusively for internet broadcasting, with leaders like iHeartRadio, Pandora, and Slacker. Like satellite radio, they can feature explicit content because users typically opt to pay for or consciously access these services, giving the FCC a similar hands-off approach.
• Podcasting: Appearing around $2004$, podcasting involves the creation of audio files available on the internet. Podcasts can be meticulously edited to achieve perfection, offering a polished alternative to the often live and error-prone nature of traditional radio shows. Listeners can download podcasts onto any compatible device and listen at their convenience, easily catching up on missed content, a significant advantage over terrestrial radio where missed shows are rarely re-aired in full.
• Streaming Services: These services allow users to download and listen to music, often with an option to pay for an ad-free experience. Many services gather user preferences to curate personalized music lists. While users can create their own playlists if they own the music, subscription models offer extensive access to music libraries. The effectiveness of personalized recommendations (e.g., from YouTube Music) can be hit or miss. Streaming has become widespread and is causing significant financial challenges for traditional radio stations.