 |
||||||||||||||
|
 |
|
|
|
[Home] [Business] |
|
|
|
Radio broadcasters actively concern themselves with attracting listeners. Yet, to the audience, radio programming "simply is there," 24 hours a day, whenever he or she wants it. Most listeners might be shocked to learn that broadcasting professionals spend a great amount of money and considerable time attempting to attract a radio audience. Attracting an audience is what radio broadcasting is all about. That’s the business of radio broadcasting. Since commercial radio stations make money from selling air time to advertisers who want to convince the listener to buy the advertised product or service, those stations with the largest audience, or the most pinpointed, specific audience, can charge the most money for their air time, and thus make the most money in the business of radio programming. Because of this reality, the listening audience is any radio station's most valuable commodity. This, together with the fact that much money can be made by broadcasters who successfully devise programming which attracts and maintains large or pinpointed, specific audiences, explains why anybody who programs a commercial radio station must be concerned with how well the audience is attracted. Even though the listeners may never be consciously aware that they are being attracted, the process is working nonetheless. |
|
|
|
Rock and Roll Radio: In the years before rock and roll, radio was constructed in a very different way than it is today. American radio programming up through the late 1940’s and into the early 1950’s was built out of blocks. Radio stations would broadcast block segments of drama, mystery, soap opera, news, and music, both live and recorded. That so-called block programming stands in stark contrast to what emerged around 1950 and become known as formula radio programming. Read More. |
|
|
|
|
|
|
|
|
In American radio broadcasting there are successful radio programmers just as there are unsuccessful radio programmers. Equally true is that the successful ones typically gain acclaim within the broadcasting industry if their successes are large. This happened to Bill Drake and Gene Chenault because of how the Boss Radio format at KHJ in Los Angeles attracted a sizable audience in just a few months. The format was adapted for use by Drake and Chenault throughout the RKO General chain of AM and FM stations, and it enjoyed success beyond Los Angeles. |
||||||
|
An LA Radio Legend: KHJ existed in Los Angeles before there was an RKO. KHJ was the second radio station on the air in Los Angeles and was called “The Times Radiophone” because of being owned by the Los Angeles Times. The station went on the air April 13, 1922. Read More. |
||||||
|
Owned by RKO: Boss Radio was created in May 1965 for the RKO General Incorporated radio station KHJ in Los Angeles. Even though the Boss Radio format was show business and meant to please an audience, the fact remains that the format was not implemented for purely entertainment reasons. Boss Radio was launched as a business tactic to increase the ratings of KHJ and specifically help RKO General make a better return on its investment in the Los Angeles radio market Read More. |
||||||
|
Boss Radio on 93/KHJ: On one historical day in May 1965, Boss Radio was launched in Los Angeles on radio station KHJ. Read More. Who Deserves Credit? Since the 1960s, people in the radio broadcasting industry have tried to determine who deserves credit for the success of Boss Radio on KHJ. The reasons for this ongoing discussion are numerous and complex. Read More. |
||||||
|
KIQQ-FM -- K100: In 1972, four businessmen--W. John Driscoll, John J. Pascoe, Edward L. Scarff, and Wayne K. Van Dyck--got together to purchase the 58,000-watt KFOX-FM in Los Angeles. The station was operated by Cosmic Communications until 1973 when Bill Drake and Gene Chenault signed a five-year contract to manage and program the station. Read More. |
||||||
|
Home | Audio | Author | Business | Culture | Music | Legal | Links | People | Sources | Technology |
||||||
|
|
|
You can contact the author if you modify this text to make it a working email address: |
|
|
|
...... |