1 00:00:04,160 --> 00:00:06,200 Speaker 1: Hey, and welcome to the Short Stuff. I'm Josh, and 2 00:00:06,240 --> 00:00:09,120 Speaker 1: there's Chuck and Jerry's here too, and this is short Stuff, 3 00:00:09,400 --> 00:00:14,800 Speaker 1: the Routiness Tutinous, down home Sasparilla drinking podcast on the planet. 4 00:00:15,120 --> 00:00:20,000 Speaker 2: That's right. Welcome to ws YSK, your source of all 5 00:00:20,160 --> 00:00:22,120 Speaker 2: the smooth podcasting sounds. 6 00:00:22,440 --> 00:00:25,760 Speaker 1: That was great, Chuck, you have a future in radio. 7 00:00:26,760 --> 00:00:28,680 Speaker 2: Oh great, here, there's a bright future in radio. 8 00:00:30,360 --> 00:00:32,720 Speaker 1: So we are talking radio. That's why you just did that, 9 00:00:32,840 --> 00:00:34,960 Speaker 1: and we're talking about a specific kind of radio. But 10 00:00:35,080 --> 00:00:36,600 Speaker 1: we should kind of go back a little bit to 11 00:00:36,680 --> 00:00:40,000 Speaker 1: the beginning because and I should. It occurred to me 12 00:00:40,080 --> 00:00:42,360 Speaker 1: that there are people who listen to us they won't 13 00:00:42,400 --> 00:00:44,760 Speaker 1: even know what we're talking about with AM and FM. 14 00:00:45,440 --> 00:00:48,240 Speaker 1: But if you know enough about radio, there were two bands, 15 00:00:48,400 --> 00:00:50,839 Speaker 1: the AM band and the FM band. And when if 16 00:00:50,880 --> 00:00:54,920 Speaker 1: you grew up in this late seventies, eighties, nineties, you 17 00:00:54,960 --> 00:00:57,959 Speaker 1: knew that AM radio was as square as. 18 00:01:00,080 --> 00:01:01,040 Speaker 2: A Rubic's cube. 19 00:01:01,320 --> 00:01:04,960 Speaker 1: Yes, and the FM radio was where it was at. 20 00:01:05,080 --> 00:01:07,360 Speaker 1: But it turns out that when FM radio first came 21 00:01:07,400 --> 00:01:10,280 Speaker 1: on the scene in the sixties and then early seventies, 22 00:01:10,800 --> 00:01:13,560 Speaker 1: it was square and AM radio is where it was at. 23 00:01:13,600 --> 00:01:15,840 Speaker 1: That's where you'd hear hits and rock and stuff like that. 24 00:01:16,200 --> 00:01:18,919 Speaker 1: FM was so super square that it actually gave birth 25 00:01:19,280 --> 00:01:21,959 Speaker 1: to what we consider easy listening music today. 26 00:01:22,600 --> 00:01:24,360 Speaker 2: By the way, I know this is going to be 27 00:01:24,440 --> 00:01:25,520 Speaker 2: kind of a long one, but I still have to 28 00:01:25,560 --> 00:01:27,800 Speaker 2: say this. When you were just stumped on trying to 29 00:01:27,800 --> 00:01:29,760 Speaker 2: think of a square thing, all I could think of 30 00:01:30,600 --> 00:01:33,200 Speaker 2: was the little Homer Simpson bubble above your head with 31 00:01:33,319 --> 00:01:34,080 Speaker 2: just like a doughnut. 32 00:01:35,240 --> 00:01:39,319 Speaker 1: Or that black and white donkey swatting flies on the tail. Yeah, 33 00:01:39,360 --> 00:01:41,440 Speaker 1: that one always gets me. No. I thought of a 34 00:01:41,520 --> 00:01:44,720 Speaker 1: Citral Wilson quote that I just can't I can't say, 35 00:01:44,720 --> 00:01:45,520 Speaker 1: but it's hilarious. 36 00:01:45,560 --> 00:01:48,080 Speaker 2: All right, we'll tell me later, Okay, all right, So 37 00:01:48,560 --> 00:01:51,240 Speaker 2: you left off that AM radio square FM radio was 38 00:01:51,280 --> 00:01:52,360 Speaker 2: where the rock hits were. 39 00:01:52,720 --> 00:01:54,000 Speaker 1: I think you said the opposite. 40 00:01:54,680 --> 00:01:58,240 Speaker 2: Well, if you grew up like we did, right, they 41 00:01:58,240 --> 00:02:01,520 Speaker 2: did a switcheroo and early on AM radio was the 42 00:02:01,520 --> 00:02:04,320 Speaker 2: cool one and FM was the upstart that was trying 43 00:02:04,360 --> 00:02:04,960 Speaker 2: to find its way. 44 00:02:05,480 --> 00:02:09,040 Speaker 1: Yeah, and so FM essentially gave birth to that easy 45 00:02:09,080 --> 00:02:12,200 Speaker 1: listening music, which is also called elevator music. Some people 46 00:02:12,240 --> 00:02:15,000 Speaker 1: call it good music, but the type of music format 47 00:02:15,040 --> 00:02:17,160 Speaker 1: that we're going to talk about today is known as 48 00:02:17,200 --> 00:02:20,280 Speaker 1: beautiful music, and it is a great name for a 49 00:02:20,360 --> 00:02:21,959 Speaker 1: great kind of music if you ask me. 50 00:02:22,280 --> 00:02:25,720 Speaker 2: Yeah, and you know, if you heard our Musaic episode, 51 00:02:25,760 --> 00:02:28,280 Speaker 2: we talked a lot about this stuff. Muzak is of 52 00:02:28,280 --> 00:02:33,239 Speaker 2: course a proprietary eponym or aka a company, right. 53 00:02:33,600 --> 00:02:36,080 Speaker 1: Right, did I use that right? Yeah? 54 00:02:36,160 --> 00:02:39,680 Speaker 2: Yeah, okay. But beautiful music is that it is like, 55 00:02:39,800 --> 00:02:41,800 Speaker 2: let's take a pop hit of the day, like a 56 00:02:41,800 --> 00:02:45,640 Speaker 2: Beatles song or something, unless let's arrange it as an 57 00:02:45,760 --> 00:02:50,000 Speaker 2: orchestral arrangement. A lot of strings will either do pop 58 00:02:50,040 --> 00:02:52,399 Speaker 2: pits or maybe'll do old standards from like the Great 59 00:02:52,400 --> 00:02:56,120 Speaker 2: American Songbook. And you know, we're going to make it 60 00:02:56,120 --> 00:02:58,799 Speaker 2: super polished, very easy on the ears. We're going to 61 00:02:58,880 --> 00:03:03,160 Speaker 2: remove the voteocals almost always, and instead of like the singing, 62 00:03:03,200 --> 00:03:05,160 Speaker 2: there's going to be like a flute or a clarinet 63 00:03:05,240 --> 00:03:08,399 Speaker 2: or something. Is the is the singing voice or if 64 00:03:08,480 --> 00:03:11,720 Speaker 2: it does have human voices singing, it's probably gonna be 65 00:03:11,760 --> 00:03:14,080 Speaker 2: like a chorus just singing a little bit of it 66 00:03:14,120 --> 00:03:14,800 Speaker 2: here and there. 67 00:03:15,000 --> 00:03:17,760 Speaker 1: Yeah, or doing that that kind of singing that the 68 00:03:18,760 --> 00:03:21,240 Speaker 1: vocalist does on the Star Trek theme where she's just 69 00:03:21,360 --> 00:03:22,720 Speaker 1: using her voice as an instrument. 70 00:03:23,440 --> 00:03:24,600 Speaker 2: I don't know the Star Trek theme. 71 00:03:25,919 --> 00:03:27,120 Speaker 1: What I don't. 72 00:03:27,880 --> 00:03:29,800 Speaker 2: I've probably heard it, but I can't call up like, 73 00:03:29,840 --> 00:03:30,840 Speaker 2: oh yeah that thing. 74 00:03:31,720 --> 00:03:41,360 Speaker 1: It goes d It turns out I do know that actually, yeah. So, 75 00:03:41,680 --> 00:03:44,760 Speaker 1: like you said, the vocals were almost always removed, except 76 00:03:44,800 --> 00:03:47,200 Speaker 1: when they were humming or that kind of thing. Sometimes 77 00:03:47,760 --> 00:03:52,680 Speaker 1: they would include vocals, but they, like the carpenters, were 78 00:03:52,680 --> 00:03:55,440 Speaker 1: a little too hard edged for beautiful music, so they 79 00:03:55,480 --> 00:03:58,600 Speaker 1: would have like the ray Koniff singers sing the song 80 00:03:58,720 --> 00:04:02,280 Speaker 1: and provide the vocals like this is how softened. They 81 00:04:02,320 --> 00:04:05,240 Speaker 1: would take these songs and make them. And I mean, 82 00:04:05,840 --> 00:04:09,440 Speaker 1: if it was done right, even like the hardest core punk, 83 00:04:09,600 --> 00:04:13,080 Speaker 1: even the members of Crafts would hear that song and 84 00:04:13,120 --> 00:04:15,320 Speaker 1: be like, I'm not going to admit this out loud, 85 00:04:15,360 --> 00:04:17,159 Speaker 1: but that is actually beautiful music. 86 00:04:19,600 --> 00:04:21,560 Speaker 2: Are you going on a limb and saying that everybody 87 00:04:21,600 --> 00:04:22,159 Speaker 2: likes this stuff? 88 00:04:23,680 --> 00:04:26,640 Speaker 1: I I no, no, no, no, not as a genre 89 00:04:26,839 --> 00:04:30,360 Speaker 1: for sure. I'm just saying there were some There's this 90 00:04:30,480 --> 00:04:34,760 Speaker 1: one version of What's New pussy Cat that is way 91 00:04:34,800 --> 00:04:38,000 Speaker 1: better than any version Tom Jones Burt backrack. It's so 92 00:04:38,200 --> 00:04:42,400 Speaker 1: good that I really think that basically anybody could hear 93 00:04:42,440 --> 00:04:44,200 Speaker 1: and be like, this is this is a great song. 94 00:04:44,279 --> 00:04:46,320 Speaker 1: It actually is great, whether they'd admit it or not. 95 00:04:46,800 --> 00:04:49,240 Speaker 1: But I don't think that that would automatically convert them 96 00:04:49,279 --> 00:04:53,120 Speaker 1: to beautiful music. I'm just saying, in some instances, done perfectly, 97 00:04:53,520 --> 00:04:55,760 Speaker 1: it really is beautiful music, all right. 98 00:04:55,839 --> 00:05:00,240 Speaker 2: Well, pressing forward, the BM format really took off because 99 00:05:00,240 --> 00:05:02,760 Speaker 2: of an FCC ruling in nineteen sixty five that said, 100 00:05:02,839 --> 00:05:05,360 Speaker 2: if you are a company that has AM stations and 101 00:05:05,520 --> 00:05:08,480 Speaker 2: FM stations, you got to play different stuff. Because at 102 00:05:08,480 --> 00:05:10,120 Speaker 2: the time, there were companies that are like, hey, this 103 00:05:10,200 --> 00:05:12,640 Speaker 2: is great. We can just broadcast the same thing on 104 00:05:12,720 --> 00:05:15,360 Speaker 2: AM and FM and get ads on AM and also 105 00:05:15,360 --> 00:05:18,680 Speaker 2: get different ads on FM and essentially double down on 106 00:05:18,880 --> 00:05:22,200 Speaker 2: our product. And that's like the opposite of what they 107 00:05:22,200 --> 00:05:24,599 Speaker 2: were trying to do with FM to begin with. So 108 00:05:24,920 --> 00:05:27,200 Speaker 2: the FCC came around in sixty five said you can't 109 00:05:27,200 --> 00:05:30,320 Speaker 2: do this anymore. You got to play different stuff. And 110 00:05:30,400 --> 00:05:33,680 Speaker 2: so Beautiful Music came along and said, hey, this is 111 00:05:33,720 --> 00:05:37,120 Speaker 2: a pretty cheap solution. It's going to be sell a 112 00:05:37,160 --> 00:05:40,240 Speaker 2: lot of ads because it's going to be directly aimed 113 00:05:40,279 --> 00:05:44,040 Speaker 2: at women, especially housewives, because you know what they're doing. 114 00:05:44,160 --> 00:05:46,839 Speaker 2: They're at home all day doing that housework, listening to music, 115 00:05:47,360 --> 00:05:50,760 Speaker 2: and this will make them happy while they're doing their housework. 116 00:05:51,120 --> 00:05:52,920 Speaker 2: They're going to have it on the background and we're 117 00:05:52,960 --> 00:05:54,920 Speaker 2: going to pump ads in there for all the stuff 118 00:05:54,920 --> 00:05:58,880 Speaker 2: that they're making the buying decisions over, which is household stuff. 119 00:05:59,279 --> 00:06:02,320 Speaker 1: Yeah, because they were the target demographic of advertisers at 120 00:06:02,320 --> 00:06:04,960 Speaker 1: the time, they bought most of the stuff that advertisers 121 00:06:05,080 --> 00:06:08,800 Speaker 1: was selling. They made those day to day decisions about purchases. 122 00:06:08,880 --> 00:06:13,000 Speaker 1: So they were what teenagers are today as far as 123 00:06:13,040 --> 00:06:17,960 Speaker 1: the target demo, right, And it was just basically assumed 124 00:06:17,960 --> 00:06:22,320 Speaker 1: and presumed that women would not want anything intrusive or 125 00:06:22,480 --> 00:06:25,800 Speaker 1: jarring or something. They wanted smooth, beautiful music, so much 126 00:06:25,800 --> 00:06:28,440 Speaker 1: so that like a version of this was called music 127 00:06:28,560 --> 00:06:31,440 Speaker 1: only for a woman. That's what the industry called the 128 00:06:31,560 --> 00:06:38,080 Speaker 1: mow right. The thing is, despite the fact that this 129 00:06:38,279 --> 00:06:42,440 Speaker 1: was set up to advertised to women directly beautiful music 130 00:06:42,480 --> 00:06:45,760 Speaker 1: as a whole as a format on the radio, actually, 131 00:06:46,760 --> 00:06:48,800 Speaker 1: I guess the best way to put is mellowed out 132 00:06:49,120 --> 00:06:52,640 Speaker 1: as far as advertising goes, and was very protective and 133 00:06:52,680 --> 00:06:56,279 Speaker 1: defensive of the listener experience, which meant cutting down on 134 00:06:56,360 --> 00:06:58,640 Speaker 1: ads and doing all sorts of other interesting things to 135 00:06:58,680 --> 00:06:59,680 Speaker 1: ads to YEA. 136 00:07:00,240 --> 00:07:03,400 Speaker 2: A company in particular that came along called shul Key 137 00:07:03,520 --> 00:07:08,200 Speaker 2: Radio Productions SRP, and they were a they became like 138 00:07:08,240 --> 00:07:12,120 Speaker 2: the biggest player in syndication, like being a syndication company 139 00:07:12,120 --> 00:07:14,520 Speaker 2: for the BM format because they offered They were like, here, 140 00:07:14,640 --> 00:07:17,640 Speaker 2: we're going to send you these ready to play, real, 141 00:07:17,760 --> 00:07:20,720 Speaker 2: real tapes. It's all programmed. You just slap that sucker 142 00:07:20,760 --> 00:07:24,040 Speaker 2: on there and push play and your set and they said, 143 00:07:24,040 --> 00:07:26,200 Speaker 2: this sounds great, and they said, oh, but wait a minute. 144 00:07:26,680 --> 00:07:29,120 Speaker 2: If you want to use our stuff, like, we're audio files, 145 00:07:29,320 --> 00:07:32,400 Speaker 2: so we want the listening experience to be great and 146 00:07:32,440 --> 00:07:33,960 Speaker 2: we want it to be kind of perfect. So you've 147 00:07:33,960 --> 00:07:37,160 Speaker 2: got to update your broadcasting equipment because we're sending you 148 00:07:37,200 --> 00:07:39,400 Speaker 2: high quality tapes and they need to come across that way. 149 00:07:39,680 --> 00:07:42,160 Speaker 2: You've got to hire an engineer that really knows what 150 00:07:42,200 --> 00:07:44,280 Speaker 2: they're doing and make sure this is all going to 151 00:07:44,320 --> 00:07:47,280 Speaker 2: go as we say it goes. And those ads, those 152 00:07:47,320 --> 00:07:50,560 Speaker 2: sixteen minutes of ads an hour that you're playing, you 153 00:07:50,600 --> 00:07:52,400 Speaker 2: can only do six minutes of those an hour, and 154 00:07:52,440 --> 00:07:55,040 Speaker 2: when you do, you got to have those lower in 155 00:07:55,120 --> 00:07:57,960 Speaker 2: volume than the music even and all the stuff you 156 00:07:58,000 --> 00:07:59,920 Speaker 2: should know. Listeners stood up and cheered. 157 00:08:00,080 --> 00:08:03,280 Speaker 1: Yeah, it's true. Because they found that if you had 158 00:08:03,360 --> 00:08:06,480 Speaker 1: the radio on a low enough volume, those ads at 159 00:08:06,720 --> 00:08:09,800 Speaker 1: six decibels less were like you couldn't even hear them 160 00:08:09,800 --> 00:08:12,480 Speaker 1: sometimes at a certain volume threshold, even though you could 161 00:08:12,480 --> 00:08:14,960 Speaker 1: still hear the music. And there was another thing about 162 00:08:14,960 --> 00:08:18,360 Speaker 1: the ads too. They're like, you cannot use attention grabbing 163 00:08:18,760 --> 00:08:22,400 Speaker 1: tactics to advertise, and in some cases some of these 164 00:08:22,520 --> 00:08:25,000 Speaker 1: local radio stations had to go back to their advertisers 165 00:08:25,040 --> 00:08:27,600 Speaker 1: and be like, crazy, Murray, We're gonna have to tone 166 00:08:27,640 --> 00:08:30,400 Speaker 1: this down quite a bit. Yeah, and like they had 167 00:08:30,400 --> 00:08:34,439 Speaker 1: to re record rewrite ads to follow these Sholky standards. 168 00:08:34,840 --> 00:08:36,800 Speaker 1: And the reason that Sholkey could get away with this 169 00:08:37,000 --> 00:08:40,520 Speaker 1: was because they were selling up not just like pre 170 00:08:40,559 --> 00:08:42,320 Speaker 1: recorded tapes that you can just put on and have 171 00:08:42,360 --> 00:08:46,920 Speaker 1: your radio station. They were selling what muzak did as well, 172 00:08:47,760 --> 00:08:52,120 Speaker 1: that there was a scientific basis to this that like 173 00:08:52,360 --> 00:08:54,719 Speaker 1: followed the rhythm of the day and like built up 174 00:08:54,760 --> 00:08:56,880 Speaker 1: and crested and then Wayne and then built up and 175 00:08:56,920 --> 00:09:01,400 Speaker 1: crusted in Wayne just like musak is just like music 176 00:09:01,920 --> 00:09:05,959 Speaker 1: that was essentially totally made up. But Shulkey still had 177 00:09:05,960 --> 00:09:08,280 Speaker 1: the daya to prove it. People who listened to Beautiful 178 00:09:08,360 --> 00:09:10,640 Speaker 1: Music Radio listened essentially all day. 179 00:09:11,080 --> 00:09:13,920 Speaker 2: Yeah, it feels like a good time for a break. I agreed, 180 00:09:14,320 --> 00:09:16,160 Speaker 2: And we'll be right back to finish up with BM 181 00:09:16,240 --> 00:09:17,360 Speaker 2: radio right after. 182 00:09:17,160 --> 00:09:24,160 Speaker 1: This and things jogging job. 183 00:09:39,559 --> 00:09:51,280 Speaker 3: Josh, all right, we're back. 184 00:09:51,480 --> 00:09:54,280 Speaker 2: I think where we left off, Shulkey was doing pretty 185 00:09:54,280 --> 00:09:58,400 Speaker 2: good business. Crazy Murray was reduced to slightly eccentric Murray, 186 00:09:59,480 --> 00:10:03,160 Speaker 2: and they were selling like hotcakes, and they had the 187 00:10:03,240 --> 00:10:04,960 Speaker 2: ratings to prove it, like you said, even though the 188 00:10:05,000 --> 00:10:07,040 Speaker 2: science was not true, and they were listening for hours 189 00:10:07,040 --> 00:10:09,560 Speaker 2: and hours and hours. But that posed a problem, or 190 00:10:09,600 --> 00:10:12,800 Speaker 2: I guess presented a problem, which was, hey, they're listening 191 00:10:13,000 --> 00:10:15,200 Speaker 2: for so many hours a day, they're just having to 192 00:10:15,240 --> 00:10:18,600 Speaker 2: hear this same playlist in order basically when it loops 193 00:10:18,640 --> 00:10:21,360 Speaker 2: back around, and we can't get these tapes out the 194 00:10:21,360 --> 00:10:24,520 Speaker 2: door fast enough to you guys. So people have like 195 00:10:24,559 --> 00:10:26,280 Speaker 2: a you know, cause they were concerned about the listener 196 00:10:26,280 --> 00:10:29,040 Speaker 2: experience and certainly listening to a playlist on a loop 197 00:10:29,080 --> 00:10:31,480 Speaker 2: is not a good one. And so some companies came 198 00:10:31,520 --> 00:10:33,960 Speaker 2: along that said, all right, well, let's just start hiring 199 00:10:33,960 --> 00:10:38,000 Speaker 2: conductors and arrangers and putting together our own stuff until 200 00:10:38,040 --> 00:10:42,160 Speaker 2: a company called Bonaville came along with a really unique idea, right. 201 00:10:42,720 --> 00:10:45,400 Speaker 1: Yeah, Bonaville did what Shulkey did, Like you would get 202 00:10:45,520 --> 00:10:49,440 Speaker 1: pre recorded tapes of beautiful music from them, but you 203 00:10:49,559 --> 00:10:53,320 Speaker 1: also had to have essentially a random automatic tape player 204 00:10:53,679 --> 00:10:56,760 Speaker 1: that would select a tape a song from a tape 205 00:10:57,040 --> 00:11:00,480 Speaker 1: at random. So even though you had, like them said, 206 00:11:00,480 --> 00:11:03,120 Speaker 1: of say fifty songs, there was never going to be 207 00:11:03,280 --> 00:11:05,960 Speaker 1: a playlist over the course of like say twelve hours 208 00:11:06,280 --> 00:11:08,960 Speaker 1: that was the same as before, same songs here or there, 209 00:11:08,960 --> 00:11:13,600 Speaker 1: but never the same entire playlist starting over every twelve hours. 210 00:11:13,800 --> 00:11:17,520 Speaker 2: Yeah, so they'send tapes and packages. 211 00:11:17,280 --> 00:11:19,040 Speaker 1: Tapes and tapes, tapes and tapes. 212 00:11:19,400 --> 00:11:23,240 Speaker 2: Man missed those guys. And then yeah, I mean pretty 213 00:11:23,240 --> 00:11:25,880 Speaker 2: good technology at the time to randomly select and you know, 214 00:11:26,000 --> 00:11:28,079 Speaker 2: cue up different songs. So it was it was a 215 00:11:28,080 --> 00:11:29,360 Speaker 2: pretty big leap forward. 216 00:11:29,920 --> 00:11:33,320 Speaker 1: And well, well, beautiful music itself was basically an incubator 217 00:11:33,400 --> 00:11:36,920 Speaker 1: for figuring out how to standardize and automate radio. That's 218 00:11:36,960 --> 00:11:39,439 Speaker 1: where that's the cradle of it is beautiful music. 219 00:11:39,480 --> 00:11:42,080 Speaker 2: Weirdly enough, Yeah, and it spread throughout the country as 220 00:11:42,080 --> 00:11:45,560 Speaker 2: a format. Every city had at least one station if 221 00:11:45,600 --> 00:11:47,120 Speaker 2: you were a big city, you probably had a few. 222 00:11:48,200 --> 00:11:50,800 Speaker 2: A lot of times it was like you know, in Detroit, 223 00:11:50,920 --> 00:11:55,320 Speaker 2: w JOI like very mellow call signs. They just wanted 224 00:11:55,320 --> 00:11:59,600 Speaker 2: to really put out, like brand themselves as BM Radio 225 00:11:59,600 --> 00:12:01,800 Speaker 2: because it was such a big deal. But it wasn't 226 00:12:01,840 --> 00:12:04,800 Speaker 2: a big deal for that long because, you know, buying 227 00:12:04,840 --> 00:12:08,320 Speaker 2: power shifted as rock and roll came along and younger 228 00:12:08,360 --> 00:12:12,319 Speaker 2: listeners became the dominant sort of listener of radio, and 229 00:12:12,440 --> 00:12:15,280 Speaker 2: one by one they kind of, you know, BM radio 230 00:12:15,360 --> 00:12:18,520 Speaker 2: station switched over, which is a very jarring thing for 231 00:12:18,559 --> 00:12:21,800 Speaker 2: any radio station format change. I'm sure we've all suffered 232 00:12:21,840 --> 00:12:24,240 Speaker 2: those where you're like, well, I can't listen to the 233 00:12:24,280 --> 00:12:26,560 Speaker 2: station anymore because you're just not the same radio station. 234 00:12:26,840 --> 00:12:29,800 Speaker 1: Do you remember the opposite happening when ninety nine X 235 00:12:29,840 --> 00:12:32,080 Speaker 1: came out in the early nineties and they played like 236 00:12:32,120 --> 00:12:34,800 Speaker 1: the Smiths and it was like, what are the Smiths 237 00:12:34,840 --> 00:12:36,640 Speaker 1: doing on the radio? This is awesome? 238 00:12:37,000 --> 00:12:40,160 Speaker 2: Yeah, because ninety nine in Atlanta before that was sort 239 00:12:40,160 --> 00:12:42,960 Speaker 2: of cheesy pop, and all of a sudden it was 240 00:12:43,720 --> 00:12:47,280 Speaker 2: alternative music, which was the first the first true alternative 241 00:12:47,280 --> 00:12:48,160 Speaker 2: station in Atlanta. 242 00:12:48,760 --> 00:12:52,280 Speaker 1: Yeah, like truly alternative too, especially at first. 243 00:12:52,320 --> 00:12:54,839 Speaker 2: Yeah, I was a ninety six rock kid. But then 244 00:12:54,960 --> 00:12:57,080 Speaker 2: oh yeah, yeah, but when nine an X came along, 245 00:12:57,120 --> 00:12:59,200 Speaker 2: I was into that. But then ninety nine X got 246 00:12:59,280 --> 00:12:59,840 Speaker 2: really bad. 247 00:13:00,080 --> 00:13:03,320 Speaker 1: You right, But at first it was pretty great. 248 00:13:03,280 --> 00:13:04,839 Speaker 2: No, I agree, because you couldn't hear the Smiths on 249 00:13:04,880 --> 00:13:06,560 Speaker 2: the radio unless you went left to the dial, which 250 00:13:06,600 --> 00:13:09,079 Speaker 2: I was doing with the great album eighty eight. 251 00:13:09,320 --> 00:13:13,560 Speaker 1: Oh, album eighty eight guys, for anybody who didn't live 252 00:13:13,600 --> 00:13:15,960 Speaker 1: in Atlanta, while Album eighty eight was on the air, 253 00:13:16,040 --> 00:13:19,720 Speaker 1: it was so great. It had the best shows. They 254 00:13:19,800 --> 00:13:24,080 Speaker 1: played the best like regular rotation music, like it was 255 00:13:24,160 --> 00:13:28,000 Speaker 1: a great, great radio station, and like you can't find 256 00:13:28,040 --> 00:13:29,679 Speaker 1: it anywhere. Nobody's archived it. 257 00:13:29,760 --> 00:13:32,319 Speaker 2: Sadly enough, I think they still have it on the weekends. 258 00:13:32,880 --> 00:13:33,120 Speaker 1: You that. 259 00:13:33,440 --> 00:13:35,439 Speaker 2: Yeah, the weekday they switched over to MPR, which is 260 00:13:35,480 --> 00:13:37,120 Speaker 2: dumb because we already have an MPR station. 261 00:13:37,280 --> 00:13:39,320 Speaker 1: Yeah, they played basically the same thing. 262 00:13:39,679 --> 00:13:42,400 Speaker 2: Yeah, but I'm still pretty sure that the album me 263 00:13:42,440 --> 00:13:45,320 Speaker 2: dy eight exists on the weekends. And if you haven't 264 00:13:45,360 --> 00:13:46,880 Speaker 2: heard of it, you may maybe have heard of the 265 00:13:46,880 --> 00:13:49,440 Speaker 2: great WFMU out of New Jersey. It's it's our version 266 00:13:49,440 --> 00:13:52,040 Speaker 2: of WFMU. But every most every city had a great 267 00:13:52,120 --> 00:13:52,920 Speaker 2: left of the dial station. 268 00:13:53,440 --> 00:13:55,760 Speaker 1: Well, this one was the best left of the dial station. 269 00:13:56,000 --> 00:14:01,080 Speaker 1: And do you remember Adam Baum? He had a soul show. 270 00:14:01,480 --> 00:14:03,480 Speaker 2: No, I don't remember that one, Soul Kitchen. 271 00:14:03,520 --> 00:14:04,440 Speaker 1: I think it was called. 272 00:14:04,240 --> 00:14:05,800 Speaker 2: Oh Okay, I remember Soul Kitchen. 273 00:14:05,880 --> 00:14:08,680 Speaker 1: Yeah, that was Adam Bomb. And that's that's definitely not 274 00:14:08,800 --> 00:14:11,760 Speaker 1: archived anywhere on the internet. So if anybody has old 275 00:14:11,840 --> 00:14:15,160 Speaker 1: tapes of Adam Baum's Soul Kitchen, please post them. Yeah. 276 00:14:15,160 --> 00:14:16,640 Speaker 2: They had Reeling in the Ears was a good show. 277 00:14:16,679 --> 00:14:18,439 Speaker 2: Their Sunday Morning Reggae Show was amazing. 278 00:14:18,840 --> 00:14:22,760 Speaker 1: Do you remember the Sunday Saturday Morning cartoon theme show? 279 00:14:22,880 --> 00:14:25,720 Speaker 1: That was a good one, too, good stuff. I think 280 00:14:25,720 --> 00:14:27,640 Speaker 1: we should just put one last thing. You said that 281 00:14:27,760 --> 00:14:30,840 Speaker 1: a BM station started to drop like flies in the 282 00:14:31,120 --> 00:14:34,560 Speaker 1: or eighties, in particular, by nineteen ninety they were basically gone. 283 00:14:35,160 --> 00:14:39,840 Speaker 1: There was a fictionalized version of this event. Yeah, and 284 00:14:39,920 --> 00:14:43,440 Speaker 1: we like to call that fictionalized version WKRP in Cincinnati. 285 00:14:43,840 --> 00:14:45,960 Speaker 2: You know what, I did not remember this and I 286 00:14:46,000 --> 00:14:48,600 Speaker 2: love that show until you included it in the article 287 00:14:48,600 --> 00:14:50,520 Speaker 2: and I was like, wait a minute, I do remember 288 00:14:50,560 --> 00:14:52,960 Speaker 2: the pilot, like I remember that happening. 289 00:14:53,400 --> 00:14:55,960 Speaker 1: That's what happened. That's why they hired Andy a station manager, 290 00:14:56,040 --> 00:14:59,400 Speaker 1: because they were converting from beautiful music to rock. And 291 00:14:59,440 --> 00:15:02,360 Speaker 1: that's exactly what was going on at the time around them. 292 00:15:02,480 --> 00:15:05,120 Speaker 2: Yeah, and that's why doctor Johnny Fever and Venus fly 293 00:15:05,200 --> 00:15:06,800 Speaker 2: Trap all were stoked about their job. 294 00:15:07,040 --> 00:15:09,640 Speaker 1: Yeah, and Herb Tarlak had to go to Crazy Murray 295 00:15:09,680 --> 00:15:12,520 Speaker 1: and be like, can we can we turn you upward now? 296 00:15:12,600 --> 00:15:13,880 Speaker 1: Because we're a rock station. 297 00:15:14,240 --> 00:15:17,080 Speaker 2: That's right? And Lannie Anderson said, did I type this right? 298 00:15:18,400 --> 00:15:19,400 Speaker 2: And lean over the desk. 299 00:15:19,840 --> 00:15:24,760 Speaker 1: That was a good show. Oh, let's thank our sources 300 00:15:24,800 --> 00:15:28,520 Speaker 1: for this episode. Chuck Tarvar at the University of Delaware, 301 00:15:28,680 --> 00:15:33,240 Speaker 1: Go Blue Hens, Ken Mills at Radio World, Diffin dot com, 302 00:15:33,520 --> 00:15:38,520 Speaker 1: Ken Seapora at Credoville, and the Forum at Radio Discussions. 303 00:15:39,360 --> 00:15:41,960 Speaker 1: And since we have nothing more to say about beautiful music, 304 00:15:42,320 --> 00:15:46,240 Speaker 1: short Stuff is out. 305 00:15:46,840 --> 00:15:49,720 Speaker 3: Stuff You Should Know is a production of iHeartRadio. For 306 00:15:49,800 --> 00:15:54,000 Speaker 3: more podcasts my Heart Radio, visit the iHeartRadio app, Apple Podcasts, 307 00:15:54,080 --> 00:15:54,120 Speaker 3: or 308 00:15:54,160 --> 00:16:00,840 Speaker 1: Wherever you listen to your favorite shows.