WEBVTT - Short Stuff: BM Radio

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<v Speaker 1>Hey, and welcome to the Short Stuff. I'm Josh, and

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<v Speaker 1>there's Chuck and Jerry's here too, and this is short Stuff,

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<v Speaker 1>the Routiness Tutinous, down home Sasparilla drinking podcast on the planet.

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<v Speaker 2>That's right. Welcome to ws YSK, your source of all

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<v Speaker 2>the smooth podcasting sounds.

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<v Speaker 1>That was great, Chuck, you have a future in radio.

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<v Speaker 2>Oh great, here, there's a bright future in radio.

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<v Speaker 1>So we are talking radio. That's why you just did that,

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<v Speaker 1>and we're talking about a specific kind of radio. But

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<v Speaker 1>we should kind of go back a little bit to

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<v Speaker 1>the beginning because and I should. It occurred to me

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<v Speaker 1>that there are people who listen to us they won't

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<v Speaker 1>even know what we're talking about with AM and FM.

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<v Speaker 1>But if you know enough about radio, there were two bands,

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<v Speaker 1>the AM band and the FM band. And when if

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<v Speaker 1>you grew up in this late seventies, eighties, nineties, you

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<v Speaker 1>knew that AM radio was as square as.

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<v Speaker 2>A Rubic's cube.

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<v Speaker 1>Yes, and the FM radio was where it was at.

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<v Speaker 1>But it turns out that when FM radio first came

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<v Speaker 1>on the scene in the sixties and then early seventies,

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<v Speaker 1>it was square and AM radio is where it was at.

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<v Speaker 1>That's where you'd hear hits and rock and stuff like that.

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<v Speaker 1>FM was so super square that it actually gave birth

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<v Speaker 1>to what we consider easy listening music today.

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<v Speaker 2>By the way, I know this is going to be

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<v Speaker 2>kind of a long one, but I still have to

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<v Speaker 2>say this. When you were just stumped on trying to

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<v Speaker 2>think of a square thing, all I could think of

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<v Speaker 2>was the little Homer Simpson bubble above your head with

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<v Speaker 2>just like a doughnut.

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<v Speaker 1>Or that black and white donkey swatting flies on the tail. Yeah,

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<v Speaker 1>that one always gets me. No. I thought of a

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<v Speaker 1>Citral Wilson quote that I just can't I can't say,

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<v Speaker 1>but it's hilarious.

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<v Speaker 2>All right, we'll tell me later, Okay, all right, So

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<v Speaker 2>you left off that AM radio square FM radio was

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<v Speaker 2>where the rock hits were.

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<v Speaker 1>I think you said the opposite.

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<v Speaker 2>Well, if you grew up like we did, right, they

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<v Speaker 2>did a switcheroo and early on AM radio was the

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<v Speaker 2>cool one and FM was the upstart that was trying

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<v Speaker 2>to find its way.

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<v Speaker 1>Yeah, and so FM essentially gave birth to that easy

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<v Speaker 1>listening music, which is also called elevator music. Some people

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<v Speaker 1>call it good music, but the type of music format

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<v Speaker 1>that we're going to talk about today is known as

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<v Speaker 1>beautiful music, and it is a great name for a

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<v Speaker 1>great kind of music if you ask me.

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<v Speaker 2>Yeah, and you know, if you heard our Musaic episode,

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<v Speaker 2>we talked a lot about this stuff. Muzak is of

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<v Speaker 2>course a proprietary eponym or aka a company, right.

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<v Speaker 1>Right, did I use that right? Yeah?

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<v Speaker 2>Yeah, okay. But beautiful music is that it is like,

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<v Speaker 2>let's take a pop hit of the day, like a

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<v Speaker 2>Beatles song or something, unless let's arrange it as an

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<v Speaker 2>orchestral arrangement. A lot of strings will either do pop

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<v Speaker 2>pits or maybe'll do old standards from like the Great

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<v Speaker 2>American Songbook. And you know, we're going to make it

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<v Speaker 2>super polished, very easy on the ears. We're going to

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<v Speaker 2>remove the voteocals almost always, and instead of like the singing,

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<v Speaker 2>there's going to be like a flute or a clarinet

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<v Speaker 2>or something. Is the is the singing voice or if

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<v Speaker 2>it does have human voices singing, it's probably gonna be

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<v Speaker 2>like a chorus just singing a little bit of it

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<v Speaker 2>here and there.

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<v Speaker 1>Yeah, or doing that that kind of singing that the

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<v Speaker 1>vocalist does on the Star Trek theme where she's just

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<v Speaker 1>using her voice as an instrument.

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<v Speaker 2>I don't know the Star Trek theme.

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<v Speaker 1>What I don't.

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<v Speaker 2>I've probably heard it, but I can't call up like,

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<v Speaker 2>oh yeah that thing.

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<v Speaker 1>It goes d It turns out I do know that actually, yeah. So,

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<v Speaker 1>like you said, the vocals were almost always removed, except

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<v Speaker 1>when they were humming or that kind of thing. Sometimes

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<v Speaker 1>they would include vocals, but they, like the carpenters, were

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<v Speaker 1>a little too hard edged for beautiful music, so they

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<v Speaker 1>would have like the ray Koniff singers sing the song

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<v Speaker 1>and provide the vocals like this is how softened. They

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<v Speaker 1>would take these songs and make them. And I mean,

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<v Speaker 1>if it was done right, even like the hardest core punk,

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<v Speaker 1>even the members of Crafts would hear that song and

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<v Speaker 1>be like, I'm not going to admit this out loud,

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<v Speaker 1>but that is actually beautiful music.

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<v Speaker 2>Are you going on a limb and saying that everybody

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<v Speaker 2>likes this stuff?

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<v Speaker 1>I I no, no, no, no, not as a genre

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<v Speaker 1>for sure. I'm just saying there were some There's this

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<v Speaker 1>one version of What's New pussy Cat that is way

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<v Speaker 1>better than any version Tom Jones Burt backrack. It's so

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<v Speaker 1>good that I really think that basically anybody could hear

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<v Speaker 1>and be like, this is this is a great song.

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<v Speaker 1>It actually is great, whether they'd admit it or not.

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<v Speaker 1>But I don't think that that would automatically convert them

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<v Speaker 1>to beautiful music. I'm just saying, in some instances, done perfectly,

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<v Speaker 1>it really is beautiful music, all right.

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<v Speaker 2>Well, pressing forward, the BM format really took off because

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<v Speaker 2>of an FCC ruling in nineteen sixty five that said,

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<v Speaker 2>if you are a company that has AM stations and

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<v Speaker 2>FM stations, you got to play different stuff. Because at

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<v Speaker 2>the time, there were companies that are like, hey, this

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<v Speaker 2>is great. We can just broadcast the same thing on

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<v Speaker 2>AM and FM and get ads on AM and also

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<v Speaker 2>get different ads on FM and essentially double down on

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<v Speaker 2>our product. And that's like the opposite of what they

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<v Speaker 2>were trying to do with FM to begin with. So

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<v Speaker 2>the FCC came around in sixty five said you can't

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<v Speaker 2>do this anymore. You got to play different stuff. And

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<v Speaker 2>so Beautiful Music came along and said, hey, this is

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<v Speaker 2>a pretty cheap solution. It's going to be sell a

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<v Speaker 2>lot of ads because it's going to be directly aimed

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<v Speaker 2>at women, especially housewives, because you know what they're doing.

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<v Speaker 2>They're at home all day doing that housework, listening to music,

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<v Speaker 2>and this will make them happy while they're doing their housework.

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<v Speaker 2>They're going to have it on the background and we're

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<v Speaker 2>going to pump ads in there for all the stuff

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<v Speaker 2>that they're making the buying decisions over, which is household stuff.

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<v Speaker 1>Yeah, because they were the target demographic of advertisers at

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<v Speaker 1>the time, they bought most of the stuff that advertisers

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<v Speaker 1>was selling. They made those day to day decisions about purchases.

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<v Speaker 1>So they were what teenagers are today as far as

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<v Speaker 1>the target demo, right, And it was just basically assumed

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<v Speaker 1>and presumed that women would not want anything intrusive or

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<v Speaker 1>jarring or something. They wanted smooth, beautiful music, so much

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<v Speaker 1>so that like a version of this was called music

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<v Speaker 1>only for a woman. That's what the industry called the

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<v Speaker 1>mow right. The thing is, despite the fact that this

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<v Speaker 1>was set up to advertised to women directly beautiful music

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<v Speaker 1>as a whole as a format on the radio, actually,

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<v Speaker 1>I guess the best way to put is mellowed out

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<v Speaker 1>as far as advertising goes, and was very protective and

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<v Speaker 1>defensive of the listener experience, which meant cutting down on

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<v Speaker 1>ads and doing all sorts of other interesting things to

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<v Speaker 1>ads to YEA.

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<v Speaker 2>A company in particular that came along called shul Key

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<v Speaker 2>Radio Productions SRP, and they were a they became like

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<v Speaker 2>the biggest player in syndication, like being a syndication company

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<v Speaker 2>for the BM format because they offered They were like, here,

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<v Speaker 2>we're going to send you these ready to play, real,

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<v Speaker 2>real tapes. It's all programmed. You just slap that sucker

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<v Speaker 2>on there and push play and your set and they said,

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<v Speaker 2>this sounds great, and they said, oh, but wait a minute.

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<v Speaker 2>If you want to use our stuff, like, we're audio files,

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<v Speaker 2>so we want the listening experience to be great and

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<v Speaker 2>we want it to be kind of perfect. So you've

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<v Speaker 2>got to update your broadcasting equipment because we're sending you

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<v Speaker 2>high quality tapes and they need to come across that way.

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<v Speaker 2>You've got to hire an engineer that really knows what

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<v Speaker 2>they're doing and make sure this is all going to

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<v Speaker 2>go as we say it goes. And those ads, those

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<v Speaker 2>sixteen minutes of ads an hour that you're playing, you

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<v Speaker 2>can only do six minutes of those an hour, and

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<v Speaker 2>when you do, you got to have those lower in

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<v Speaker 2>volume than the music even and all the stuff you

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<v Speaker 2>should know. Listeners stood up and cheered.

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<v Speaker 1>Yeah, it's true. Because they found that if you had

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<v Speaker 1>the radio on a low enough volume, those ads at

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<v Speaker 1>six decibels less were like you couldn't even hear them

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<v Speaker 1>sometimes at a certain volume threshold, even though you could

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<v Speaker 1>still hear the music. And there was another thing about

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<v Speaker 1>the ads too. They're like, you cannot use attention grabbing

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<v Speaker 1>tactics to advertise, and in some cases some of these

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<v Speaker 1>local radio stations had to go back to their advertisers

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<v Speaker 1>and be like, crazy, Murray, We're gonna have to tone

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<v Speaker 1>this down quite a bit. Yeah, and like they had

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<v Speaker 1>to re record rewrite ads to follow these Sholky standards.

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<v Speaker 1>And the reason that Sholkey could get away with this

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<v Speaker 1>was because they were selling up not just like pre

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<v Speaker 1>recorded tapes that you can just put on and have

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<v Speaker 1>your radio station. They were selling what muzak did as well,

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<v Speaker 1>that there was a scientific basis to this that like

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<v Speaker 1>followed the rhythm of the day and like built up

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<v Speaker 1>and crested and then Wayne and then built up and

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<v Speaker 1>crusted in Wayne just like musak is just like music

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<v Speaker 1>that was essentially totally made up. But Shulkey still had

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<v Speaker 1>the daya to prove it. People who listened to Beautiful

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<v Speaker 1>Music Radio listened essentially all day.

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<v Speaker 2>Yeah, it feels like a good time for a break. I agreed,

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<v Speaker 2>And we'll be right back to finish up with BM

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<v Speaker 2>radio right after.

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<v Speaker 1>This and things jogging job.

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<v Speaker 3>Josh, all right, we're back.

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<v Speaker 2>I think where we left off, Shulkey was doing pretty

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<v Speaker 2>good business. Crazy Murray was reduced to slightly eccentric Murray,

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<v Speaker 2>and they were selling like hotcakes, and they had the

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<v Speaker 2>ratings to prove it, like you said, even though the

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<v Speaker 2>science was not true, and they were listening for hours

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<v Speaker 2>and hours and hours. But that posed a problem, or

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<v Speaker 2>I guess presented a problem, which was, hey, they're listening

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<v Speaker 2>for so many hours a day, they're just having to

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<v Speaker 2>hear this same playlist in order basically when it loops

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<v Speaker 2>back around, and we can't get these tapes out the

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<v Speaker 2>door fast enough to you guys. So people have like

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<v Speaker 2>a you know, cause they were concerned about the listener

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<v Speaker 2>experience and certainly listening to a playlist on a loop

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<v Speaker 2>is not a good one. And so some companies came

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<v Speaker 2>along that said, all right, well, let's just start hiring

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<v Speaker 2>conductors and arrangers and putting together our own stuff until

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<v Speaker 2>a company called Bonaville came along with a really unique idea, right.

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<v Speaker 1>Yeah, Bonaville did what Shulkey did, Like you would get

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<v Speaker 1>pre recorded tapes of beautiful music from them, but you

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<v Speaker 1>also had to have essentially a random automatic tape player

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<v Speaker 1>that would select a tape a song from a tape

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<v Speaker 1>at random. So even though you had, like them said,

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<v Speaker 1>of say fifty songs, there was never going to be

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<v Speaker 1>a playlist over the course of like say twelve hours

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<v Speaker 1>that was the same as before, same songs here or there,

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<v Speaker 1>but never the same entire playlist starting over every twelve hours.

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<v Speaker 2>Yeah, so they'send tapes and packages.

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<v Speaker 1>Tapes and tapes, tapes and tapes.

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<v Speaker 2>Man missed those guys. And then yeah, I mean pretty

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<v Speaker 2>good technology at the time to randomly select and you know,

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<v Speaker 2>cue up different songs. So it was it was a

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<v Speaker 2>pretty big leap forward.

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<v Speaker 1>And well, well, beautiful music itself was basically an incubator

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<v Speaker 1>for figuring out how to standardize and automate radio. That's

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<v Speaker 1>where that's the cradle of it is beautiful music.

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<v Speaker 2>Weirdly enough, Yeah, and it spread throughout the country as

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<v Speaker 2>a format. Every city had at least one station if

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<v Speaker 2>you were a big city, you probably had a few.

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<v Speaker 2>A lot of times it was like you know, in Detroit,

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<v Speaker 2>w JOI like very mellow call signs. They just wanted

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<v Speaker 2>to really put out, like brand themselves as BM Radio

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<v Speaker 2>because it was such a big deal. But it wasn't

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<v Speaker 2>a big deal for that long because, you know, buying

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<v Speaker 2>power shifted as rock and roll came along and younger

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<v Speaker 2>listeners became the dominant sort of listener of radio, and

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<v Speaker 2>one by one they kind of, you know, BM radio

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<v Speaker 2>station switched over, which is a very jarring thing for

0:12:18.559 --> 0:12:21.800
<v Speaker 2>any radio station format change. I'm sure we've all suffered

0:12:21.840 --> 0:12:24.240
<v Speaker 2>those where you're like, well, I can't listen to the

0:12:24.280 --> 0:12:26.560
<v Speaker 2>station anymore because you're just not the same radio station.

0:12:26.840 --> 0:12:29.800
<v Speaker 1>Do you remember the opposite happening when ninety nine X

0:12:29.840 --> 0:12:32.080
<v Speaker 1>came out in the early nineties and they played like

0:12:32.120 --> 0:12:34.800
<v Speaker 1>the Smiths and it was like, what are the Smiths

0:12:34.840 --> 0:12:36.640
<v Speaker 1>doing on the radio? This is awesome?

0:12:37.000 --> 0:12:40.160
<v Speaker 2>Yeah, because ninety nine in Atlanta before that was sort

0:12:40.160 --> 0:12:42.960
<v Speaker 2>of cheesy pop, and all of a sudden it was

0:12:43.720 --> 0:12:47.280
<v Speaker 2>alternative music, which was the first the first true alternative

0:12:47.280 --> 0:12:48.160
<v Speaker 2>station in Atlanta.

0:12:48.760 --> 0:12:52.280
<v Speaker 1>Yeah, like truly alternative too, especially at first.

0:12:52.320 --> 0:12:54.839
<v Speaker 2>Yeah, I was a ninety six rock kid. But then

0:12:54.960 --> 0:12:57.080
<v Speaker 2>oh yeah, yeah, but when nine an X came along,

0:12:57.120 --> 0:12:59.200
<v Speaker 2>I was into that. But then ninety nine X got

0:12:59.280 --> 0:12:59.840
<v Speaker 2>really bad.

0:13:00.080 --> 0:13:03.320
<v Speaker 1>You right, But at first it was pretty great.

0:13:03.280 --> 0:13:04.839
<v Speaker 2>No, I agree, because you couldn't hear the Smiths on

0:13:04.880 --> 0:13:06.560
<v Speaker 2>the radio unless you went left to the dial, which

0:13:06.600 --> 0:13:09.079
<v Speaker 2>I was doing with the great album eighty eight.

0:13:09.320 --> 0:13:13.560
<v Speaker 1>Oh, album eighty eight guys, for anybody who didn't live

0:13:13.600 --> 0:13:15.960
<v Speaker 1>in Atlanta, while Album eighty eight was on the air,

0:13:16.040 --> 0:13:19.720
<v Speaker 1>it was so great. It had the best shows. They

0:13:19.800 --> 0:13:24.080
<v Speaker 1>played the best like regular rotation music, like it was

0:13:24.160 --> 0:13:28.000
<v Speaker 1>a great, great radio station, and like you can't find

0:13:28.040 --> 0:13:29.679
<v Speaker 1>it anywhere. Nobody's archived it.

0:13:29.760 --> 0:13:32.319
<v Speaker 2>Sadly enough, I think they still have it on the weekends.

0:13:32.880 --> 0:13:33.120
<v Speaker 1>You that.

0:13:33.440 --> 0:13:35.439
<v Speaker 2>Yeah, the weekday they switched over to MPR, which is

0:13:35.480 --> 0:13:37.120
<v Speaker 2>dumb because we already have an MPR station.

0:13:37.280 --> 0:13:39.320
<v Speaker 1>Yeah, they played basically the same thing.

0:13:39.679 --> 0:13:42.400
<v Speaker 2>Yeah, but I'm still pretty sure that the album me

0:13:42.440 --> 0:13:45.320
<v Speaker 2>dy eight exists on the weekends. And if you haven't

0:13:45.360 --> 0:13:46.880
<v Speaker 2>heard of it, you may maybe have heard of the

0:13:46.880 --> 0:13:49.440
<v Speaker 2>great WFMU out of New Jersey. It's it's our version

0:13:49.440 --> 0:13:52.040
<v Speaker 2>of WFMU. But every most every city had a great

0:13:52.120 --> 0:13:52.920
<v Speaker 2>left of the dial station.

0:13:53.440 --> 0:13:55.760
<v Speaker 1>Well, this one was the best left of the dial station.

0:13:56.000 --> 0:14:01.080
<v Speaker 1>And do you remember Adam Baum? He had a soul show.

0:14:01.480 --> 0:14:03.480
<v Speaker 2>No, I don't remember that one, Soul Kitchen.

0:14:03.520 --> 0:14:04.440
<v Speaker 1>I think it was called.

0:14:04.240 --> 0:14:05.800
<v Speaker 2>Oh Okay, I remember Soul Kitchen.

0:14:05.880 --> 0:14:08.680
<v Speaker 1>Yeah, that was Adam Bomb. And that's that's definitely not

0:14:08.800 --> 0:14:11.760
<v Speaker 1>archived anywhere on the internet. So if anybody has old

0:14:11.840 --> 0:14:15.160
<v Speaker 1>tapes of Adam Baum's Soul Kitchen, please post them. Yeah.

0:14:15.160 --> 0:14:16.640
<v Speaker 2>They had Reeling in the Ears was a good show.

0:14:16.679 --> 0:14:18.439
<v Speaker 2>Their Sunday Morning Reggae Show was amazing.

0:14:18.840 --> 0:14:22.760
<v Speaker 1>Do you remember the Sunday Saturday Morning cartoon theme show?

0:14:22.880 --> 0:14:25.720
<v Speaker 1>That was a good one, too, good stuff. I think

0:14:25.720 --> 0:14:27.640
<v Speaker 1>we should just put one last thing. You said that

0:14:27.760 --> 0:14:30.840
<v Speaker 1>a BM station started to drop like flies in the

0:14:31.120 --> 0:14:34.560
<v Speaker 1>or eighties, in particular, by nineteen ninety they were basically gone.

0:14:35.160 --> 0:14:39.840
<v Speaker 1>There was a fictionalized version of this event. Yeah, and

0:14:39.920 --> 0:14:43.440
<v Speaker 1>we like to call that fictionalized version WKRP in Cincinnati.

0:14:43.840 --> 0:14:45.960
<v Speaker 2>You know what, I did not remember this and I

0:14:46.000 --> 0:14:48.600
<v Speaker 2>love that show until you included it in the article

0:14:48.600 --> 0:14:50.520
<v Speaker 2>and I was like, wait a minute, I do remember

0:14:50.560 --> 0:14:52.960
<v Speaker 2>the pilot, like I remember that happening.

0:14:53.400 --> 0:14:55.960
<v Speaker 1>That's what happened. That's why they hired Andy a station manager,

0:14:56.040 --> 0:14:59.400
<v Speaker 1>because they were converting from beautiful music to rock. And

0:14:59.440 --> 0:15:02.360
<v Speaker 1>that's exactly what was going on at the time around them.

0:15:02.480 --> 0:15:05.120
<v Speaker 2>Yeah, and that's why doctor Johnny Fever and Venus fly

0:15:05.200 --> 0:15:06.800
<v Speaker 2>Trap all were stoked about their job.

0:15:07.040 --> 0:15:09.640
<v Speaker 1>Yeah, and Herb Tarlak had to go to Crazy Murray

0:15:09.680 --> 0:15:12.520
<v Speaker 1>and be like, can we can we turn you upward now?

0:15:12.600 --> 0:15:13.880
<v Speaker 1>Because we're a rock station.

0:15:14.240 --> 0:15:17.080
<v Speaker 2>That's right? And Lannie Anderson said, did I type this right?

0:15:18.400 --> 0:15:19.400
<v Speaker 2>And lean over the desk.

0:15:19.840 --> 0:15:24.760
<v Speaker 1>That was a good show. Oh, let's thank our sources

0:15:24.800 --> 0:15:28.520
<v Speaker 1>for this episode. Chuck Tarvar at the University of Delaware,

0:15:28.680 --> 0:15:33.240
<v Speaker 1>Go Blue Hens, Ken Mills at Radio World, Diffin dot com,

0:15:33.520 --> 0:15:38.520
<v Speaker 1>Ken Seapora at Credoville, and the Forum at Radio Discussions.

0:15:39.360 --> 0:15:41.960
<v Speaker 1>And since we have nothing more to say about beautiful music,

0:15:42.320 --> 0:15:46.240
<v Speaker 1>short Stuff is out.

0:15:46.840 --> 0:15:49.720
<v Speaker 3>Stuff You Should Know is a production of iHeartRadio. For

0:15:49.800 --> 0:15:54.000
<v Speaker 3>more podcasts my Heart Radio, visit the iHeartRadio app, Apple Podcasts,

0:15:54.080 --> 0:15:54.120
<v Speaker 3>or

0:15:54.160 --> 0:16:00.840
<v Speaker 1>Wherever you listen to your favorite shows.