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Page updated August 14, All sorts of revolutions have been kicked up during the short history -- less than 50 years -- of an industry which has become the prime mover and shaker of our time. Commercial broadcasting began in Louisville in , just two years after the first radio station went on the air in Pittsburg. Television arrived less than 20 years ago. Meantime the tuner and the tube have revolutionized our social ways, created a new kind of journalism, completely changed our election campaigns, emerged as the nation's principal source of news and information and the all-time champion seller of products and services, transformed the entertainment industry and made professional sports big-time business.

In this issue Louisville Magazine takes a close look at the broadcasting industry -- and how it is and how it was, less than 50 years ago.

My heart is breakin' honey, but I sure am makin' money! When country disk jockey Mark The Spark Anderson recently told his WTMT radio audience that he and his wife "had split up, and I'm lookin' for a place to take a shower," the stations' telephone rang for an hour with offers of showers and solace.

Some neighborly souls have felt obliged to explain their plea: At WAVE, generally regarded as the area radio station Perry Como would feel most comfortable listening to, a song about truck drivers, "Convoy," has been getting air time.

All of which illustrates that in the Louisville area, as throughout the nations, country music radio is in clover. Growing faster than the number of backyard gardeners, the number of full-time country music radio stations in the United States and Canada has grown from 81 in to 1, last year.

And according to the Country Music Association in Nashville, Tennessee, 37 percent of the 7, radio stations in North America now play at least some country music. But while the hired hands at country radio stations are grinning at their new success, they also acknowledge that they have worries.

Acting much like a country boy who has struck it rich in the big city, country radio stations are struggling with their identity and wondering about the changes and seeming contradictions their newfound status has brought them. Country music has modernized While both are authentically country stations -- WMPI has a lengthy stockyard report at noon their signals are sometimes hard to pick up in Louisville.

Of the two AM country stations, WINN is larger and has corralled a respectable 11 per cent of the morning rush-hour listening audience. The ratings, published by Pulse, Inc.

WTMT, the bantam rooster of country radio stations here - it goes off the air at sundown and doesn't subscribe to ratings services - has a small but, it claims, extremely loyal audience. Peterson, a professor of sociology at Vanderbilt University in Nashville, Tennessee, who has published several scholarly articles and a book on country music.

The heroes of country music songs handle their urban showdowns in much the same style that the cowboy, America's mythical free spirit, handled his. When the law is after him, he takes to the road - in C. McCall's "Convoy," truckers outrun the police. And these rural-based models of how to behave are proving to be appealing to disgruntled rush-hour cowboys.

One result is that country radio audiences, once written off by advertisers as interested in buying only flour or fertilizer, are now attracting such clients as automobile dealers and apartment building owners.

While acknowledging that many listeners are "bumper-sticker-type guys…who drive campers," Lee Stinson, president of WTMT, claims there are "a lot of big rollers in Cadillacs and Lincolns" who listen to country music radio, too.

Since many of their listeners are blue-collar workers, WINN, as well as other country stations, are selling advertisers on the notion that blue-collar workers are eager consumers.

Anderson, a fast-talking and blunt disk jockey and program manger at WTMT, puts it this way: Foremost is the nettlesome question of what constitutes country music.

As the music has become more popular, it has become less country. The twang of guitars and high voices are fast being replaced by the "full sound" of an orchestra and background singers. Violins are pushing out fiddles. Rebellious country singers have started to move from Nashville, the mecca of country music, to Austin, Texas.

Bakersfield, California has also become a recording center for country artists. Usually the radio stations choose to mix current Nashville sounds with "gold," that is, successful records of a few years back.

Louisville's two AM country stations use this mix, a kind of country programming that critics call "chicken country," implying that it is not full-blooded country but a cheap imitation. Even inside the rhinestone world of country music there is a rift between young long-haired singers, "outlaws" such as Willie Nelson, and the more traditional country performers.

The results of the rift and the subjective nature of determine what a "country" sound is were seen at WINN last fall. Then Moon Mullins replaced Al Risen as the station's music director. But Mullins thought the album was too "harsh and brusque" to fit in with definition of country music.

He didn't play it. Two other aspects of country music that have accompanied its new popularity are its changed attitudes toward law and order and toward women. Several years ago Merle Haggard's "Okie From Muskogee" was a country best seller as it castigated draft dodgers for not obeying the law. But nowadays the best seller is C.

McCall's "Convoy," which makes heroes out of truckers who not only disobey the 55 m. Five years ago Tammy Wynette's song title and advice, "Stand By Your Man," aptly summed up the country music model of women and marriage. But more recent lyrics tell of a more lenient attitude. Loretta Lynn, the girl from Butcher Hollow, Kentucky, recently caused a stir when she released a single called "The Pill.

But now that she has discovered the pull, she too is going to roam unless he wants to make "a deal. Liberation may not be the answer, but neither is perpetual pregnancy. This transformation has started already. Last year, in an economy move, WINN eliminated its local news gathering team. WTMT pays little attention to international news.

The Task Force for Peaceful Desegregation then asked the radio station for a rebuttal. The group submitted a tape recording to the station, but the station said its quality wasn't good enough to be played on the air. WINN made news when it, in a break with its previous policy of not becoming involved in social issues, asked listeners to send letters to the station expressing opinions on busing. WINN then delivered the letters, which were almost unanimously against busing, to Kentucky's senators and representatives in Washington.

In the future, country radio apparently will be dominated by stations that play a short list of songs and adopt a tight, fast-moving format. This is the pattern that made rock 'n' roll stations fast and sassy. Veteran listeners of WTMT and WINN have noted within the last six months that the station's disk jockeys are talking faster, the record selection seems to be smaller, and the jingles being used by the stations sound like those once used on Top 40 stations.

At Vanderbilt, Peterson said that a large segment of the lower middle class, the group that makes up the core of country music listeners, also have a strong preference for "easy-listening" music such as songs by Frank Sinatra and Tony Bennett.

Accordingly, a large number of future country songs will be written to appeal to the "easy-listening" tastes. But at present, despite its newfound popularity and problems, country radio still credits much of its success to its tradition. And when you're talking about those things, you're talking about things people experience. This time, it's on the talk show, rock music and adult programming fronts. Bob Bomar is the host. The show is broadcast Monday through Friday, 7 to 11 p. Jesse James of WINN says the show will differ from Metz's in that "we plan to take the big event of the day and talk about that.

Our shows won't be scheduled far in advance. That way we can keep it hot. WZZX has been naming its two rivals on the air and asking listeners to call and tell which of the three they like best. Not unexpectedly, WZZX has been winning its poll.

The station also has signed up with the Accuweather weather-forecasting service. The station has added a farm report by Ray Adams weekmornings at 5: WAKY also has an announcer change. Bobby Hatfield is the new afternoon disc jockey. Hatfield will work the p. It offered a snapshot of the state of "rock radio" in Louisville right before 's Spring Book kicked off. Rock radio stations are saying 'Lend us your ears' - and they mean business. If you haven't noticed, the radio wars are on.

And you - the one with the ears on the sides of your head - are the prize. Local radio stations will ply you with "commercial-free hours. Need a concert ticket? We'd like to stick to your bumper, soldier.

Our specially made candy bar will tickle your tonsils and do good for someone, too. They'll light up the Big Four Bridge. They'll stop at nothing - well, almost nothing. These people want your ears - and all the money advertisers will pay to whisper into them.

But why all the fuss? Isn't this the age of television? Is there really much money in radio? To answer that, let's take a look at the Louisville radio market. Almost 70 percent of the AM and FM audience listens to one of four rock-oriented "formats. So when you talk about radio, rock of one kind or another is what most ears are listening to.

Lately, strange things have been happening on Louisville's rock-oriented stations. WRKA hadn't been on the air long enough to have any ratings this time around, but it is definitely in the fray. But if that sounds like a small slice, it isn't. Every radio executive in town would gladly accept, say, 15 percent and consider himself a huge winner.


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