Whats That Sound 06-09_5.0 1/23/06 9:56 AM Page 324 The Growth of FM Rock Radio FM is a type of radio broad- selves. But the tide for FM or “Progressive” radio was cast developed in 1933 by turned in the 1950s with the format that worked best. Edwin Howard Armstrong. It improvements in home audio Free-form radio was prob- uses the same radio waves as equipment, the development ably first developed at New AM but in a different way: of stereo recording and the York’s WOR-FM, but Tom information is transmitted by LP, and the Federal Donahue became the most varying the frequency of the Communication Com- influential proponent of the carrier wave, instead of the mission’s 1967 order that format when he adopted it at amplitude of the wave. FM dual-license owners had to KMPX-FM in San Francisco broadcasts have less static provide original FM program- in the spring of 1967. Thanks and a shorter range than AM, ming for at least 50 percent of to Donahue’s success in the so they are a purely local but the broadcast day. Beginning Bay Area and subsequently higher-quality broadcast. that year, stations moved in Los Angeles, the format live from ... The development of FM quickly to differentiate them- spread nationwide by 1968. was bitterly contested by the selves from AM. “Free-form” It also was the main format radio industry, despite its obvious virtues. Because broadcasting corporations like RCA had millions of dol- lars invested in AM radio equipment, programming, and marketing, they had no desire to invest in an expen- sive new medium just so they could compete with them- 324 Whats That Sound 06-09_5.0 1/23/06 9:56 AM Page 325 for student-run college sta- developed a method of string- result, progressive radio tions. (Although never widely ing songs together by means came to be called “Album- popular, college radio was a of a musical, thematic, or his- Oriented Radio,” or AOR. The key element in the rise of torical connection between mutual influence of radio on alternative rock in the 1980s, songs, a device known as a rock music and rock music when commercial stations “segue.” For instance, two on radio eventually freed both resisted playing it.) songs might be put together from the two- to four-minute On progressive radio, DJs simply because the end of restriction of song length. programmed their own sets one led well into the begin- Because stylistic variety with little or no attention to ning of another. Or an entire was not as important as in playlists. They chose songs set might be made out of other fonrmats, AOR DJs led as they saw fit for musical or songs about rain (e.g., listeners into deeper knowl- other reasons—even for polit- Dylan’s “It’s a Hard Rain edge of specific styles, musi- ical purposes. As a result, the [Gonna Fall],” followed by cians, and even songs. At the taste and personality of the Creedence Clearwater same time, AOR fragmented particular DJ became the Revival’s “Who’ll Stop the FM into an array of stations major commercial asset of Rain?” and the Doors’ “Riders associated with specific musi- FM radio. The DJ evolved into on the Storm”). After the cal styles. Rock stations a combination music critic, Beatles’ invention of the con- would play little or no dance musicologist, counterculture cept album, progressive DJs music, dance-music stations revolutionary, and entertainer. sometimes played entire would play little or no rock, This was primarily demon- uninterrupted album sides as and jazz stations would play strated through the two a single set. By combining little of either. Just as the major innovations of progres- their programming choices social fragmentation caused sive radio: “The rap” and the and their rap, free-form DJs by “urban renewal” programs “segue.” both entertained and enlight- in the 1970s led to renewed “The rap” refers to the ened. racial segregation in housing, style and content of a DJ’s Progressive radio was the stylistic fragmentation of voice. Because of FM’s higher mainly album-based, rather AOR led to renewed segrega- fidelity, progressive DJs usu- than single-based like Top 40 tion in music. ally spoke in a more intimate, radio. DJs chose the best less affected style. Free-form songs available, whether they DJs educated their listeners were released as singles or by rapping (speaking) about not, and usually the best ver- musical, political, or social sion of a given song was issues. They also used their found on the album. As a familiar personalities as a way to bring listeners closer to musicians through broad- cast interviews. Free-form DJs 325.