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Contemporary hit radio (CHR, also known ascontemporary hits,hit list,current hits,hit music,top 40, orpop radio) is aradio format common in many countries that focuses on playing current and recurrent popular music as determined by theTop 40music charts. There are several subcategories, dominantly focusing onrock,pop, orurban music. Used alone,CHR most often refers to the CHR-pop format. The termcontemporary hit radio was coined in the early 1980s byRadio & Records magazine to designateTop 40 stations which continued to play hits from all musical genres as pop music splintered intoadult contemporary,urban contemporary,contemporary Christian and other formats.
The term "top 40" is also used to refer to the actual list of hit songs, and, by extension, to refer topop music in general. The term has also been modified to describetop 50;top 30;top 20;top 10;hot 100 (each with its number of songs) andhot hits radio formats, but carrying more or less the same meaning and having the same creative point of origin withTodd Storz as further refined byGordon McLendon as well asBill Drake. The format became especially popular in the mid-sixties as radio stations constraineddisc jockeys to numbered play lists in the wake of thepayola scandal.
Also known as CHR/pop or teen CHR. Playspop, anddance, and sometimesurban,alternative,rock, andcountry crossover as well. Often referred as "Top 40"; in terms of incorporating a variety of genres of music, CHR/pop is the successor to the original concept of top 40 radio which originated in the 1950s. Examples of CHR/pop stations in the United States, Canada, and Brazil includeWHTZ inNew York (NY),KIIS-FM inLos Angeles (CA),KYLD andKMVQ-FM inSan Francisco (CA),KHKS inDallas (TX),KRBE inHouston (TX),CFBT-FM inVancouver (BC),CKFM-FM andCKIS-FM inToronto (ON),KSMG inSan Antonio (TX),WIOQ inPhiladelphia (PA),WPRO-FM inProvidence (RI),WXKS-FM inBoston (MA),WIFC inWausau (WI),WWPW andWWWQ inAtlanta (GA),WKSC-FM inChicago (IL),WFLZ inTampa/St. Petersburg (FL),WHYI-FM inMiami (FL),KLUC inLas Vegas (NV),WNCI inColumbus, Ohio (OH),WZPL (IN) inIndianapolis,KDWB inMinneapolis/St. Paul (MN), andJovem Pan FM (with language) inBrazil. The stations generally gain large popularity with this format.
These stations typically are hybrids of the contemporary hit radio (CHR/pop) andHot AC formats. This format contains a strong focus on current charts, contemporary and recurrent hits as well as placing a minority of older, classic hits from the 2000s and early to mid 2010s onto the playlist. Adult CHR stations play pop-friendly rhythmic, dance and hip hop titles alongside standard mainstream pop and pop rock fare, and often shying away from the most rhythmic CHR titles until they are established hits on the format.
Examples in the U.S. includeWIXX in Green Bay,WKRQ in Cincinnati andKZZO in Sacramento. United Kingdom (UK) media regulatorOfcom states: "where a format requires a contemporary andchart music service, the main diet must be of modern music, reflecting the charts of today and recent months. Older, classic tracks would not be out of place, but only as spice to the main offering."[1]
The adult CHR format is sometimes utilized by stations which are heritage Top 40/CHR outlets in their respective markets which have been in the format since the 1970s or 1980s or FM successors to former AM top 40s, with examples in the UK including theHits Radio Network compiled of heritage radio stations includingClyde 1 inGlasgow andRadio City inLiverpool.
Also known as CHR/rhythmic, rhythmic crossover, or CHR/urban. These stations focus onhip-hop anddance-pop. There are differences between CHR/rhythmic and theurban contemporary format; urban stations will often playR&B andsoul songs that CHR/rhythmic stations will not, and CHR/rhythmic stations, despite playlists heavy with urban product, sometimes have white disc jockeys and will includeEDM and rhythmic pop music that urban outlets will not play.WQHT inNew York, andKPWR inLos Angeles are among the most successful CHR/rhythmic stations in the U.S. and among the pioneers of the format.
Bilingual Spanish CHRs (such asWPOW in Miami,KHHM in Shingle Springs, California,KKPS andKBFM in Brownsville, Texas,WKAQ andWXYX in San Juan, Puerto Rico,KBHH in Fresno, California,WRUM-HD2 in Orlando, Florida andKLLI (FM) in Los Angeles) combine current and recent mainstream and rhythmic CHR hits with recent Latin pop hits, targeting young Latina listeners. Similarly, bilingual French CHRs (such asCKOI-FM in Montreal) are common in some Canadian markets, and combine anglophone and French pop hits. Filipino-based CHR stations (such asDWTM,DWRX,DWRT-FM,DWCZ, andDYIO) are also common in major Philippine market areas, which feature current mainstream and rhythmic CHR hits with recentOPM andP-Pop hits.
Gold-based CHRs combine a more limited base of currents and recurrents from the mainstream, rhythmic and/or adult CHR formats with a broader playlist of gold from the 2000s and 2010s. Stations from this format may also be calledrhythmic hot AC if their library is particularly rhythmic-leaning. Examples includeWPOW andWFLC in Miami,WKFS in Cincinnati, Ohio,WBBM-FM in Chicago,WMOV in Hampton Roads andWKTU in New York City.
Playingdance remixes of popular songs with perhaps some current hits from the dance charts. Pure dance-music radio stations (as opposed to CHR/rhythmic andrhythmic AC formats such as MOViN) are not very common but tend to have loyal audiences in the markets where they do exist. Examples includeWPTY onLong Island, NY andKNHC inSeattle. This format is very popular on internet radio stations such asKVPN Digital Broadcasting (VPN Digital 1) Los Angeles.
Stations with this format, a modernizedRock 40 format, are similar in some ways to the Adult CHR and Mainstream CHR/Pop formats, but also incorporatemodern rock/alternative/active rock andmodern AC titles in an upbeat presentation. Examples includeKSXY in Santa Rosa, California,WDJQ in Canton, Ohio,WIXX in Green Bay, Wisconsin,KKCK in Marshall, Minnesota, andWMOM in Ludington, Michigan.
An early version of rock-leaning CHR isRock 40, which was popular in the late 1980s. This format, developed by Joint Communications whoservice marked the name in 1987, is a young-male-targeted hybrid of CHR andalbum-oriented rock (AOR) that combines the formatics of the former with the music mix of the latter. After a short period of successful ratings, the Rock 40 format began to decline because it was too similar to conventional AOR yet lacked appeal among CHR fans who desired less emphasis on rock. According toLee Abrams, a pioneer of the AOR format, Rock 40 was "too wimpy for the real rockers and too hard for the mainstream people".[2] Stations that previously broadcast the format includeKEGL in Dallas,KQLZ (Pirate Radio) in Los Angeles,KRZR in Fresno, California,KXXR in Kansas City, andWMMS in Cleveland.[3] Rock 40 stations eventually segued to CHR or an AOR spinoff format such asactive rock ormodern rock.
There are also variations targeting minority ethnic groups, such asCHR/español (Latin pop), andCHR/Tejano (Tex-Mex and Tejano) which are commonly found inArizona,Texas,California, andMexico. In Greater China (People's Republic ofChina,Taiwan, andHong Kong), there is alsoMandopop andCantopop which are the top 40 variants in that language.
Credit for the format is widely given toTodd Storz, who was the director of radio stationKOWH-AM inOmaha, Nebraska in 1951. At that time typical AM radio programming consisted largely of full-service "block programming": pre-scheduled, sponsored programs of a wide variety, includingradio dramas and variety shows. Local popular music hits, if they made it on the air at all, had to be worked in between these segments. Storz noted the great response certain songs got from the record-buying public and compared it to the way certain selections onjukeboxes were played over and over. He expanded his domain of radio stations, purchasingWTIX-AM inNew Orleans, Louisiana, gradually converted his stations to an all-hits format, and pioneered the practice of surveying record stores to determine which singles were popular each week. Storz found that the more people heard a given song on the radio or from the jukebox, the more likely they were to buy a copy; a conclusion not obvious in the industry at the time. In 1952 he purchased what was then WLAF-AM in Lafayette, Indiana and constructed WAZY-AM/FM which is still the longest running top 40 FM station in existence to this day. In 1954, Storz purchasedWHB-AM, a high-powered station inKansas City, Missouri, which could be heard throughout the Midwest and Great Plains, converted it to an all-hits format, and dubbed the result "top 40". Shortly thereafter WHB debuted the first "top 40 countdown", a reverse-order playing of the station's ranking of hit singles for that week. Within a few years, top 40 stations appeared all over the country to great success, spurred by the burgeoning popularity ofrock and roll music, especially that ofElvis Presley. A 1950s employee at WHB, Ruth Meyer, went on to have tremendous success in the early to mid-60's as program director of New York's premiere top 40 station at that time, WMCA.
Storz Broadcasting Company consisted of six AM radio stations, all featuring top 40 in the sixties.
Although Todd Storz is regarded as the father of the top 100 format[citation needed],Gordon McLendon ofDallas, Texas, is regarded as the person who took an idea and turned it into a mass media marketing success in combination with the development in that same city ofPAMS jingles. McLendon's successful Mighty 1190KLIF in Dallas, along with his two otherTexas Triangle stations, 610KILT (AM) Houston and 550KTSA San Antonio, which went top 40 during the mid to late 1950s, soon became perhaps the most imitated radio stations in America. With careful attention to programming, McLendon presented his stations as packages to advertisers and listeners alike. It was the combination of top 40 and PAMS jingles which became the key to the success of the radio format itself. Not only were the same records played on different stations across America, but so were the same jingle music beds whose lyrics were resung repetitively for each station to create individual station identity. To this basic mix were added contests, games anddisc jockey patter. Various groups (includingBartell Broadcasters) emphasized local variations on their top 40 stations.
Gordon McLendon would operate approximately a dozen and a half AM, FM and TV stations at various times, experimenting with formats other than top 40 (includingbeautiful music and all-news).
In the early 1960sRick Sklar also developed the Top 40 format for radio stationWABC inNew York City which was then copied by stations in the eastern and mid-western United States such asWKBW andWLS.
Bill Drake built upon the foundation established by Storz and McLendon to create a variation called "Boss Radio". This format began in California in early 1961 atKSTN in Stockton, then expanded in 1962–63 toKYNO in Fresno, in 1964 toKGB inSan Diego, and finally toKHJ in Los Angeles in May 1965; it was further adapted to stations across the western US. Boss Radio was later broadcast by American disc jockeys as a hybrid format onpirate radio stationSwinging Radio England, broadcasting from on board a ship anchored off the coast of southern England in international waters. At that time there were no commercial radio stations in theUK, andBBC radio offered only sporadic top 40 programming. Other noteworthy North American top 40 stations that used the Drake approach includedKFRC inSan Francisco;CKLW inWindsor, Ontario;WRKO inBoston;WHBQ in Memphis;WOLF inSyracuse, New York; andWOR-FM inNew York City. Most listeners identified Boss Radio with less talk, shorter jingles and more music.
Mike Joseph's "hot hits" stations of the late 1970s and early 1980s attempted to revitalize the format by refocusing listeners' attention on current, active "box-office" music. Thus, hot hits stations played only current hit songs—no oldies unless they were on current chart albums—in a fast, furious and repetitive fashion, with fast-talking personalities and loud, pounding jingles. In 1977,WTIC-FM in Hartford, CT, dropped its long-running classical format for Joseph's format as "96 Tics" and immediately became one of the top radio stations in the market. The first Joseph station to use the term "hot hits" on the air wasWFBL ("Fire 14", which played its top 14 hits in very tight rotation) in Syracuse, NY, in 1979. ThenWCAU-FM inPhiladelphia switched to hot hits as "98 Now" in the fall of 1981 and was instantly successful. Other major-market stations which adopted the hot hits format in the early 1980s includedWBBM-FMChicago, WHYT (nowWDVD)Detroit, WMAR-FM (nowWWMX)Baltimore, which we might add was not successful against market leader WBSB B104,KITS San Francisco, andWNVZNorfolk.
Don Pierson took the formats of Gordon McLendon, boss radio and PAMS jingles to the UK in the form ofWonderful Radio London, (apirate radio ship) and subsequently revolutionized the popular music format. On 14 August 1967 The Marine Offences Act was introduced in the UK and the pirate stations were shut down.
The British Broadcasting Corporation were chosen by the UK government to come up with a station to replace the pirates, and so in 1967BBC Radio 1 started broadcasting, employing many of the DJ's from the pirate stations (Tony Blackburn,Kenny Everett andJohn Peel etc.) and obtaining re-sings of the PAMS jingles.
In fact[citation needed] it was Tony Blackburn who played the first pop record on Radio 1, the Move's "Flowers In The Rain".
National public/state-ownedradio networks inbold.
Taipei–Keelung metropolitan area: