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IT EVEN MAKES YOU HAPPY WHEN YOU'RE FEELING BLUE
- Thread starter fennessy
- Start date
> After the first week of October, you won't be able to hear
> The Locomotion by Little Eva on any Philadelphia radio
> station. This and many other classic records that have stood
> the test of time will vanish as if they were never
> significant.
>
> Does anybody but myself care?
>
Fen...
Save the shpilkas, bud; better for your digestion. Join XM, Sirius, buy the "Greatest Oldies of All Time" on CD, download them individually from iTunes, Napster, eMusic and/or RealRhapsody and burn your own CDs or load up your iPod/mp3 player with them from the same sources.
Greater Media will, probably, screw up this new abomination they're perpetrating and may even wander back to Oldies...like the ones you like...within another year. I mean, they have the logo, jingles and tunes already there; all they'll need are the OTHER oldies to go with them: Bennett, Springfield and Diamond Jim.
That is unless The Geator buys the programming right out from under the new Sports Talk hosts.
> The Locomotion by Little Eva on any Philadelphia radio
> station. This and many other classic records that have stood
> the test of time will vanish as if they were never
> significant.
>
> Does anybody but myself care?
>
Fen...
Save the shpilkas, bud; better for your digestion. Join XM, Sirius, buy the "Greatest Oldies of All Time" on CD, download them individually from iTunes, Napster, eMusic and/or RealRhapsody and burn your own CDs or load up your iPod/mp3 player with them from the same sources.
Greater Media will, probably, screw up this new abomination they're perpetrating and may even wander back to Oldies...like the ones you like...within another year. I mean, they have the logo, jingles and tunes already there; all they'll need are the OTHER oldies to go with them: Bennett, Springfield and Diamond Jim.
That is unless The Geator buys the programming right out from under the new Sports Talk hosts.
> > After the first week of October, you won't be able to hear
>
> > The Locomotion by Little Eva on any Philadelphia radio
> > station. This and many other classic records that have
> stood
> > the test of time will vanish as if they were never
> > significant.
> >
> > Does anybody but myself care?
> >
>
Hyski's Hall of Fame on WOGL - at least that's 2 hours of that type song. And some of the surrounding stations like WVLT, WKAP, WBCB, WPAZ might play those songs, too.
>
> > The Locomotion by Little Eva on any Philadelphia radio
> > station. This and many other classic records that have
> stood
> > the test of time will vanish as if they were never
> > significant.
> >
> > Does anybody but myself care?
> >
>
Hyski's Hall of Fame on WOGL - at least that's 2 hours of that type song. And some of the surrounding stations like WVLT, WKAP, WBCB, WPAZ might play those songs, too.
B
bierkenstock
Guest
Inevitable
What do you care, Kevin? You don't live here any more. You're up in Berwick with your own radio station and, like Ben, you play what you want. I'm sure Little Eva is helping Berwick fight off depression.
Real Oldies have fallen off the treadmill.
Like Adult Standards (one year earlier on WPEN)
Like Beautiful Music.
Like Big Band.
You can't hear Bing Crosby on the radio any more (argueably the most influential recording artist of the 20th Century). Or Benny Goodman. Or Paul Whiteman. Or Al Jolson. Once you could. All have vanished "like they were never significant."
Bach has stood the test of time. Check back on Little Eva in 400 years.
It's a sure sign of old age when you someone starts complaining about how there's no good music on the radio any more. My parents and grandparents had that same complaint when top 40 stations started playing Little Eva.
Different generations don't appreciate each other's music. A fact of life.
You, of all people, should realize how this business works.
No, I don't care. I like the music and if I want to hear there are all sorts of ways I can (including listening to you online, although I wish you'd do something about the audio quality).
> After the first week of October, you won't be able to hear
> The Locomotion by Little Eva on any Philadelphia radio
> station. This and many other classic records that have stood
> the test of time will vanish as if they were never
> significant.
>
> Does anybody but myself care?
>
What do you care, Kevin? You don't live here any more. You're up in Berwick with your own radio station and, like Ben, you play what you want. I'm sure Little Eva is helping Berwick fight off depression.
Real Oldies have fallen off the treadmill.
Like Adult Standards (one year earlier on WPEN)
Like Beautiful Music.
Like Big Band.
You can't hear Bing Crosby on the radio any more (argueably the most influential recording artist of the 20th Century). Or Benny Goodman. Or Paul Whiteman. Or Al Jolson. Once you could. All have vanished "like they were never significant."
Bach has stood the test of time. Check back on Little Eva in 400 years.
It's a sure sign of old age when you someone starts complaining about how there's no good music on the radio any more. My parents and grandparents had that same complaint when top 40 stations started playing Little Eva.
Different generations don't appreciate each other's music. A fact of life.
You, of all people, should realize how this business works.
No, I don't care. I like the music and if I want to hear there are all sorts of ways I can (including listening to you online, although I wish you'd do something about the audio quality).
> After the first week of October, you won't be able to hear
> The Locomotion by Little Eva on any Philadelphia radio
> station. This and many other classic records that have stood
> the test of time will vanish as if they were never
> significant.
>
> Does anybody but myself care?
>
Re: Inevitable
OK...I'm a freaking dinosaur. I'm through Philadelphia all the time, and it's my "home" market, having worked at more radio stations in that city than anywhere else.
The difference between the fifties, when the rock acts replaced the moon, spoon, tune, croon, baboon garbage of our parents, that music was DEAD...and we emerged as the majority...more of us, fewer of them, the new and fresh and now replaced the old tired and dead which appealed to the minority.
The Locomotion people are STILL in the majority, we havent been replaced in numbers due to zero population growth, and the music is still valid. What we have now is my kids' generation who are sick and tired of hearing about Ed Sullivan, The Beatles, Vietnam...and are prematurely erasing the dominant and prevailing culture of their parents, who are still in the majority.
They can shizzle my kazizzle.
OK...I'm a freaking dinosaur. I'm through Philadelphia all the time, and it's my "home" market, having worked at more radio stations in that city than anywhere else.
The difference between the fifties, when the rock acts replaced the moon, spoon, tune, croon, baboon garbage of our parents, that music was DEAD...and we emerged as the majority...more of us, fewer of them, the new and fresh and now replaced the old tired and dead which appealed to the minority.
The Locomotion people are STILL in the majority, we havent been replaced in numbers due to zero population growth, and the music is still valid. What we have now is my kids' generation who are sick and tired of hearing about Ed Sullivan, The Beatles, Vietnam...and are prematurely erasing the dominant and prevailing culture of their parents, who are still in the majority.
They can shizzle my kazizzle.
K
KeithThompson
Guest
I've always liked the Grand Funk Railroad version...but then again, I'm only 39.
> After the first week of October, you won't be able to hear
> The Locomotion by Little Eva on any Philadelphia radio
> station. This and many other classic records that have stood
> the test of time will vanish as if they were never
> significant.
>
> Does anybody but myself care?
>
> After the first week of October, you won't be able to hear
> The Locomotion by Little Eva on any Philadelphia radio
> station. This and many other classic records that have stood
> the test of time will vanish as if they were never
> significant.
>
> Does anybody but myself care?
>
I care. Oldies 950 was a nice little station, with Philly flavor. The more and more I listen now, I get melencholy. I'm just rolling tape and hope that the former WOGL greats have a home someplace. Even your favorite Charlie Bennett. *wink*
B
bierkenstock
Guest
Re: Inevitable
>
> The difference between the fifties, when the rock acts
> replaced the moon, spoon, tune, croon, baboon garbage of our
> parents, that music was DEAD...and we emerged as the
> majority...more of us, fewer of them, the new and fresh and
> now replaced the old tired and dead which appealed to the
> minority.
>
The combination of arrogance and ignorance shown in this paragraph demonstrates how perfectly qualified you are to be a disk jockey, the lowest level of talent in the entertainment industry. A jock is one who thinks that because he has a good voice, he has something to say. A jock is one who thinks that because he can read liners, he knows something about music. A jock is one who thinks because he has read wire copy, he is a journalist. A jock is one who thinks a few pop psychology cliches out of a magazine article make him an expert on American culture. A jock is like a rooster who thinks his crowing causes the sunrise. You, sir, are woefully ignorant of American popular music outside a very narrow frame of reference. And you have the conceit to dismiss what you don't know as "garbage." You are no different than the post-boomers who dismiss your music. You have no standing as a music critic to judge quality; you only know what you like. And you clearly can't tell the difference between the two.
>
> The difference between the fifties, when the rock acts
> replaced the moon, spoon, tune, croon, baboon garbage of our
> parents, that music was DEAD...and we emerged as the
> majority...more of us, fewer of them, the new and fresh and
> now replaced the old tired and dead which appealed to the
> minority.
>
The combination of arrogance and ignorance shown in this paragraph demonstrates how perfectly qualified you are to be a disk jockey, the lowest level of talent in the entertainment industry. A jock is one who thinks that because he has a good voice, he has something to say. A jock is one who thinks that because he can read liners, he knows something about music. A jock is one who thinks because he has read wire copy, he is a journalist. A jock is one who thinks a few pop psychology cliches out of a magazine article make him an expert on American culture. A jock is like a rooster who thinks his crowing causes the sunrise. You, sir, are woefully ignorant of American popular music outside a very narrow frame of reference. And you have the conceit to dismiss what you don't know as "garbage." You are no different than the post-boomers who dismiss your music. You have no standing as a music critic to judge quality; you only know what you like. And you clearly can't tell the difference between the two.
Re: Inevitable
My opinion, although it differs from yours, has much less ignorance than your response. The state of pop music just prior to the advent of Rock N Roll was a sad story of post-big band post war malaise. The record business was led by the head of A&R at Columbia Records, Mitch Miller, and until R&B and Country records started "crossing over", the songs were weak, over-produced, and not aimed at the demographic that buys records...young people.
A lot of the songs of that era were overtly sexist, " You're My Posession, I Own You, You're Mine,", and dripping with overt whiteness.The rise of the baby boom desiring entertainment different than their parents, and the passion-less records by artists such as The Ames Brothers and Guy Mitchell, created the need and hunger for Rock N Roll after 1955.
I was in radio for three years before I played my first top 40 record, so I've played all the good songs and records in that genre...and all the bad ones. Call me ignorant after you've played " I Don't Understand The Parisians" by Robert Clarey, or No Man Is An Island ( No Mayonaise in Ireland) by Sergio Franchi, or any record by The Ames Brothers, like " R-A-G-G-M-O-P-P Ragmop".
Rock N Roll replaced all of that, it played to the majority of people who were alive at the time Rock hit. There's still more of us...the idea is not to begrudge anybody their music...we were young, we had our time and our sound.Unlike my parents and the parents of my friends when I was young, I respect modern music's right to exist...it's for them, not for me. But trying to erase sixties based culture, while the majority of people alive today still embrace it, is more elitist and snooty than you claim I am.
Am I elitist and snooty about what I like? Guilty.
My opinion, although it differs from yours, has much less ignorance than your response. The state of pop music just prior to the advent of Rock N Roll was a sad story of post-big band post war malaise. The record business was led by the head of A&R at Columbia Records, Mitch Miller, and until R&B and Country records started "crossing over", the songs were weak, over-produced, and not aimed at the demographic that buys records...young people.
A lot of the songs of that era were overtly sexist, " You're My Posession, I Own You, You're Mine,", and dripping with overt whiteness.The rise of the baby boom desiring entertainment different than their parents, and the passion-less records by artists such as The Ames Brothers and Guy Mitchell, created the need and hunger for Rock N Roll after 1955.
I was in radio for three years before I played my first top 40 record, so I've played all the good songs and records in that genre...and all the bad ones. Call me ignorant after you've played " I Don't Understand The Parisians" by Robert Clarey, or No Man Is An Island ( No Mayonaise in Ireland) by Sergio Franchi, or any record by The Ames Brothers, like " R-A-G-G-M-O-P-P Ragmop".
Rock N Roll replaced all of that, it played to the majority of people who were alive at the time Rock hit. There's still more of us...the idea is not to begrudge anybody their music...we were young, we had our time and our sound.Unlike my parents and the parents of my friends when I was young, I respect modern music's right to exist...it's for them, not for me. But trying to erase sixties based culture, while the majority of people alive today still embrace it, is more elitist and snooty than you claim I am.
Am I elitist and snooty about what I like? Guilty.
I care too. Let's face it - the people programming the oldies stations nationwide have ruined it for all of us with the ultra-tight playlists and the general emasculation of the format. With a handful of exceptions - such as Kevin's station - it's basically become Rock 'N' Roll Muzak.
Re: Music of the late 40's - early 50's
I agree with your assessment of the early 50's pop music being bland and uninspired. A top song on the Hit Parade, if I remember correctly, of 1951 ? by Patti Page "How Much Is That Doggie In the Window" makes the case quite well.
The Big Bands had taken two paths after the war, one group continued to play the dancible swing music of the 40's that were represented by the "sweet swing" dance bands Glenn Miller, Kay Keiser, Tommy Dorsey, Ray Anthony, etc, as they continued to play the same songs that were in many cases 10+ years old (Glenn Miller having been dead since 1944 with his "ghost band" playing, as they do today still playing the same charts). The second path that the Big Bands took after the war was the "hot swing" dance bands Woody Herman, Count Basie, Duke Ellington, etc. evolved from dancible hot swing to the world of jazz, bebop, etc. that wasn't dancible thus chasing away the typical pop music listener as jazz continued to move further away from the dance music of the 40's. Oddly enough, Benny Goodman, who had been a pioneer in creating the hot swing music in the 1930's (earning him the title "King of Swing") didn't like Bebop and the jazz scene and by the end of the 1940's had disbanded his formerly popular band. So as a dominating force in popular music the Big Bands were finished.
The music world and the next generation of kids were ready for something new and different which R&B, and Rock N Roll provided to the younger generation.
> My opinion, although it differs from yours, has much less
> ignorance than your response. The state of pop music just
> prior to the advent of Rock N Roll was a sad story of
> post-big band post war malaise. The record business was led
> by the head of A&R at Columbia Records, Mitch Miller, and
> until R&B and Country records started "crossing over", the
> songs were weak, over-produced, and not aimed at the
> demographic that buys records...young people.
>
> A lot of the songs of that era were overtly sexist, " You're
> My Posession, I Own You, You're Mine,", and dripping with
> overt whiteness.The rise of the baby boom desiring
> entertainment different than their parents, and the
> passion-less records by artists such as The Ames Brothers
> and Guy Mitchell, created the need and hunger for Rock N
> Roll after 1955.
>
> I was in radio for three years before I played my first top
> 40 record, so I've played all the good songs and records in
> that genre...and all the bad ones. Call me ignorant after
> you've played " I Don't Understand The Parisians" by Robert
> Clarey, or No Man Is An Island ( No Mayonaise in Ireland) by
> Sergio Franchi, or any record by The Ames Brothers, like "
> R-A-G-G-M-O-P-P Ragmop".
> Rock N Roll replaced all of that, it played to the majority
> of people who were alive at the time Rock hit. There's still
> more of us...the idea is not to begrudge anybody their
> music...we were young, we had our time and our sound.Unlike
> my parents and the parents of my friends when I was young, I
> respect modern music's right to exist...it's for them, not
> for me. But trying to erase sixties based culture, while
> the majority of people alive today still embrace it, is more
> elitist and snooty than you claim I am.
>
> Am I elitist and snooty about what I like? Guilty.
>
I agree with your assessment of the early 50's pop music being bland and uninspired. A top song on the Hit Parade, if I remember correctly, of 1951 ? by Patti Page "How Much Is That Doggie In the Window" makes the case quite well.
The Big Bands had taken two paths after the war, one group continued to play the dancible swing music of the 40's that were represented by the "sweet swing" dance bands Glenn Miller, Kay Keiser, Tommy Dorsey, Ray Anthony, etc, as they continued to play the same songs that were in many cases 10+ years old (Glenn Miller having been dead since 1944 with his "ghost band" playing, as they do today still playing the same charts). The second path that the Big Bands took after the war was the "hot swing" dance bands Woody Herman, Count Basie, Duke Ellington, etc. evolved from dancible hot swing to the world of jazz, bebop, etc. that wasn't dancible thus chasing away the typical pop music listener as jazz continued to move further away from the dance music of the 40's. Oddly enough, Benny Goodman, who had been a pioneer in creating the hot swing music in the 1930's (earning him the title "King of Swing") didn't like Bebop and the jazz scene and by the end of the 1940's had disbanded his formerly popular band. So as a dominating force in popular music the Big Bands were finished.
The music world and the next generation of kids were ready for something new and different which R&B, and Rock N Roll provided to the younger generation.
> My opinion, although it differs from yours, has much less
> ignorance than your response. The state of pop music just
> prior to the advent of Rock N Roll was a sad story of
> post-big band post war malaise. The record business was led
> by the head of A&R at Columbia Records, Mitch Miller, and
> until R&B and Country records started "crossing over", the
> songs were weak, over-produced, and not aimed at the
> demographic that buys records...young people.
>
> A lot of the songs of that era were overtly sexist, " You're
> My Posession, I Own You, You're Mine,", and dripping with
> overt whiteness.The rise of the baby boom desiring
> entertainment different than their parents, and the
> passion-less records by artists such as The Ames Brothers
> and Guy Mitchell, created the need and hunger for Rock N
> Roll after 1955.
>
> I was in radio for three years before I played my first top
> 40 record, so I've played all the good songs and records in
> that genre...and all the bad ones. Call me ignorant after
> you've played " I Don't Understand The Parisians" by Robert
> Clarey, or No Man Is An Island ( No Mayonaise in Ireland) by
> Sergio Franchi, or any record by The Ames Brothers, like "
> R-A-G-G-M-O-P-P Ragmop".
> Rock N Roll replaced all of that, it played to the majority
> of people who were alive at the time Rock hit. There's still
> more of us...the idea is not to begrudge anybody their
> music...we were young, we had our time and our sound.Unlike
> my parents and the parents of my friends when I was young, I
> respect modern music's right to exist...it's for them, not
> for me. But trying to erase sixties based culture, while
> the majority of people alive today still embrace it, is more
> elitist and snooty than you claim I am.
>
> Am I elitist and snooty about what I like? Guilty.
>
B
bierkenstock
Guest
Unforgettable
OK, White pop music did hit bottom with in the early 50's. But you ignore a lot of vital stuff from the decades before. Bing Crosby (along with Paul Whiteman) revitalized popular music by brining Black jazz to a White audience, much as Elvis would do a generation later. Some of Crosby's earlier recordings sizzle (before he became the guy with a Christmas special). Sinatra, Como, Dean Martin are all derivative of Crosby. For close to three decades, this guy was in the top 10 for record sales, movie box office receipts, and prime time radio ratings.
And in the 50's and later, a lot of rock artists went to the Standards:
Blue Moon (Rogers and Hart)
I Only Have Eyes For You (Warren and Dubin from Golddiggers of 1933).
And even later, Puttin On The Ritz (Irving Berlin).
There's also the work of Cole Porter (rent De-Lovely) and the Gershwin Brothers. And check out The Benny Goodman Story and The Glenn Miller Story (fast forward through the plot lines and listen to the music). Grab a couple of RKO Fred Astaire - Ginger Rogers movies while you're at it.
Yes, there were crap standards. There's crap rock, too. Every genre has clunkers best forgotten. And artists do tend to get stale if they hang around too long.
But Ed Ames throws a mean tomahawk.
> My opinion, although it differs from yours, has much less
> ignorance than your response. The state of pop music just
> prior to the advent of Rock N Roll was a sad story of
> post-big band post war malaise. The record business was led
> by the head of A&R at Columbia Records, Mitch Miller, and
> until R&B and Country records started "crossing over", the
> songs were weak, over-produced, and not aimed at the
> demographic that buys records...young people.
>
> A lot of the songs of that era were overtly sexist, " You're
> My Posession, I Own You, You're Mine,", and dripping with
> overt whiteness.The rise of the baby boom desiring
> entertainment different than their parents, and the
> passion-less records by artists such as The Ames Brothers
> and Guy Mitchell, created the need and hunger for Rock N
> Roll after 1955.
>
> I was in radio for three years before I played my first top
> 40 record, so I've played all the good songs and records in
> that genre...and all the bad ones. Call me ignorant after
> you've played " I Don't Understand The Parisians" by Robert
> Clarey, or No Man Is An Island ( No Mayonaise in Ireland) by
> Sergio Franchi, or any record by The Ames Brothers, like "
> R-A-G-G-M-O-P-P Ragmop".
> Rock N Roll replaced all of that, it played to the majority
> of people who were alive at the time Rock hit. There's still
> more of us...the idea is not to begrudge anybody their
> music...we were young, we had our time and our sound.Unlike
> my parents and the parents of my friends when I was young, I
> respect modern music's right to exist...it's for them, not
> for me. But trying to erase sixties based culture, while
> the majority of people alive today still embrace it, is more
> elitist and snooty than you claim I am.
>
> Am I elitist and snooty about what I like? Guilty.
>
OK, White pop music did hit bottom with in the early 50's. But you ignore a lot of vital stuff from the decades before. Bing Crosby (along with Paul Whiteman) revitalized popular music by brining Black jazz to a White audience, much as Elvis would do a generation later. Some of Crosby's earlier recordings sizzle (before he became the guy with a Christmas special). Sinatra, Como, Dean Martin are all derivative of Crosby. For close to three decades, this guy was in the top 10 for record sales, movie box office receipts, and prime time radio ratings.
And in the 50's and later, a lot of rock artists went to the Standards:
Blue Moon (Rogers and Hart)
I Only Have Eyes For You (Warren and Dubin from Golddiggers of 1933).
And even later, Puttin On The Ritz (Irving Berlin).
There's also the work of Cole Porter (rent De-Lovely) and the Gershwin Brothers. And check out The Benny Goodman Story and The Glenn Miller Story (fast forward through the plot lines and listen to the music). Grab a couple of RKO Fred Astaire - Ginger Rogers movies while you're at it.
Yes, there were crap standards. There's crap rock, too. Every genre has clunkers best forgotten. And artists do tend to get stale if they hang around too long.
But Ed Ames throws a mean tomahawk.
> My opinion, although it differs from yours, has much less
> ignorance than your response. The state of pop music just
> prior to the advent of Rock N Roll was a sad story of
> post-big band post war malaise. The record business was led
> by the head of A&R at Columbia Records, Mitch Miller, and
> until R&B and Country records started "crossing over", the
> songs were weak, over-produced, and not aimed at the
> demographic that buys records...young people.
>
> A lot of the songs of that era were overtly sexist, " You're
> My Posession, I Own You, You're Mine,", and dripping with
> overt whiteness.The rise of the baby boom desiring
> entertainment different than their parents, and the
> passion-less records by artists such as The Ames Brothers
> and Guy Mitchell, created the need and hunger for Rock N
> Roll after 1955.
>
> I was in radio for three years before I played my first top
> 40 record, so I've played all the good songs and records in
> that genre...and all the bad ones. Call me ignorant after
> you've played " I Don't Understand The Parisians" by Robert
> Clarey, or No Man Is An Island ( No Mayonaise in Ireland) by
> Sergio Franchi, or any record by The Ames Brothers, like "
> R-A-G-G-M-O-P-P Ragmop".
> Rock N Roll replaced all of that, it played to the majority
> of people who were alive at the time Rock hit. There's still
> more of us...the idea is not to begrudge anybody their
> music...we were young, we had our time and our sound.Unlike
> my parents and the parents of my friends when I was young, I
> respect modern music's right to exist...it's for them, not
> for me. But trying to erase sixties based culture, while
> the majority of people alive today still embrace it, is more
> elitist and snooty than you claim I am.
>
> Am I elitist and snooty about what I like? Guilty.
>
J
Jim_Hicks
Guest
Re: Music of the late 40's - early 50's
Strange that no one has mentioned another number 1 song from 1951: "How High the Moon." Great lyrics? Not exactly. But the GUITAR! Les Paul, his recording and innovative production work and his GUITAR made rock and roll possible.
> I agree with your assessment of the early 50's pop music
> being bland and uninspired. A top song on the Hit Parade,
> if I remember correctly, of 1951 ? by Patti Page "How Much
> Is That Doggie In the Window" makes the case quite well.
>
> The Big Bands had taken two paths after the war, one group
> continued to play the dancible swing music of the 40's that
> were represented by the "sweet swing" dance bands Glenn
> Miller, Kay Keiser, Tommy Dorsey, Ray Anthony, etc, as they
> continued to play the same songs that were in many cases 10+
> years old (Glenn Miller having been dead since 1944 with his
> "ghost band" playing, as they do today still playing the
> same charts). The second path that the Big Bands took after
> the war was the "hot swing" dance bands Woody Herman, Count
> Basie, Duke Ellington, etc. evolved from dancible hot swing
> to the world of jazz, bebop, etc. that wasn't dancible thus
> chasing away the typical pop music listener as jazz
> continued to move further away from the dance music of the
> 40's. Oddly enough, Benny Goodman, who had been a pioneer
> in creating the hot swing music in the 1930's (earning him
> the title "King of Swing") didn't like Bebop and the jazz
> scene and by the end of the 1940's had disbanded his
> formerly popular band. So as a dominating force in popular
> music the Big Bands were finished.
>
> The music world and the next generation of kids were ready
> for something new and different which R&B, and Rock N Roll
> provided to the younger generation.
>
>
> > My opinion, although it differs from yours, has much less
> > ignorance than your response. The state of pop music just
> > prior to the advent of Rock N Roll was a sad story of
> > post-big band post war malaise. The record business was
> led
> > by the head of A&R at Columbia Records, Mitch Miller, and
> > until R&B and Country records started "crossing over", the
>
> > songs were weak, over-produced, and not aimed at the
> > demographic that buys records...young people.
> >
> > A lot of the songs of that era were overtly sexist, "
> You're
> > My Posession, I Own You, You're Mine,", and dripping with
> > overt whiteness.The rise of the baby boom desiring
> > entertainment different than their parents, and the
> > passion-less records by artists such as The Ames Brothers
> > and Guy Mitchell, created the need and hunger for Rock N
> > Roll after 1955.
> >
> > I was in radio for three years before I played my first
> top
> > 40 record, so I've played all the good songs and records
> in
> > that genre...and all the bad ones. Call me ignorant after
> > you've played " I Don't Understand The Parisians" by
> Robert
> > Clarey, or No Man Is An Island ( No Mayonaise in Ireland)
> by
> > Sergio Franchi, or any record by The Ames Brothers, like "
>
> > R-A-G-G-M-O-P-P Ragmop".
> > Rock N Roll replaced all of that, it played to the
> majority
> > of people who were alive at the time Rock hit. There's
> still
> > more of us...the idea is not to begrudge anybody their
> > music...we were young, we had our time and our
> sound.Unlike
> > my parents and the parents of my friends when I was young,
> I
> > respect modern music's right to exist...it's for them, not
>
> > for me. But trying to erase sixties based culture, while
> > the majority of people alive today still embrace it, is
> more
> > elitist and snooty than you claim I am.
> >
> > Am I elitist and snooty about what I like? Guilty.
> >
>
Strange that no one has mentioned another number 1 song from 1951: "How High the Moon." Great lyrics? Not exactly. But the GUITAR! Les Paul, his recording and innovative production work and his GUITAR made rock and roll possible.
> I agree with your assessment of the early 50's pop music
> being bland and uninspired. A top song on the Hit Parade,
> if I remember correctly, of 1951 ? by Patti Page "How Much
> Is That Doggie In the Window" makes the case quite well.
>
> The Big Bands had taken two paths after the war, one group
> continued to play the dancible swing music of the 40's that
> were represented by the "sweet swing" dance bands Glenn
> Miller, Kay Keiser, Tommy Dorsey, Ray Anthony, etc, as they
> continued to play the same songs that were in many cases 10+
> years old (Glenn Miller having been dead since 1944 with his
> "ghost band" playing, as they do today still playing the
> same charts). The second path that the Big Bands took after
> the war was the "hot swing" dance bands Woody Herman, Count
> Basie, Duke Ellington, etc. evolved from dancible hot swing
> to the world of jazz, bebop, etc. that wasn't dancible thus
> chasing away the typical pop music listener as jazz
> continued to move further away from the dance music of the
> 40's. Oddly enough, Benny Goodman, who had been a pioneer
> in creating the hot swing music in the 1930's (earning him
> the title "King of Swing") didn't like Bebop and the jazz
> scene and by the end of the 1940's had disbanded his
> formerly popular band. So as a dominating force in popular
> music the Big Bands were finished.
>
> The music world and the next generation of kids were ready
> for something new and different which R&B, and Rock N Roll
> provided to the younger generation.
>
>
> > My opinion, although it differs from yours, has much less
> > ignorance than your response. The state of pop music just
> > prior to the advent of Rock N Roll was a sad story of
> > post-big band post war malaise. The record business was
> led
> > by the head of A&R at Columbia Records, Mitch Miller, and
> > until R&B and Country records started "crossing over", the
>
> > songs were weak, over-produced, and not aimed at the
> > demographic that buys records...young people.
> >
> > A lot of the songs of that era were overtly sexist, "
> You're
> > My Posession, I Own You, You're Mine,", and dripping with
> > overt whiteness.The rise of the baby boom desiring
> > entertainment different than their parents, and the
> > passion-less records by artists such as The Ames Brothers
> > and Guy Mitchell, created the need and hunger for Rock N
> > Roll after 1955.
> >
> > I was in radio for three years before I played my first
> top
> > 40 record, so I've played all the good songs and records
> in
> > that genre...and all the bad ones. Call me ignorant after
> > you've played " I Don't Understand The Parisians" by
> Robert
> > Clarey, or No Man Is An Island ( No Mayonaise in Ireland)
> by
> > Sergio Franchi, or any record by The Ames Brothers, like "
>
> > R-A-G-G-M-O-P-P Ragmop".
> > Rock N Roll replaced all of that, it played to the
> majority
> > of people who were alive at the time Rock hit. There's
> still
> > more of us...the idea is not to begrudge anybody their
> > music...we were young, we had our time and our
> sound.Unlike
> > my parents and the parents of my friends when I was young,
> I
> > respect modern music's right to exist...it's for them, not
>
> > for me. But trying to erase sixties based culture, while
> > the majority of people alive today still embrace it, is
> more
> > elitist and snooty than you claim I am.
> >
> > Am I elitist and snooty about what I like? Guilty.
> >
>
Re: Music of the late 40's - early 50's
Yes indeed ! Great guitar work. If I remember correctly, Les Paul also was the first to use voice overs and I believe it was on "How High the Moon".
The original 78 rpm recording of that Les Paul Classic might be worth something.
> Strange that no one has mentioned another number 1 song from
> 1951: "How High the Moon." Great lyrics? Not exactly. But
> the GUITAR! Les Paul, his recording and innovative
> production work and his GUITAR made rock and roll possible.
>
>
> > I agree with your assessment of the early 50's pop music
> > being bland and uninspired. A top song on the Hit Parade,
>
> > if I remember correctly, of 1951 ? by Patti Page "How Much
>
> > Is That Doggie In the Window" makes the case quite well.
>
> >
> > The Big Bands had taken two paths after the war, one group
>
> > continued to play the dancible swing music of the 40's
> that
> > were represented by the "sweet swing" dance bands Glenn
> > Miller, Kay Keiser, Tommy Dorsey, Ray Anthony, etc, as
> they
> > continued to play the same songs that were in many cases
> 10+
> > years old (Glenn Miller having been dead since 1944 with
> his
> > "ghost band" playing, as they do today still playing the
> > same charts). The second path that the Big Bands took
> after
> > the war was the "hot swing" dance bands Woody Herman,
> Count
> > Basie, Duke Ellington, etc. evolved from dancible hot
> swing
> > to the world of jazz, bebop, etc. that wasn't dancible
> thus
> > chasing away the typical pop music listener as jazz
> > continued to move further away from the dance music of the
>
> > 40's. Oddly enough, Benny Goodman, who had been a pioneer
>
> > in creating the hot swing music in the 1930's (earning him
>
> > the title "King of Swing") didn't like Bebop and the jazz
> > scene and by the end of the 1940's had disbanded his
> > formerly popular band. So as a dominating force in
> popular
> > music the Big Bands were finished.
> >
> > The music world and the next generation of kids were ready
>
> > for something new and different which R&B, and Rock N Roll
>
> > provided to the younger generation.
Yes indeed ! Great guitar work. If I remember correctly, Les Paul also was the first to use voice overs and I believe it was on "How High the Moon".
The original 78 rpm recording of that Les Paul Classic might be worth something.
> Strange that no one has mentioned another number 1 song from
> 1951: "How High the Moon." Great lyrics? Not exactly. But
> the GUITAR! Les Paul, his recording and innovative
> production work and his GUITAR made rock and roll possible.
>
>
> > I agree with your assessment of the early 50's pop music
> > being bland and uninspired. A top song on the Hit Parade,
>
> > if I remember correctly, of 1951 ? by Patti Page "How Much
>
> > Is That Doggie In the Window" makes the case quite well.
>
> >
> > The Big Bands had taken two paths after the war, one group
>
> > continued to play the dancible swing music of the 40's
> that
> > were represented by the "sweet swing" dance bands Glenn
> > Miller, Kay Keiser, Tommy Dorsey, Ray Anthony, etc, as
> they
> > continued to play the same songs that were in many cases
> 10+
> > years old (Glenn Miller having been dead since 1944 with
> his
> > "ghost band" playing, as they do today still playing the
> > same charts). The second path that the Big Bands took
> after
> > the war was the "hot swing" dance bands Woody Herman,
> Count
> > Basie, Duke Ellington, etc. evolved from dancible hot
> swing
> > to the world of jazz, bebop, etc. that wasn't dancible
> thus
> > chasing away the typical pop music listener as jazz
> > continued to move further away from the dance music of the
>
> > 40's. Oddly enough, Benny Goodman, who had been a pioneer
>
> > in creating the hot swing music in the 1930's (earning him
>
> > the title "King of Swing") didn't like Bebop and the jazz
> > scene and by the end of the 1940's had disbanded his
> > formerly popular band. So as a dominating force in
> popular
> > music the Big Bands were finished.
> >
> > The music world and the next generation of kids were ready
>
> > for something new and different which R&B, and Rock N Roll
>
> > provided to the younger generation.
Re: Unforgettable
The innovation and evolution of early jazz to swing to bebop, progressive jazz music is interesting to listen to. Early Benny Goodman from the early 1930's had a blues/dixieland sound to it. His first band in 1931 had Glenn Miller and Jack Teagarden on Trombone (Teagarden also did vocals on songs like Basin Street Blues, Beale Street Blues). Even a 16 year old Billie Holliday recorded a couple of charts with Goodman during this early part of his career. Of course by 1938 Goodman had found his sound and style making him "King of Swing". Goodman was the first non-classical performer to play Carnegie Hall (1938), he also started the small group sound with his trio, quartet, and sextet. Even though Benny didn't like Bebop and the modern jazz style he did record a couple of Bebop charts in the late 40's before disbanding his band.
Woody Herman started out as a blues band in the 1930's with songs like "Blues in the Night", where he started swingin' with his classic hit "Woodchoppers Ball", he did have much success in the later 40's early 50's with Bebop and Progressive Jazz with such songs as "The Good Earth", "The Goof and I", and a real jazz classic " Four Brothers". Herman had a long career leading various "Herds" into the the mid 70's. Woody did record some albums where he tried to take pop songs of the day and put them into jazz, so he continued to develop new ideas rather than just playing only the same charts over and over which may be why his band lasted so much longer than most of those from the 30's and 40's.
Count Basie was another example who had some successful jazz albums into the mid 60's, because he continued to try new things.
Glenn Miller, who was the pop music icon of the big band era and an excellent arranger developed a sound that had such mass appeal that 3 out of every 5 songs played on a juke box, during the height of his fame, was a Glenn Miller record knew how to please his audience and gave them the music they wanted. He didn't have the "hottest" swing band, but he had the most popular. His music was so popular that his style and sound, defined the music for that generation, especially during the war years.
Frank Sinatra did the same thing as a vocalist, and was able to bridge the change in music from the 40's into the 50's and of course managed to appeal to all sorts of listeners during the many years that made up his unbeliveable career through all the changes in pop music. Sinatra learned his phrasing in performing music from Tommy Dorsey (trombonist and excellent musician who was a perfectionist), who had an excellent sweet swing band where Sinatra grew and developed as an young musician.
> OK, White pop music did hit bottom with in the early 50's.
> But you ignore a lot of vital stuff from the decades before.
> Bing Crosby (along with Paul Whiteman) revitalized popular
> music by brining Black jazz to a White audience, much as
> Elvis would do a generation later. Some of Crosby's earlier
> recordings sizzle (before he became the guy with a Christmas
> special). Sinatra, Como, Dean Martin are all derivative of
> Crosby. For close to three decades, this guy was in the top
> 10 for record sales, movie box office receipts, and prime
> time radio ratings.
>
> And in the 50's and later, a lot of rock artists went to the
> Standards:
> Blue Moon (Rogers and Hart)
> I Only Have Eyes For You (Warren and Dubin from Golddiggers
> of 1933).
> And even later, Puttin On The Ritz (Irving Berlin).
> There's also the work of Cole Porter (rent De-Lovely) and
> the Gershwin Brothers. And check out The Benny Goodman
> Story and The Glenn Miller Story (fast forward through the
> plot lines and listen to the music). Grab a couple of RKO
> Fred Astaire - Ginger Rogers movies while you're at it.
>
> Yes, there were crap standards. There's crap rock, too.
> Every genre has clunkers best forgotten. And artists do
> tend to get stale if they hang around too long.
>
> But Ed Ames throws a mean tomahawk.
>
The innovation and evolution of early jazz to swing to bebop, progressive jazz music is interesting to listen to. Early Benny Goodman from the early 1930's had a blues/dixieland sound to it. His first band in 1931 had Glenn Miller and Jack Teagarden on Trombone (Teagarden also did vocals on songs like Basin Street Blues, Beale Street Blues). Even a 16 year old Billie Holliday recorded a couple of charts with Goodman during this early part of his career. Of course by 1938 Goodman had found his sound and style making him "King of Swing". Goodman was the first non-classical performer to play Carnegie Hall (1938), he also started the small group sound with his trio, quartet, and sextet. Even though Benny didn't like Bebop and the modern jazz style he did record a couple of Bebop charts in the late 40's before disbanding his band.
Woody Herman started out as a blues band in the 1930's with songs like "Blues in the Night", where he started swingin' with his classic hit "Woodchoppers Ball", he did have much success in the later 40's early 50's with Bebop and Progressive Jazz with such songs as "The Good Earth", "The Goof and I", and a real jazz classic " Four Brothers". Herman had a long career leading various "Herds" into the the mid 70's. Woody did record some albums where he tried to take pop songs of the day and put them into jazz, so he continued to develop new ideas rather than just playing only the same charts over and over which may be why his band lasted so much longer than most of those from the 30's and 40's.
Count Basie was another example who had some successful jazz albums into the mid 60's, because he continued to try new things.
Glenn Miller, who was the pop music icon of the big band era and an excellent arranger developed a sound that had such mass appeal that 3 out of every 5 songs played on a juke box, during the height of his fame, was a Glenn Miller record knew how to please his audience and gave them the music they wanted. He didn't have the "hottest" swing band, but he had the most popular. His music was so popular that his style and sound, defined the music for that generation, especially during the war years.
Frank Sinatra did the same thing as a vocalist, and was able to bridge the change in music from the 40's into the 50's and of course managed to appeal to all sorts of listeners during the many years that made up his unbeliveable career through all the changes in pop music. Sinatra learned his phrasing in performing music from Tommy Dorsey (trombonist and excellent musician who was a perfectionist), who had an excellent sweet swing band where Sinatra grew and developed as an young musician.
> OK, White pop music did hit bottom with in the early 50's.
> But you ignore a lot of vital stuff from the decades before.
> Bing Crosby (along with Paul Whiteman) revitalized popular
> music by brining Black jazz to a White audience, much as
> Elvis would do a generation later. Some of Crosby's earlier
> recordings sizzle (before he became the guy with a Christmas
> special). Sinatra, Como, Dean Martin are all derivative of
> Crosby. For close to three decades, this guy was in the top
> 10 for record sales, movie box office receipts, and prime
> time radio ratings.
>
> And in the 50's and later, a lot of rock artists went to the
> Standards:
> Blue Moon (Rogers and Hart)
> I Only Have Eyes For You (Warren and Dubin from Golddiggers
> of 1933).
> And even later, Puttin On The Ritz (Irving Berlin).
> There's also the work of Cole Porter (rent De-Lovely) and
> the Gershwin Brothers. And check out The Benny Goodman
> Story and The Glenn Miller Story (fast forward through the
> plot lines and listen to the music). Grab a couple of RKO
> Fred Astaire - Ginger Rogers movies while you're at it.
>
> Yes, there were crap standards. There's crap rock, too.
> Every genre has clunkers best forgotten. And artists do
> tend to get stale if they hang around too long.
>
> But Ed Ames throws a mean tomahawk.
>
D
DowntownHazleton
Guest
> After the first week of October, you won't be able to hear
> The Locomotion by Little Eva on any Philadelphia radio
> station. This and many other classic records that have stood
> the test of time will vanish as if they were never
> significant.
>
> Does anybody but myself care?
>
NO.
> The Locomotion by Little Eva on any Philadelphia radio
> station. This and many other classic records that have stood
> the test of time will vanish as if they were never
> significant.
>
> Does anybody but myself care?
>
NO.
D
DowntownHazleton
Guest
Re: Inevitable
> >
> > The difference between the fifties, when the rock acts
> > replaced the moon, spoon, tune, croon, baboon garbage of
> our
> > parents, that music was DEAD...and we emerged as the
> > majority...more of us, fewer of them, the new and fresh
> and
> > now replaced the old tired and dead which appealed to the
> > minority.
> >
>
> The combination of arrogance and ignorance shown in this
> paragraph demonstrates how perfectly qualified you are to be
> a disk jockey, the lowest level of talent in the
> entertainment industry. A jock is one who thinks that
> because he has a good voice, he has something to say. A
> jock is one who thinks that because he can read liners, he
> knows something about music. A jock is one who thinks
> because he has read wire copy, he is a journalist. A jock
> is one who thinks a few pop psychology cliches out of a
> magazine article make him an expert on American culture. A
> jock is like a rooster who thinks his crowing causes the
> sunrise. You, sir, are woefully ignorant of American
> popular music outside a very narrow frame of reference. And
> you have the conceit to dismiss what you don't know as
> "garbage." You are no different than the post-boomers who
> dismiss your music. You have no standing as a music critic
> to judge quality; you only know what you like. And you
> clearly can't tell the difference between the two.
>
HURRAY FOR THE WRITER!!!!!!!!!!!!!!!!!!!!
Now maybe he'll go back to Berwick where his radio station doesn't even show up in the county it's licensed to!
> >
> > The difference between the fifties, when the rock acts
> > replaced the moon, spoon, tune, croon, baboon garbage of
> our
> > parents, that music was DEAD...and we emerged as the
> > majority...more of us, fewer of them, the new and fresh
> and
> > now replaced the old tired and dead which appealed to the
> > minority.
> >
>
> The combination of arrogance and ignorance shown in this
> paragraph demonstrates how perfectly qualified you are to be
> a disk jockey, the lowest level of talent in the
> entertainment industry. A jock is one who thinks that
> because he has a good voice, he has something to say. A
> jock is one who thinks that because he can read liners, he
> knows something about music. A jock is one who thinks
> because he has read wire copy, he is a journalist. A jock
> is one who thinks a few pop psychology cliches out of a
> magazine article make him an expert on American culture. A
> jock is like a rooster who thinks his crowing causes the
> sunrise. You, sir, are woefully ignorant of American
> popular music outside a very narrow frame of reference. And
> you have the conceit to dismiss what you don't know as
> "garbage." You are no different than the post-boomers who
> dismiss your music. You have no standing as a music critic
> to judge quality; you only know what you like. And you
> clearly can't tell the difference between the two.
>
HURRAY FOR THE WRITER!!!!!!!!!!!!!!!!!!!!
Now maybe he'll go back to Berwick where his radio station doesn't even show up in the county it's licensed to!
Re: Music of the late 40's - early 50's
Not to self-promote (too) shamelessly, but you can hear that Les Paul track (ok, it's from a cd), Benny Goodman, Woody Herman, and most of the other folks mentioned in the previous three or four posts on my Friday afternoon show on WRDV (and wrdv.org).
Yesterday (even though he never led a big band), you could also have heard a track by Fats Domino, who is -- I am happy to report -- safe and sound. That's why I played it. Great format, eh?
We REALLY play what we like -- and we LOVE what we play.
Bill
P.S. Duke Ellington said that there are two kinds of music : good music, and the other kind (Duke was too polite to say anything more critical).
We play lots of the former.
Not to self-promote (too) shamelessly, but you can hear that Les Paul track (ok, it's from a cd), Benny Goodman, Woody Herman, and most of the other folks mentioned in the previous three or four posts on my Friday afternoon show on WRDV (and wrdv.org).
Yesterday (even though he never led a big band), you could also have heard a track by Fats Domino, who is -- I am happy to report -- safe and sound. That's why I played it. Great format, eh?
We REALLY play what we like -- and we LOVE what we play.
Bill
P.S. Duke Ellington said that there are two kinds of music : good music, and the other kind (Duke was too polite to say anything more critical).
We play lots of the former.
Re: WRDV's schedule, etc
Bill,
As I don't live in range of WRDV I'll give the web cast a try, at least for the last hour of your show (I get home from work about 5pm). I did check out your station's web site, you do have a lot of interesting programming ( I'll have to check out some of the other programs as well via the webcast, in fact I'm listening to Solid Gold Saturday Night as I type). I'm impressed that you also air some religious programming overnight and on Sunday morning, which I'm sure helps the bottom line, but is also a good thing to do, in my opinion. Airing religious programming would seem to be kind of unique for a "secular" non-comm to do in today's world. My guess is the local community (where ever you are located) probably appreciates that difference. Your format kind of reminds me of what used to be WSNJ Bridgeton, NJ other than your format appears to be more upbeat than what theirs used to be.
> Not to self-promote (too) shamelessly, but you can hear that
> Les Paul track (ok, it's from a cd), Benny Goodman, Woody
> Herman, and most of the other folks mentioned in the
> previous three or four posts on my Friday afternoon show on
> WRDV (and wrdv.org).
>
> Yesterday (even though he never led a big band), you could
> also have heard a track by Fats Domino, who is -- I am happy
> to report -- safe and sound. That's why I played it. Great
> format, eh?
>
> We REALLY play what we like -- and we LOVE what we play.
>
> Bill
>
> P.S. Duke Ellington said that there are two kinds of music
> : good music, and the other kind (Duke was too polite to say
> anything more critical).
>
> We play lots of the former.
>
Bill,
As I don't live in range of WRDV I'll give the web cast a try, at least for the last hour of your show (I get home from work about 5pm). I did check out your station's web site, you do have a lot of interesting programming ( I'll have to check out some of the other programs as well via the webcast, in fact I'm listening to Solid Gold Saturday Night as I type). I'm impressed that you also air some religious programming overnight and on Sunday morning, which I'm sure helps the bottom line, but is also a good thing to do, in my opinion. Airing religious programming would seem to be kind of unique for a "secular" non-comm to do in today's world. My guess is the local community (where ever you are located) probably appreciates that difference. Your format kind of reminds me of what used to be WSNJ Bridgeton, NJ other than your format appears to be more upbeat than what theirs used to be.
> Not to self-promote (too) shamelessly, but you can hear that
> Les Paul track (ok, it's from a cd), Benny Goodman, Woody
> Herman, and most of the other folks mentioned in the
> previous three or four posts on my Friday afternoon show on
> WRDV (and wrdv.org).
>
> Yesterday (even though he never led a big band), you could
> also have heard a track by Fats Domino, who is -- I am happy
> to report -- safe and sound. That's why I played it. Great
> format, eh?
>
> We REALLY play what we like -- and we LOVE what we play.
>
> Bill
>
> P.S. Duke Ellington said that there are two kinds of music
> : good music, and the other kind (Duke was too polite to say
> anything more critical).
>
> We play lots of the former.
>
Re: WRDV's schedule, etc
> I'm impressed that you also air some religious
> programming overnight and on Sunday morning, which I'm sure
> helps the bottom line, but is also a good thing to do, in my
> opinion. >>
The early morning Contemporary Christian music (relay of "The Word" 88.9 Sellersville) has been off the air from WRDV for many months, at least last I checked. I believe Bill posted before the antenna to relay it was down & nobody wanted to go up & fix it? Something like that. Sunday morning is the old Powerline & Country Crossroads you used to hear on every top 40 & country station Sundays years ago (more nostalgia) & local church services.
I'm sometimes surprised that RDV has been able to continue as a big band, swing, nostalgia station all day weekdays since you would think that audience is pretty well disappearing (well over 70+) but more power to them if they can keep it going. I would think "someday" the weekend oldies format will take over weekdays.
> I'm impressed that you also air some religious
> programming overnight and on Sunday morning, which I'm sure
> helps the bottom line, but is also a good thing to do, in my
> opinion. >>
The early morning Contemporary Christian music (relay of "The Word" 88.9 Sellersville) has been off the air from WRDV for many months, at least last I checked. I believe Bill posted before the antenna to relay it was down & nobody wanted to go up & fix it? Something like that. Sunday morning is the old Powerline & Country Crossroads you used to hear on every top 40 & country station Sundays years ago (more nostalgia) & local church services.
I'm sometimes surprised that RDV has been able to continue as a big band, swing, nostalgia station all day weekdays since you would think that audience is pretty well disappearing (well over 70+) but more power to them if they can keep it going. I would think "someday" the weekend oldies format will take over weekdays.
- Status