INTRODUCTION

Radio is everywhere-everyone listens to radio!

Like many in the '90s, I became fascinated with the new wave of communication-surfing the Internet. While navigating the information superhighway, I discovered websites devoted to legendary radio personalities and stations in the United States. The more I explored, the more I felt compelled to seek similar references and tributes to Australia's impressive radio heritage. Disappointingly, my search turned up little.

Books on Australian radio gave an impression, perhaps unwittingly, that radio history ceased in the late '50s, or anything after that time was somehow frivolous or unworthy. Frankly, I didn't want to read volumes about the dynamic showmanship of Jack Davey, the humorous exploits of Roy Rene or the problems Portia had 'facing life'. I wanted to know who came after these people and what happened next in radio. I found myself asking: Where were the people of my generation of radio?

And so, I tentatively embarked on a journey, at times an all-consuming journey, to compile an extensive history, and tribute, to the radio I know best. On this journey I've had the rare pleasure of meeting or corresponding with more broadcasters in the past few years than I did in my entire radio career. This book wouldn't be possible without them-and they are duly acknowledged in the credits.

Where does the multifaceted world of commercial radio begin and end? Behind the scenes is a wealth of information and amusing anecdotes on stations, personalties, technology, formats, etc. One of the thousands who made a contribution to radio was Ron Hurst. The former 2UE and 2GB executive told me: 'It's impossible to record every last detail about radio. For every five stories, there are 5000 more.'

Much of what you will read is part of our living memory. To compile a reliable account of the period, I investigated claims and counterclaims; checked against patchy historic records, where possible. Nevertheless, some may think too much attention is given to certain events, people or stations. My experience growing up in suburban Sydney in the pre-FM days has unashamedly influenced the story. This is balanced by the perspectives of those whose experiences straddle generations and locations. Some might also feel their contribution to radio is not adequately recognised. Such are the shortcomings of writing contemporary history!

So, what is this thing called commercial radio and why has it been integral to Australian life for many generations? Perhaps a simple answer can be found in a 1950s jingle promoting commercial radio. The main selling line was: 'Radio is everywhere-everyone listens to radio'. The jingle reinforced to listeners the reliability and entertainment value of commercial radio. It also reminded advertisers about the advantages of using radio to sell their wares.

Some things haven't changed. Radio is still everywhere and many are still listening. Advertisers continue buying airtime. There are more radios in Australia than people. Wherever you are in this wide brown land, you'll hear a signal of some sort. Not far away, that signal will be digital. In fact, on 17 December 2003, a number of Sydney and Melbourne stations began trials of digital broadcasting. At the 2005 Commercial Radio Australia(CRA) annual conference, Communications Minister Helen Coonan formally announced the introduction, scope and technical framework of digital radio. It will be interesting to see, and hear, how this rolls out.

Commercial radio, as distinct from community broadcasting or public broadcasting, (ABC, SBS) has a specific style and traditions that set it apart. Its raison d'etre is specific-it exists for commerce. The history and development of commercial radio differs markedly from, say, ABC radio. Anyone who has worked for both radio sectors will agree they are worlds apart in operating style and culture.

In raw terms, commercial radio is a volatile business where winners prevail and losers can suit themselves. It's a tough, sport-like enterprise. Ratings figures loom like a giant scoreboard over the success of stations, performers and management. The figures sometimes represent an epitaph to failure. Sue Javes, radio columnist for The Sydney Morning Herald, wrote in 2003, '… clearly there is more to commercial radio than bubbly announcers, music, talk and cash prizes. It's more of a deadly serious game of strategy and psychological warfare'. No argument there.

The existence of commercial radio is often reduced to simplistic interpretations of success, based purely on survey results. Newspaper articles, industry chatter and personal reflection often go like: 'This station was great because it rated number one for five years in a row' or 'Joe Blow was a brilliant performer who had the biggest rise in audience share of anyone in the market' or 'I had the best figures on that station when I did breakfast'.

Ratings, as determined by regular survey measurement, are the 'box office' of radio. Or, to use corporate speak, ratings are the key performance indicators. If you put the survey numbers to one side, there is a broader tale to tell about radio, one which transcends a dissertation on share trends, demographic skews, cumes, time spent listening and advertising revenues. The story is about the people of radio: what they do; how they do it; why they do it and whether they do it well. And, let us never forget the 'people aspect' of broadcasting. A radio station without people is just real estate with a call sign.

I spoke at length with listeners in different states and countries to gauge their feelings about radio stations. Listeners don't relate their emotional experience or connectivity with radio in terms of ratings. But of course, stations without listeners (i.e. low ratings) are in big trouble. Even with its shortcomings, the good old rating system exposes that uncomfortable situation.

In a world saturated with a mix of established and divergent media platforms, contemporary commercial broadcasters face greater challenges to attract audiences than ever before. In this crowded, competitive environment, radio's greatest attribute-the ability to communicate intimately and in 'real time'-continues to shine. Even when radio isn't talking to you-and it does a lot of talking these days-radio still communicates one on one. The music it plays, it plays for you. How the songs are played; who selects them; who presents them and who owns the stations airing them are evolutionary, as we'll discover.

For something as ever present and powerful in our lives as radio is, surprisingly little has been written about it. The few books published about Australian radio contain terrific yarns and genuine fondness for the so called 'good old days' of the '40s and '50s. These are often referred to as the Golden Years of radio. They were great days for sure, but I have to say that the idea of one era being 'golden' or supposedly 'better' than another irks me. Every era has its good and bad, its highs and lows, triumphs and failures. The period I've written about here has no cute name … the Platinum Years, maybe?

For people like me, born in the television age, the period from the late '50s through the '80s is predominantly the radio of our time. Unlike our elders, we didn't assemble around the big radio cabinet in the lounge room. Technology enabled 'the younger generation' to snuggle up at night with a tranny under our pillow, catching the latest and greatest sounds from fast talking DJs. In the '60s, if we didn't like what was playing on our local station, we'd tune in and out of the static in search of another 'hit to happen'.

I've enjoyed radio from a very young age. I still use it and rely on it (no longer from under the pillow!). I've been fortunate to play a brief role among the cast of thousands who've been part of radio from the inside. Mine was a rewarding experience, not so much in monetary terms, more to do with the stuff of childhood dreams becoming reality. On that score, ask around and you'll find just about anyone who ever sat behind a microphone has tales of fascination for the medium of radio. Stories abound of dreamers setting up make believe radio stations at home. They were the young communicators, tangled in wires with tin can microphones and cardboard tape machines, performing tricks on a household turntable, not designed for slick moves, such as slip cueing vinyl discs. These days, of course, anyone with a yearning to be on radio, young or old, can sign up for a gig at their local community station. The community broadcasting sector is one of several 'theatres' which has replaced the country commercial circuit as a traditional training ground for new talent on radio.

This book has been a l-o-n-g time in the making. It's designed primarily for radio fans, industry people-past and present, researchers and media students so they might share, and learn from, the stories of our radio heritage. As a mix of history and personal anecdotes, I hope it also serves as a tribute for the many talented individuals and characters who have contributed to the development of Australian commercial radio. Everyone 'in the tent' had a role in the play: announcers, proprietors, executives and their assistants, technicians, producers, sales people, schedules and library clerks, accountants and office managers, journalists, panel operators and 'cart' boys, copywriters, promotions people and that first point of contact at a radio station, the receptionist. Hey girls, remember a time when you answered the phone for one radio station and not two or three?

Enough waffle, strap yourself in because the light is on. You're in the chair and on the air. It's time to reminisce about the Australian stations and the people who brought them to life. Relive memories of the big timers who have since faded and those who have risen to take their place. The AMs, the FMs, the More Musics, the Better Musics, the Beautiful Musics and the ones that didn't play much music at all-you'll find them assembled here for one BIG show.

It's their show, maybe it was your show. These are the years that shaped modern radio. Tune in; turn it up and, whatever you do, Don't touch that dial!

CONTENTS

PART ONE:
1. 'From Wireless to Radio'…an introduction to the very early days
2. 'A New Hit to Happen'…the Top 40 era begins
3. 'Stacks of Wax and Platter Chatter'…introducing Australia’s pioneering Disc Jockeys
4. 'The '60s: and the Beat Goes On'…the next generation of DJs and new sounds in pop music
5. 'A Bright Good Morning to You'…the sound of breakfast and morning shows
6. 'Hello, You’re on the Air'…talkback radio begins
7. 'Now a Word From Our Sponsor'…the business end of radio
8. 'Goin' Up the Country'…how did country radio compare with the city?
9. 'Have You Heard the News?'…the establishment and role of radio news
10. 'The Music Goes Round My Head'…the origins of music format styles and positioning
11. 'Sound of the '70s'…greater sophistication of format radio through audience segmentation
12. 'Something Special'…the era of producing radio specials and 'event' programming
13. 'Jingle Jangle'…the production of advertising, promo and station identification jingles
14. 'Cunning Stunts'…a Top 10 of station promotions and publicity stunts…and then some!
15. 'FM Arrives'…finally!
16. 'The Power in Radio'…the radio hierarchy. Who called the shots?
17. 'The Changing Tune of the '80s'…New formats, music, technology and new players

PART TWO:
Frequently Asked Questions
The Stations: the Players

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