The National Association of Broadcasters’ (NAB) push to repeal the FCC’s broadcast TV ownership restrictions, specifically the national television ownership cap, is primarily focused on television rather than radio.
The current proposal and the FCC rules in question—like the 39% TV household reach limit—apply directly to commercial television stations, not radio. However, radio broadcasting could still feel indirect effects if the FCC broadens its deregulation stance or if the NAB’s campaign sparks a wider overhaul of media ownership rules.
Radio has its own distinct FCC ownership limits, set under the 1996 Telecommunications Act. These rules cap the number of stations a single entity can own in a given market—e.g., up to eight in the largest markets, with no more than five in the same service (AM or FM)—and there’s no national audience reach cap like TV’s 39%.
The NAB’s letter to the FCC doesn’t explicitly target these radio-specific restrictions, focusing instead on TV’s competitive disadvantages against streaming and tech giants. That said, the NAB’s broader “Modernize the Rules” campaign advocates for updating all broadcast regulations, which could eventually encompass radio.
If the FCC repeals the TV cap by a single entity, radio could be indirectly affected through market dynamics. Consolidation in TV might shift advertising revenue or influence how broadcasters allocate resources between TV and radio arms, especially for companies like iHeartMedia or Audacy, which operate both. For instance, if TV consolidation boosts profits, those funds could prop up struggling radio stations—or conversely, TV could siphon ad dollars away, as seen with digital platforms already outpacing combined TV and radio ad revenue (per NAB’s 2023 data).
The Trump administration’s FCC, now led by Chairman Brendan Carr, continues to generate significant uncertainty and debate within the media landscape.
To date there are more questions than answers for media which reflects the unpredictable direction the agency has taken. Rather than delivering a clear deregulatory agenda as some might have anticipated from a Republican-led FCC, the commission’s early actions suggest a selective, interventionist approach that has left media companies, broadcasters, and observers grappling with ambiguity.
Under Carr’s leadership, the FCC has moved quickly to assert its authority, launching investigations into major media outlets like CBS, NBC, ABC, NPR, PBS, and Comcast (parent company of NBCUniversal) within weeks of Trump’s second term beginning.
These probes often center on allegations of bias, "news distortion," or diversity, equity, and inclusion (DEI) practices, aligning with Trump’s long-standing criticisms of mainstream media.
The unpredictability stems from the FCC’s apparent shift away from a consistent ideological framework. While Carr has framed himself as a “warrior for free speech”—a label Trump echoed upon appointing him—these interventions suggest a willingness to use the FCC’s licensing authority to influence editorial content, a move critics argue contradicts free speech principles.
Media companies are questioning how far the FCC might go. Will it target broadcasters’ licenses over content Trump dislikes, as he threatened during his campaign? Can it legally extend its authority into editorial decisions without violating the First Amendment or the Communications Act’s prohibition on censorship? The FCC’s historical reluctance to revoke licenses—combined with Carr’s past statements defending newsroom autonomy—clashes with its current trajectory, leaving the industry in limbo.
Olivia Trusty, nominated by President Donald Trump to serve as a commissioner die thw FCC, is scheduled to appear before the U.S. Senate Committee on Commerce, Science, and Transportation for her confirmation hearing on Wednesday, at 10:00 AM Eastern.
This hearing marks a key step in her nomination process, as the Senate will evaluate her qualifications and suitability to fill the vacant FCC seat previously held by Jessica Rosenworcel, who stepped down on January 20, 2025.
If confirmed, Trusty would provide Republicans with a 3-2 majority on the five-member commission, aligning it with the party controlling the White House.
The hearing will take place on Capitol Hill and is part of a broader session that also includes the nomination of Jared Isaacman for NASA Administrator. Trusty’s appearance before the Senate Commerce Committee follows months of anticipation since her nomination was announced in January 2025. Given the Republican majority in the Senate, her confirmation is widely expected to proceed smoothly, though the exact timeline for a full Senate vote remains subject to the chamber’s crowded schedule and competing nomination priorities.
Trusty brings a robust background to the table, having served as policy director for the Senate Commerce Committee, where she worked on telecommunications, technology, and innovation issues under Senator Roger Wicker (R-MS). Her career also includes stints as a legislative assistant to Representative Bob Latta (R-OH), roles on the House Energy and Commerce Committee, and private-sector experience as a senior consultant at Verizon and a policy representative at Qwest Communications.
The confirmation hearing will likely focus on her views regarding key FCC priorities, such as broadband deployment, spectrum management, and regulatory reforms. With Chairman Carr poised to lead the agency, Trusty’s role could be pivotal in advancing a Republican-led agenda, including potential changes to broadcast ownership rules and policies affecting internet access and free speech. The hearing will be streamed live on the Senate Commerce Committee’s website, offering public insight into the proceedings as Trusty addresses questions from senators. Assuming no significant opposition arises, her confirmation could solidify the FCC’s direction under the new administration in the coming months.
This weekend, St. Louis-area listeners tuning into 88.1 FM, the frequency of community radio station KDHX, briefly heard Christian radio network K-LOVE’s programming. On Saturday morning, K-LOVE’s familiar Christian content replaced KDHX’s usual offerings, catching some off guard. By late afternoon, KDHX resumed its regular lineup, spinning 1970s secular tracks from bands like Iron Butterfly and Quicksilver Messenger Service.
K-LOVE, based in Nashville, is negotiating to purchase KDHX’s broadcast license and tower following the local station’s bankruptcy filing earlier this year. The nonprofit Double Helix Corporation, which operates KDHX, has agreed to sell to the national chain for at least $4.35 million, pending approval from a bankruptcy judge. Creditors still have an opportunity to challenge the deal. It remains unclear why K-LOVE’s programming aired prematurely, and KDHX representatives were unavailable for comment.
K-LOVE, which owns hundreds of stations nationwide, contrasts with KDHX, a listener-supported outlet known for decades of eclectic, volunteer-curated music across numerous genres. KDHX’s fortunes shifted after 2023 controversies saw station leaders fire some volunteer DJs, prompting others to quit. Earlier this year, the station cut all remaining volunteer DJs and ceased live broadcasts, relying instead on pre-recorded shows.
Sports leagues are increasingly betting big on streaming platforms because they see them as the future of audience reach, revenue growth, and fan engagement in a rapidly shifting media landscape.
Front Office Sports reports traditional broadcast and cable TV, while still significant, are losing ground to cord-cutting and the rise of digital consumption, especially among younger demographics like Gen Z and Millennials who prefer on-demand, mobile-friendly viewing. Streaming offers leagues a way to meet these fans where they are, while also unlocking new monetization opportunities and global expansion.
One key driver is the sheer scale of streaming’s potential audience.
Platforms like Netflix, Amazon Prime, and YouTube boast hundreds of millions of subscribers worldwide, dwarfing the reach of regional cable providers or even national broadcasters. For instance, the NFL’s Christmas Day streaming experiment on Netflix in 2024 pulled in over 30 million views per game, showcasing how streaming can deliver massive, concentrated viewership that rivals or exceeds traditional TV.
This reach isn’t just domestic—streaming allows leagues to tap into international markets without the logistical hurdles of securing foreign broadcast deals, making it easier to grow fanbases in places like Europe, Asia, and Latin America.
Revenue is another major factor. Streaming deals often come with hefty rights fees—Amazon’s $1 billion-per-year Thursday Night Football contract with the NFL is a prime example—and open doors to subscription models, ad revenue, and premium add-ons like exclusive content or pay-per-view events.
The NFL is aiming to transform Christmas Day into a football extravaganza akin to a typical Sunday, rolling out a streaming triple-header in 2025.
Netflix will host two games, while Amazon Prime will air a third as part of its ongoing Thursday Night Football package. Last year, Netflix’s Christmas double-header drew over 30 million views per game—eclipsing the NBA’s five-game average of about 5 million viewers by roughly 25 million.
Despite the NFL’s presence last year, the NBA enjoyed an 84 percent surge in viewership compared to Christmas 2023, boosted in part by a thrilling Lakers-Warriors matchup that peaked at 8.4 million viewers. More crucially, the NBA and Disney went all-in, broadcasting every game on ABC to maximize reach.
For the NFL, these streaming deals aren’t primarily about growing their U.S. fanbase—they’re about tapping into fresh revenue streams, according to Julia Alexander at Puck.
But if the NFL is positioning Christmas as a streaming spectacle, Alexander suggests the NBA could counter by doubling down on broadcast, a corner of the media landscape that’s still holding steady while cable channels fade into obscurity.
She adds the NBA has a chance to leverage this blend of broadcast and streaming to hook cord-cutters and cord-nevers into becoming steady viewers. Next season, with games spread across ABC, NBC, and Prime Video—rather than languishing on fading cable relics like TNT, unknown to Gen Z—the NBA could turn accessibility into a winning play.
iHeartRadio is set to take over one of America's most cherished television programs, Wheel of Fortune, for a special week-long event. The iconic show, now hosted by Ryan Seacrest, is joining forces with the renowned radio platform to present a tournament-style series of episodes that will air from April 7th through April 11th, 2025. The collaboration aims to celebrate Seacrest's well-known passion for music while showcasing some of the industry's most prominent artists.
Throughout week, contestants hailing from various corners of the United States will have the opportunity to compete for extraordinary prizes tailored to music lovers. These prizes include luxurious vacations to renowned music festivals, highly anticipated concerts, and exclusive events, all complete with coveted VIP experiences. The excitement will reach its peak on Friday, April 11th, when the three most successful players from the Monday through Thursday episodes return to the Wheel of Fortune stage. They will face off in a special game alongside multi-platinum recording artists Jason Derulo, Andy Grammer, or JoJo, adding an extra layer of star power to the already exhilarating competition.
Bellamie Blackstone, the Executive Producer of Wheel of Fortune, expressed her enthusiasm for the partnership, stating, "It's been incredible partnering with the iHeartRadio team, and we are grateful to the talented music artists who lent their talents to this week of shows. Bringing Ryan's world into our game has been an exciting addition to Wheel of Fortune throughout this season." This collaboration promises to infuse the classic game show with a fresh, musical twist that will captivate both long-time fans and new viewers.
In addition to the on-set action, Wheel of Fortune cameras have ventured behind the scenes at some of iHeartRadio's most significant events of the year to capture exclusive content featuring an array of industry luminaries. Stars such as Flavor Flav, Lady A, Victoria Monét, Meghan Trainor, Keith Urban, and Lainey Wilson have been filmed, offering fans an inside look at the world of iHeartRadio. The cameras also followed Promise Anderson, a memorable contestant from Seacrest's inaugural week as host, as she enjoyed her prize of attending the iHeartRadio Music Festival in Las Vegas—an experience she won during her appearance on the show.
From Monday through Thursday, viewers tuning in from home will have their own chance to win prizes through the "iHeartRadio Giveaway." Among the offerings are a trip to Nashville, a special VIP experience in New York with the nationally-syndicated and hugely popular radio personality Elvis Duran and The Morning Show, and trips to Los Angeles. The L.A. prizes include either spending time with iHeartRadio personality Mario Lopez or attending an unforgettable live event at the iHeartRadio Theater.
To cap off this extraordinary week, Wheel of Fortune will continue its beloved viewer appreciation tradition, "Fan Fridays." On Friday, April 11th, fans will have the opportunity to win a trip to Las Vegas to see the legendary Janet Jackson perform in concert. For those eager to learn more about this exciting collaboration and the associated giveaways, additional details can be found by visiting www.wheeloffortune.com.
This partnership between Wheel of Fortune and iHeartRadio promises to deliver a week of unparalleled entertainment, blending the timeless appeal of the game show with the vibrant energy of the music industry. With Ryan Seacrest at the helm, an array of musical superstars, and incredible prizes up for grabs, this special event is poised to be a highlight of the 2025 television season.
Country radio station B-105 (WUBE-FM) in Cincinnati has recently parted ways with two of its on-air personalities: afternoon co-host Jason “Stattman” Statt and weekender Scott Evans Littleton.
Jason Statt, known as “Stattman,” had been a familiar voice on B-105, co-hosting the afternoon drive show. Meanwhile, Scott Evans Littleton, who worked as a weekend host, also exited the station. Littleton had been part of the team, filling weekend slots and engaging with the station’s country music audience.
B-105, a long-standing country outlet owned by Hubbard Broadcasting, has not publicly detailed the reasons behind the separations.
It’s unclear who will replace Statt in the afternoon slot or how the weekend schedule will adjust following Littleton’s departure.
CBS News has just finalized a new three-year collective bargaining agreement with the Writers Guild of America (WGA) East and West, which includes significant provisions for employees impacted by artificial intelligence (AI).
The deal, ratified overwhelmingly by over 270 staff members—including writers, producers, editors, and graphic artists across New York City, Los Angeles, Chicago, and Washington, D.C.—introduces several key safeguards related to AI implementation in the newsroom.
One standout feature is the enhanced severance package for employees who lose their jobs due to AI.
Specifically, staffers replaced by generative AI will receive a severance payout increased by 50% compared to what they would get if terminated for other reasons. This measure aims to provide a financial cushion for those displaced by automation, reflecting growing concerns about AI’s role in media production.
The agreement also mandates that CBS News notify the WGA in advance before rolling out new AI systems, allowing the union to negotiate over their impact on workers.
Additionally, the company has committed to semi-annual meetings with the guild to discuss how generative AI is being utilized in content creation, fostering transparency. Another protective clause ensures that guild members assigned to use AI under company policies will be indemnified, shielding them from potential legal or ethical fallout.
Beyond AI protections, the deal secures a 3% annual pay raise for all staff and boosts vacation time for first-year employees from one week to two. These terms echo a similar contract recently ratified with ABC News, signaling a broader push by the WGA to address AI’s encroachment into journalism while improving worker conditions. The focus on AI in these negotiations underscores its rising influence—and the unease it generates—in an industry already grappling with rapid technological change.
Building Bridges: That Which Unites Us has launched its most recent episode on the 77WABC Podcast Network, featuring host Michael Hershman, CEO of Soloviev Group and guest Richard Esposito, an award-winning journalist, author, and communications strategist. In a thought-provoking conversation, the two experts delve into the evolving landscape of journalism, the impact of media on democracy, and the challenges of fostering dialogue in a divided society. Listeners can tune in to Building Bridges: That Which Unites Us on buildingbridges.nyc.
“The business has changed so dramatically,” noted Hershman. “Time is dead, and distance is moot. Anything can happen at any time and suddenly become news.”
“The pace is a real challenge,” said Esposito. “There is also a divisiveness in our society, where all sides are in silos, and they’re almost talking to themselves. How do you bridge both sides and get a story or message out that, even if somebody might disagree, they’re there to listen? The storytelling challenge right now is how to break out of those silos.”
Chief Executive Officer of RoundHouse Strategies, Esposito has served in both the public and private sectors in various roles, including NYPD Deputy Commissioner for Public Information, Senior Investigative Reporter at ABC News, and Senior Executive Producer of the Investigative Unit at NBC News. Among his many accomplishments, Esposito is a five-time Emmy Award winner, a Peabody recipient, and a shared Pulitzer Prize winner. His latest book, The Man Who Told the Truth, debuted on The New York Times Bestseller List and explores the life and career of celebrated New York columnist Jimmy Breslin.
Produced by WABC Radio, Building Bridges: That Which Unites Us explores topics that connect New Yorkers and the City to the rest of the country, with a focus on finding common ground through meaningful conversation.
Each episode brings listeners into the heart of Manhattan, where Michael engages in citizen on the street interviews to capture the authentic voices and thoughts of everyday New Yorkers. These candid comments fuel deeper discussions with guest experts, as Michael applies the discussion to national conversations about culture, democracy, and unity.
Frisco, Texas authorities, alongside the FBI, are investigating fake social media posts tied to a fatal stabbing at a high school track meet, including one falsely attributed to Police Chief David Shilson that used the department’s logo and seemed intended to stir racial tension.
The post surfaced after 17-year-old Austin Metcalf was stabbed Wednesday at Frisco Memorial High School; Karmelo Anthony, 17, from Frisco Centennial High, was arrested for murder and claims self-defense, held on $1 million bond.
Police warned of the “fake account” Thursday, and experts like Jeffrey Blevins and Janet Johnson, who study misinformation, flagged the post’s inflammatory language and odd phrasing—such as “mutual combat brawl” and “sucker punched”—as suspicious, despite its use of a real tip line.
“SENSELESS”: Hunter Metcalf, the twin brother of Austin Metcalf, described what happened at a Frisco ISD track meet Wednesday, when Austin was fatally stabbed. Police arrested another student, Karmelo Anthony, on a murder charge.
The post named Austin (white) but not Karmelo (Black), though police found no racial motive. Another fake post on X, posing as a Collin County autopsy report, also circulated. Police are pursuing criminal charges like online impersonation and working to remove the posts, amid millions of social media views on the case.
Washington, D.C.'s top federal prosecutor, Interim U.S. Attorney Ed Martin, has revealed plans to investigate potential leaks of information tied to the prosecutions of President Donald Trump’s supporters involved in the January 6, 2021, U.S. Capitol riot.
In an email obtained by Reuters, Martin argued that these alleged leaks to the press about evidence in the cases harmed defendants, witnesses, and law enforcement officers (LEOs).
“All of this was used by the media and partisans as misinformation,” he wrote, calling it “bad all around.” His office offered no comment when pressed, and the email lacked specific examples or evidence of the leaks in question.
Ed Martin
Martin, a staunch Trump ally who echoed the former president’s baseless 2020 election fraud claims, was present on Capitol grounds during the January 6 unrest. Now heading the office that prosecuted roughly 1,600 rioters for attempting to derail Congress’s certification of Joe Biden’s victory, Martin has overseen a dramatic shift since Trump pardoned all those defendants on his first day back in office in 2025. Traditionally, U.S. attorneys maintain some independence, but Martin has aligned his office closely with the White House, a departure from norms.
Martin has publicly discussed ongoing criminal probes and vowed to investigate perceived “targeting” of individuals aiding Elon Musk’s efforts to reshape the federal government. He has also skirted Justice Department protocol by directly contacting lawmakers like Senate Minority Leader Chuck Schumer, aiming to probe political rhetoric he deems threatening.
Trump has tapped Martin as his permanent U.S. Attorney pick, with the Senate facing a May 20, 2025, deadline to confirm him before his interim term lapses.
Rory Spears, a Chicago sports radio veteran and golf enthusiast, passed away Wednesday at 65 in his Arlington Heights home.
A founding member of WSCR 670-AM, Spears later worked at ESPN Radio and covered Chicago’s pro sports teams, though golf was his true passion.
He began covering golf in 1986, eventually playing 589 courses nationwide, aiming for 600. He worked at local clubs like Roy Roy and Chevy Chase in his youth and, more recently, Heritage Oaks and Medinah.
Spear and Le Ziham who covers sports for The Daily Herald co-hosted a golf podcast for three years and the Golfers on Golf Radio show for four, a program he elevated as content director for its companion website.
Despite a diabetes diagnosis months ago, he seemed to recover, winning an International Network of Golf Media Award in January at the PGA Merchandise Show. A member of ING and the Golf Travel Writers of America, he played 18 holes solo at their recent outing before heading home to Chicago.
Jay North, the child actor best known for playing Dennis Mitchell in the classic TV sitcom Dennis the Menace from 1959 to 1963, passed away Sunday, at the age of 73.
Jay North ('52-'25)
He died at his home in Lake Butler, Florida, surrounded by his wife, Cindy Hackney, and her daughters from a previous marriage. His death was attributed to colorectal cancer, a battle that had worsened over the past month, leading him to isolate to protect his health. Laurie Jacobson, a longtime friend and wife of Lassie actor Jon Provost, confirmed his passing, noting that North found peace in his final years with his family, who "gave him a family he never had" as an only child estranged from his father.
North’s early fame came with significant personal struggles.
He later revealed that during his time on Dennis the Menace, he endured verbal and physical abuse from his aunt, who served as his on-set guardian, a situation hidden from his mother and castmates. This trauma, combined with typecasting and a fading career, led to decades of bitterness toward Hollywood.
After leaving acting, he worked as a correctional officer in Florida, helping troubled youth, and counseled former child stars through A Minor Consideration, an organization founded by Paul Petersen. Despite his challenges, North maintained lifelong friendships with peers like Angela Cartwright and Jerry Mathers, and he received hundreds of fan letters shortly before his death, which brought him comfort.
➦In 1897...Walter Winchell born (Died at age 74 from cancer – February 20, 1972). He was a newspaper and radio gossip commentator.
Walter Winchell
Winchell found embarrassing stories about famous people by exploiting his exceptionally wide circle of contacts, and trading gossip, sometimes in return for his silence. His uniquely outspoken style made him both feared and admired, and his column was syndicated worldwide. In the 1930s, he attacked the appeasers of Nazism, and later aligned with Joseph McCarthy in his campaign against communists. He damaged the reputations of Charles Lindbergh and Josephine Baker as well as other individuals who had earned his enmity.
However, the McCarthy connection in time made him deeply unfashionable, his talents did not adapt well for television, and his career ended in humiliation.
He made his radio debut over WABC in New York, a CBS affiliate, on May 12, 1930. The show, entitled Saks on Broadway, was a 15-minute feature that provided business news about Broadway. He switched to WJZ (later renamed WABC) and the NBC Blue (later ABC Radio) in 1932 for the Jergens Journal.
He coined the intro: “Good evening, Mr. and Mrs. America and all the ships at sea.” Later his star would brighten for a new generation when he narrated the TV series The Untouchables.
➦In 1908...Percy Faith was born (Died at age 67 – February 9, 1976), He was a Canadian bandleader, orchestrator, composer and conductor, known for his lush arrangements of pop and Christmas standards. He is often credited with popularizing the "easy listening" or "mood music" format. Faith became a staple of American popular music in the 1950s and continued well into the 1960s. Though his professional orchestra-leading career began at the height of the swing era, Faith refined and rethought orchestration techniques, including use of large string sections, to soften and fill out the brass-dominated popular music of the 1940s.
Faith was born and raised in Toronto, Ontario. He was the oldest of eight children. His parents, Abraham Faith and Minnie, née Rottenberg, were Jewish. He played violin and piano as a child, and played in theatres and at Massey Hall. After his hands were badly burned in a fire, he turned to conducting, and his live orchestras used the new medium of radio broadcasting.
Beginning with defunct stations CKNC and CKCL, Faith was a staple of the Canadian Broadcasting Corporation's live-music broadcasting from 1933 to 1940, when he resettled in Chicago. In the early 1940s, Faith was orchestra leader for the Carnation Contented program on NBC. From 1948-1949 he also served as the orchestra leader on the CBS radio network program The Coca-Cola Hour (also called The Pause That Refreshes). The orchestral accordionist John Serry Sr. collaborated with Faith in these broadcasts.
In 1945, he became a naturalized citizen of the United States. He made many recordings for Voice of America. After working briefly for Decca Records, he worked for Mitch Miller at Columbia Records, where he turned out dozens of albums and provided arrangements for many of the pop singers of the 1950s, including Tony Bennett, Doris Day, Johnny Mathis for Mathis's 1958 Christmas album titled Merry Christmas, and Guy Mitchell for whom Faith wrote Mitchell's number-one single, "My Heart Cries for You".
His most famous and remembered recordings are "Delicado" (1952), "The Song from Moulin Rouge" (1953) and "Theme from A Summer Place" (1960), which won the Grammy Award for Record of the Year in 1961.
➦In 1927...Herbert E. Ives and Frank Gray of Bell Telephone Laboratories gave the first dramatic demonstration of mechanical television. The live picture and voice of then Secretary of Commerce Herbert Hoover were transmitted over telephone lines from Washington, D.C. to New York. The reflected-light television system included both small and large viewing screens. The small receiver had a two-inch-wide by 2.5-inch-high screen. The large receiver had a screen 24 inches wide by 30 inches high. Both sets were capable of reproducing reasonably accurate, monochromatic moving images. Along with the pictures, the sets also received synchronized sound.
The system transmitted images over two paths: first, a copper wire link from Washington to New York City, then a radio link from Whippany, New Jersey. Comparing the two transmission methods, viewers noted no difference in quality.
In 1928, WRGB (then W2XB) was started as the world's first television station. It broadcast from the General Electric facility in Schenectady, NY. It was popularly known as "WGY Television".
➦In 1956…64 years ago today, the first regularly-scheduled, nationally-broadcast rock ‘n’ roll radio show premiered on the CBS Radio Network.
The reputation of disc jockey Alan Freed may have been sullied somewhat by the payola scandal that ran rampant through the broadcasting industry in the early 1960s, but if there’s one thing that’s never been in question, it’s that the man appreciated the merits of rock ‘n’ roll and was one of the genre’s major proponents as it was taking off around America in the ‘50s.
To borrow a concept from Danny and the Juniors, the creation of Rock ‘n’ Roll Dance Party was a sure sign that rock ‘n’ roll was here to stay – as the magazine Downbeat wrote at the time, “the fan mail we get from all around the country is…a true barometer for the new and exciting beat that has swept the country”. Episodes of the show were recorded for airing on the American Forces Network so that US soldiers stationed overseas could enjoy the latest tunes, and those episodes are the only ones that have survived.
➦In 1967...San Francisco DJ Tom Donahue went on the air at KMPX 106.9 FM for the first time playing what was referred to as progressive rock.
