From John Seabrook’s “The Song Machine”, an excellent dissection of contemporary pop’s songwriting process in the 26 March 2012 New Yorker:
Top Forty radio was invented by Todd Storz and Bill Stewart, the operator and program director, respectively, of KOWH, an AM station in Omaha, Nebraska, in the early fifties. Like most music programmers of the day, Storz and Stewart provided a little something for everyone. As Marc Fisher writes in his book “Something in the Air” (2007), “The gospel in radio in those days was that no tune ought to be repeated within twenty-four hours of its broadcast—surely listeners would resent having to hear the same song twice in one day.” The eureka moment, as Ben Fong-Torres describes it in “The Hits Just Keep on Coming” (1998), occurred in a restaurant across from the station, where Storz and Stewart would often wait for Storz’s girlfriend, a waitress, to get off of work. They noticed that even though the waitresses listened to the same handful of songs on the jukebox all day long, played by different customers, when the place finally cleared out and the staff had the jukebox to themselves they played the very same songs. The men asked the waitresses to identify the most popular tunes on the jukebox, and they went back to the station and started playing them, in heavy rotation. Ratings soared.
This graf is actually the second best one of the piece. The best reads this: “I know. I’m just saying. Pink’s looking for an urban song with a contemporary beat.”
I mean Jesus get in line, Pink.