Legend and counting:
AMFM's Casey Kasem

By Carl Marcuuci

One word that could easily describe Casey Kasem is ubiquitous. His unmistakable voice has been heard in thousands of commercials, promos, cartoon episodes ["Scooby Doo," "Batman and Robin"], and of course, 1,600+ editions of American Top 40. The household-word career includes the armed forces, radio acting, the silver screen, theater, TV [currently Nick at Nite] and philanthropy [Jerry Lewis' yearly MDA telethon and Danny Thomas' St. Jude Children's Research Hospital, among others].

As of today, AMFM Radio Networks' AT40 and AT20 has over 350 Hot AC and CHR affiliates in 91 of the top 100 markets; 19 of the top 20. The show continues to be a major player in the 18-49 and 25-54 demos. And of course, AT40 is also heard around the globe.

Since 1950, Casey's been building the critical mass it takes for the history books. In this AdBiz Personality Profile, we look at that critical mass and the man behind it.

What is your radio history before AT40 launched in 1970?

I started radio in 1950 on the "Lone Ranger" radio program, a dramatic show that emanated from Detroit when I was 18 years old and just beginning college. I did that for a couple of years. I was drafted and went to Korea where I had an opportunity to create a production team that did dramatic and comedy shows. I had also done a little disc jockeying. When I returned home, I continued doing radio as an actor and then began doing news and board op for WJLB Detroit part-time. I did a little bit of disc-jockeying there too and eventually went over to WJBK, which was more pop-music oriented.

The first syndicating I tried was when two partners and I created a production company in 1952. We wanted to syndicate famous bible stories and sell them for $25 a show. The trouble was, a company in Hollywood was doing radio dramas with name stars for far less. We did a demo and sent it out. Unfortunately, we had no luck. One station, turning it down, wrote "For that kind of money, I want it live...with the original cast!" We never did launch that particular show, but it put the seed in my head that syndication could work in radio.

The next time that I tried syndication was when I first came to KRLA in LA in 1963. The morning DJ at the station was Bob Hudson. He called himself "Emperor Hudson." Emperor Hudson had in his castle a Lieutenant Cavendish (that was me), Daphney and Colonel Splendid. We syndicated those vignettes to the top 50 markets.

How did AT40 get started and progress from only six initial affiliates?

I think it was a combination of things. I give a lot of credit to the people that my partner Don Bustany and I teamed up with. I called Ron Jacobs. He had just been with KHJ and had taken it to number one in LA. When he heard what I wanted to do, he said, "Get over here fast, let's do it!" He had just started a business with Tom Rounds, who currently has Radio Express. Between the two of them and a man who did the funding, Tom Driscoll, we were on the air on July 4, 1970, after having talked about it just a few short months. Within the year, we had 75 affiliates and they were all, for the most part, large markets. So when it hit, it hit fast.

How was AT40 first offered to stations?
I suggested to Tom Rounds and Ron Jacobs, "Don't sell the show. Give it away." And that's one of the reasons that we got on so many stations so quickly. We gave the show away and in return, we received a certain number of minutes per hour for the three hour show that we could sell to Madison Avenue. One of the first sponsors was MGM Records, headed by Mike Curb. He had the Osmonds. I suggested to him, "Mike, why don't you advertise your new group and their songs on the radio?" He said, "Sounds good!" The first hit for the Osmonds went to number one. It was called, "One Bad Apple." It got a little bit of help from being promoted as a commercial on AT40.
After about a year-and-a-half, Tom Rounds and Ron Jacobs felt we could do better selling the show to stations. And that's when they swung over. Of course, when the show was subsequently sold to ABC in 1980, Ed McLaughlin immediately turned it around and bartered it the way we did at the beginning.

What do you like most about counting down the hits?

I like the storytelling and reading the letters, the long-distance dedications. Anytime in radio that you can reach somebody on an emotional level, you're really connecting. The stories are success stories. The letters from listeners often touch the heart and can be inspiring.

How has music changed over the years?
Interestingly, songs used to be short, then they became longer, and now they're getting shorter. But otherwise, music is about a beat and a message. If the beat gets to the audience, and the message touches them, you've got a hit. And for the most part, that message hasn't changed a lot over the years—love is still love, and heartbreak is still heartbreak.

How has radio changed over the years?
Basically, radio hasn't changed over the years. Despite all the technical improvements, it still boils down to a man or a woman and a microphone, playing music, sharing stories, talking about issues—communicating with an audience.

How do you think the Internet will impact radio?
I believe ultimately in a positive way. For years everyone looked toward the demise of radio when television came along. Before that, they thought talking movies might eliminate radio as well. But radio just keeps getting stronger. As you know, in the past several years, month after month, radio has increased its revenues--some of it even coming from Dot-Com advertisers. So, radio is a survivor.

What does it take to build a successful radio show?

Consistency. Always be consistent. I think if you analyze what we did on July 4, 1970 on AT40, and what we're doing today, you will find it's the same thing. We tell stories. We talk about statistics. And in 1978, we added an element of the show that gave it its heartbeat: the long distance dedication.

What would you say the appeal is for advertisers with AT40?

I'd like to feel that an advertiser gets something extra when they advertise with us. That something extra, I believe, is a certain humanity that comes from upbeat and positive human interest letters and success stories. Advertisers like to be associated with those qualities.

You've done over 6,000 commercials. What were some of the clients?

It must be more like 8,000. It's been amazing, the number of commercials that I've done, starting back in 1968. My first commercial was for Miller High Life beer. There are so many of them—Lemon Fresh Joy. I did Datsun for eight years. Union Oil for about seven years. Standard Oil for six-seven years. I did Ford, GM and Chevrolet. I did many spots for fast food chains. My agent said that I was one of the top three busiest people in the country. Then Fred Silverman asked me if I would become the voice of NBC in 1976. I did that for five years. I must have done about 25,000 promos.

What would you be doing if you never started AT40?

I think I'd be acting. I probably wouldn't have continued on the air on a daily basis. I was making strong inroads in the middle of the 60s. I did several low-budget films with actors like Bruce Dern and Dennis Hopper. Because of my background in theater and radio acting, I knew that I could make a living as an actor. I probably would be continuing to do voice-overs, continuing to do cartoon shows, and at the same time I'd probably be on a sitcom or a dramatic television show.

Do you want to talk about your move from Westwood One to AMFM?

I had a good experience with Westwood One. I worked with wonderful, talented people. We just couldn't agree on a new contract. I talked with AMFM Radio Networks and was absolutely delighted to meet a man with a great reputation, David Kantor. We saw eye to eye, and I made the move. Thanks to David and his dynamic, handpicked staff, my career is bigger than ever.