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By “Big Time” radio, I’m referring to formats like Adult Contemporary (AC), Hot Adult Contemporary (Hot AC), Contemporary Hits Radio (CHR), Active Rock, Pop, and Urban.

There are other formats — college, Adult Album Alternative (AAA) — but, because their impact is smaller (read: less money can be made from them), they operate more in line with the way one would think radio operates: program directors try to pick music that the listeners of their stations will like, and if the listeners respond (calling in to request the song; calling in to ask what the song was, etc.), the song gets played more and more.

Favors are given to those who have greased palms for years to provide the three and a half minutes of airtime at AM on a Thursday night to test a song. The methods change; the labels always trying to stay one-step ahead of the government, and obfuscate just enough to keep the system churning along as it always has.

Getting a song “added” to a station’s playlist to get a certain number of plays per week involves a rather byzantine process that brings in various parties, called independent promoters (“indies”). It’s important to note that the money the indies receive isn’t necessarily compensation paid directly to them for getting Program Directors to get a song played. The reason the majors are willing to take these risks, and bear these costs — and the costs associated with breaking a record on Big Time radio can easily reach the seven figures — is because when a record breaks — even today — the returns are massive.

Our challenge and opportunity is to not allow these alternatives to follow the same path that traditional radio went down.When you’re faced with a “must do” scenario, you do what you must. In either case, if the label decides they have to get the song on the radio, whether the “test” went well or not, they’re going to do what they have to do. However, it wasn’t until the 1950s that anybody paid it much mind.In this case, the labels first try to find some early supporters: program directors willing to “test” the song — give it limited play, and see if there’s a response from the stations’ listeners. And for what it’s worth, getting a “test” spin is no easy task in and of itself. It’s all a way for the labels to avoid being seen as engaging in direct payment to a radio station in exchange for the radio station playing the label’s song. At this point, payola was criminalized, and it’s been illegal to induce a station to play a song in exchange for money, without disclosing that money has changed hands, ever since.(Follow George on Twitter) Why is it that even with all of the changes that have occurred of late in the music business — changes that have altered the face of nearly everything — commercial radio today is still not that different than it was ten, twenty, or even fifty years ago?As pointed out in the article “The Hidden Money In Radio,” commercial radio the last stronghold of the majors.

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