“Top 40” was the preeminent American radio format of the 1950s and 1960s. Although several radio station group owners offered their own versions of the form

A capacious and stimulating tour de force of the mainstream music industry that reveals the cultural import of even the most deliberately banal performers and s

(Book). This lively blast from the past peels back the many layers of the Top 40 phenomenon: the DJs, fans, singles, jingles, dedications, contests, requests an