When I was young and (some) regular household electronic devices still had genuine light-up vacuum tubes inside, I took Radio-TV Production classes for all three years of High School.
The man who taught that subject was middle-aged and very heavy. He'd worked his way through college as a jazz and middle-of-the-road music deejay before getting into news (and part-time police work, but that's another story), and told stories of the days when even a medium-sized directional AM station was a Big Deal, with full-time engineers on duty to turn the knobs.*
One day, a particularly apple-polishing student lamented that there was hardly any jazz at all on the radio any more, and he chuckled. "You watch TV, don't you? Listen to the theme music. Nearly all of it is light jazz of one kind or another."
He was right. Most of it still is, with some notable exceptions, and if you want background music and have an Alexa or similar widget that only needs a single song to go searching for more of the same but different, you can spin up a nice fifteen minutes or half an hour of undemanding entertainment by asking it to play the theme from "Mannix," "The Wild, Wild West" (TV show) or something along those lines.
Semi-relatedly, when I was even younger, I was a fan of both "The Wild, Wild West" and "Love, American Style," and it wasn't until years later that I realized what they had in common was that they were as close as TV ever got to newsstand pulp magazines. There are other good examples, but those two had taken the essentials and run right from pulp-paper page to the camera lens.
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* That's not all they were doing. Directional antenna arrays for AM radio are large, from two to as many as nine towers in the 100-foot to 700-foot range and spaced about that far apart, with a large, complex gadget called a "phasor" (no, really) to feed the right amount and phase angle of radio-frequency energy to each one, and a smaller gadget called a "phase monitor" to ensure it was all working as it should. They were drifty, and regular readings had to be made, along with occasional adjustments. Over time, the change to transistors and then integrated circuits meant the phase monitors got better and better, and as computers replaced log tables and slide rules, the design of phasors and antenna arrays became less art and more science. Eventually, it became obvious even to the FCC that most of the drifting was not, in fact, the big hardware, but the little gadgets we used to check it every half hour. 30-minute checks became three-hour checks; engineers on duty 24/7 were replaced by a requirement for one full-timer with the right license and, eventually, "whoever," a part-timer to occasionally look over the automated monitors and make sure the EAS tests ran. But oh, it used to be a thing, once upon a time.
Update
1 year ago

3 comments:
And Yacht Rock (one of my favorite genres BTW) is basically Jazz with Michael McDonald.
Note- if it doesn't involve Michael McDonald, it's just Sparkling Nautical Themed Soft Rock.
I think the majority of the LA session musicians that performed those movie and TV themes had at least some jazz background. I think Carol Kaye was picking her Fender Bass on the Wild West theme and the underscore music for that series...she had started out playing jazz clubs.
I remember seeing pictures of the earliest AM phase monitors, with oscilloscopes, and how the typical DJ guys I ran into, with their license-mill 3rd Phone permits, would never be able to decipher them. The 4-tower array I care for is very stable even at age 56, and the phase monitor was replaced recently with a refurbished one with a digital display.
Yep- most of the "Wrecking Crew" were jazz musicians. Likewise, a lot of the studio people from the 70's and 80's like Will Lee, Nathan East and Larry Carlton were mainly jazz players.
Carol Kaye is one of my favorites- I actually have a bass set up with flats for that 60's studio sound.
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