 |
del.icio.us |
 |
Digg |
 |
Furl |
 |
|
 |
Rojo |
| Add to OnlyWire |
 |
This article or section has multiple issues. Please help improve the article or discuss these issues on the talk page.
|
Rhythmic contemporary, also known as rhythmic top 40, rhythmic contemporary hit radio or rhythmic crossover, is a music radio format that includes a mix of dance, upbeat rhythmic pop, hip-hop and R&B hits. While most rhythmic stations' playlists comprised that mentioned above, some tend to lean very urban with current hip-hop, urban pop and R&B hits that gain mainstream appeal. Rhythmic contemporary is usually the music played at clubs and school dances.
They will not play music with a harder rock sound or songs that sound too adult for their taste, leaving those songs to the conventional top 40 stations.
Most of its core listeners makeup a multicultural mix of African-Americans, Hispanics, Caucasian Americans and Asian-Americans, that include a core group of teens, young adults (mostly 18-34) and young females in which most listeners live in or close to a major city.
Contents |
History
The origins of rhythmic top 40 can be traced back 1978 when WKTU on 92.3 FM New York City (now WXRK) became a disco based station. That station was classified as urban but played a blend of disco, dance music, and pop crossovers. At that time, stations playing strictly R&B materials were known as black stations. Stations such as WKTU were known as urban. In the 1980s many urban contemporary stations began to spring up. Most of these leaned R&B and away from a lot of dance music. These urban stations began sounding identical to so called black stations and by 1985 stations that played strictly R&B product were all known as urban stations. Still some urban outlets continued adding artists from outside the format onto their playlist. In most cases it was dance and rhythmic pop but in other cases they added a few rock songs. But it wasn't until January 11, 1986 that KPWR Los Angeles, a former struggling adult contemporary outlet, began to make its mark with this genre by adopting this approach. It would be known as crossover because of the musical mix and the avoidance of most rock at the time. Billboard magazine took notice of this new format and on February 15, 1987, it launched the first crossover chart. But by December 1990 Billboard eliminated the chart because more top 40 and R&B stations were becoming identical with the rhythmic-heavy playlist that were also being played at the crossover stations at the time. Billboard would later revive the chart again in October 1992 as the top 40 rhythm/crossover chart. On June 25, 1997, it was renamed the Rhythmic Top 40 chart as a way to distinguish stations that continue to play a broad based rhythmic mix from those whose mix leaned heavily toward R&B and hip-hop.
For years since its inception, the rhythmic name has been a source of confusion among music trades, especially in both Billboard (which used the Rhythmic Top 40 title) and Radio & Records (which use the CHR/rhythmic title for their official charts). In August 2006 Billboard dropped both the "top 40" and "CHR" name from the rhythmic title after its sister publication Billboard Radio Monitor merged with Radio & Records to become the "New" R&R as part of their realignment of format categories. The move also ended confusion among the radio stations who report to their panels, which was modified by the end of 2006 with the inclusion of non-monitored reporters that were holdovers from the "(Old) R&R" days.
Still, over the years since its inception, the genre has grown and evolved but not without criticism. Traditional R&B outlets claim that the rhythmic format does not target or serve the African-American community properly, while traditional top 40 stations claim that the format is too urban to be top 40. However, those claims have been all but silenced, with both R&B and mainstream top 40 stations taking cues from the format they criticized.
Core artists
In recent years the format has managed to carve its own niche by breaking such diverse acts such as Ludacris, Christina Aguilera, Akon, Britney Spears, Natalie, Shakira, Baby Bash, Fergie, Beyoncé Knowles, Brandy Norwood, Danity Kane, Sean Paul, Eminem, Frankie J, Jennifer Lopez, Ciara, Jordin Sparks, T-Pain, Nelly Furtado, Timbaland and JoJo. It has also embraced other sub genres as well with the emergence of dancehall and reggaeton acts such as Daddy Yankee and Nina Sky, and welcomed artists from other genres that don't fit the format into its inner circle, such as Amy Winehouse, Gnarls Barkley, Hilary Duff, Carrie Underwood, Lindsay Lohan, Mariah Carey, Backstreet Boys, Daniel Bedingfield, Kylie Minogue, Enur, Gwen Stefani, Linkin Park, Miley Cyrus, and Gym Class Heroes.
