Chuck Blore was hooked by radio early in life. As an adult, he applied his infatuation with the medium to programming, promotion, and advertising for radio stations. His advertising expertise was later used in campaigns for a variety of products and services. One of the commercial concepts he created to advertise radio stations on television was still in use 25 years after he first introduced it. Another campaign ran a record 11 years in one city.

     Blore claimed he was raking leaves at his East Los Angeles home at age 11 when his mother asked, "What do you want to do when you grow up?" At the time he hadn't given the idea any thought. "But Al Jarvis was on the radio while I was raking," he said, "and I realized that's what I wanted to do. I told my mother, 'I want to talk on the radio."' Radio became so much a part of his teenage life that Blore quit high school at age 17 to join the Navy to learn more about the medium. The Navy led him to El Paso, Texas, where he programmed KELP radio and achieved a 74 share of the listening audience.

     Blore became well known in the radio industry for his innovative work as program manager for KFWB in Los Angeles, where he introduced "Color Radio" in 1958. The sound included elaborate singing logos and songs about the station, all mixed with Top 40 music. KFWB was one of the first states to adopt a consistent, 24-hour-a-day sound that made it easily identifiable, especially against the "block programming" of the era. As "Color Channel 98," KFWB earned audience shares in the 30 range in southern California from the inception of the concept through the mid-196os.

KFWB earned Blore a place among the originators of the Top 40 format and won him the "Man of the Year" awards from three trade publications in 1961-The Gavin Report, Billboard magazine, and Broadcasting magazine. Blore says he lists the award from The Gavin Report first because it was the most respected music publication of its time. Not long after those awards, Blore was named National Program Director for the Crowell-Collier radio group, overseeing the programming and branding concepts for KDWB in Minneapolis and KEWB in San Francisco, as well as for the Los Angeles station.

     He held that position until mid-1964 when he stepped away from day to day radio to form Chuck Blore Creative Services. In partnership with writer Don Richman, Blore applied his ideas to other radio stations. Blore and Richman produced jingles and singing logos for radio stations and advertising and marketing campaigns for consumer products and services. They enlisted the Johnny Mann Singers to provide the vocals, and Johnny Mann wrote the musical arrangements. Blore had first worked with Mann and his singers on music for "Color Radio" at KFWB. By the time the new venture began, Mann had achieved a national hit record, "Love Me With All Your Heart," and that added value to his performance on the Blore jingles.

     Among Blore's first work for radio were jingles for WCAR in Detroit and WKYC in Cincinnati using the theme, "Here is Love in Your Ear." Other packages were developed for KRLA in Los Angeles, KYA in San Francisco, and for CBS Radio. Blore's most famous jingles, however, are the ones he conceived for WCFL in Chicago, using lyrics that can only be termed hyperbolic:

Chicago is saved! Hurray and hallelujah-Chicago is saved! WCFL!

Another man:

 Never was your radio so radiant, never has your set had so much sun,

What we have for your ears is ear-resistible, sounds of love and sounds of fun,

You can tell it's CFL ... WCFL!

     Blore also included in the package a song for St. Swithin's Day, giving WCFL music that was noticeably out of the ordinary. The WCFL jingle packages were first produced in 1966 and updated each of the following two years. Radio memorabilia collectors still buy, sell, and trade copies of Blore's WCFL productions at several internet sites.

     For a brief period in the early 1970s, Blore returned to day­-to-day radio to develop a concept called "Entertainment Radio" for KIIS-AM in Los Angeles. Instead of relying on disc jockeys and announcers, Entertainment Radio used the talents of the KIIS creative department to produce "mini-dramas" that picked up the theme of a song as an introduction-dialog of a couple falling in love, for instance, followed by the Carpenters' "We've Only Just Begun." KIIS also allowed listeners to become involved on the air by doing tasks usually reserved for disc jockeys. A typical KIIS weather forecast would have a listener commenting, "The smog looks like pea soup."

     In 1975, Blore created a television commercial called "The Remarkable Mouth "-a close up of an attractive woman's mouth from which emanates the music, announcers, jingles, and logos of a radio station. At the end of the commercial, an announcer says, "You have a remarkable mouth." The woman replies, "You have a remarkable radio station."

     The first Remarkable Mouth commercial was produced for WTAE Radio in Pittsburgh, Pennsylvania. Because WTAE was co-owned with a television station, the radio operation received free airtime. A WTAE executive had previously worked with Blore in Los Angeles and asked him for ideas to promote radio on TV.

    Blore said he could not believe a radio station wanted to advertise on TV because radio and TV were so competitive at the time; such cross promotion just was not done. He leapt at the opportunity to create a commercial to advertise his favorite medium. Blore's company had just completed a series of commercials for the Hollywood Bowl concert venue in which a male actor appeared to have the music and the cheering audiences coming from his mouth as he spoke. Blore and Richman adapted the idea to radio and hired a female model they had used in a billboard campaign in Los Angeles.

     Since its introduction, the "Remarkable Mouth" commercial has been on the air somewhere in the world. Blore produced versions of the commercial for broadcasters in Lithuania, Russia, Ireland, England, and Venezuela, and a long list of other countries. In early 2001, "Remarkable Mouth" was revived in Los Angeles for KCBS-FM and its Classic Rock format called "The Arrow."

     Two other Blore commercials also became radio promotion classics. "The Janitor," an adaptation of "Remarkable Mouth," showed a late-night janitor interrupting his work at a radio station to step into a studio and pretend to be on the air. From his mouth came all the programming broadcast during the previous day on that station. The commercial, first produced for KABC, Los Angeles, was syndicated to news and talk stations across the U.S.

     Blore's "Deborah" commercial was also a simple concept: A woman's face was on screen as she acted as a spokesmodel for the station. She recited the benefits of the radio station while quick video cuts attracted the viewer's eye to the screen. "Deborah" was also syndicated nationally and achieved one of longest runs of any single commercial for any product when it was played for 11 years on Atlanta television to promote WKHX, the Country station known as "Kicks."

     The success of his advertising campaigns for radio led to Blore's induction into the PROMAX Hall of Fame, established by the organization of radio and television promotion and marketing managers.

     Blore companies have produced branding, imaging, and advertising for broadcast and cable television networks including ABC, CBS, Fox, NBC, CNBC, The Discovery Channel, and The Learning Channel. The company also provides imaging and advertising for internet sites such as MTV's SonicNet, Hit­ Comedy.com, and WB's Entertaindom. Now known as the Chuck Blore Company, Blore's organization has won more than 400 major advertising awards. Adweek magazine called the firm "the most honored company in broadcast advertising history."