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KYSR Sounding More Like KROQ?

ChannelFlipper said:
Why should you be giving them so much influence when clearly they do not have as much skin in the game as you?
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Who makes the music? Who makes money from that music? Who benefits from that exposure and free airplay?

It's a partnership. At one time the artists and labels worked with alternative stations. In some formats, they still do.

But yes we are responsible for our stations, and we get paid the same whether we play music or not.
 
TheBigA said:
Who makes the music? Who makes money from that music? Who benefits from that exposure and free airplay?

It's a partnership. At one time the artists and labels worked with alternative stations. In some formats, they still do.

But yes we are responsible for our stations, and we get paid the same whether we play music or not.
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But you don't get paid the same whether your station remains relevant or not. You have everything to lose; them, not so much.
 
ChannelFlipper said:
But you don't get paid the same whether your station remains relevant or not. You have everything to lose; them, not so much.
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If you look at the alternative genre in general, it's losing relevance. Especially when you compare it to other genres. There are a handful of stations where its getting good numbers, but generally speaking, it's in trouble. Certain artists are connecting, but the genre is too disbursed to have any impact. That's not because of radio. That's bad music and bad marketing.
 
TheBigA said:
If you look at the alternative genre in general, it's losing relevance. Especially when you compare it to other genres. There are a handful of stations where its getting good numbers, but generally speaking, it's in trouble. Certain artists are connecting, but the genre is too disbursed to have any impact. That's not because of radio. That's bad music and bad marketing.
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What handful of stations are getting good numbers? Look at their playlists and ownership, and compare them against the failing stations. I think you'll find the problem is not that there's bad music in the alternative genre, but that the winning stations are picking the *right* music and they have a better strategy than just cost cutting all the time.
 
Theater of My Mind said:
What handful of stations are getting good numbers? Look at their playlists and ownership, and compare them against the failing stations. I think you'll find the problem is not that there's bad music in the alternative genre, but that the winning stations are picking the *right* music and they have a better strategy than just cost cutting all the time.
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The markets where there are "winning" (using that term very lightly in the overall radio context) may have certain demographic and psycographic conditions that favor the format. If you take the concept of a "winning" Alt station and adapt it skillfully to, let's say, Miami, it still will be a one-share station as the market, the mood, the ethnicity, the "spirit" and other aspects are not the proper stage for the format.
 
DavidEduardo said:
The markets where there are "winning" (using that term very lightly in the overall radio context) may have certain demographic and psycographic conditions that favor the format. If you take the concept of a "winning" Alt station and adapt it skillfully to, let's say, Miami, it still will be a one-share station as the market, the mood, the ethnicity, the "spirit" and other aspects are not the proper stage for the format.
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It's difficult to imagine a genre that does so poorly not only among African Americans and newly arrived and first-generation Hispanics but among Hispanics who have been here from several generations to make an impact in any market with a substantial black or Hispanic population. Add to that the long-term drift toward rhythmic genres among "non-ethnic whites," who used to favor rock overwhelmingly, then the picture is increasingly bleak -- unless alt transforms from a rock-based alternative to commercial rock to a rhythmic-based alternative to commercial hip-hop and R&B.
 
I've been saying that there needs to be more of a connection between alternative artists and radio. That it's important for KROQ to reach out and become a platform for rising alternative artists. This is partly what made KROQ "world famous" in the 90s. I just received a press release that demonstrates what I'm talking about:

JXDN PERFORMS STUNNING LIVE SET
FOR KROQ + ALT 92.3 – WATCH HERE
INCLUDING HIT SINGLES “BETTER OFF DEAD” + “ANGELS & DEMONS”

BREAKOUT ARTIST TO RELEASE NEW TRACK WITH NESSA BARRETT ON FEB 19
mail
mail

JXDN PRESS PHOTOS HERE

February 11, 2020 – Breakout singer-songwriter jxdn continues to establish himself as rock’s fastest rising star as he gears up for the release of his debut album Tell Me About Tomorrow with new live performances, collaborations, and appearances.

Listeners and viewers nationwide got their first glimpse at a live performance from the emerging rockstar this past Sunday with a dynamic set across all RADIO.COM Alternative stations this, including LA’s world famous KROQ and ALT 92.3, New York’s NEW Alternative. The entire performance is now available online to watch HERE and includes his current single “Better Off Dead” - which debuted at #37 on Billboard’s Hot Rock & Alt Chart - alongside previous releases “Angels & Demons,” “So What!” and his recent pop-punk cover of Olivia Rodrigo’s hit “Driver’s License” which has received critical praise from the likes of Billboard and NME, among others.

Additionally, he is a featured guest on Valentine’s Day in Hell, a six-part scripted musical-comedy-horror podcast which just released ahead of the holiday. His new track from the series “This Ain’t A Scene” will be available tomorrow. Alongside jxdn, the cast includes iann dior, Carlie Hansen, Oliver Tree, Phem, Tyler Posey and Adam Carolla as the devil. Valentine’s Day in Hell is the sequel to Halloween in Hell, which accumulated over one million downloads last October and starred Machine Gun Kelly, 24kGoldn and dior.
 
What's interesting is look at the music dominating TV: It's all alternative. Every SNL musical guest (Machine Gun Kelly, Phoebe Bridgers, etc.). Most shows and films rely on music supervisors who tend to gravitate toward alternative artists (not surprising, since so many of them hail from KCRW). The alternative sound is weaved into popular culture via film, TV, commercials. So how can alternative radio capitalize on this?
 
Doctah said:
What's interesting is look at the music dominating TV: It's all alternative. Every SNL musical guest (Machine Gun Kelly, Phoebe Bridgers, etc.). Most shows and films rely on music supervisors who tend to gravitate toward alternative artists (not surprising, since so many of them hail from KCRW). The alternative sound is weaved into popular culture via film, TV, commercials. So how can alternative radio capitalize on this?
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SNL has been getting ratings in the 1's and 2's since a few weeks after the election. It has become a niche show just as rock is becoming niche music. That's not much of a potential audience for alt radio to capitalize on.
 
CTListener said:
SNL has been getting ratings in the 1's and 2's since a few weeks after the election. It has become a niche show just as rock is becoming niche music. That's not much of a potential audience for alt radio to capitalize on.
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I would guess that most people stream the show on Hulu or watch clips via YouTube, much like late night shows.
 
Doctah said:
What's interesting is look at the music dominating TV: It's all alternative. Every SNL musical guest (Machine Gun Kelly, Phoebe Bridgers, etc.). Most shows and films rely on music supervisors who tend to gravitate toward alternative artists (not surprising, since so many of them hail from KCRW). The alternative sound is weaved into popular culture via film, TV, commercials. So how can alternative radio capitalize on this?
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If it is weaved into popular culture via film and TV, to what exactly is it an alternative?
 
ChannelFlipper said:
If it is weaved into popular culture via film and TV, to what exactly is it an alternative?
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That's exactly my point, the so-called "alternative" sound is so regularly heard in popular culture, why hasn't the format most identified with it -- alternative radio -- been able to capitalize on that?

As for SNL, I know this thread isn't about that TV franchise, but I will say that in a world where all live+same day and even live+3 or live+7 ratings are down, "SNL" remains a powerful force in the culture. Its ratings are higher than almost anything else on broadcast, and its clips are consumed by millions more on social media.
 
Doctah said:
That's exactly my point, the so-called "alternative" sound is so regularly heard in popular culture, why hasn't the format most identified with it -- alternative radio -- been able to capitalize on that?
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Context. A musical performance of one song on SNL isn't the same thing as a 24/7 format with a wide variety of artists in a particular genre. You have the visual element on TV or film, and it's all audio on the radio. Lots of things are more compelling visually than when you just have the audio. I'm not a big hip-hop fan, yet I watched The Weeknd during the Super Bowl.
 
TheBigA said:
Context. A musical performance of one song on SNL isn't the same thing as a 24/7 format with a wide variety of artists in a particular genre. You have the visual element on TV or film, and it's all audio on the radio. Lots of things are more compelling visually than when you just have the audio. I'm not a big hip-hop fan, yet I watched The Weeknd during the Super Bowl.
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If you consider The Weeknd hip-hop I have a bridge to sell you. Find a better example.
 
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