2010

[TonySantiago]

[quote ...how dare you say that it doesn't make the world go round? I live for that passion regarding dance music and will die with it, in hopes that people can continue onwards so that maybe things CAN change for the better in this country.

Ha...felt like you gave me the 'finger wave'.

There's nothing wrong with passion, but if you don't understand the "game" you're playing then you will not make a difference.

I wasn't giving any wave. I'm just telling it like it is and calling you regarding "passion"

I've been at this "game" for 15 years now running the coalition. I have studied a LOT on the way and am STILL learning things as we go along trying to be fair minded to both sides of the coin. No cynics, no bash...just looking at all angles to the issues. There are things that have to be further done in this country (outside of radio) for dance music to gain momentum and pick up fans in the process.

Let me ask you this. Energy 98. Now, I know just like every other Internet streamer that down the line, you want this to be a money making venture. I understand that. My question, why did Energy 98 (and all these other dance stations on the Internet) come to fruition? I would THINK that there are a bunch of you out there that BELIEVE and feel PASSIONATE about dance music working. So much so that people are willing to take a "loss" (in terms of keeping the stations afloat financially) in order to look at the possible "good" down the road.

Believe me, I am aware of the game. But if the passion wasn't there, neither would your station or others.

 

[Dancerev889]

[quote ...how dare you say that it doesn't make the world go round? I live for that passion regarding dance music and will die with it, in hopes that people can continue onwards so that maybe things CAN change for the better in this country.

Ha...felt like you gave me the 'finger wave'.

There's nothing wrong with passion, but if you don't understand the "game" you're playing then you will not make a difference.

I wasn't giving any wave. I'm just telling it like it is and calling you regarding "passion"

I've been at this "game" for 15 years now running the coalition. I have studied a LOT on the way and am STILL learning things as we go along trying to be fair minded to both sides of the coin. No cynics, no bash...just looking at all angles to the issues. There are things that have to be further done in this country (outside of radio) for dance music to gain momentum and pick up fans in the process.

Let me ask you this. Energy 98. Now, I know just like every other Internet streamer that down the line, you want this to be a money making venture. I understand that. My question, why did Energy 98 (and all these other dance stations on the Internet) come to fruition? I would THINK that there are a bunch of you out there that BELIEVE and feel PASSIONATE about dance music working. So much so that people are willing to take a "loss" (in terms of keeping the stations afloat financially) in order to look at the possible "good" down the road.

Believe me, I am aware of the game. But if the passion wasn't there, neither would your station or others.

I may not be speaking for Mikeo or anyone else but I was one of 4 guys that were behind the brainchild of Ipartyradio. We werent just doing it to make dance music the biggest thing. We did it because we have a passion for radio and what we all wanted it to sound like again. We all love dance music but a lot of us its more about the radio passion then anything else. We wanted to take the format to a radio company and let us program a station on HD or a smaller market because we knew it would work. The one thing we said was it can not be strictly dance because we felt it would not work. I like the term rhythmic better and it does not narrowcast a thought process on how the station should be programmed. I programmed a modern rock station and two dance leaning stations. I enjoyed each one.

Championing a genre is a great, but just studying the game isnt enough. Being in the game you get a better understanding. Mikeo got an opportunity that a lot of us never had and that was to program a commercial station. He understands the politics that go with the game. Working in commercial radio I see some of the things he dealt with and I know Will can say the same things. Working in a non-com environment has its politics too, just on different levels.


Like I have said since day one. You want dance music to work, you need to support the stations that are out there. Stop whining over this station plays too much hip-hop or I wish this station was this way or that way. Support the good artists not the ones that record a record and think they are bigger than they really are. They dont help push a cause, they bring it down.

Im in the game because I am passionate about radio and if an opportunity came up with a different format I would absolutely take a look at it.

 

[JohnParker]

Wow, just caught up on this thread and if you want to listen to the truth, then listen to what MikeO and Brett are telling you about radio.

As for internet in cars, it's already here. And as with any technology, the adapters will be the first to use it and turn on their friends. It's already happening.

Internet radio listenership continues to grow year after year and the AM/FMs seem to hold their ground. To me, that means that new people are coming (back?) into the medium and innovators like the Energy98, ElectricFM, iParty, Fusion and 1dancefm's of the world are bringing these people back into music. Now if labels could just find a way to get consumers back into the habit of paying for music it would be fantastic.

For awhile now, especially overseas, dance artists and DJ's have been really making their money on the performance end of things. They've have managed to create and promote themselves via the live element as radio has died around them. They make more for one performance anywhere than they will see from sales royalties. Yet, in America, live acts that aren't DJ's don't seem to have a shot unless they are on the CHR's. That kind of sucks.

Earlier someone, Tony I think, posted about Lady GaGa appearing at the DJ Expo artist panel. Yes, that happened because Promo Only brought her down to perform at our show and in the spirit of cooperation we made sure that the artists go to the Expo. The label credits her show at the House of Blues for Promo Only as one of the main reasons that she broke thru to the Mainstream stations as we had tons of VIPs in attendence. I believe that she continues to be a driving force of rhythmic music not just for the songs she creates but because of her decision to test the boundaries of visual art. That gets her press that no one else gets and keeps her relevant to Pop culture. Artists like Agnes who have great songs can't go that route and seem to die on the vine. You need to be able to do more than sing a great song and look great now-a-days if you want to attract the masses. It's called the Entertainment Business for a reason. Dance music, I find, takes itself way too seriously too much of the time. Bring back the fun.

There is no one way to bring dance music to the forefront. It's takes artists with great songs, it takes massive amounts of people that want to hear those songs and it takes the "X" factor. That is something that cannot be duplicated or forced to happen. What will 2010 bring? I don't know but I'll continue to work my 3 music industry jobs to do what I can and gain exposure and know that somehow I did my part.

 

[TonySantiago]

I may not be speaking for Mikeo or anyone else but I was one of 4 guys that were behind the brainchild of Ipartyradio. We werent just doing it to make dance music the biggest thing. We did it because we have a passion for radio and what we all wanted it to sound like again. We all love dance music but a lot of us its more about the radio passion then anything else. We wanted to take the format to a radio company and let us program a station on HD or a smaller market because we knew it would work. The one thing we said was it can not be strictly dance because we felt it would not work. I like the term rhythmic better and it does not narrowcast a thought process on how the station should be programmed. I programmed a modern rock station and two dance leaning stations. I enjoyed each one.

Championing a genre is a great, but just studying the game isnt enough. Being in the game you get a better understanding. Mikeo got an opportunity that a lot of us never had and that was to program a commercial station. He understands the politics that go with the game. Working in commercial radio I see some of the things he dealt with and I know Will can say the same things. Working in a non-com environment has its politics too, just on different levels.

Like I have said since day one. You want dance music to work, you need to support the stations that are out there. Stop whining over this station plays too much hip-hop or I wish this station was this way or that way. Support the good artists not the ones that record a record and think they are bigger than they really are. They dont help push a cause, they bring it down.

Im in the game because I am passionate about radio and if an opportunity came up with a different format I would absolutely take a look at it.

Let me answer this first, but I did read yours JP.

Brett, we can totally agree on one thing, PASSION. Just as you are passionate about bringing on what you feel is good radio, I am passionate about pushing dance music and gaining respectability for it. Yes, money is important and that just makes the pursuit of the passion a lot easier if you HAVE the bucks. Yet still, for what it is, passion is a driving force on ANYTHING.

Now, let's get back into something you have said "ad nauseum" here, regarding the whole support of what's out there. Can you also agree that there still should be MORE out there (in terms of radio outlets) as well as new "blood" to feed into it? This may tap right into that "game" there and I'll be careful.

On my show on Urban Latino Radio, my whole premise is to BREAK out new artists as well as new tracks from existing artists. Most everything I play is new. I thrive on that (based on my influence, "Mr. Magic", who was a hip-hop radio DJ in New York that was WAY ahead of his time.) because I want the artist to get that opportunity for exposure to an audience that is mainly "core" to the music. There's no game in that regard. As long as the music sounds good and fits into the formatics of the show, I'll give it a shot and perhaps the ONLY thing I may ask is a "drop" for the show. And yes, there have been a couple of tracks that I gave the "thumbs down" (for non-aesthetic reasons) to hoping that in the future the artist could do something that could be used for the good of the music and the show. It all works out. And if it is something terrestrial radio can use (taking in the game and politics into consideration), then cool! Win-win!

My point is, I don't see what I'm doing as "bringing things down" in terms of playing artists that most stations wouldn't necessarily touch. And if "bringing things down" means that the artists that I'm playing can't get into the "game" and by not being able to do so means that their material is unworthy (not suggesting in any way that you or others think this) then there's something inherently wrong. I know they are the "rules" but if the fun has to come back (as JP suggested it should), then give something that nod .

To Mike O, my "argument" with you was about the passion aspect, and hey I'm a New Yorker so when you "pan" my city by going after the "radio", watch out! lol . But I DO agree in that if a track is good for its own merit, you don't have to be "dictated" by charts to know that it is so. Often enough that is what I find and go with it on my show. As long as people like it, then I consider it a success in itself .

JP, you're right. The technology is here! I often plug into the AUX into my car and tune in via my smartphone. However, you still have a population out there that may not know how to do that and find it easy just to go up and down a radio dial. That's why I'm hoping on the streaming car stereos in the near future where anyone can tune to an Internet station. I am also thinking in 10 years, you'll have 6G technology where a person can tune in to such a station on long drives, especially through rural areas and not have to worry about the signal "dropping out".

Lady Gaga? SPOT ON

And regarding about no one way of bringing dance music to the forefront, you are right. But from my end, if we can work on getting that audience somehow as we keep pressing for our music to gain further acceptance, then I did my part .

 

[Dancerev889]

I may not be speaking for Mikeo or anyone else but I was one of 4 guys that were behind the brainchild of Ipartyradio. We werent just doing it to make dance music the biggest thing. We did it because we have a passion for radio and what we all wanted it to sound like again. We all love dance music but a lot of us its more about the radio passion then anything else. We wanted to take the format to a radio company and let us program a station on HD or a smaller market because we knew it would work. The one thing we said was it can not be strictly dance because we felt it would not work. I like the term rhythmic better and it does not narrowcast a thought process on how the station should be programmed. I programmed a modern rock station and two dance leaning stations. I enjoyed each one.

Championing a genre is a great, but just studying the game isnt enough. Being in the game you get a better understanding. Mikeo got an opportunity that a lot of us never had and that was to program a commercial station. He understands the politics that go with the game. Working in commercial radio I see some of the things he dealt with and I know Will can say the same things. Working in a non-com environment has its politics too, just on different levels.

Like I have said since day one. You want dance music to work, you need to support the stations that are out there. Stop whining over this station plays too much hip-hop or I wish this station was this way or that way. Support the good artists not the ones that record a record and think they are bigger than they really are. They dont help push a cause, they bring it down.

Im in the game because I am passionate about radio and if an opportunity came up with a different format I would absolutely take a look at it.

Let me answer this first, but I did read yours JP.

Brett, we can totally agree on one thing, PASSION. Just as you are passionate about bringing on what you feel is good radio, I am passionate about pushing dance music and gaining respectability for it. Yes, money is important and that just makes the pursuit of the passion a lot easier if you HAVE the bucks. Yet still, for what it is, passion is a driving force on ANYTHING.

Now, let's get back into something you have said "ad nauseum" here, regarding the whole support of what's out there. Can you also agree that there still should be MORE out there (in terms of radio outlets) as well as new "blood" to feed into it? This may tap right into that "game" there and I'll be careful.

On my show on Urban Latino Radio, my whole premise is to BREAK out new artists as well as new tracks from existing artists. Most everything I play is new. I thrive on that (based on my influence, "Mr. Magic", who was a hip-hop radio DJ in New York that was WAY ahead of his time.) because I want the artist to get that opportunity for exposure to an audience that is mainly "core" to the music. There's no game in that regard. As long as the music sounds good and fits into the formatics of the show, I'll give it a shot and perhaps the ONLY thing I may ask is a "drop" for the show. And yes, there have been a couple of tracks that I gave the "thumbs down" (for non-aesthetic reasons) to hoping that in the future the artist could do something that could be used for the good of the music and the show. It all works out. And if it is something terrestrial radio can use (taking in the game and politics into consideration), then cool! Win-win!

My point is, I don't see what I'm doing as "bringing things down" in terms of playing artists that most stations wouldn't necessarily touch. And if "bringing things down" means that the artists that I'm playing can't get into the "game" and by not being able to do so means that their material is unworthy (not suggesting in any way that you or others think this) then there's something inherently wrong. I know they are the "rules" but if the fun has to come back (as JP suggested it should), then give something that nod .

To Mike O, my "argument" with you was about the passion aspect, and hey I'm a New Yorker so when you "pan" my city by going after the "radio", watch out! lol . But I DO agree in that if a track is good for its own merit, you don't have to be "dictated" by charts to know that it is so. Often enough that is what I find and go with it on my show. As long as people like it, then I consider it a success in itself .

JP, you're right. The technology is here! I often plug into the AUX into my car and tune in via my smartphone. However, you still have a population out there that may not know how to do that and find it easy just to go up and down a radio dial. That's why I'm hoping on the streaming car stereos in the near future where anyone can tune to an Internet station. I am also thinking in 10 years, you'll have 6G technology where a person can tune in to such a station on long drives, especially through rural areas and not have to worry about the signal "dropping out".

Lady Gaga? SPOT ON

And regarding about no one way of bringing dance music to the forefront, you are right. But from my end, if we can work on getting that audience somehow as we keep pressing for our music to gain further acceptance, then I did my part .

Tony thats the issue respectability. How do you gain it? Think of this as sports. I know your a sports fan and you like one of the NY teams. How many times have you said you could do a better job than the coach or GM? We all have, but honestly could you really do a better job without understanding or work in the business first? I think what you do is great, I dont always agree with you and I think its great you are going to these conferences to hopefully get a better understanding of what we as programmers and record labels are doing.

We all break records all the time. Lady Gaga, my station was one of the first to play the record and I was on the bandwagon since day one and I promoted that single to everyone until I was blue in the face. We were going to have her perform that September right after the Promo Only show but things didnt work out on our end and I smack myself for that one. When I say dont play a record just cause its a "dance" artist. Im talking about the ones that think they made it just cause they made a record and they think the world owes them something.

 

[TonySantiago]

Tony thats the issue respectability. How do you gain it? Think of this as sports. I know your a sports fan and you like one of the NY teams. How many times have you said you could do a better job than the coach or GM? We all have, but honestly could you really do a better job without understanding or work in the business first? I think what you do is great, I dont always agree with you and I think its great you are going to these conferences to hopefully get a better understanding of what we as programmers and record labels are doing.

We all break records all the time. Lady Gaga, my station was one of the first to play the record and I was on the bandwagon since day one and I promoted that single to everyone until I was blue in the face. We were going to have her perform that September right after the Promo Only show but things didnt work out on our end and I smack myself for that one. When I say dont play a record just cause its a "dance" artist. Im talking about the ones that think they made it just cause they made a record and they think the world owes them something.

First off....METS!!!!!!!!. Okay, so the Phillies won the NL Pennant.

Back to topic.....this is based on my upbringing, but I have always been taught that in order to gain respectability you have to work hard and persevere, even if others want to knock you down. If others feel that and support you, that is how you earn respect. It's what I with live with every day I run the coalition and I certainly don't want to let us down. Too much is at stake here.

Yes, at times I get "bumps" on the road (as I have been taking the "heat" lately for continuing to support PartyFM even though the fans are upset about the hip-hop aspect of the music), but I still fight on because it's not just a "love" of dance for me. I believe in it.

There are times we disagree and actually, I don't see it as a bad thing. As a radio programmer, you have your strong points and as a dance fan I have mine. I wanted to get into radio YEARS ago (during my college days and I was chastised for "ghettoizing" the institution). This was 1984 and I was playing RAP! Yet in the back of my mind, while I do hear what you, DJ's, artists, clubs and the record labels are saying, I'm also thinking that dance STILL isn't as popular here as other contemporary genres and maybe there is something that hasn't been tried (or it might have failed before but could work now) that we all need to consider. In that sense, I have to further explore into Europe and see what they are doing. And if that means going to a bunch of clubs there, then that's what I need to do, if it can help us somehow or at the very least get to the fans of the music to look at things from another angle. That can explain why sometimes I may say something out of (since we did get into it with sports), "left field" to see where people think in regards to it.

I also want to start talking to advertising agencies to get an understanding of dance music as they see it and why for the most part they have avoided, in regards to its potential for reaching a target audience.

That last sentence, you made it much clearer for me. And to that I do agree. When I spin something on Urban Latino Radio, I want to "believe" in that artist knowing that he/she has a good, well made, quality product to be put out there that deserves the recognition....for the sake of THE BETTERMENT OF THE MUSIC, not because they feel the world has "done them wrong and needs to be owed". It doesn't matter WHAT genre, just as long as the product is good and has potential. In that sense, we have that greater responsibility to do that.

I want to do a LOT for our music this year and I will be back at the conferences to gain further knowledge and a deeper tan while sipping some mojitos at THE pool party to be seen in .

Brett, if I never said this to you before, you DO have my support as well as all of the terrestrial and Internet stations doing their thing.

 

[kc0ltv]

2010.............


Just stop, sit back, and let it all sink in for a while...

I don't think I even have to say much more, because you ALREADY KNOW what's about to happen!

Did you think 2009 was a BIG year? Do you think what you heard in 2009 was really impressive?
2009 WAS A BIG JOKE!


2009 set the stage, bringing a whole new generation of sound, but it was a joke. People messing around and experimenting with different beats and sounds, dropping some halfway decent productions...etc. But NOW, people look back and see how much it worked, so people are REALLY going to take things up a notch and get creative and serious.

THIS is the year we just sit back and listen... it's ONLY about to get serious, NOW.

...I'll be back to review and discuss it in December.

ENOUGH SAID.




Enjoy your year

Mainstream American-produced pop is getting much more "eurodancey", or at least more melodic and danceable. Witness Lady Gaga or Keisha or 3HO3, or compare Flo Rida's "Low" with "Sugar" or Black Eyed Peas' "My Humps" with "Meet Me Halfway". The lyrics might be crappy (and often indecent), but there's a catchy synthesizer hook backed often by 4/4 rhythm - essentially the elements of eurodance. While these American tracks are known and played across Europe, the music produced there is now often less melodic than American music - the exact reverse of five years ago. This trend probably started with Benny Benassi and Fedde Le Grand, and has continued and developed to this date. European producers neglected their eurodance heritage (notice I say "heritage" - whether tracks from Cascada or Master Blaster can be called true "eurodance" is in question, but they're in the same vein) to make often crappy-sounding house, electro, and minimal techno tracks. So I'd say most of the good songs in 2010 will come from the U.S. or from U.S.-inspired producers, rather than from Europe.

 

[mannyworks00]

This is how it all went down according to me: It was a hip hop world and then........Madonna returned to "her dance roots" -> Akon Embraced it and signed Gaga -> Michelle Williams (from Destiny's Child) embraced the sound -> Then fellow x-bandmate Kelly Rowland and then rest is history putting Guetta (who produced Kelly Rowland and Black Eyed Peas) and Gaga at the top.

2010.............


Just stop, sit back, and let it all sink in for a while...

I don't think I even have to say much more, because you ALREADY KNOW what's about to happen!

Did you think 2009 was a BIG year? Do you think what you heard in 2009 was really impressive?
2009 WAS A BIG JOKE!


2009 set the stage, bringing a whole new generation of sound, but it was a joke. People messing around and experimenting with different beats and sounds, dropping some halfway decent productions...etc. But NOW, people look back and see how much it worked, so people are REALLY going to take things up a notch and get creative and serious.

THIS is the year we just sit back and listen... it's ONLY about to get serious, NOW.

...I'll be back to review and discuss it in December.

ENOUGH SAID.




Enjoy your year

 

[CHRles]

Mainstream American-produced pop is getting much more "eurodancey", or at least more melodic and danceable. Witness Lady Gaga or Keisha or 3HO3, or compare Flo Rida's "Low" with "Sugar" or Black Eyed Peas' "My Humps" with "Meet Me Halfway". The lyrics might be crappy (and often indecent), but there's a catchy synthesizer hook backed often by 4/4 rhythm - essentially the elements of eurodance. While these American tracks are known and played across Europe, the music produced there is now often less melodic than American music - the exact reverse of five years ago. This trend probably started with Benny Benassi and Fedde Le Grand, and has continued and developed to this date. European producers neglected their eurodance heritage (notice I say "heritage" - whether tracks from Cascada or Master Blaster can be called true "eurodance" is in question, but they're in the same vein) to make often crappy-sounding house, electro, and minimal techno tracks. So I'd say most of the good songs in 2010 will come from the U.S. or from U.S.-inspired producers, rather than from Europe.

I think you're still going to be seeing a lot of good crossover stuff come from Europe. Inna finally debuted inside the UK's Top 10 with "Hot". Last week Taio Cruz went to number one on the Billboard Hot 100 with "Break Your Heart". David Guetta's "Memories" is currently impacting US radio, including airplay from Power 106 L.A., and is Top 5 in Australia, Austria, Belgium, Holland as well as Top 10 in France, New Zealand, and Germany.

As for the pure Euro-Dance sound, a lot of it seems to be coming from eastern Europe these days, especially from Romania.

 

[Morpheux]

The piano in David Guetta "Memories" reminds me of tracks like "Move your body" by Marshall Jefferson and all those piano driven house songs from that era. Really dig that. Let's see if he'll also release the Wynter Gordon track "Toyfriend".