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94.7 The Block

Not always a successful venture. Remember 101.1 Jack FM?
Jack was immediately successful and exceeded the old CBS Oldies delivery of 25-54. The change to Classic hits came out of the discoveries of what that format might do in NYC based on the early PPM tests in Philadelphia and the initial results of a slightly updated format on the CBS gold-based station in that market.
Or New York's 106.7?
That was a dud. And your point is very valid: even Proctor & Gamble fails on about half of its new products despite extensive research and marketing.
Or in Philly, 101.1 More FM? WBEB was a constant #1, but it nevertheless slid back to the B branding.
There is a debate on how much of that was due to differences between the Lee faction and the clueless new owners.
 
There is a debate on how much of that was due to differences between the Lee faction and the clueless new owners.
I know for a fact that Jerry Lee programmed WBEB to be #1, whereas Entercom/Audacy didn't seem to care if WBEB was #1, as they have several well known brands within their portfolio (WOGL, KYW, WIP, WPHT).
 
A lot of the music heard on the new 94.7 could be heard on WKTU or WBLS, or Hot 97. The format flip was unnesscary. NYC radio is missing a rock station and a country station despite being the nations largest radio market
 
A lot of the music heard on the new 94.7 could be heard on WKTU or WBLS, or Hot 97. The format flip was unnesscary. NYC radio is missing a rock station and a country station despite being the nations largest radio market
Rock isn't even that strong in Boston. What makes one think it will be a success in NYC?

The success of The Block remains to be seen, but listeners now have an option to listen to hip-hop/R&B throwbacks on analog radio without going through Lil Nas X or Kid Laroi.
 
A lot of the music heard on the new 94.7 could be heard on WKTU or WBLS, or Hot 97. The format flip was unnesscary. NYC radio is missing a rock station and a country station despite being the nations largest radio market
We needed a Classic Hip Hop station.
 
A lot of the music heard on the new 94.7 could be heard on WKTU or WBLS, or Hot 97. The format flip was unnesscary. NYC radio is missing a rock station and a country station despite being the nations largest radio market
Rock is highly fragmented except for classic rock that is aging. Country tried, and failed in the revenue category.
 
I know for a fact that Jerry Lee programmed WBEB to be #1, whereas Entercom/Audacy didn't seem to care if WBEB was #1, as they have several well known brands within their portfolio (WOGL, KYW, WIP, WPHT).
There is the difference. Entercom, home officed in Bala, should have seen how Jerry's attention to the format, research and client services made the station have about a 2 power ratio. What they should have done is paid him exceedingly well to "supersize" his techniques to the cluster and to the whole company.

Jerry del Colliano is predicting, in his typical "glass is half empty" fashion, bankruptcy for Audacy next year. If they had taken Jerry Lee's listener and client focus and built on it, they would not be so effed.
 
To add some "what if" to this discussion, the station registered in the mid ones in 18-49 and a tad higher in 15-54 in the first week of the December book. They are very strong on weekends and evenings, but suck in mornings and middays. This is sort of like the daypart effect of disco in the later 70's!
 
I think with the way country isn't very inclusive is a concern or could be a concern later on for the format.

Depends on what you mean by "inclusive." They've added a number of black artists including Jimmie Allen, Breland, and Mickey Guyton.

If you watched the CMA Awards a few weeks ago, or saw the country Grammy nominees, they're a lot more inclusive than rock.
 
No. It's the point that they buy stations to create a network of stations that are literally the same station.
No, they are not. While both K-Love and Family Radio share the same set of beliefs, there is one notable difference between the two networks. K-Love plays contemporary Christian music, while Family Radio plays traditional hymns and carries teaching programs.
 
I hope that News doesn't go to FM because that means FM is dying off. Also, NYC has a lack of diversity in their stations already. K-Love owns 2 stations in the area now the other Religious company Family Radio owns 92.7. Complete wastes of signal.
20 years from now fm will probably be brokered programming, religious, some ethnic and some spoken word or sports.
Technology will kill terrestrial radio eventually. It's a slow drip imo
 
I think with the way country isn't very inclusive is a concern or could be a concern later on for the format.
You are talking about the artists. From an audience perspective, how many Black listeners does the average country station have? A station is going to play, to the best of their abilities, the music their listeners like. It's up to "Nashville" and the record companies to get more performers interested in the genre and that, in turn, can broaden the core.

A few years back, I went to a concert with FGL and Nelly. I watched the crowd, and it ranged from those in their 20's to folks in my senior group and it was well balanced. They all loved the duos that FGL did with Nelly, even standing and dancing during them.

Obviously, those that did not like Nelly's music or race would not have spent $75 up to $500 on tickets to see a show that included him. And perhaps traditionalist country fans would have preferred Dwight Yoacam and a hologram of Buck Owens but I can only comment on what I observed: there are plenty of country fans who will accept Black artists. We just need more of them.

Heck, speaking of Buck, didn't he favor the introduction of Mexican Norteña accordeon to country? It can be done.
 
Maybe they could call it "1010 WINS on 92.3." Yes, I'm not going to stop calling them 1010 WINS no matter what they do!
Ninety-two three and 1010 WINS

I did not think I would like something like that, but I was in Franklin, NC during Thanksgiving and listened to a station that went by 104.3 and 1050 WFSC (one-oh-four-three and ten-fifty WFSC). They keep the AM for the music because the FM is a translator and in some parts of the mountains there is no FM signal for any station due to the terrain.
 
One of the issues that has not been discussed in the aftermath of the KNX move to FM is the double-barreled deficiency of AM signals in most US metro areas: signal and noise.

While KNX does not have a deficient signal, most of its band-mates in the LA metro and everywhere else do.

In the Top 100 markets, there are 1748 stations within the Metro Survey Areas. However, less than 170 have a 5 mV/m signal over at least 80% of the metro day and night. That is less than an average of 2 "good" signals per market. Some have a couple more, some have none at all.

When FM started being broadly viable around 1970, most FMs upgraded to their maximum facility which, if a class B or C, covered pretty much the whole radio market day or night. Each market had ten or more such full signals on FM.

Since 1970, population has spread out more and more in most metro areas. The existing AMs have become less and less able to cover the full market.

And then there is the issue of noise produced by florescent lights, dimmers, computers, wall warts and all kinds of other devices. While 5 mV/m was a great signal decades ago, and even a 2 mV/m could be listenable, today the ITU says that AM needs 15 mV/m to overcome urban noise. Even if we consider 10 mV/m adequate in most places, that means that there are truly only a few dozen AM stations that actually cover their entire market day and night.

If you look at the Nielsen numbers, in the "average" market there is under 10% listening to AM, and most of that is by people over 55. That means that most under-55 AM listening is confined to things like having the only sports station on AM, having no ethnic programming on FM, or niche formats such as religious denomination based formats.

For all practical purposes, AM is dead, although a few wounded still wander around on the battlefield.

David, you are right about the AM signals. As I said in another post, I was in the mountains of NC over the Thanksgiving holiday. I listened a lot to 104.9 and 1050 WFSC. 1050 is an 5k (day) ND signal. I found the little station and the AM tower is on the back side of a mountain with the ground system at a significant angle because of the terrain. Even with all of that, the 1050 signal had a quality sound for about twenty miles. But, there were no powerlines, street lights, etc. Also, they were doing music on the AM and the audio chain must have been very good as that AM station sounded better than any AM in Atlanta (my home city).

Point being, AM in metro areas is going downhill quickly. In Atlanta WSB-AM could be heard clearly through most of north Georgia when I was a kid. Now, the 50kw signal is not good after about 15 miles. So, for stations like 1010 WINS and 880 WCBS, they have to move. The AM audience ages and the noise level on the AM band keeps going up.
 
Jerry del Colliano is predicting, in his typical "glass is half empty" fashion, bankruptcy for Audacy next year. If they had taken Jerry Lee's listener and client focus and built on it, they would not be so effed.

S.O.P. for Jerry. He uses scare tactics and daily doomsday teasers to try to get nervous radio employees to subscribe to his "news" letter.
 
The More/B thing was a change in ownership. As More, the ratings remained solid. As the B, the second time, things have gone less well. So, uh, no.

Jack was a new music format replacing a very successful one. We’re talking an entirely different scenario than moving an established brand to a new frequency.

If we want to play the examples game, there’s The Fan, or WIP in Philly, too.

Huh, I guess failure is not inevitable.
 
If you watched the CMA Awards a few weeks ago, or saw the country Grammy nominees, they're a lot more inclusive than rock.
I don't even like emo rock, but even they are more inclusive nowadays compared to country or the old post-grunge scene. I'm unsure whether the likes of Mickey Guyton are as admired as Jason Aldean or Carrie Underwood within the country music fandom.
 
I don't even like emo rock, but even they are more inclusive nowadays compared to country or the old post-grunge scene. I'm unsure whether the likes of Mickey Guyton are as admired as Jason Aldean or Carrie Underwood within the country music fandom.
Guyton's not as big a star as Aldean or Underwood -- or Luke Bryan, Blake Shelton, Luke Combs or Miranda Lambert, for that matter. Neither are the other black performers mentioned by TheBigA -- yet.

I'm not blind to the reality of racism in the country music industry or the country music fan base. Morgan Wallen was made a pariah this past year after being recorded using the N-word. I'm pretty sure he's not the only currently popular country singer who's ever used that word, and I am DAMN sure that many, if not most, of the legends of country music used it. Hank Williams (Sr. and Jr.), Roy Acuff, Johnny Cash, Tammy Wynette, even Willie Nelson, you name them: If they were white and grew up in the South before recent times, that word was uttered regularly in white company and barely raised an eyebrow, even by whites who worked and socialized and played with black folks in everyday life. I'd dare say that Willie's Roadhouse would have to close its virtual doors if it had to "cancel" every singer on its playlist who ever said the N-word.

All that said, country music is trying to be more inclusive. Nashville can't read minds, or monitor every word its performers may say, in anger or in jest. It can't control who likes its music and who doesn't. It can just sign people with talent and the special "something" needed to become stars and hope for the best.
 
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