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Best Dance Show in the US!!

Re: Yesterday vs today

CHRLes,

As someone involved in commercial radio actually talking to group executives, program directors, and consultants across the country, MLII's statements actually do have substance.

Oakenfold and Digweed does great for the clubs, concerts, and raves. Absolutely no doubt about that. But US commercial radio demands radio edits, not 9 minute instrumental loops. Oakenfold represents only a facet of the dance industry, and yes, he does extremely well in it. But strictly in the context of fostering more dance music on the radio, those type of mixes are widely viewed as nothing more than filler to play in overnights and late night weekends. No offense at all to Oakenfold or to the hard-working people who market and produce his weekly syndicated show. More power to those mixers able to overcome the hurdles and actually get their mixes on the air. They got through to the handful of PDs that believe in dance music. Good for them!

Hell no, nobody is telling Oakenfold or Digweed what to play. They are successful in what they do! But their success lies in the concert arenas, nightclubs, and raves. MLII speaks from the RADIO INDUSTRY perception. And the majority of the RADIO industry does not believe that those mixes will generate mass appeal and ultimately, ratings to the station.

Unfortunately, the heavy-hitter radio industry people simply do not believe that dance music is viable for commercial radio because they equate dance music as droning instrumental loops of beats and synthesizers. It's a battle to prove to those PDs and group execs that dance music does not induce or attract ecstasy-poppers in smoke-filled nightclubs. I'm constantly working on opening their eyes to the fact that dance music is a much-larger category that also include CHR-worthy cuts like Lucas Prata, Mylo, Shape:UK, Freemasons, Deborah Cox, Bodyrockers, etc. These cuts can fit in very easily in CHR rotation along with Kelly Clarkson, Ciara, Black Eyed Peas, Madonna, Chris Brown, Beyonce, etc. Q96 Champaign and Fun 107 New Bedford are awesome examples of making dance fit in a CHR format.

Ultimately, it is the pushing of mainstream dance music that will help dance radio in the long and short runs. And mainstream dance music should be the heavier focus if we are to get dance radio bigger exposure in the United States. We need to push more MASS APPEAL songs, and although we love Oakenfold, Digweed, Tiesto and the such, their mixes are not considered mass appeal according to the radio execs. They are considered as serving the ultra-niche.

At JamTraxx Media, we are promoting all sorts of mixshows through our RADIOMIXES division: mainstream, rhythmic, dance, and electronica. And that is the order of popularity, with electronica at a real minority. Electronica is the hardest to push, but our mainstream dance mixes are much easier to digest for radio programmers.

Are we really "hurting the scene" by pushing mainstream, mass appeal dance music over Oakenfold or Digweed mixes? I argue that we are helping to SAVE the scene from extinction on commercial radio.

<P ID="signature">______________
radioinfosignature.gif
</P>
 
Re: Yesterday vs today

Look, you wanna argue about something then go in the mirror and practice. That Euro-Centric superiorityism is annoying.

You continually speak of what happens in the UK. Many things happen here that don't happen there and vice-versa, it's called different cultures, different expectations due to the way they're conditioned through life. While many similarities can exist amongst cultures, many do not and because 20,000 people show up to watch some guy play songs means NOTHING from a RADIO STANDPOINT until PEOPLE start buying the SONGS played and they can't BUY those songs, whistle those songs, SING those songs because there's no words, in most cases. While it may be pleasing for a bit, most people in radio SEE NO VALUE in it and in this instance, for the most part, they're right.

I have no anymosity towards any jock who's made a name for themselves, in fact, many of them I've worked with, promoted, and been close to for (in some cases) 30 years. CLUB JOCKS used to spin SONGS, records that have possibilities of gaining APPEAL and SALES. They don't do that any longer. When it comes to MAKING A HIT RECORD for MASSES in the US, very few of them do because they're spinning music for a different reason than what RADIO plays music. When that JOCK music is played for GEEKS in suits, the suits SHOOT THEM DOWN all the time. That's the fact, that's the reality and if it offends you, Deep Dish, Thin Crust or whoever then sobeit. They're great for what they do and in some cases guys like Frankie, David and others REMIX a WELL WRITTEN SONG and in some cases, they create their own and they create SONGS that labels sometimes WORK at the radio level. Labels are not in business to make a bunch of songs you think are cool so you can listen to them, they're in the business of SELLING RECORDS.

People perceive the INTERNET, SATELLITE and TERRESTRIAL radio differently, they'll hear something on radio and tune it out because they don't know it unless it's surrounded by familiarity (you and about 200 other people in your market being an exception I'm sure - but that's not enough for a radio station to survive on, some guy in his basement streaming a stream or building a podcast? Sure) it's been their habit for life, they'll hear the same thing on other avenues of distribution and think it's cool because it's a new medium, they're minds are conditioned for it differently.

If you're going to break dance records in the US, some instrumentals may make it but for the most part SONGS are required to be aired so people can actually identify what the hell they're listening to and possibly BUY IT.

In Europe, it's a different way, here, it's different and that's all there is to it. Don't get too defensive, we're on the same side but from RADIO's standpoint, it's not afforded the luxury of being able to combine a cumer PLANET wide to claim millions of listeners, they have to deal with the tastes and cultures of THEIR IMMEDIATE LOCALE and there's not enough IN THAT LOCALE to build a SUCCESSFUL radio station by playing X'd out rave music (using term in jest).

Relax, have a cream soda, make a sandwich and enjoy what others who aren't as intellectually stimulated by what you are.

> > And I'm telling you, the Paul Oakenfelds, Digweeds
> > and other guys who do nothing but play tracks for nine
> > minutes do more to damage the perceptions of what DANCE is
>
> > than you know. FAR MORE. In fact, I'm headed for a meeting
>
> > now regarding some things involving that. It's great to
> open
> > people's eyes, hopefully it will render results.
> >
>
> This is one of the most retarded statements I've ever seen
> here.
> Who are you to tell a DJ what tracks to play, and how long
> they can play them?

I told no one what to play, I simply stated a FACT. You don't like it then fine. That's the perception from people running RADIO.
>
> Deep Dish oftentimes play some songs for more then 10 mins,
> so does Tenaglia, and Jonathan Peters sometimes can loop the
> same song for 30 minutes. Go see them spin live and you'll
> see the only "damage" they're doing is on the dancefloor.
>

I saw them spin live before you knew who they were. If a radio station only had to please a DANCEFLOOR then those guys'd be aces with the people. You seem not to be able to distinguish a difference here.

> At the same time Deep Dish have reached the Top 10 in the UK
> twice last year, as well as many other countries.

Wow, a whole two times. Great. Deep Dish's last project was excellent because there were SONGS there. However, ask a PD or SUIT and they'll laugh, they need to be educated and if you bring them some useless track, they'll run you out the door.
>
> Please quit putting the blame on people whom you and others
> are simply jealous of. Their success is well deserved.

What're you their agent? See all above statements.
>
>
> > Robbins is an example of a label making SONGS with
> > substance.
>
> Robbins just distributes other people's music and markets
> them. Robbins doesn't MAKE the music. Robbins also
> oftentimes has success with artists who rely on Remakes to
> make it big.

Next you'll tell me the sky is blue. Thanks for enlightening me on matters I'm familiar with already.
>
> If you think DJ Sammy is better for Dance then Paul
> Oakenfold then you're the one whose hurting the scene here.
>
No you are, I'm not involved in a scene, Sometimes you sound like the rest of the sheep who need to have a scene attached to it so you can surround yourself with like minded individuals who all think you need a "scene" to be into something. After a while I'd swear you're one of them rock n' roll dudes who get angry because the 200 people they know think there should be a radio station that recognized "their scene". Almost as if you're pissed because Cannibal Corpse sold out shows across the Country and yet all radio plays is Metallica. You're like the angry little rock n' roll dude who's pissed because their favorite rock band finally made a few more than 1,000 people like their music. You're one of them purists, like rock n' roll dudes who get pissed when their band sells out, sell out meaning MAKES SONGS PEOPLE RELATE to, there's nothing wrong with that and there's nothing wrong with OAKENFELD IN THE RIGHT CONTEXTS.

The fact is that there's nothing wrong with DJ Sammy or any other cover record just like there's nothing wrong with certain Deep Dish SONGS. It offends you because your "scene" is on the DL but the minute it gets recognized en masse all of a sudden it sucks, ridiculous! It's a good thing everyone's not into what you're into, then what would you do? Find something else to complain about I'm sure.

Songs last a lifetime with people, they have meaning at a point in time in someone's life. Your "scene" isn't part of everyone else's and radio has to find a way to combine as many people as possible to be SUCCESSFUL.

> >Memorable songs not just some pierced freak in a
> > booth grooving to a song no one else knows and only those
> in
> > some trance care to hear.
>
> Maybe we should all just go back to Hillbilly music and
> Adult Standards. Seriously, what kind of close minded crap
> is that? With that attitude Rock & Roll would have never
> taken off, nor Hip Hop.
>
You seem to have a chip on your shoulder, you refuse to understand anything about gathering a large group of listeners EN MASSE on radio as opposed to some party. Your just as prejudiced about forms of music as you think I am (emphasis on THINK) And if you would, spare me your music lesson on format and music styles taking off, I was in the trenches getting fired, demoted and let go for promoting MUSIC that took 20 years for people to ACCEPT, spare me the nonsense.

We're talking about two different things, I'm talking about what will work and how it can work and how it must be done to be ACCEPTED as a viable MUSIC STYLE that RADIO will recognize and utilize within the structure of it's FORMAT. You're talking about the joys of listening to a DJ spin at a party. They're both different worlds.
 
Re: Okay, this is really starting to get to me

> CHRLes,
>
> As someone involved in commercial radio actually talking to
> group executives, program directors, and consultants across
> the country, MLII's statements actually do have substance.
>
> Oakenfold and Digweed does great for the clubs, concerts,
> and raves. Absolutely no doubt about that. But US commercial
> radio demands radio edits, not 9 minute instrumental loops.
> Oakenfold represents only a facet of the dance industry, and
> yes, he does extremely well in it. But strictly in the
> context of fostering more dance music on the radio, those
> type of mixes are widely viewed as nothing more than filler
> to play in overnights and late night weekends. No offense at
> all to Oakenfold or to the hard-working people who market
> and produce his weekly syndicated show. More power to those
> mixers able to overcome the hurdles and actually get their
> mixes on the air. They got through to the handful of PDs
> that believe in dance music. Good for them!
>
> Hell no, nobody is telling Oakenfold or Digweed what to
> play. They are successful in what they do! But their success
> lies in the concert arenas, nightclubs, and raves. MLII
> speaks from the RADIO INDUSTRY perception. And the majority
> of the RADIO industry does not believe that those mixes will
> not generate mass appeal and ultimately, ratings to the
> station.
>
> Unfortunately, the heavy-hitter radio industry people simply
> do not believe that dance music is viable for commercial
> radio because they equate dance music as droning
> instrumental loops of beats and synthesizers. It's a battle
> to prove to those PDs and group execs that dance music does
> not induce or attract ecstasy-poppers in smoke-filled
> nightclubs. I'm constantly working on opening their eyes to
> the fact that dance music is a much-larger category that
> also include CHR-worthy cuts like Lucas Prata, Mylo,
> Shape:UK, Freemasons, Deborah Cox, Bodyrockers, etc. These
> cuts can fit in very easily in CHR rotation along with Kelly
> Clarkson, Ciara, Black Eyed Peas, Madonna, Chris Brown,
> Beyonce, etc. Q96 Champaign and Fun 107 New Bedford are
> awesome examples of making dance fit in a CHR format.
>
> Ultimately, it is the pushing of mainstream dance music that
> will help dance radio in the long and short runs. And
> mainstream dance music should be the heavier focus if we are
> to get dance radio bigger exposure in the United States. We
> need to push more MASS APPEAL songs, and although we love
> Oakenfold, Digweed, Tiesto and the such, their mixes are not
> considered mass appeal according to the radio execs. They
> are considered as serving the ultra-niche.
>
> At JamTraxx Media, we are promoting all sorts of mixshows
> through our RADIOMIXES division: mainstream, rhythmic,
> dance, and electronica. And that is the order of popularity,
> with electronica at a real minority. Electronica is the
> hardest to push, but our mainstream dance mixes are much
> easier to digest for radio programmers.
>
> Are we really "hurting the scene" by pushing mainstream,
> mass appeal dance music over Oakenfold or Digweed mixes? I
> argue that we are helping to SAVE the scene from extinction
> on commercial radio.
>
Hi J.D,,,, Your a cool guy, and I know, that you definatly do know what you are talking about, and you have a yrs and Experience to prove that, you were a big part of some of the most Influencial Dance Stations around, and I will always respect you... With that said, I would like to say that I think Music Lovers personal attack on Chrles was uncalled for, Their still is some truth to what Chrles says. Closed Minds is going to kill Dance... I dont know why everyone says that Mainstream Female vocal Dance is the only thing that will work. Young girls may find some of these songs more appealing,,, But some of you talk like you are totally against DJ culture, and underground Dance in general. Their would be nothing wrong with a U.S Dance Station, that was Mixshow heavy, and underground leaning During Certain Day-Night Parts. It seems some of you want Dance Music to Change, and be all mainstream, just so it can get played on POP Stations, instead of using the existing quality Dance tracks available from all over the world,,, not like we have any shortage on dance hits,,,, Just shortage on PDs who take the time to find them,,, or are afraid to play imports, and (OH NO).... We cant play this song, it doesnt have any words... And those who say average listeners will only listen to 3 minute female vocal, and circuit tracks, While this may be true for a 15 year old girl, this is definatly not true for a 25 year old male... If anything,,, the problem with Dance in this country, and our radio stations is,,, It has no Edge, they dont play any Dance unless it sounds watered down, and kinda Gay,,, Which is exactly how Sirius 36 THE BEAT sounds.... No one will play any Aggressive, Male targeted Dance, So people think everything is Cheesy,,,,Thats what the whole problem is. I have never got anyone turned on to Dance, by playing them Mainstream Watered down Dance, Its usually Trance-House- or Progressive that gets guys hooked....
 
Your smarter than this

> Robbins just distributes other people's music and markets
> them. Robbins doesn't MAKE the music. Robbins also
> oftentimes has success with artists who rely on Remakes to
> make it big.

I know that your much smarter than that statement. Do I really need to list the music that we "Made"?


> If you think DJ Sammy is better for Dance then Paul
> Oakenfold then you're the one whose hurting the scene here.

Neither hurts "the scene", they are just different scenes. If your a clubber that's too hip for the room, then you probably hate Sammy. If your more into mainstream sounds then Oakey's not gonna get you excited. There's room for both.
 
Re: Okay, this is really starting to get to me

I think everyone needs to remember that Radio stations are businesses. They need advertisers to pay their bills. Let's take a look at stations that have tried going the "non-commercial" dance route. How long and/or how succesful would you say "Groove Radio" was? It's to me a perfect example of what we are speaking about.

It was a great sounding station for those that were into that sound, but ultimately in a market that should have supported it, they failed. Low ratings equals no billing. And in the corporate radio enviorment of the last 20 or so years, no billing means format changes.

Remember as passionate as some of us are about types of dance that we love, there are people still crying that Polka could be big again if given the chance. It's just not gonna happen without research showing that to be true. And there is not one shred of evidence that shows that the music of Tiesto, PVD, etc is what people want to hear on non-dance stations. It is not radio's job to create demand. They just captiolize on what's already there.

Now if we are talking about the 10 or 11 dance stations that are in this country, then yes. They could stand to be a bit more proactive in exposing some of this music.

jp
 
Re: Yesterday vs today

> Oakenfold and Digweed does great for the clubs, concerts,
> and raves. Absolutely no doubt about that. But US commercial
> radio demands radio edits, not 9 minute instrumental loops.

Agreed, but it doesn't mean that Digweed or Oakie are hurting Dance. They're just doing their own thing.

> Oakenfold represents only a facet of the dance industry, and
> yes, he does extremely well in it. But strictly in the
> context of fostering more dance music on the radio, those
> type of mixes are widely viewed as nothing more than filler
> to play in overnights and late night weekends. No offense at
> all to Oakenfold or to the hard-working people who market
> and produce his weekly syndicated show. More power to those
> mixers able to overcome the hurdles and actually get their
> mixes on the air. They got through to the handful of PDs
> that believe in dance music. Good for them!
>

Again, agreed. I don't expect the average station to air Dance mixes at 10 AM. At the same time, once again, people like Oakie and Digweed are not the reason Dance isn't doing too well on CHR/Pop radio in America.

> Unfortunately, the heavy-hitter radio industry people simply
> do not believe that dance music is viable for commercial
> radio because they equate dance music as droning
> instrumental loops of beats and synthesizers.

Even though they're constantly bombarded with both good and bad vocal Dance records? Sounds like more of an excuse to me.


It's a battle
> to prove to those PDs and group execs that dance music does
> not induce or attract ecstasy-poppers in smoke-filled
> nightclubs. I'm constantly working on opening their eyes to
> the fact that dance music is a much-larger category that
> also include CHR-worthy cuts like Lucas Prata, Mylo,
> Shape:UK, Freemasons, Deborah Cox, Bodyrockers, etc. These
> cuts can fit in very easily in CHR rotation along with Kelly
> Clarkson, Ciara, Black Eyed Peas, Madonna, Chris Brown,
> Beyonce, etc. Q96 Champaign and Fun 107 New Bedford are
> awesome examples of making dance fit in a CHR format.
>

You mentioned Mylo. His music is actually the type that musiclover was bashing. There's no real singing - just loops of other songs along with some melodic loops.
Madonna worked with guys like William Orbit, had Sasha as well Above & Beyond remix her records, and recently worked with another famous producer who musiclover probably hates.

> Ultimately, it is the pushing of mainstream dance music that
> will help dance radio in the long and short runs. And
> mainstream dance music should be the heavier focus if we are
> to get dance radio bigger exposure in the United States. We
> need to push more MASS APPEAL songs, and although we love
> Oakenfold, Digweed, Tiesto and the such, their mixes are not
> considered mass appeal according to the radio execs. They
> are considered as serving the ultra-niche.

So Tiesto's song "Just Be" is not good for radio, but "Laffy Taffy" is. Yeah, okay sure that makes sense.

> At JamTraxx Media, we are promoting all sorts of mixshows
> through our RADIOMIXES division: mainstream, rhythmic,
> dance, and electronica. And that is the order of popularity,
> with electronica at a real minority. Electronica is the
> hardest to push, but our mainstream dance mixes are much
> easier to digest for radio programmers.
>
I know you guys are doing a good job, keep it up :)

> Are we really "hurting the scene" by pushing mainstream,
> mass appeal dance music over Oakenfold or Digweed mixes? I
> argue that we are helping to SAVE the scene from extinction
> on commercial radio.

No way. You're not hurting this scene, but neither are Oakenfold and Digweed.
>
 
Re: Exactly!

Ok. Group hug now...I can feel the love already..........Hey! Watch the hands.
 
Re: Yesterday vs today

> CLUB JOCKS used to spin SONGS, records that have
> possibilities of gaining APPEAL and SALES. They don't do
> that any longer.

And yet I saw Gabirl & Drsden on Thursday and they did play SOME vocals in their set. You want to know what else? Many of those vocal were produced by THEM.
Another big name DJ who I saw recently, Ferry Corsten, also releases quite a bit of Dance material with vocals. In fact, aren't US Dance programmers currently buzzing about his record "Fire" ?

I'm Euro-centric about it b/c almost all of the biggest Dance records of the past few years have come from Europe. Since you seem to overly kiss butt to Robbins so much on that matter you can verify it with them. Dance's base is in Europe, just like Hip Hop's base is in America. Doesn't meanm there aren't plenty of good US Dance artists making a name for themselves, but the music's biggest success commercially lies in Europe.

> If you're going to break dance records in the US, some
> instrumentals may make it but for the most part SONGS are
> required to be aired so people can actually identify what
> the hell they're listening to and possibly BUY IT.

That still doesn't mean that Oakie and John Digweed are hurting the scene.
 
Re: Your smarter than this

> > Robbins just distributes other people's music and markets
> > them. Robbins doesn't MAKE the music. Robbins also
> > oftentimes has success with artists who rely on Remakes to
>
> > make it big.
>
> I know that your much smarter than that statement. Do I
> really need to list the music that we "Made"?
>

John, there's nothing wrong with praising your record company, but some of the butt kissing that goes on here sometimes just makes me want to scream.
The way people here talk about you guys is as if all your songs are the alltime greatest Dance songs ever, and there;s no flaw to be found whatsoever in your company.

I'm very happy you guys are doing well, and HELPING mainstream Dance music flourish. I also didn't critize Robbins Entetainment in my statement, but rather pointed out that you guiys are just one piece of the puzzle.

>
> Neither hurts "the scene", they are just different scenes.
> If your a clubber that's too hip for the room, then you
> probably hate Sammy. If your more into mainstream sounds
> then Oakey's not gonna get you excited. There's room for
> both.
>
I'm not gonna deny that one bit. I think it's just fair game to say DJ Sammy is hurting the scene when someone else lays the say claim in a factual manner on someone like Oakenfold.

Peace,
Charles<P ID="edit"><FONT class="small">Edited by CHRles on 04/05/06 06:33 PM.</FONT></P>
 
Re: Yesterday vs today

There are dancefloor tracks and there are radio tracks. What Deep Dish does in the club is great and good for the scene but that doesnt mean it will cross over to the mainstream on radio. DJ Sammy isnt just as good as Oakenfold for the genre? Then you are crazy. Last I checked DJ Sammy crossed over to Top 40. Thats what dance music needs more tracks crossing over.


There are a lot of really solid dance tracks that should be crossing over. Kim Sozzi, Kristine Hendricks, Lucas(finally has), Freemasons, and I could go on and on. My biggest problem is djs that say these tracks are cheesey and wont play them. But these are the same people that complain theres no dance music on the airwaves.

Look at the Winter Music Conference. I had dinner with a major player in the biz and this person was telling what the conference used be was a place where new artists were getting exposed to record labels and deals were being cut. Now its one big party and 95% of the people that go to the "conference" dont even know theres actually a conference going on. They thinks party after party. What good is that? How does that help bring dance music onto the airwaves.
 
> Not 1986? You mean this I should take of my studded belt?Oh
> wait,the 80's are sorta back.Besides,freestyle peaked in
> 92(before radio decided to pull the plug on it).Freestyle
> was still charting on billboard in the mid to late 90's with
> acts like Jocelyn Enriquez,Planet Soul,Collage,Johnny O.I
> think Rockell has most recently charted in 2002.

I don't know if I'd really consider Jocelyn Enriquez's big hits as Freestyle, nor some of Rockell's stuff, or of course Reina. It's a much more contemporary sounding form of Dance music that doesn't rely on the same old Afrika Bambaataa/Kraftwerk samples.
 
Re: Yesterday vs today

> There are dancefloor tracks and there are radio tracks.
> What Deep Dish does in the club is great and good for the
> scene

THANK YOU.

but that doesnt mean it will cross over to the
> mainstream on radio.

AGREED. I never said one must equal the other.

DJ Sammy isnt just as good as
> Oakenfold for the genre? Then you are crazy. Last I
> checked DJ Sammy crossed over to Top 40. Thats what dance
> music needs more tracks crossing over.

When I hear something like Oakenfold's "Southern Sun", or "ready Steady Go", or "Starry Eyed", or his older Perfecto material (like "Bullet In The Gun"), and compare that with DJ Sammy's remakes (Heaven/Bryan Adam, Why/Annie Lennox, Boys of Summer/Don Henly) then yeah I don't think they're in the same league.
Unfortunately quality doesn't always triumph all.
Don't get me wrong - I liked DJ Sammy's "Heaven" when it came out, but then a million other Dance acts from Germany, Spain, Belgium, and England released countless other Euro-Dance remakes of popular songs.


> There are a lot of really solid dance tracks that should
> be crossing over. Kim Sozzi, Kristine Hendricks,
> Lucas(finally has), Freemasons, and I could go on and on.
> My biggest problem is djs that say these tracks are cheesey
> and wont play them. But these are the same people that
> complain theres no dance music on the airwaves.

DJs build a name for themselves by playing music that appeals to them, which they hope will also appeal to the audience on the dancefloor. At least that's the name of the game with the big name DJs. Now as far as hometown RESIDENT DJs not playing those records that's another problem.

> Look at the Winter Music Conference. I had dinner with a
> major player in the biz and this person was telling what the
> conference used be was a place where new artists were
> getting exposed to record labels and deals were being cut.
> Now its one big party and 95% of the people that go to the
> "conference" dont even know theres actually a conference
> going on. They thinks party after party. What good is
> that? How does that help bring dance music onto the
> airwaves.
>

THE WMC has evolved. It's now considerd America's version of Ibiza. Just like a lot of big Dance records break out of Ibiza, the same can be said about the WMC. You can't expect every DJ to play your music, but you can slowly develop a relationship with other producers and record companies via the WMC. Gabriel & Dresden is a prime example of new teams/alliances formed during the WMC.
You're getting exposed to all the different sounds of Dance music in one week - whether it's underground friendly or radio friendly.
The fact that 95 percent of the people at the WMC don't even know there's a conference going on is the best thing about it if you really think about it: You have the chance to expose your music to the general public, to the people who might actually later purchase your music rather then just tell you station Y in Peoria wouldn't play it.

It's all about how you make the most of your trip to Miami really. Maybe I'm being naive here, but that's what I honestly believe.
 
Re: Okay, this is really starting to get to me

I think you need to take radio 001 before you can talk about what a PD shouldnt play.

1. Have you ever heard of call out research? I am not a huge fan of it but a lot of the major companies use this. What do they need from a song? A hook No hook no add. Someone was talking about classic rock. People can sing a long.

2. What demo do most CHR's go after? Females!!!!! Why would a CHR programmer care about a male demo graphic?

3. Have you seen any dance artists perform? They typically are eye candy. Lucas Prata attracks the females. Kim Sozzi, Kristine Hendricks, Danielle Bollinger, Jenn Cunnetta they are all hot. I guess Im gay for liking to watch them perform.

4. How many over the air commercial dance stations are there? I believe that number is a whopping 4. And lets break that one down. One has a no repeat work day and plays mostly golds, one has a bad signal, one is a city that is rebuilding from a major disaster and the other just changed manageement. So if were an artist, is this going to make you become a household name? From the labels perspective, will this sell a ton of tracks? If I was Robbins I would want a 120 spins of Cascada on pop stations in every major market because I am gonna make money and it will help other tracks get airplay.


Nobody is doing any personal acts(not like you havent done that in the past), but if you are going to make comments about US radio stations, you need to learn the facts. No one is kissing Robbins ass. The fact is they are one of the few dance labels that gets it. I guarantee Robbins numbers the past two years smoke all the labels away.
 
Re: Okay, this is really starting to get to me

> I think everyone needs to remember that Radio stations are
> businesses. They need advertisers to pay their bills.
> Let's take a look at stations that have tried going the
> "non-commercial" dance route. How long and/or how succesful
> would you say "Groove Radio" was? It's to me a perfect
> example of what we are speaking about.
>
Even I was lost at times with Groove Radio's programming.
L.A. could have had it good, but unfortunately what happened in 97 was that within a week/month Southern California got not one but 2 Dance stations. Both trying to capitalize on NYC's newfound success with Dance via the resurrected WKTU.
What ended up happening was that B-100 was too much of a Dance/Rhythmic A/C with ratings hovered around the 1.8 share. They had some fantastic Top 40 DJs, a great signal, and decent promotions. The music mix though wasn't as exciting as KTU.
103.1 Groove Radio had a more limited signal, and was definitely too hip for the room. It tried too hard to become a cutting edge Dance stations, played TOO MUCH new music for the average listener in the daytime. The jocks though were very cool and knowledgable, just like the jocks at 106-7 K-Rock (L.A.'s Modern Rock powerhouse).

If only L.A. had just gotten ONE Dance station at the time (instead of 2) that was somewhere in the middle musically between B-100 and Groove Radio, then perhaps L.A. might still have a Dance station today :(
 
> Rockells hits were all freestyle.
>

I agree.Although,a couple had a breakbeat influence.

What about tracks like:


Aubrey "If you don't know me by now".

Roc Project "Never" Johnny Budz remix

I consider those songs to be an update of freestyle.
 
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