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Biondi4Mayor
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Actually, yeah. If LA's so Latin heavy, I don't know why KRTH doesn't take advantage of some great artists like Deodato...now that would be some interesting listening.
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Classic Hits: Evolution or Revolution?
- Thread starter semoochie
- Start date
Biondi4Mayor said:
KRTH is stuck on "Oye Como Va" by Santana, "Eres Tu" by Mocedades and "Low Rider" by War it seems.
Well, "Eres Tu" not so much, but it did air a few days ago. Surprised they don't play "Lo Mucho Que Te Quiero" by Rene & Rene, #14 in early 1969 (nationally) and #1 on the Boss 30 on KHJ in December '68.
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Biondi4Mayor
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oldies76 said:
Did they really air "Eres Tu" !!!!? Last time I heard that was on a Casey Kasem rewind. Now that would make me listen, great, great song!
That would be the first surprise I've heard in who knows how long.
oldies76 said:
They are too old for nations where the average age is 10 to 15 years younger than in the US.
Ah.. there were no local hits in Ecuador in the 60's and 70's.
Biondi4Mayor said:
Eumir Deodato is Latin (Brazilian, specifically) but not Hispanic. I do not know of any of his material that had any significant impact in Spanish speaking countries.
oldies76 said:
Because to get people to give you every possible minute of time they do spend listening, you have to play the best songs.
Nobody goes back to a restaurant with bad food... why would you expect them to stick with you if you play bad songs? And the only way to separate good from bad songs is by testing.
Who said they were "too busy to... enjoy" what they do hear?
People get up to go to the bathroom no matter where they are. They take phone calls, or chat with friends or co-workers. The dispatcher in the loading dock office gets up to check incoming and outgoing trucks. The stockroom employee goes out on the sales floor to replenish merchandise. Mom takes the kids to the school bus stop... and so on.
That does not mean they do not enjoy what they do hear when they are listening. In fact, it raises the bar for stations in PPM markets to never miss a beat, because listeners have so many moments during the day when they can decide to stop listening or to change stations.
Radio has been very successful as a "listen while you do something" medium for 60 years. That, in fact, is one of its strengths.
Where did you get that figure?
oldies76 said:
And they were originally recorded by EMI/Odeon in Bs. As.
No, there were no pop hits in Ecuador in the 60's or the 70's.
Remember, the first Top 40 station in all South America went on in 1964, and the smaller countries had very limited music production. Even much larger Colombia only had a handful of pop hits in that era.
DavidEduardo said:
"The key element here is that during a work day, even those who listen "to the same station all day" miss 75% or more of the songs played. Similarly, any listener any place misses most of the programming because they interrupt listening constantly to do other things, like taking out the trash or changing the water bottle in the kitchen or getting on the phone or..."
Sorry, 75% of the songs played, not 75% of the workers, my goof! But still, that's a lot of music going unnoticed.
Biondi4Mayor said:
Yep. On both counts.
And they still are Spanish Classic Hits.
A lot of the problems we see in programming... or programming against a competitor is that many programmers don't know how to put the pieces together.
A music test essentially makes sure all the right pieces to the puzzle are in the box, and none from a different puzzle are in there by mistake.
Giving a good music test to a bad programmer is like giving a machete to a chimpanzee... nothing good is going to come of it.
Biondi4Mayor said:
Eumir Deodato is from Brazil. Most of L.A.'s Latino population if from Mexico or Central America.
I was a fan of Deodato from a few years before his breakthrough as a solo act, when he produced and arranged some great jazz LPs. But he really only had one chart hit, Also Sprach Zarathustra (2001), which hasn't aged well and is nine minutes long (the 4-minute single edit is horrendous...you can hear every splice).
KRTH, by the way, has always made a point of soliciting Latinos. In 1976, they dumped Oldies for almost 10 years and went AC. Around 1980, they had billboards all over Los Angeles...bright orange, with the K-Earth 101 globe logo in the center. At the top, they read "Playing Your Favorites". But in heavily Hispanic neighborhoods (this was 33 years ago), the top line read "Jugando Sus Favorotos".
They weren't programming a word in Spanish (apart from Santana and Malo records), but they knew how critical that ethnic group was (and at that time it was probably less than a third of the metro population).
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Biondi4Mayor
Guest
DavidEduardo said:
But don't forget that part of a station's success like that, is often due to a lack of strong stations targeting minorities. Many Spanish stations in particular are on lousy signals, but KBRG's signal is quite fantastic for a station like that. In short, often less variety for minorities leads to stronger loyalty to particular stations.
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Biondi4Mayor
Guest
Lots of statistics have been thrown around, so I want to try and put them together.
David illustrated on the last thread that "tune-out" from commercials is very low. Wasn't it typically 80-90% of audiences stayed during stop sets?
David, didn't you also say that music tests target people who listen to at least an hour of a station? But, a station's identity should be secret shouldn't it? So how do they get accurate results when choosing people?
Also, we know that idividuals listen to about 5 or 6 stations. And the average listener listens to 47 minutes of radio (not consecutively).
So, if few tune out to commercials, but have the time to sample numerous stations, and listen typically to a total that is not even an hour ------ what do listeners listen to?
And, when the average listener doesn't listen to 47 minutes of one station, then the people selected for the music tests are above average listeners - which was illustrated to be a huge problem.
To catch even ONE 6-8 minute stop set, would bring the total down to roughly 40 minutes.
Disconnect?
David illustrated on the last thread that "tune-out" from commercials is very low. Wasn't it typically 80-90% of audiences stayed during stop sets?
David, didn't you also say that music tests target people who listen to at least an hour of a station? But, a station's identity should be secret shouldn't it? So how do they get accurate results when choosing people?
Also, we know that idividuals listen to about 5 or 6 stations. And the average listener listens to 47 minutes of radio (not consecutively).
So, if few tune out to commercials, but have the time to sample numerous stations, and listen typically to a total that is not even an hour ------ what do listeners listen to?
And, when the average listener doesn't listen to 47 minutes of one station, then the people selected for the music tests are above average listeners - which was illustrated to be a huge problem.
To catch even ONE 6-8 minute stop set, would bring the total down to roughly 40 minutes.
Disconnect?
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Biondi4Mayor
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michael hagerty said:
My bad on the Deodato being Brazillian, but has he been tested? Or is it just assumed he "can't work"? Not even late at night, or on a special? Also Sprach Zarathustra is highly recognizable.
I'm surprised at Chicago stations lack to follow similar suit. Chicago's Spanish population has boomed (in fact they now outnumber African Americans), but I find it narrow-minded to consider playing a Santana record "appealing to the Latinos".
Biondi4Mayor said:
More like 90 percent.
The identity of the station hosting a test is kept secret. When people are contacted (phone, intercept, even internet) they are asked what stations they listen to and for how long, on average,each day.
Usually, they are started by asking, "what is your favorite station... the one you listen to the most?" and then they are asked about time spent listening. After that, they are asked "any other station" and so on until they run out.
Generally, if a person names your station among the top 3 and gives it enough TSL, the person will then be asked for demographic data to see if they fit in the test target. They may use the station, but be too young or too old and then not get invited.
Since the perception of time is different from the reality per the PPM, when a person says "two hours a day" we know that they listen over a two hour period, even if it may in reality be even less than 45 minutes real time. This is just a recruit "gate" to get only people who know and like either the station or the music.
The average person listens to their favorite station about 45 minutes to an hour a day. But the average total radio listening is around 12 hours or so a week, depending on the market.
Many listeners don't listen to their favorite station every day. They may have two or three favorites, and they alternate... mood being the main motivator for change.
Answered above... average is 12 hours a week, meaning that some listen 15, 20 hours and others maybe 2 or 3. Remember, some people can't listen at work... others can. Some people wake up with TV, and listen to radio only in the car. Each case is different.
A station's P1 and P2 listeners tend to give higher average amounts... often reaching levels like 2 hours a day, three or four days a week... and those are the people that get recruited. Those are the individuals who are only perhaps half the cume audience, but who give 90% of the time spent listening.
You have the math wrong. There is a difference between total listening to all stations and average listening to each station.
Biondi4Mayor said:
As Michael explained, because the song is so long it likely did not get tested. To Hispanics, the title is not very recognizable, unless the person has a classical music background. It did not get CHR airplay in Latin America, even in Brazil.
The total Chicago Hispanic population percentage is about half of what it is in LA. And the community is among the newest in creation in the US, meaning far more first generation Spanish dominant listeners there... and much less for adult targeted English language stations.
Additionally, the older Hispanics in Chicago are much more Caribbean in origin (mostly Puerto Rican), while the under-45 community is almost all Mexican and some Central American. US CHR songs were never as widely played in Puerto Rico as they were in Mexico and Central America, so the exposure to "the oldies" is less. (Salsa was the CHR of PR in the 70's and 80's)
LA has a Mexican heritage population that goes back hundreds of years. Thus, it has a larger number of second generation and beyond Hispanics.
(I am over-simplifying a rather complex change in the national origins but the overall picture is all that is needed here)
oldies76 said:
But the tune was associated with "Star Wars." Wasn't that movie -- dubbed in Spanish -- a hit in Latin America, too, or didn't it cross over?
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