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Classic Rock: Evolve or Die!

I knew a fellow that died a few years ago. He had several stations, mostly on AM, and all served a market bubbling under the top 100 markets in the USA.

He acquired an AM and FM in a small market. Both stations had a good signal in the market mentioned. He told me he wanted to do a station the youth could call their own and on the AM he went old country, not the 1980s plus Classic Country. Since the stations were intended to be stations serving the bigger market instead of the small town, he dropped the professional baseball play by play and local sports the station had always done in the past.

Immediately billing dropped like a rock. His Dad have given him his business upon his death and this fellow promptly sold it, making a bit over 8 million. He had cash to burn and was ready to retire from working to playing. The $350,000 he paid for the pair of stations that became his 'pets' hired live talent, pulled out all the stops, promoted and pushed forward. He bought billboards, promoted concerts and such. At one of the old time country concerts promoted on the AM he managed to get about 100 to attend. On the FM a concert for a group they played regularly played netted 22 people buying tickets. Supposedly this was the only station in the market playing the group.. The band played anyway as did the front bands. Sales were pretty much zero on both stations so he did a tack on with clients that bought his Christian, Oldies, Sports Talk and Conservative Talk Stations. He added $1 for both stations. So, the stations had pretty full spot loads.

He never registered in the ratings with either station and soon the live jocks were gone. He decided income was so bad he'd carry professional baseball again and did. Billing increased but was only about $90-$95,000 a year for both stations combined and about $40,000 of that came from sponsorships sold for the professional baseball play by play. Except for a handful of clients, revenue was the tack on rate for clients buying his other stations.

When you deduct baseball, the two stations combined billed a little south of $5,000 a month. Amid all this he had to redo the AM ground system and major repairs to the station office (new roof, new septic system and new furnace I know of).

I lost touch and in a few years the poor guy dropped dead from a heart attack. I was interested in this AM/FM combo in the past and I approached the son after a couple of months. He wanted to sell badly admitting he had no interest in radio and had just listed it with a broker. The broker wanted between $800 and $900 thousand for the pair, far more than I thought the stations were worth.

A few monthly later, the stations sold for just $200,000. This was $150,000 less than he paid and didn't account for the costly improvements. The property alone was appraised at 45% off the price.

To be honest, this stuck with me because a nice town lost their local stations that had been nicely supported by the area. It was sort of sad. After all, their local school sports lost their live coverage and now nobody does any local news of the area. They lost their stations not due to lack of support but through no fault of their own.

In the end, outside of professional baseball, the pair billed less than 20% of what they did before the format flip.

Here's a real example of a pair of stations that opted for formats other than the usual. They were not classic rock but rather eclectic rock on the FM and 50s, 60s and through mid-70s country. It would have never been tried if the guy hadn't gained a bit over 8 million by selling his Dad's business and didn't have four other stations that while none were big moneymakers, easily held their own. By the way, except for the FM mentioned, all others were AM stations and two were daytime only.

Yes, I omit the market, call letters and owner's name because the information was shared with me in confidence. Although he his no longer with us, I have chosen not to reveal his identity in a public discussion.

Another station, a Low Power FM runs an eclectic Americana/Roots format. They think they have about 250 listeners out of about 18,000 in his 50 dbu. They average billing about $225 a month (5 clients get an underwriter spot a day Mon. - Fri.). The operator has his operating expenses at around $2,400 a year but when their transmitter was hit by lightning about 18 months ago, they were off the air 5 months trying to gather the cash to pay for repairs. If he didn't love the music, I doubt he'd program it. So, he gets about 1.4% of the audience and his advertisers are those who love the music and run small storefront businesses.

I had been staying away from this topic because it was going nowhere. And, I cannot say each of these formats was executed flawlessly but the results do mirror what has been posted. I really liked the LPFM's format but he can't stream...no money to do so.
 
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Then again, that isn't the topic. The topic is "Classic Rock: Evolve or Die?" I was looking for what changes could be made, to keep it going. Adding unfamiliar music isn't the answer. For one thing, that would turn it into something other than "Classic Rock".
 
Then again, that isn't the topic. The topic is "Classic Rock: Evolve or Die?" I was looking for what changes could be made, to keep it going. Adding unfamiliar music isn't the answer. For one thing, that would turn it into something other than "Classic Rock".

In that case, the answer is apparently "die", because the only suggestions have come from Avid, who wants things done that have been tried (and failed) in the past, and revisiting past failed concepts is hardly "evolution".
 
In that case, the answer is apparently "die", because the only suggestions have come from Avid, who wants things done that have been tried (and failed) in the past, and revisiting past failed concepts is hardly "evolution".

If that's the case, we're going to have a lot of solid facilities, looking for a new format but I don't think we're quite there yet. What can be done to avoid that? This is probably just speculation, at this point but there are a lot of smart people here. Someone must have an idea as to how to proceed.
 
I hate to say it, but the best answers will likely come from outside broadcast radio with the criteria radio uses to make sure it caters to the masses. All it takes is a spark of an idea or the early start of a trend. We're all looking for it.
 
I hate to say it, but the best answers will likely come from outside broadcast radio with the criteria radio uses to make sure it caters to the masses. All it takes is a spark of an idea or the early start of a trend. We're all looking for it.

And when you hear an outside suggestion, you all circle the wagons and tell the outsider that he's wrong because he's an outsider and doesn't have your inside information. You'll also assume that "the masses" are a static, never-changing lump of humanity, so any lesson from the past couldn't possibly become outdated because the audience has grown, changed, or matured. You're totally convinced that a teenager or 20-something in the 2010's has the exact same taste, preferences, and biases as teenagers and 20-somethings did in the 60s, 70s, or 80s. You'll never acknowledge that anything ever grows, changes, or evolves. What worked or didn't work long ago won't work today. The concept that some ideas might have failed because they were tried before the time was right for them is totally foreign to you.
 
If that's the case, we're going to have a lot of solid facilities, looking for a new format but I don't think we're quite there yet. What can be done to avoid that? This is probably just speculation, at this point but there are a lot of smart people here. Someone must have an idea as to how to proceed.

That's fine. We have lots of new format ideas waiting for facilities, lots of young, marketable audiences waiting for radio stations they can listen to that are currently being programmed with music for aging boomers who are moving quickly out of the demo. No reason to fret about a dying format. There is a finite number of radio stations in every market, and we need to start programming to the next generation of listeners. It's also a way to bring some new blood into the radio industry. I see no down sides to any of this. The music will live on in satellite and subscription radio, where fans can pay and support the artists and writers who made the music 40 years ago.
 
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Yes we are looking for new ideas and trends. Then we research and take the results to our bosses. It is something we have done, depending on the person, for decades. When the timing and research are right, we get a shot. Sometimes it works but many times it fails and others improve on what we have tried until it finally catches on.

All we know of yours, Avid, is it is obscure. We know obscure does not work. That is not new. It has been proven over and over.

Your remarks are plain false. Your lack of knowledge about the radio business is amazing for someone who visits such boards. Simply put, you bring nothing to the table.

Another point: in programming we take our directive from our bosses. I suppose you'd tell your boss you are not going to do what they want, that they, the 'suits' as you call them, are stupid and are wrong, opting to do it your way. I have to wonder if you have held a job and if so, how long.
 
That's fine. We have lots of new format ideas waiting for facilities, lots of young, marketable audiences waiting for radio stations they can listen to that are currently being programmed with music for aging boomers who are moving quickly out of the demo. No reason to fret about a dying format. There is a finite number of radio stations in every market, and we need to start programming to the next generation of listeners. It's also a way to bring some new blood into the radio industry. I see no down sides to any of this. The music will live on in satellite and subscription radio, where fans can pay and support the artists and writers who made the music 40 years ago.

I'll put you down for "die". :) ...but thanks for answering my question. I think you're about the fourth person so far! I was thinking that this was somewhat of a gray area that might require an evolutionary step. I just don't know what that step might be. I'm not fretting about this. I just thought it was interesting and was curious.
 
I'll put you down for "die". :) ...but thanks for answering my question. I think you're about the fourth person so far! I was thinking that this was somewhat of a gray area that might require an evolutionary step. I just don't know what that step might be. I'm not fretting about this. I just thought it was interesting and was curious.

Put me down for "die off". Classic rock is "oldies" with more intense guitar riffs, and it will age out of the sales demos. But that does not mean it does not have 5-7 good years left.

Some of those stations will make noticable format shifts, and others will transform (or as BigA says, "evolve" into something else just as many oldies stations evolved into classic hits stations. Of course, this means, over time, an almost 100% different record library.
 
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I was thinking that this was somewhat of a gray area that might require an evolutionary step.

As I said before, musically it already has evolved into other formats. If it was to "evolve," that involved becoming something else. That's what evolution is. Otherwise, it hasn't evolved, it's simply karaoke. And there's lots of that out there too.
 
David said Maybe he is just taking out his frustrations on us.

No, not frustration directed at you. I too have programmed a few stations. I wonder if another poster has held a job for any length of time with his attitude and belief that all that we do is wrong.
 
Classic rock is "oldies" with more intense guitar riffs, and it will age out of the sales demos.

Spoken like someone who knows radio, but is clueless about music.

And for the record, this anecdote is about why I came to lose respect for the suits who program radio stations. I was on a panel on a TV show in 1969 interviewing one of the leading Top 40 program directors in Pittsburgh, Chuck Brinkman. Another Top 40 PD from another station was also on the show. At the time, we asked him why they had to clutter the Top 40 with so many non-rock songs, like "Candyman" by Sammy Davis, Jr., or "The Men in My Little Girl's Life" by Mike Douglas, or "It Must be Him" by Vickie Carr. This semi-legendary radio suit said that the only way a radio station could be a success was to play "something for everybody". It there wasn't a broad range of variety, then the station's ratings would fail. He claimed that they had testing that proved that if they didn't include sufficient "variety", they wouldn't be able to keep an audience and get good ratings.

Less than a decade later, there were no Top 40 stations in Pittsburgh attempting to be all things to all people. Even though the addition of all the newly popular FM stations increased the number of stations, all of them specialized in one particular genre of music or another. None of them would play both Vickie Carr or Sammy Davis, Jr. in the same half hour as Steppenwolf or Led Zeppelin.

As long as the suits keep assuming that the tastes of the "money demos" won't change as new people age into those demos, radio is in big trouble. My first-hand observations are that the people aging into the money demos have had an unprecedented exposure to all of the recorded music that came before they were born, and a great many of them prefer the vintage "classic" sounds to many of the more modern songs. Not all of them, but enough of them to be a big enough quantity to enable a radio station to be successful programming to them.

But as long as the suits running radio have your minds permanently stuck in the 70s or 80s, you'll never be able to recognize change.

Incidentally, if all you do is follow the orders of your boss, then you aren't a suit.
 
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Spoken like someone who knows radio, but is clueless about music.

"It's called sarcasm. It's as valid a form of expression as making clueless and demeaning posts!"
 
I was on a panel on a TV show in 1969

If you're still basing your opinion of radio programmers on an experience that happened 45 years ago, then you're no better than they are. You're stuck in the past, stuck in a mindset because of some experience from some guy who answered correctly IN HIS TIME. Because not long afterwards, all of the thinking had changed, as evidenced by Rick Sklar's book, "Rockin' America." He programmed WABC New York, and in the early 60s, they were a "mass appeal" station, playing all things to all people. By 1971, they narrowed their focus quite a bit, to the point where those MOR artists no longer got played.

Everyone knows the money demos change. That's why we no longer care what boomers like you want. You can hold your breath and stomp your feet all day, but we're not going to cater what we do to you any more. Those days are gone, like Vicki Carr and Sammy Davis Jr. But if people in the REAL money demos (23 to 49) want "vintage classic sounds," they're finding it right now in country radio and some of the alternative rock formats. That's what the real musicians like Tom Petty tell us. I prefer to believe him than you.
 
And for the record, this anecdote is about why I came to lose respect for the suits who program radio stations. I was on a panel on a TV show in 1969 interviewing one of the leading Top 40 program directors in Pittsburgh, Chuck Brinkman. Another Top 40 PD from another station was also on the show. At the time, we asked him why they had to clutter the Top 40 with so many non-rock songs, like "Candyman" by Sammy Davis, Jr., or "The Men in My Little Girl's Life" by Mike Douglas, or "It Must be Him" by Vickie Carr. This semi-legendary radio suit said that the only way a radio station could be a success was to play "something for everybody". It there wasn't a broad range of variety, then the station's ratings would fail. He claimed that they had testing that proved that if they didn't include sufficient "variety", they wouldn't be able to keep an audience and get good ratings.

Less than a decade later, there were no Top 40 stations in Pittsburgh attempting to be all things to all people. Even though the addition of all the newly popular FM stations increased the number of stations, all of them specialized in one particular genre of music or another. None of them would play both Vickie Carr or Sammy Davis, Jr. in the same half hour as Steppenwolf or Led Zeppelin.

What Brinkman said in the 60's was true. There were relatively few stations in competition, as the FMs had not yet begun to grow. So Top 40 stations had to cover a broad expanse of tastes to compete with equally broad MOR stations. There were no niches, as formats did not fragment until the very late 60's.

Top 40 had to play enough pop to hold the teens and very young adults and enough more "standard" sounding songs to hold the 18-34's, particularly women.

Any station that became too pop or too conventional was badly beaten by the "full" top 40. KQV/WIXZ, WFUN/WQAM, WIXY/WHK, KFWB/KRLA, KRIZ/KRUX, WAPE/WPDQ, WMAK/WKDA, WIL/KXOK and dozens and dozens of early to mid 60's radio battles proved this.

Once FM, on average, tripled the good-signal stations in all markets, stations could stake a claim on a segment of the audience and come out well.

When there were 6 or 7 competitive stations in a market, the leaders often had around a 20 share. Once there were 15 to 18 stations (or more) competing for ratings, a 7 or 8 share was great... so each station had to take a piece of the pie. In contemporary music, that meant oldies, CHR, AoR and even the first AC stations that were, then, called "chicken rock".

Example: in 1968 KQV had a 15 share and Wixy, which was a start up had a 3 share. The next year, Wixy had a 5 share (despite the bad McKeesport signal) and KQV had a 12.

Skip forward to 1973 and 13-Q had an 8, Wixy a 2 and KQV a 6. Then Bob Pittmans' WPEZ started getting shares around '74, but never got beyond a 5, because that was around the same time WDVE gained traction, fragging the CHR arena. As I said, when FM tripled the station count, the average shares came down as there were more mouths at the table.

Everything Brinkman said was absolutely correct in the FM-less 60's. It was absolutely wrong in the 70's.
 
Everything Brinkman said was absolutely correct in the FM-less 60's. It was absolutely wrong in the 70's.

And the re-hash of tired, outdated conventional wisdom from the 90's is even less accurate in the 10's than the conventional wisdom of the 60's was in the 70's.
 
And the re-hash of tired, outdated conventional wisdom from the 90's is even less accurate in the 10's than the conventional wisdom of the 60's was in the 70's.

We know this already.
 
And the re-hash of tired, outdated conventional wisdom from the 90's is even less accurate in the 10's than the conventional wisdom of the 60's was in the 70's.

We've made adjustments in all formats at least five times during that period.

Your also basing your general opinions on your local market, and as we've said in other boards, that market is way more conservative than other parts of the country.
 
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