Final Reflections

[John FL]

Happy Holidays!

During the holiday season, I’ve offered a look back at radio’s past via reflections posts. This was done, in large part, to acknowledge those individuals/stations that were standouts. When rock was young, managers didn’t have a roadmap. They made mistakes and they made great decisions too. Radio has an interesting history. I’ve long enjoyed telling stories of radio’s yesteryear and there’s lots to recall!

I’ve only touched the tip of the iceberg. Personal experiences have their limitations. In posts from many years ago, radio pros and avid listeners recalled their own experiences from around the country. It made for an interesting discussion. History doesn’t hold the same fascination by the masses as it once did.

There have been many radio success stories. History and the current environment tells us that with a format’s success often comes new competition. While imitation is the sincerest form of flattery, operating in that way doesn’t always ensure success either.

Radio has its share of “lessons learned.” They exist today too. You can tell when a format won’t make it. Too often it can be traced to repeating mistakes that should have never happened. Sloppy programing is a big offender. Obviously, there are many others. I've seen listeners made the scapegoat at times. "The market didn't support the format." Listeners tune in to what they enjoy. They are judge and jury but they do know quality when they hear it.

These reflections posts dealt with quality broadcasting of the distant past and also over the current year. There’s a great deal that contributes to quality or lack of it. But what remains constant and critical to a business’s success is in having outstanding teamwork. The right leader is everything.

It has grown more challenging to make comparisons of radio’s past to today’s environment. If anything, it’s a stretch. Whether we are talking radio in 1969 or 2019, the constant that has remained as a key ingredient to success is an inspiring leader who builds that vested in success team.

Many months ago, I began thinking about this reflections post and what I’d discuss. I kept drawing blanks. I also figured some things were no longer relevant. I also wanted to avoid redundancy. We hear a good deal about relevance today as it applies to radio. Happily, inspiration came to me at an unlikely place.

I’ve come to learn of the many synergies radio shares with other companies. That will be the main theme of this years’ reflections finale. I also promise something “special” as well. Stay tuned!


​

 

[John FL]

Earlier this year, Publix Super Market updated their background music. Gone was the 70s/80s mix. In its place was 80s/90s soft hits. Today, a few 00s are finding their way on the playlist. It wasn't too long ago one of our local music stations (WQOL-FM) lost its "oldies" branding and became "Greatest Hits for the Treasure Coast." Shortly after Publix updated their sound, WQOL-FM introduced late 80s and 90s into their mix. I sometimes hear the same songs after hearing them in the car and coming into the store. To say time is marching on is an understatement.

I know a Publix exec in Miami and he explained all the reasoning behind the music update. He could have been a radio Market Manager. We may not think of other businesses and radio as having things in common but they do. While everyone of every demo under the sun goes grocery shopping, even super markets have radio equivalents of P1s. To no ones surprise, women, especially those who are raising young kids are a prime target. Households with kids spend more money. While people don't go to the store to hear music, there's a lot of subtle, subliminal audio and visual things going on. Publix is highly successful and they research and test like crazy, just like radio does.

Older folks are a group that show devoted loyalty to Publix as they do some radio stations. But they are harder to sell new products to. They are more set in their ways. How many times have you heard this in various radio discussions on the board?

So, in keeping with reflections, I thought it would be the perfect time to look at Radio Discussions itself, especially when it comes to the music. It is no doubt the one subject that has evoked much passion and even arguments. There have been those rare times the monitors had to shut down a string. I have probably written the bulk of my posts regarding the classic hits formats than anything else over the past decade and more.

Radio Discussions mirrors society in a number of ways. 2019 has proven to be a good year. I've learned a great deal and there's been a good number of truly interesting topics. Hot heads prevail at times. Some of the posters may get frustrated. On rarer occasion than we have in the past, we see intolerance for differing views. R.D. is not an easy forum to express views at times because the written word can be misconstrued.

I believe there are others things at play - assumptions and bias toward certain posters. Allow me to digress a tad to make some points. In my banking/financial career, my performance evaluations almost always talked about my ability to see things others don't see or not afraid to speak up or uses good judgement in making decisions etc. I was known as a maverick of sorts, especially when I was in my 20s, 30s and most of my 40s. In my 50s, comments in my performance reviews talked of not embracing change. How could this be? I saw myself as the same person. Nothing changed as far as I was concerned.

Many years ago, I was explaining my thoughts on classic hits music programing. One of the posters asked if I were a Boomer. I wondered what the hell that had to do with anything. Eventually I answered the question. Yes, I am a Boomer. It was a way of discrediting my views. It's easy to be stereotyped. It's also reality of what exists in the workplace. Get a negative reputation and it's extremely hard to get yourself out of that hole.

My first reaction to Publix's music update was disappointment. There were so many wow songs in my view that I enjoyed hearing while shopping. One of them was "Midnight at the Oasis." I always loved that song. But the thing is I understand why that song from 1974 was replaced with Wham! etc. Outside of any radio station doing an A-Z music special that included the 1970s, I wouldn't expect that song to get airplay no matter how much I love it. There's a fine line between loving an oldie but goodie and assuming the person doesn't get the business of radio. Later in this string, I will present a feature that will further explain my programing thinking.

More to come!

 

[frankberry]

Publix is a class act. When I lived in Florida, I was a Publix shopper. I still have their Thanksgiving "pilgrims" dinnerware.

 

[TheBigA]

Publix is a class act. When I lived in Florida, I was a Publix shopper.

Certainly better (and cleaner) than the Piggly Wiggly.

 

[John FL]

Yes, Publix is a class act. They have given me the inspiration for some of the topics in this reflections post. Interestingly, I was going to bring up competition so it's a good segue. Obviously, Publix has competition and it has grown over the years. But the company continuously reinvents itself, stays current, markets itself incredibly well, and quality products and service defines them. I believe there are synergies with radio, although it may not be as easy to recognize.

Yesterday, I listened to some old airchecks and those incredible jingles from the past. I've done that every time I do one of these posts as they set me in the proper mood. I usually always find something to talk about as a result. In virtually all of these airchecks, there are comments that proclaim radio was so much better years ago. That subject has been discussed to death so I will spare you all of that again.

But what I did think about was competition, operating costs, and revenue. I remain fascinated of the time AM music radio saw its audience erode to the growing challenges of FM. Most happened in the 1970s. But, depending on the city or geography, AM giants succumbed in varying degrees from early to late 70s. Some were fortunate to remain dominant to the early 80s. Then, there are perceptions. In airchecks I've heard over the years and radio stations I listened to, it seemed no one was going to give up without a fight. That's the perception I heard just by listening.

Today, radio faces enormous competition. There's satellite, phone apps, YouTube, Pandora, iTunes & media players galore, music channels on TV and on and on. There's many options for people to find their favorite music. People's attention spans aren't what they used to be either. We live in a time of instant gratification. As competition grew, my perception of radio was not everyone sounded like they were in a fight for survival. Today, there are those who demonstrate excellence. Radio could use more of that. It is a fight and no one should take anything for granted.

We saw the rise of automated stations. Downsizing initiatives became more prevalent. The digital age allowed for voicetracking. One lucky talent could be heard on many company radio stations. Yes, this is cost-effective. Virtually every company out there is about increasing revenue and decreasing expenses. Radio is no exception.

What complicates things as well is the public itself. There is no doubt, they want more music and little talk, if any. Radio has long reflected the public's taste. Many believe radio's clear advantage to everything else is in its local appeal. Listeners can find all the jukeboxes they want. There's tough operating decisions that are made. But, I truly believe radio's advantage is when they are perceived as the local alternative to everything else. Less frequent participation by the talent is the norm. Still, no one should be going through the motions in their delivery. Relevance to the listener is key.

As I think about perceptions, especially for those who believe radio was better in the past, I bet a lot has to do with the full roster of live and local jocks that were the norm. I believe it's a difficult concept to grasp when they don't see that today. Why did that exist in the past and not today? I suspect assumptions are made that operating expenses and revenue that have remained constant. In no business does that exist.

In past board discussions, a number of posters saw automation and downsizing as company greed. Much has changed. I often wonder what the total cost of a radio station studio was, say in the 70s and 80s compared to today and these sci-fi looking studios? That's just one item. But we know technology costs money. Streaming didn't always exist either. It's become a competitive necessity to do so but that was an expense that didn't exist in radio's past.

Balance sheets don't make for an interesting discussion. But, I believe there's been too many assumptions that wind up sounding like facts. Many can set themselves up for disappointment. As cliche as it is, change is constant and radio can't be the exception even though some would love it to be.

I listened to radio during a time that is now captured in various repositories and even YouTube. I admit to loving the jingles of the past. Ladies and gentlemen you're listening to (Name of the jock). And the hits just keep on comin.' A small sample but representative of a different time and place. Another favorite was when one jock's shift was ending and another beginning. Some of the funniest moments happened then. Outside of your own music stash, radio was the go to place to hear your favorites. Today, there's many options. But, as competitive as things are, quality broadcasting happily still exists. The industry needs more of that. I loved all those "name shouts" too but today they are where they belong.

I've another radio synergy to make and that's upcoming. Grab your Dramamine if you need it!

 

[b-turner]

From my observations, it was much more costly to run a radio station back, say in the 1970s and 1980s. Equipment was expensive. As I recall, a cart machine that could record and play carts was nearly $2,000. A cart was going to run you $2.50 or $3 and chances are you needed at minimum a couple of hundred. A decent turntable was around $350. An automation system was more like the cost of a house and you had to pay for your music service. So the basic studio was multiple times the cost of today (although some stations likely spend about the same). So many stations have opted for more of a consumer type of equipment because of the low cost.

Another factor was the FCC required a warm body in the station. There had to be a third class with broadcast endorsement on duty to take meter readings and sign the program logs which were required at the time. There was a huge amount spent on payroll. Even if you automated you still had to have somebody on duty with an FCC license. You had to have a first class engineer on staff or contract to do all those reports/logs.

During those times, the advertising pie had fewer takers. Generally speaking, there was a local newspaper in the town and not much else in a small town. In bigger towns and cities you had fewer entities taking the advertising pie. In the 1980s forward you had lots of new stations come on the air. You had cable TV companies that sold advertising. You had an increase in print competition with an increase in the number of shoppers and even print competitors. Even more TV stations popped up, many in smaller towns. Compared to the 1970s, radio had it easy in generating revenue.

As time moved on the typical radio station saw a competitor or two or three come on the scene and more and more advertising options. This continues to increase.

Online ad dollars are sometimes preferred by exact reach being known. When a business knows with verification their dollars will reach a specific number, it changes the game. Radio has ratings but there are generally known to be fairly small samplings and perceived as being more of an estimate versus precise number. Radio has always sold the magic of results that were always somehow elusive to the client. The truth is most clients don't know how to actually gauge results. Even newspapers with a second class mail permit must file and publish an annual report detailing the actual number of subscribers in county, out of county and through other means such as counter sales. Radio sometimes loses to billboards where their salespeople show state figures of highway count that is credible because it is an independent third party report from an entity with no dog in the race for that sale.

For many radio stations, especially in smaller population centers, the "ADI" dollars get used up in the metro market where in the past, you could get on that buy sheet. The increase in national chain stores (everything from Walmart and Dollar General to banks and fast food) have eaten up advertising budgets radio once had. For the retailer, those customers are eating a Big Mac or grabbing groceries at that national chain. Since radio has always found their bread and butter to be the retailer, for many the monthly budget dropped year after year. In my market, a local grocery store that spent about $2,000 a month in 1980 does about $300 a month today. Radio has made up the difference by going after non-traditional advertiser. In other words you likely didn't call on dentists or foundation repair companies back in the 1970s and 1980s because you never needed to cultivate those clients because your plate was already full with the typical retailers.

All of this meant radio had to create ways to get leaner and smarter in how it monetized itself. This caused more research and better understanding of what radio consumers want and expect. Radio has followed trends and today is better researched and in tune with the atypical listener. You may disagree mainly because you love music and enjoy new music discovery but there are many more that tune to radio for familiar and known. In other words, they're not so in to music. It's about like the split between music listeners where lyrics are top priority versus melody.

Radio is embracing online and looking for ways to engage their listeners beyond the mere audio signal. This is keeping radio viable from an economic standpoint by offering a lifestyle package that allows clients to go where the listener goes and when they go.

Radio we recall is a different animal. There has been so much evolving over the years. The tried and true local aspect is still very crucial to radio's viability. I have nothing to show as a survey but I find many radio listeners tuning in a local station to 'stay connected to community' even when the music or entertainment factor is 'okay' versus 'ideal' or perfect for their individual tastes. That says something in my book.

The station I'm working is mostly voice tracked but you'd never know it. They speak local at each break because ownership and management makes sure that distant air talent is immersed in local information. We're lean...4 in town (including morning show, news, sports and sales) and the air talent that voice tracks every daypart outside morning drive. In fact, I would say we are sort of an exception to the usual. It that respect it's about like saying AM is dead and then saying what about KMOX in St. Louis or WFAN in New York City? The station I'm with has all the disadvantages of most but we do very well with listeners and revenue. We simply found a way to overcome...to seek out new ways versus wallowing in how bad it is.

 

[John FL]

Thank you so much for your detailed response, b-turner.

I talked about assumptions and it turns out my own opinions regarding equipment costs were not accurate. If you allow it, this can muddy the waters even more if you're trying to figure out why things are as they are. The truth is few of us really knows what goes on behind the scenes. In the company I worked for, I wore many hats. One of my jobs was being a market manager and much of my time was consumed by looking for ways to increase revenue. It seemed it was never enough. Maybe that's how radio works too. I'm sure a radio MM spends much of the workweek focused on revenue.

But to your points about radio getting leaner and smarter, it comes down to survival. I agree that radio has extensively researched itself and has a better understanding of what typical radio consumers want and expect. The various music alternatives are not for everybody but I enjoy a number of them. Then again, I am not a typical radio listener.

You spoke about sales and that's an area that doesn't get much attention. I'd like clarify an earlier statement. When I spoke of the fight that existed during the AM music days when FM was on the rise, I was referring to what can be heard over the speakers. We often forget that is just one side of radio. There's a great deal that goes on behind the scenes. Having an effective sales team is a must.

Sales has been another part of radio of which I've probably made assumptions. In Jacksonville, I referred several mom & pop places to iHeart specifically for their now defunct classic hits station. Nothing panned out. The comments I got was the costs were too high but something I believe is more important is they felt the sales rep had an "attitude." I don't like reporting hearsay info but obviously advertising on the radio isn't for everybody. One of those businesses wound up advertising in one of the local magazines, the kind that have coupons for restaurants and stores etc. They are quite popular and another radio sales competitor if you think about it.

Radio Discussions is at its best when we learn a thing or two. I'm sure the readers found your comments interesting.

 

[John FL]

If there is any job that has synergies to a radio PD, it's a cruise director. The cruise industry has changed extensively over the years. There's certainly comparisons to radio as we do a little unusual look back.

On my many cruises, I often sought out the cruise director (C.D.) Many were willing to discuss their roles. We've talked about revenue in the last couple of posts so this is another perspective. When the average person thinks of a C.D., they think he/she coordinates lots of fun things for passengers to do. While that's part of it, that position is key in helping generating revenue.

Just like radio, the cruise industry tests what their passengers like. Even beyond that, the entire experience is tested to include music heard in the public areas. Also, just like radio, there are targeted passengers. Today's major cruise lines have built ships specifically with younger passengers in mind. They spend more money on average. Older, frequent cruisers will often get the cheapest cabin, they won't book tours, they don't spend $ on booze and they eat like crazy. Perhaps an over generalization but I think you get the idea.

Each sailing operates as a cost center, just like a radio station does. The C.D. gets rated on each sailing. Just like a PD, their performance is judged by how the ratings go. Start trending downward and in time, it's like walking the plank. On a side note, I found some cruise members had a background in radio or who dreamed of being on the radio.

Jeff Martin, morning drive co-host on South Florida WFEZ (Easy 93.1) spent 22 years at sea and C.D. for 15 years. Jeff reminded me of the revenue aspects of that role. "Programing certainly drives and affects revenue on those ships. Also brand management and broadcasting (most ships today have their own production facilities providing passenger entertainment, information AND again revenue generation.)" Jeff also introduced a daily talk show. They interviewed entertainers, broadcast game shows, produced commercials for onboard revenue centers, provided Port and Shopping information.

In thinking about b-turner's post, it's clear that revenue generation plays a prominent role in key radio management's performance. Outside of Jeff Martin, I'm not aware of others in radio with a cruise industry background. Many years ago, when I was responsible in hiring tellers for the bank, the company insisted on both customer service and cashiering experience. There were great candidates but they lacked one of those skills. I got the company to change the qualifications. We hired people who enjoyed being around people. That's something you can't train.

In the radio world, I rarely see a position out there that doesn't require radio experience. A ship's C.D. or even entertainer could have some possibilities. Anyway, something to think about. Jeff Martin is enjoying a great radio career too. Anything is possible.

 

[John FL]

One more comment to the previous post regarding finding talent outside of radio for a gig. iHeart Media's WZTA-AM known as WAXE 1370 AM/translator 107.9 FM - Vero's Talk Station - frequently advertisers for morning hosts. In fact the guy who announces it is a doctor who is on the air. In billboards around town, he and another featured "voice" is a dentist.

I suppose small market radio is a perfect place for non-radio types to get in front of the mic and gain experience. Everyone who either had or has a career in radio, whatever role that might be, had to start from somewhere. The point is diversity in an employees work history can make for an interesting mix of people. You also never know where that next great idea will come from. There's a lot of creativity in people if someone will take the time to listen. Okay, enough said.

A reflections subject wouldn't be complete without talking about past missed opportunities. For a long time, I just never understood how and why some of these things happened when it looked to me like there was lots of potential.

Thanks to "Radio Discussions," I know my positions have moderated over the years. There's incredibly knowledgeable people who may ruffle feathers at times, but you have to respect their experiences. Still, I'm convinced that if we are talking about success, that old Publix commercial I talked about in last year's "Reflections" certainly applies. "When the right ingredients come together, it's magic."

On the flip side, when you don't have that cohesiveness where everyone is vested in seeing that format succeed, we should never be surprised of what results. We'll get into that next.

 

[John FL]

Music.

I grew up in a "musical" family. My mom played the piano and sometimes the church organ. She taught kids how to play. The radio was always on in the kitchen and that room was the soul of the house. My dad was the happiest person I ever knew. He did roofing and siding work. While he worked he sang songs. He sang along in the car to the songs on the radio. To this day, I'll hear certain songs and immediately think of him.

I learned to appreciate all kinds of music. But even as a kid, I preferred the classic stuff over contemporary music. My dad, appropriately enough, was a radioman in WWII. In service to his country, he was given a radio. It looked like a suitcase. It had to "warm up" as their were tubes inside. I found it by accident one day in the basement. Eventually, I called it the "magic radio" because it could do things the other radios in the house couldn't. Obviously, this was AM only.

I never knew what DXing was but one day I discovered it. Why that happened at night, I didn't know then but during the winter months it was especially rewarding. Living in the northeast and sunset in the 4 PM hour, it was like a whole world opened up. I found stations mainly from the midwest. Time has made me forget many of them but two stand out. One was WBBM in Chicago. The temps were way colder than the NYC area and I found that fascinating. They must have been a news station for like forever.

But the one I really enjoyed was CKLW from Windsor, Ontario. There was a definite Motown/soul lean to the station that I especially liked. Even at a young age, I recognized quality and that was well helluva great station. It's been a long time but AM sounded so damn good. That magic radio made it sound even better. It was very stereo-like if you can believe it.

I've talked about all this years ago but wanted to set up what's coming to explain my background. There's always new readers and many may not be familiar with me on this Florida board. There weren't kids where I lived and so radio became my go-to-thing. It's amazing I did well in school. Not only did I listen to radio a lot but I kept detailed records of the songs. I made predictions on their overall success as well. I was able to hear a song for the first time and I knew just how big it would be or just fade away. My record wasn't bad at all. I did that for over 10 years, covering mainly the 1970s.

So, let's fast-forward to the summer of 2007. Over the years, I've written more about the classic hits format than anything else. When WCBS-FM in NYC ended Jack-FM to virtually everyone's delight, the pinnacle of classic hits was born. I've had a number of radio heroes in my life and now there was PD Brian Thomas. Most of the playlist covered 1964-1989. Occasionally, select older cuts played as well. The music variety was incredibly diverse as there were so many genres all seeming to sound great positioned next to each other. The jocks were that added ingredient and the glue that kept it all together.

While there were complaints that there was 80s music in the mix, I knew this was something they had to do. After all, it's why their previous attempt at classic hits (The Greatest Hits of All Time) from around 2004-2005 trended down in 25-54 as there was still that oldies kind of sound. Now, there was specialty programing every single day. The station posted a calendar of their daily features. This was creativity at its best. I figured others would follow to keep the playlist from getting stale. But that just didn't happen from what I can tell.

Obviously, big market radio that is New York City also has big budgets. Their voice imaging guy announced each of these daily specials. For a smaller market and station, the costs would have been prohibitive. But, as you will see, I felt there were ways of introducing features on a smaller scale. Perceived effort can go a long way.

WCBS-FM's success and in fact CBS Radio were in my estimation the very best doing the classic hits format. I was living in Jacksonville when all this was going on. Even before the Jack-FM flip in 2005, I had been pushing for Jacksonville to bring a variety-based classic hits station to market. I've probably wrote over 100 posts over the years on Radio Discussions. An attempt was tried by a small company on a not so good signal and that didn't last. It simply wasn't good. Again, listeners recognize quality when they hear it.

In 2010, Jacksonville FINALLY launched a real classic hits station. Things looked so very promising. In late 2011, I began writing a research document called "WJGH The Case For Change." I'll share some of that with you upcoming.

 

[John FL]

Format flips are costly in a number of ways. Besides being disruptive and pissing off listeners, the startup costs alone for a new format can certainly affect that bottom line. Jacksonville's Classic Hits, WJGH, simply wasn't given enough time to reach its potential. Usually, there is a sense that an ending is coming. But what complicated this further was the fact that iHeart totally re-imaged the format. There was new voice imaging and jingles etc. This all happened after a long Christmas music hiatus. I had heard that they were using the opportunity to tweak the music.

On December 26, 2011, the station, at least to me, sounded very much like they did prior to the Christmas flip that began shortly after Halloween. I wondered what in the hell was going on. They were now rebranded as "Jacksonville's Only Oldies Station" replacing "Jacksonville's Greatest Hits" and I thought that was dumbest thing anyone could have done.

I don't believe listeners tune into a station based on brand name but rather the music played and overall sound and quality of the format. But, in my view, the oldies name conveyed an image a new station simply couldn't afford to have. It was also restrictive. How can you grow? The featuring of 90s music was an eventuality and economic necessity. In my various music specials I posted on the board, I had already began featuring those in the mix. The "Magic" listeners were already stirred up in being stuck with a Christmas format that lasted nearly 2 months. The ratings were decent only the week prior to Christmas. It was another self-inflicted wound.

By March, 2012 the entire live/local airteam was fired. In its place was Premium Choice programing. About a month later, Jack FM was born. It was a format (Adult Hits) I knew wouldn't work in Jax but iHeart gave it a lot of time for sure, much more than they gave Classic Hits. I'm sure billing would have taken a lot of time to get going. Besides, my understanding is using the Jack FM brand name is not cheap either. It made little sense.

But, the handwriting was on the wall. There was a downsizing initiative. The other stations in the cluster were lean and mean and at least meeting expectations. So, it was a slam-dunk. I'm not sure if there were severance costs as the jocks were dismissed around a year after hiring. They may not have even been contract when this happened. No matter, in all my radio experiences witnessing disastrous missteps and errors, this was the worst mistake I saw any company make.

When you consider how well classic hits performs as a format across the country, iHeart certainly didn't recognize the potential they had in Magic 107.3. The truth is the management didn't care for the format. Also, in ties to our discussion about revenue, live and local talent can be a financial drain if ratings and revenue are not where they should be. Ratings and listener interest could have been greater but I believe a lot had to do with the playlist, misplaced talent, and dysfunction that was evident in that Jax cluster.

In this 2011-2012 time period, I worked on marketing projects. I had a good network of contacts including real estate folks. Between my company's info and the data I had from a leading real estate firm, I knew Jacksonville could support a good, variety-based classic hits station. Jax is "young" in the sense that the median age was in the 30s.

I was all in on updating the music and moving that "sweet spot" ahead chronologically. I might add, iHeart decided to clone the imaging and a lot of the music from the Treasure Coast's WQOL. That was a mistake. The markets were totally different. WQOL has long been a dominant station on the Treasure Coast but the markets, even from a diversity standpoint, are way different. Perhaps iHeart wanted to kill WJGH earlier but gave it just one more unrealistic month to turn things around.

Many of you, I'm sure will think me foolish for trying to affect change. You are probably right. But, I had a good relationship with the jocks and the PD and I thought if I could at least get some evidence together regarding the merits of the format, there could have been just one more re imaging. I truly believed time was on my side. I couldn't imagine the station flipping only months after they went through changes, but they did.

I completed "WJGH The Case For Change" just a week before all the talent was fired. I had vacation time coming up and planned on presenting the document then. It was loaded with population/ demo info and samples of music programing in similar formats in the top 5 geographies people were moving from. I also included about 10 days of programing featuring daily features in the style of Brian Thomas.

At the time, WJGH was featuring 4 80s songs per hour. In a typical 12 song an hour broadcast, that left 8 70s songs. Sometimes one or two 60s per hour replaced the 70s. My music update suggestion called for 7 80s songs per hour. Also, reducing the jock's rap time from 5-6 times per hour to 4 times were all designed to shed a tired presentation.

iHeart's Premium Choice programing was highly generic and vanilla. WJGH was probably required to carry some of that programing. They did so overnight and every other weekend. It made for inconsistencies in sound. So, I thought Premium Choice could have enhanced their sound as well.

Anyway, "WJGH The Case For Change" never saw the light of day. The suggestions made were to all take effect in July, 2012 with the "New Magic." Due to my own stupidity, I don't have the original document. But, several months ago, I found little pieces of it in another flash drive. What's next is my recommendations for the station for a Saturday broadcast. Every other weekend would be a class reunion feature. It's done in Brian Thomas fashion. Hopefully I can get the entire days programing posted. I'm not sure if this is exactly what appeared in the document. I'm sure there were changes.

Songs appearing with an * designate the special programing. I'll let the music do the talking but I firmly believe had iHeart moved into this direction, they would have had a winner.

 

[John FL]

Apparently, the file is too large so I'll have to post in dayparts. I'll add further comment later...enjoy!

	July 7, 2012
Time	Title	Artist	Year
6-7 AM	Lady (You Bring Me Up)	The Commodores	1981
	Tonight's The Night (Gonna Be Alright)	Rod Stewart	1976
	We Belong	Pat Benatar	1985
	That's All	Genesis	1984
	When You're In Love With A Beautiful Woman	Dr. Hook	1979
	Caribbean Queen (No More Love On The Run)	Billy Ocean	1984
	Smoke From A Distant Fire	Sanford/Townsend Band	1977
	Don't Talk To Strangers *	Rick Springfield	1982
	Venus	Bananarama	1986
	Signed, Sealed, Delivered I'm Yours	Stevie Wonder	1970
	Can't Fight This Feeling	REO Speedwagon	1985
	What A Fool Believes	Doobie Brothers	1979
7-8 AM	Karma Chameleon	Culture Club	1984
	Dream Weaver	Gary Wright	1976
	The Way It Is	Bruce Hornsby And The Range	1986
	Material Girl	Madonna	1985
	Rubberband Man	The Spinners	1976
	Wake Me Up Before You Go Go	Wham!	1984
	Miss You	Rolling Stones	1978
	I Can't Go For That (No Can Do) *	Daryl Hall & John Oates	1982
	Rock Steady	The Whispers	1987
	Dance With Me	Orleans	1975
	Beat It	Michael Jackson	1983
	Heart Of Glass	Blondie	1979
8-9 AM	Girls Just Want To Have Fun	Cyndi Lauper	1984
	The Things We Do For Love	10cc	1977
	Electric Avenue	Eddy Grant	1983
	Don't Stop Believin'	Journey	1981
	The Love I Lost	Harold Melvin And The Blue Notes	1973
	Sunglasses At Night	Corey Hart	1984
	Turn To Stone	Electric Light Orchestra	1978
	Do You Believe In Love *	Huey Lewis And The News	1982
	Flashdance…What A Feeling	Irene Cara	1983
	(Shake, Shake, Shake) Shake Your Booty	KC & The Sunshine Band	1976
	Got My Mind Set On You	George Harrison	1988
	Love Hangover	Diana Ross	1976
9-10AM	Footloose	Kenny Loggins	1984
	More Than A Feeling	Boston	1976
	Never Knew Love Like This Before	Stephanie Mills	1980
	If You Leave	Orchestral Manoevres In The Dark	1986
	More Than A Woman	Bee Gees	1977
	Walk Like An Egyptian	The Bangles	1986
	What's Going On	Marvin Gaye	1971
	Up Where We Belong *	Joe Cocker & Jennifer Warnes	1982
	Take Me Home Tonight	Eddie Money	1986
	Right Back Where We Started From	Maxine Nightingale	1976
	1999	Prince	1983
	You Ain't Seen Nothing Yet	Bachman Turner Overdrive	1974

 

[John FL]

10-11 AM	Let's Dance	David Bowie	1983
	Who Loves You	Four Seasons	1975
	All Night Long (All Night)	Lionel Richie	1983
	Don't You (Forget About Me)	Simple Minds	1985
	Just What I Needed	The Cars	1978
	You Can't Hurry Love	Phil Collins	1983
	Use Ta Be My Girl	O'Jays	1978
	Gloria *	Laura Branigan	1982
	Out Of Touch	Daryl Hall & John Oates	1984
	September	Earth, Wind & Fire	1979
	Head Over Heels	Tears For Fears	1985
	Bennie And The Jets	Elton John	1974
11AM - 12 PM	Part-Time Lover	Stevie Wonder	1985
	Baby Come Back	Player	1978
	Alone	Heart	1987
	Every Little Thing She Does Is Magic	The Police	1981
	My Life	Billy Joel	1979
	Bette Davis Eyes	Kim Carnes	1981
	Best Of My Love	The Emotions	1977
	Hurts So Good *	John Cougar Mellencamp	1982
	Jump	Van Halen	1984
	Use Me	Bill Withers	1972
	Faith	George Michael	1987
	Whenever I Call You "Friend"	Kenny Loggins & Stevie Nicks	1978
12 - 1 PM	The Magic Cafe (Commercial Free)
	Love Is A Battlefield	Pat Benatar	1983
	Shake Your Body (Down To The Ground)	The Jacksons	1979
	Hungry Heart	Bruce Springsteen	1980
	Broken Wings	Mr. Mister	1985
	Hot Child In The City	Nick Gilder	1979
	Jump (For My Love)	Pointer Sisters	1984
	Heaven Is A Place On Earth	Belinda Carlisle	1987
	Dream On	Aerosmith	1976
	Who Can It Be Now *	Men At Work	1982
	While You See A Chance	Steve Winwood	1981
	Midnight Train To Georgia	Gladys Knight & The Pips	1973
	Take My Breath Away	Berlin	1986
	I Just Want To Be Your Everything	Andy Gibb	1977
	Need You Tonight	INXS	1988
1-2 PM	You're The Inspiration	Chicago	1985
	Low Rider	WAR	1975
	I Want To Know What Love Is	Foreigner	1985
	Kiss On My List	Daryl Hall & John Oates	1981
	You Make Loving Fun	Fleetwood Mac	1977
	Celebration	Kool & The Gang	1981
	Don't Go Breaking My Heart	Elton John And Kiki Dee	1976
	Eye In The Sky *	Alan Parsons Project	1982
	Some Guys Have All The Luck	Rod Stewart	1984
	You Sexy Thing	Hot Chocolate	1976
	Nothing's Gonna Stop Us Now	Starship	1987
	Fire And Rain	James Taylor	1970
2-3 PM	Crazy Little Thing Called Love	Queen	1980
	Maybe I'm Amazed	Wings	1977
	Oh Sheila	Ready For The World	1985
	Hold Me Now	Thompson Twins	1984
	You'll Never Find Another Love Like Mine	Lou Rawls	1976
	Together Forever	Rick Astley	1988
	Magic Man	Heart	1976
	I Keep Forgettin' (Everytime You're Near) *	Michael McDonald	1982
	Walking On Sunshine	Katrina & The Waves	1985
	Dancing Queen	ABBA	1977
	Little Red Corvette	Prince	1983
	How Long	Ace	1975

 

[John FL]

3-4 PM	Always Something There To Remind Me	Naked Eyes	1983
	Takin' It To The Streets	Doobie Brothers	1977
	What's Love Got To Do With It	Tina Turner	1984
	High On You	Survivor	1985
	Superstition	Stevie Wonder	1973
	Shout	Tears For Fears	1985
	Big Shot	Billy Joel	1979
	Edge Of Seventeen (Just Like The White Winged Dove) *	Stevie Nicks	1982
	Missing You	John Waite	1984
	We Are Family	Sister Sledge	1979
	Power Of Love	Huey Lewis And The News	1985
	Nobody Does It Better	Carly Simon	1977
4- 5 PM	I Melt With You	Modern English	1983
	Knock On Wood	Amii Stewart	1979
	St. Elmos Fire (Man In Motion)	John Parr	1985
	I'm Coming Out	Diana Ross	1980
	Take It To The Limit	The Eagles	1976
	Glory Days	Bruce Springsteen	1985
	Night Fever	Bee Gees	1978
	Turn Your Love Around *	George Benson	1982
	If I Could Turn Back Time	Cher	1989
	Harmony	Elton John	1973
	Man In The Mirror	Michael Jackson	1988
	Keep It Comin' Love	KC & The Sunshine Band	1977
5-6 PM	Two Hearts	Phil Collins	1988
	Rock 'n Me	Steve Miller	1976
	Let's Hear It For The Boy	Deniece Williams	1984
	Something About You	Level 42	1985
	Brickhouse	The Commodores	1977
	Borderline	Madonna	1984
	So In To You	Atlanta Rhythm Section	1977
	Forget Me Nots *	Patrice Rushen	1982
	When Doves Cry	Prince	1984
	Sister Golden Hair	America	1975
	Oh Sherrie	Steve Perry	1984
	Hot Stuff	Donna Summer	1979
6-7 PM	Take On Me	A Ha	1985
	You're The One That I Want	John Travolta & Olivia Newton John	1978
	I Wanna Dance With Somebody (Who Loves Me)	Whitney Houston	1987
	Come On Eileen	Dexys Midnight Runners	1983
	You Make Me Feel Like Dancing	Leo Sayer	1977
	I'm So Excited	Pointer Sisters	1984
	Does Anybody Know What Time It Is	Chicago	1971
	Rock This Town *	Stray Cats	1982
	Sexual Healing	Marvin Gaye	1983
	Blinded By The Light	Manfred Mann's Earth Band	1977
	I Still Haven't Found What I'm Looking For	U2	1987
	Got To Get You Into My Life	Earth, Wind & Fire	1978

 

[John FL]

7-8 PM	Magic Saturday Night
	Talking In Your Sleep	The Romantics	1984
	Lido Shuffle	Boz Scaggs	1977
	Your Love	Outfield	1986
	Get Outta My Dreams, Get Into My Car	Billy Ocean	1988
	Rhythm Of The Night	DeBarge	1985
	Call Me	Blondie	1980
	You're The First, The Last, My Everything	Barry White	1975
	Caught Up In You *	38 Special	1982
	Mony Mony	Billy Idol	1987
	Da Ya Think I'm Sexy?	Rod Stewart	1979
	Love Shack	B-52's	1989
	Don't Stop 'Til You Get Enough	Michael Jackson	1979
8-9 PM	80s @ 8 Spotlighting 1982 (Commercial Free)
	867-5309/Jenny *	Tommy Tutone	1982
	Centerfold *	J. Geils Band	1982
	Let It Whip *	Dazz Band	1982
	Only The Lonely *	The Motels	1982
	Rosanna *	Toto	1982
	We Got The Beat *	Go-Go's	1982
	Maneater *	Daryl Hall & John Oates	1982
	Love Come Down *	Evelyn "Champagne" King	1982
	Eye Of The Tiger *	Survivor	1982
	Under Pressure *	Queen & David Bowie	1982
	Don't You Want Me *	Human League	1982
	Somebody's Baby *	Jackson Browne	1982
	Tainted Love/Where Did Our Love Go *	Soft Cell	1982
	You Dropped A Bomb On Me *	The Gap Band	1982
	Physical *	Olivia Newton-John	1982
9-10 PM	We Built This City	Starship	1985
	Too Hot	Kool & The Gang	1979
	Maniac	Michael Sambello	1983
	Sister Christian	Night Ranger	1984
	I'll Tumble 4 Ya	Culture Club	1983
	Funkytown	Lipps Inc	1980
	I'm Your Boogie Man	KC & The Sunshine Band	1977
	Mickey *	Toni Basil	1982
	The Promise	When In Rome	1988
	We're An American Band	Grand Funk	1973
	Break My Stride	Matthew Wilder	1984
	Ring My Bell	Anita Ward	1979
10-11 PM	Heart Of Rock & Roll	Huey Lewis & The News	1984
	Old Time Rock & Roll	Bob Seger	1979
	Fresh	Kool & The Gang	1985
	(I Just) Died In Your Arms Tonight	Cutting Crew	1987
	Run To You	Bryan Adams	1985
	How Will I Know	Whitney Houston	1986
	Grease	Frankie Valli	1978
	Heat Of The Moment *	Asia	1982
	Waiting For A Star To Fall	Boy Meets Girl	1988
	I Can See Clearly Now	Johnny Nash	1972
	Father Figure	George Michael	1988
	Moonlight Feels Right	Starbuck	1976
11-12 Midnight	Freeway Of Love	Aretha Franklin	1985
	Only The Good Die Young	Billy Joel	1978
	Our House	Madness	1983
	Things Can Only Get Better	Howard Jones	1985
	Sweet Dreams (Are Made Of This)	Eurythmics	1983
	The Way You Make Me Feel	Michael Jackson	1988
	Lights	Journey	1978
	I Love Rock 'N Roll *	Joan Jett & The Blackhearts	1982
	All Through The Night	Cyndi Lauper	1984
	Lady Marmelade	LaBelle	1975
	Sledgehammer	Peter Gabriel	1986
	Peaceful Easy Feeling	The Eagles	1973

 

[John FL]

There is magic in the music. Among many things I've never understood is the fact that music is the bread and butter of a music station, yet we see sloppiness and lack of creativity. The preceding music programing represented a typical Saturday. I might add, the song list from 7PM to midnight was a bit more 80s intensive as well.

No 90s titles appeared in this particular sample and that was by design. There were around 25 90s titles that tested well enough for that time period but would be aired sparingly over time. There was a classic hits station in Connecticut WDRC-FM that began adding two 90s titles each hour. It was too much, too fast. I believe WCBS-FM had a few 90s titles in rotation then but were conservative in their airing.

WJGH Magic 107.3 was a station that was positioned between the AC in the market WEJZ and the classic hits, WJGL (Eagle) even though I never considered the Eagle brand representative of classic hits. Eagle was certainly a hybrid classic rock station. In fact, I didn't consider Eagle competition for what I envisioned.

In fact, I saw Magic as being an AC hybrid and aggressively targeting women. I took a conservative approach to the music. There's tons of well-established stars and bands. 60s music would still be on the playlist but would be featured during specialty programing all through the week on a very limited basis.

Weekend programing seems to be discounted. But here's my views. I believe it's a great time to make listener impressions because they are in a good frame of mind. They are off work and not thinking about it on their way to and from it as they are doing the week. Music should reflect having a good time and that's what, I at least tried to do, in that Saturday presentation.

Bon Jovi and other 80s hair bands tested extremely well in our music research among women. Eagle had been playing Bon Jovi, Whitesnake etc for years and I felt we had to have some wiggle room to grow into. It made no sense to shoot the entire music load all at once. besides, with the Class Reunion 80s programing, these artists and more would have found their way into the mix. I saw lots of growth. The fact that so many mid to late 80s were now part of the playlist, going to at least the early 90s wasn't a stretch and it would not affect the overall sound.

Anyway, I could write a book about music scheduling but I think you can figure my strategy. iHeart's Premium Choice programing back then was still heavy into the Beatles, Mamas & The Papas and Steppenwolf and lots of early 70s. That and Magic WJGH's programing were dated. Magic would often air Eagles music 11 times in a 24 hour period. That was not going to deliver better numbers or guarantee a future. iHeart's Premium Choice now features 90s and they sound much better. That proved a little too late for WJGH.

More upcoming...

 

[TheBigA]

Maybe I'm missing something....are you suggesting a radio format called "Magic?" Because if you are, a company has the trademark on that format name.

 

[John FL]

Maybe I'm missing something....are you suggesting a radio format called "Magic?" Because if you are, a company has the trademark on that format name.

Perhaps I wasn't clear enough. The "Magic" I was referring to is a now defunct radio station known as Magic (Classic Hits) in Jacksonville that ended in 2012. I never knew Magic was a format name. Unless now I'm missing something you are saying, I have no idea what a magic format is.

 

[TheBigA]

I'm missing something you are saying, I have no idea what a magic format is.

From Wikipedia: 'WMGK adopted a soft rock format and changed its slogan to "Magic Music" with the Magic 103 branding. The first song aired under the new call sign was "Could It Be Magic" by Barry Manilow. The music on Magic 103 was mostly album cuts from singer-songwriters of the 1960s and early 1970s, presented in four-song blocks with minimal talk. The station would not play artists primarily found on the Top 40, such as The Carpenters or Anne Murray. The playlist was made up of softer songs heard on album rock stations, from artists such as Elton John, Carole King, Billy Joel and Carly Simon. The format was quite successful, with Greater Media putting "Magic Music" on its other FM stations, along with call letters referring to "Magic," WMJC Detroit, WMJX Boston and WMGQ New Brunswick, New Jersey."

The format was created by the late Julian Breen.

http://www.musicradio77.com/julianbreenprofile.html

 

[John FL]

From Wikipedia: 'WMGK adopted a soft rock format and changed its slogan to "Magic Music" with the Magic 103 branding. The first song aired under the new call sign was "Could It Be Magic" by Barry Manilow. The music on Magic 103 was mostly album cuts from singer-songwriters of the 1960s and early 1970s, presented in four-song blocks with minimal talk. The station would not play artists primarily found on the Top 40, such as The Carpenters or Anne Murray. The playlist was made up of softer songs heard on album rock stations, from artists such as Elton John, Carole King, Billy Joel and Carly Simon. The format was quite successful, with Greater Media putting "Magic Music" on its other FM stations, along with call letters referring to "Magic," WMJC Detroit, WMJX Boston and WMGQ New Brunswick, New Jersey."

The format was created by the late Julian Breen.

http://www.musicradio77.com/julianbreenprofile.html

This blew me away. There's "The Bridge" on SiriusXM that features soft rock from singer/songwriters too. I figured that was an original concept. But as I think about it, soft rock formats did exist in the past. Julian Breen is another blast from the past. I'd forgotten about him as I haven't heard his name in years. He and Rick Sklar were certainly at the right place at the right time in those "genesis of a giant days" of WABC.

For what it's worth, I've long loved "Magic" as a radio station brand name. Here in Florida, Magic in Miami/Ft. Lauderdale had an incredible run as an oldies then classic hits station. I miss them a good deal. I know of an Urban format in Kansas City that has long had that Magic brand name. It's a good one!