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LA Times Radio Article

Interesting decision by the LA Times to do an article about radio, except it's a station in New York, not LA:


The article overstates the success of the station. While it has improved ratings under Catsimatidis, the age of that audience is very old, and the station has had no real influence on the city. One of its hosts ran for mayor and only got about 7% of the vote. It's a pretty similar story to that of Larry Elder. What the station shows is it's possible to attract an audience in radio if the owner is a billionaire, and doesn't care if the station makes any money. Perhaps more billionaires should own radio stations.
 
In a way, LA has a similar station with Tavis Smiley's KBLA. Tavis isn't a billionaire, but he used his own money to buy and staff a station that aims at a very narrow community. Same with the various ethnic stations around the city. The most successful example of a single radio owner in LA of course is Saul Levine. Before him, I guess, was Gene Autey.
 
In a way, LA has a similar station with Tavis Smiley's KBLA. Tavis isn't a billionaire, but he used his own money to buy and staff a station that aims at a very narrow community. Same with the various ethnic stations around the city. The most successful example of a single radio owner in LA of course is Saul Levine. Before him, I guess, was Gene Autey.
What about Stevie Wonder?
 
Interesting decision by the LA Times to do an article about radio, except it's a station in New York, not LA:


Perhaps more billionaires should own radio stations.
If I ever become a billionaire, I promise to do my part and buy a radio station, and I am going to love it.

But you won't.
 
The article overstates the success of the station. While it has improved ratings under Catsimatidis, the age of that audience is very old, and the station has had no real influence on the city. One of its hosts ran for mayor and only got about 7% of the vote. It's a pretty similar story to that of Larry Elder. What the station shows is it's possible to attract an audience in radio if the owner is a billionaire, and doesn't care if the station makes any money. Perhaps more billionaires should own radio stations.
Cats has his stations for obviously personal reasons beyond the business ones. He likes “being heard” but he also likes making money.

The fact is that no single radio station has, alone, any influence in a city… when being #1 means getting, perhaps, a 5 share, and that 5 share means reaching only a fraction of a single percent of market population at any given time (what we call “rating”). So no station has any huge influence by itself.

What Cats does achieve is what I call “presence” in that his own opinions matter more as a media Don than as a guy who owns a bunch of oil tanks and warehouses. WABC gives him a seat at the political and policy table, even if the stations he owns have small audiences. The “old guard” in political and business circles still see newspaper, radio and TV owners as influential while the have a harder time seeing the same thing with a streamer or podcaster.

And, while it may not make a huge profit, I suspect that Cats’ small investment does produce a decent ROI… let’s remember that his supermarket division likely earns a profit of around 1% to 2% on sales. So he is used to narrow margins.
 
In a way, LA has a similar station with Tavis Smiley's KBLA. Tavis isn't a billionaire, but he used his own money to buy and staff a station that aims at a very narrow community. Same with the various ethnic stations around the city. The most successful example of a single radio owner in LA of course is Saul Levine. Before him, I guess, was Gene Autey.
And Howard Kalmenson… and for a while Lenard Liberman. We can’t forger Earle C Anthony.
 
What Cats does achieve is what I call “presence” in that his own opinions matter more as a media Don than as a guy who owns a bunch of oil tanks and warehouses.

Or owning CBS for Bill Paley was a lot more glamorous than selling cigars.

We can’t forger Earle C Anthony.

Who used radio to help sell cars. Whenever people complain about radio being too focused on money, I ask when was it not?
 
Whenever people complain about radio being too focused on money, I ask when was it not?
When it had inviolable standards. When it had boundaries it wouldn't transgress despite the extra revenue allure from targeting the lowest common denominator. By that I don't mean being prim and shunning newfangled rock music. I mean professional boundaries. Standards against excess commercial loads, formulaic brand imaging, overly crispy and tight playlists, patronizing listeners (with wacky jocks and endless contest hype), isolating listeners (with the death of the jock and/or by voicetracking), mistreating listeners' ears (with the processing wars and now the audible watermarking) ... and so on. There is a gestalt effect when multiple sensory insults like these get fused into one. That effect is the loss of the magic radio once had.

Let me use a metaphor. McDonalds interiors are overly-endowed with combo promotion kiosks and special deal signs plastered on every wall and surface. Their stores, as businesses, are formulaically imaged, heavily food-variety restricted, automaton-ated, and food-processed to perfection. And yet they're missing absolutely everything the small family Italian restaurant offers across the street. The dining experience amidst the ornately decorated, artistically lit, festive interior. The menu of all-family recipes, which though full of "common" fare like spaghetti, tastes wonderfully unique and subtly but satisfyingly different with each visit. The cheery and personable waiters who intimately know all their hometown customers, and who add a lively buzz of warmth and unpredictability to the atmosphere's presentation. The chefs' willingness to take requests and offer custom items not advertised on the menu, and make you more if you loved it.

Both restaurants are totally focused on making money. But only one squeezes all the magic out of the experience to hit its revenue target. That being the one that has to make extra money, to feed the hungry corporate tower and its enthroned investors, who aren't burning any personal calories doing actual work inside the restaurant.
 
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And Howard Kalmenson… and for a while Lenard Liberman. We can’t forger Earle C Anthony.
And if you go back even further, Don Lee. He started as a Los Angeles car dealer in the early 1900s, making a fortune on selling Cadillacs and other brands. He went on to own KHJ, KFRC San Francisco, KGB San Diego and KDB Santa Barbara. He formed his own "Don Lee Network" which was first affiliated with CBS and later with the Mutual Broadcasting System.

Wikipedia says his company, run by his son after his death in 1934, started a television station that today is KCBS-TV 2 Los Angeles.

So it's nothing new for a supermarket and oil executive in NYC to own New York's first radio station. iHeart's WOR is filled with syndicated shows and weekend infomercials. Meanwhile, WABC runs almost no infomercials, only a couple of syndicated shows and has live local hosts most hours, even overnights and weekends. It's not my cup of tea but for those who like it, it has fresh programming most hours, day and night, weekday and weekend.
 
When it had inviolable standards. When it had boundaries it wouldn't transgress despite the extra revenue allure from targeting the lowest common denominator. By that I don't mean being prim and shunning newfangled rock music. I mean professional boundaries. Standards against excess commercial loads, formulaic brand imaging, overly crispy and tight playlists, patronizing listeners (with wacky jocks and endless contest hype), isolating listeners (with the death of the jock and/or by voicetracking), mistreating listeners' ears (with the processing wars and now the audible watermarking) ... and so on. There is a gestalt effect when multiple sensory insults like these get fused into one. That effect is the loss of the magic radio once had.

Let me use a metaphor. McDonalds interiors are overly-endowed with combo promotion kiosks and special deal signs plastered on every wall and surface. Their stores, as businesses, are formulaically imaged, heavily food-variety restricted, automaton-ated, and food-processed to perfection. And yet they're missing absolutely everything the small family Italian restaurant offers across the street. The dining experience amidst the ornately decorated, artistically lit, festive interior. The menu of all-family recipes, which though full of "common" fare like spaghetti, tastes wonderfully unique and subtly but satisfyingly different with each visit. The cheery and personable waiters who intimately know all their hometown customers, and who add a lively buzz of warmth and unpredictability to the atmosphere's presentation. The chefs' willingness to take requests and offer custom items not advertised on the menu, and make you more if you loved it.

Both restaurants are totally focused on making money. But only one squeezes all the magic out of the experience to hit its revenue target. That being the one that has to make extra money, to feed the hungry corporate tower and its enthroned investors, who aren't burning any personal calories doing actual work inside the restaurant.
Radio is a commercial delivery business serving the advertisers who pay the stations to play commercials and in some cases run contests. It is not a music delivery business, because listeners don’t pay the stations to play music. If you want to pay a music delivery service to be and play just what you want, buy Spotify Premium and set up your own playlist.
 
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That effect is the loss of the magic radio once had.

I think you're having a case of selective memory. Let's put your post in context. The reason why radio stations play recorded music is because it's cheaper than paying live musicians. Go back to the 20s and 30s, and if you wanted to play music, you had to hire local musicians. That's what led to the Grand Ole Opry and the Louisiana Hayride. Smaller radio stations couldn't afford musicians and they decided to play records. The record labels and the musicians union sued. They lost. Enter the "make believe ballroom."

Then playing records became too expensive for some stations. That led to syndicated automated formats, delivered on reel to reel tape. That was in the 1960s. When that was too expensive, enter satellite format distribution in the 1980s. When that was too expensive, enter voicetracking in the 1990s. It didn't all happen at once. Every generation contributed over 100 years.

But the reality now is that the listeners are in charge. They get to make the decisions, not radio. The reason they choose streaming is because THEY want to pick the music. They want what they want when they want it. Real time linear radio and TV are giving way to personal playlists and on-demand programming. You can't put the toothpaste back in the tube.
 
All I have to say is yeoldeschool must not have ever worked in radio.

Radio is beter researched now than at any point in the past meaning radio is, now more than ever what radio listeners want. To compare radio now to the 1960s and 1970s, for example, is about like comparing TV viewing to over the air choices in 1970 to now with all the channels and viewing platforms.
 
When it had inviolable standards. When it had boundaries it wouldn't transgress despite the extra revenue allure from targeting the lowest common denominator. By that I don't mean being prim and shunning newfangled rock music. I mean professional boundaries. Standards against excess commercial loads, formulaic brand imaging, overly crispy and tight playlists, patronizing listeners (with wacky jocks and endless contest hype), isolating listeners (with the death of the jock and/or by voicetracking), mistreating listeners' ears (with the processing wars and now the audible watermarking) ... and so on. There is a gestalt effect when multiple sensory insults like these get fused into one. That effect is the loss of the magic radio once had.

Let me use a metaphor. McDonalds interiors are overly-endowed with combo promotion kiosks and special deal signs plastered on every wall and surface. Their stores, as businesses, are formulaically imaged, heavily food-variety restricted, automaton-ated, and food-processed to perfection. And yet they're missing absolutely everything the small family Italian restaurant offers across the street. The dining experience amidst the ornately decorated, artistically lit, festive interior. The menu of all-family recipes, which though full of "common" fare like spaghetti, tastes wonderfully unique and subtly but satisfyingly different with each visit. The cheery and personable waiters who intimately know all their hometown customers, and who add a lively buzz of warmth and unpredictability to the atmosphere's presentation. The chefs' willingness to take requests and offer custom items not advertised on the menu, and make you more if you loved it.

Both restaurants are totally focused on making money. But only one squeezes all the magic out of the experience to hit its revenue target. That being the one that has to make extra money, to feed the hungry corporate tower and its enthroned investors, who aren't burning any personal calories doing actual work inside the restaurant.

While I very much agree with your analysis and analogy, the fact of the matter is that, in both cases, it is the big corporation that is ultimately going to win over time. Why, you ask. Because those little mom-and-pop restaurants and radio stations just can't keep up with the rising expenses, their children do not necessarily want to take over the family business, and the bigger companies in either field are ready and willing to swoop in when the restaurant or radio station no longer holds any interest for the mom-and-pop owners. It is only our antitrust laws (more so for radio than for restaurants but they do apply to the latter) that keep these industries from becoming complete monopolies. And I predict, given current trends, that those laws won't stand in the way much longer.
 
Because those little mom-and-pop restaurants and radio stations just can't keep up with the rising expenses, their children do not necessarily want to take over the family business,

My view is that there is an over-romanticism about the mom & pops.

WABC today is basically a mom & pop, run by the billionaire pop, known as John Catsimatidis.
 
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My view is that there is an over-romanticism about the mom & pops.

WABC today is basically a mom & pop, run by the billionaire pop, known as John Catsimatidis.

Yet the OP makes a good point. Because WABC is running local talk shows during most dayparts, outside of its 24-hour simulcaster on Long Island, you're not going to hear those shows over on the air radio anywhere else.

Let's take the analogy a step further. People growing up when I was a little kid back in the late 1960s and early 1970s knew of all these fast food restaurants because we heard their commercials on the radio. But we also knew of places that didn't necessarily advertise on the radio that our parents sometimes took us to when their friends were in town and they wanted to show off. What most of us didn't know back then (though it was very predictable) was that those "show-off" restaurants would be replaced, not necessarily by fast food chains, but by restaurant chains nevertheless. And, for the sake of consistency, the recipes used in each of the national chains' owned or (more likely) franchised restaurants was standardized so that if you visited that restaurant in Phoenix, you would have the same food offerings and quality as you would if you visited that chain restaurant in Atlanta. In other words, no more market differentiation *and* no more reasons to bring your out-of-town friends and relatives to a great restaurant that can be found nowhere near where they live. And, to top all of that off, kids today (I know this because of the behavior of my 14-year-old nephew) are being raised, with the able assistance of television commercials, to believe that the food they are getting at those food places is the best food possible for them.

Now let's step back and look at this from the radio perspective. When I look at the charts of the various top-40 outlets available on the ARSA survey site, I find something funny. I find that while everybody is playing pretty much the biggest hits, there are a flurry of records that do well in one market but not another. The Who's 1966 entry, "My Generation," is a great example of this. While the song got airplay and made radio station charts in Los Angeles, San Diego, San Bernadino, and San Francisco, CA; Detroit, MI; and, according to Larry Neal, KOMA in Oklahoma City, it never was played in New York, Chicago, Cleveland, Pittsburgh, Minneapolis, Omaha, or Milwaukee while it was a current. In other words, people outside of the first set of markets I mentioned never got to hear "My Generation," when it was first issued as a single and the song ended up dying nationally, peaking at #71 on Billboard, if memory serves. And there were other songs just like that that you could hear in one market but not another. Gradually, this went away in the 1970s only to briefly return after the end of disco as a popular force and before the Mike Joseph hot hits format took over in (roughly) 1983.

All of that is gone now. Most top-40 outlets are owned by big national corporations with (mostly) the same person programming all of the company's top-40 stations. And, like the restaurants, the result has been a homogenazation of the top-40 format to the point where if you live in Phoenix, you will hear all of the same CHR hits on KZZP as you would hear if you lived in Los Angeles and listened to co-owned KIIS. The funny thing is that young people, like with the restaurants above, don't miss the market differentiation of the top-40 format. Why? Because they never heard the originals to begin with. As with the restaurants, today's young people are raised on homogenized radio programming and have absolutely no idea that things could be (and once were) quite different. That's the way it is with restaurants and that's the way it is with radio!
 


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