With all these so called old time philly jocks buying time on flea powered stations or Internet outlets to keep the sound alive, why don't they all get together and buy one of the many floundering AM's and play their sounds on a full power station 24/7. I know of one that has very deep pockets that can afford one on his own, instead of sponging off any dead outlet that will have him, he had the chance to buy one he established but was too cheap. Lets say they buy 610 flip it to classic oldies/standards, have specialty classic country, doo wop and soul shows and have a ball doing what they want. This is the case with other markets, LA, Knoxville, Lancaster, Detroit burbs and on and on.
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old philly jocks should pull together and......
- Thread starter daddyoo
- Start date
Absolutely! Add Boston and Buffalo to that list. There's no reason for real broadcasters to sit around and allow EMF to buy stations at low prices. The same would apply to recording artists who live in the area. But there's this unwritten rule when you're talent, and it's "never spend your own money. Get someone else to spend theirs." It's a variation on the famous quote from General George Patton: "The object of war is not to die for your country but to make the other bastard die for his." So they all sit around waiting for someone else to make the first move, and in the meantime, nothing happens.
I, like anyone else, would love to hear oldies on AM. But, even with the deep pockets, there is more to it than that I am sure. Gotta get advertisers to keep the lights on. And while it maybe could work, I just don't know if it's feasible enough.
Radio is a business, and at the end of the day, the labor of love stations (like this one would absolutely be) are fighting a tremendous uphill battle. While I think those far smarter than I could potentially find a way to make it work, and even profitable, I just think buying airtime or internet radio is the way this is gonna really come to fruition.
Ever heard the idea too many cooks in the kitchen? Unless someone had a legal 50.1 percent or more controlling interest in the licensee, a gang of radio people buying a station would be a disaster... even if someone had a controlling interest, everyone would still think their way is best and there'd be tons of infighting and arguments and this would go down in a flaming disaster
Unless someone with more money than brains feels like flushing cash down the toilet on a pointless hobby, this is a god-awful idea for a profitable business.
The best bet is to talk to a station and let them lease time to these jocks to 'do their thing'. I sold Christian radio and there were always disagreements on how they didn't want to be next to this program or that. I'd shut them down by saying all I could offer is to let them buy the time before and/or after their program should the programs either side decided to stop but warned them the only way they'd be happy is to lease the whole station. I would point out they had an opportunity to change 'their listener's' minds by making a positive case for your ministry's stance. In other words, it was like keeping children from getting in to spats. It is always exaggerated when egos are worn on sleeves as would be the case with a bunch of jocks.
but but... a 5000 song playlist station with obscure tunes and live djs 24/7 is the key to success for every station!
And on AM. [eyeroll]
I know some folks who are so old fashioned, theyd want am over fm.....
And CW (code) on shortwave over AM on medium wave, although the golden oldies would suffer in translation.
A pal and I, combined radio experience (if that's possible) some 50 years, were invited by a younger group of visionaries, casual radio friends all, to tour the internet Oldies station they had just begun. The group wanted our opinion.
Not so much vis-a-vis 'selling' the premise, as they had hoped, but more our opinion as to how the place 'sounded'.
Their equipment was excellent -- better than at some of the licensed stations where both my pal and I had worked. The music supply and the cart rack and the microphones and the jingles (!) and the the engineering and the equipment and the server system were quite impressive.
So was the array of air talent, ranging in age from perhaps their late 20's until maybe their early-50's. The staff was all-male, all but one of whom had otherwise collected paychecks from commercial stations (and that lone wet-behind-the-earphones guy was to wind up working P/T at a commercial Oldies station himself)!
And there was one gal on the air. She played C&W on her shift once a week. Her equipment, from a remote setup, was a computer and what sounded like an on-off switch for a mixer.
Right away, you might grasp the stirrings of discontent present even WITHOUT her Country show sullying the 50's and 60's premise. 'Oldies' at the time, among the air staff, could be interpreted individually as anything by Al Jolson up to and including the Screaming Trees.
It was a fun listen for me personally; I had known many of these folks from back when, and love them all. But the place never came together. The grumbling about what were 'true classic Oldies' was evident when my pal and I were VISITING there for the first time!
The basement-floor denouement probably arrived around the same time when it became widely known that the Country gal and her on-off mixing console was getting more personal-message responses than the other five or so Oldies shifts combined!
The station's main gang and I are still very much in touch, by the way, even though the station and its wonderful, pie-eyed clairvoyance no longer exists.
Also, by the way, the date for this visit and its initial dichotomy was 1999.
Not so much vis-a-vis 'selling' the premise, as they had hoped, but more our opinion as to how the place 'sounded'.
Their equipment was excellent -- better than at some of the licensed stations where both my pal and I had worked. The music supply and the cart rack and the microphones and the jingles (!) and the the engineering and the equipment and the server system were quite impressive.
So was the array of air talent, ranging in age from perhaps their late 20's until maybe their early-50's. The staff was all-male, all but one of whom had otherwise collected paychecks from commercial stations (and that lone wet-behind-the-earphones guy was to wind up working P/T at a commercial Oldies station himself)!
And there was one gal on the air. She played C&W on her shift once a week. Her equipment, from a remote setup, was a computer and what sounded like an on-off switch for a mixer.
Right away, you might grasp the stirrings of discontent present even WITHOUT her Country show sullying the 50's and 60's premise. 'Oldies' at the time, among the air staff, could be interpreted individually as anything by Al Jolson up to and including the Screaming Trees.
It was a fun listen for me personally; I had known many of these folks from back when, and love them all. But the place never came together. The grumbling about what were 'true classic Oldies' was evident when my pal and I were VISITING there for the first time!
The basement-floor denouement probably arrived around the same time when it became widely known that the Country gal and her on-off mixing console was getting more personal-message responses than the other five or so Oldies shifts combined!
The station's main gang and I are still very much in touch, by the way, even though the station and its wonderful, pie-eyed clairvoyance no longer exists.
Also, by the way, the date for this visit and its initial dichotomy was 1999.
Great post. Sounds familiar. Everyone has their opinion, and democracy is not easy or neat. It wasn't just country music that got played in the early 60s, but jazz (Al Hirt, Pete Fountain, Louis Armstrong) and a lot of foreign language songs (Sukiyaki, Dominique, etc). The solution some places come up with is some form of block programming, and that's not what most programmers prefer.
This was the battle that raged at MTV in the 90s, among the various programmers who dealt with the styles of pop music at the time. Should they play more rap or more pop? Both were very popular, but the music itself was splitting apart. You could see it in front of your face at the annual MTV awards.
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