-
Get involved.
We want your input!
Apply for Membership and join the conversations about everything related to broadcasting.
After we receive your registration, a moderator will review it. After your registration is approved, you will be permitted to post.
If you use a disposable or false email address, your registration will be rejected.
After your membership is approved, please take a minute to tell us a little bit about yourself.
https://www.radiodiscussions.com/forums/introduce-yourself.1088/
Thanks in advance and have fun!
RadioDiscussions Administrators
Which is the bigger "tune out" factor?
- Thread starter PirateJohnny
- Start date
B
Biondi4Mayor
Guest
CTListener said:
I know little about public radio, but I wonder how donations would take. PBS (as I mentioned earlier) is always hawking some oldies DVD/CD whatever. Wonder how well those do??? They endlessly repeat from years ago, so I'd guess it does something for them.
Didn't know that Jazz listeners were a tough bunch...lol...wonder how my suggestion of Smooth Jazz would work?
I'm thinking right now of WFMT-FM Chicago as an example. They're a world known classical station, that I have heard has done well for 50+ years (or however long). Now I would assume, that oldies/classic hits would likely have an audience numerous times bigger than classical (especially in my market where 3 "classic hits" stations have let down their listeners in the last year alone). I guess I would hope that a larger pool of listeners would equate to greater donations---I know that doesn't mean that necessarily.
I don't think it would be NPR who could do it --- they really focus on their liberal talk. I would think it could work well with more local organizations, but it HAS to be on a good signal --- not suburban high school stations or whatever. Going back to my WFMT example, they're owned by WTTW (Chicago's PBS TV) and on 98.7 (a pretty good signal) --- so it's local and mixed in with all the commercials, not like NPR where it's typically burried in the religous stuff at the bottom of the dial.
S
stevensonair
Guest
For the zillionth time..
NPR is not a liberal talk network.
NPR is not a liberal talk network.
stevensonair said:
I consider myself on the liberal side of centrist -- so "liberal" is not a pejorative to me -- and I classify much of public radio's (NPR, APM and the miscellaneous other sources) politically oriented talk generally liberal to centrist. "Morning Edition," for example, is not all straight down the middle, it has an opinion. You're right in that much of what airs on NPR stations or stations that cherry-pick NPR programming is apolitical. Garrison Keillor or the "Car Talk" guys may have left-of-center views on certain issues, but that matters not in the context of their programs. It's like George Will writing about baseball; you'd never know he is an arch-conservative if all he's doing is comparing Fenway Park and Wrigley Field.
allenv said:
Shareholders = owners.
I've been at this for 55 years now, and most everything at a commercial station is intended to please the owners. In other words, the station had better make some money.
No, it hasn't.
First, we had the near tripling of viable stations in the 70's as FM became a factor. Thousands of new stations and move-ins were created by Docket 80-90, and the 2008 recession has reduced revenues by an inflation adjusted 40%.
At any given time between the 50's and the mid-90's, half of all US radio stations were not profitable.
Technology has made possible doing things we have wanted to do for decades, such as sharing talent and formats across multiple stations in a group.
With revenues off so much, stations have had to cut everywhere to try to make a profit.
A lot of people don't like jocks, and tune out. The #1 or #2 show in 18-49 and 25-54 in New York City in 10 AM to 3 PM is a mix show! Not a DJ show... that's reflective of the way people want music delivered today.
DavidEduardo said:
I'm not discounting your whole piece but young people in Noo Yawk are a breed apart from those in lessor-sized and geographically-distant cities. Using demos from a group of people who have no idea there is a very large country, theirs, west of the Hudson River is not necessarily accurate. I would have a similar comment concerning El A.
landtuna said:
It's the same with the under-40 demos in nearly every city. What every city does not have is the ability to pay a world class mixer $300 k or $400 k a year to do mixes.
There are many examples where no jock stations are highly rated and just as many or more when the dayparts with live humans get the highest numbers. I can tell you our classics hits station in Eastern NC draws good numbers with live jocks with specality shows on Friday and Sunday nights and live jocks in every slot except 7-midnight and overnights..In slots with no jocks the numbers drop quite a bit but I know the numbers go down after 7pm reguardless.All I can tell you is in some places a live jock is still what a large number of people want..Jocks are part of the recipe in the stew..
allenv said:
Except when they don't.
This is so simple. It's like music. There are stations whose listeners expect human interaction. There are stations whose listeners expect to not have any. Research tells you which you're dealing with.
ixnay said:
Yes. Sorry. Should have been more clear.
DavidEduardo said:
Well sure, when they blabber about the top 5 ways to do this and the top 5 ways to do that....Radio is for the music, news/talk and sports. Keep it brief and to the point.
I gotta go back to stop-sets though, David. Some stations just have incredibly long stop-sets, and I can understand that, to get the "more music in a row" image w/o interruptions. But 5 to 8 minutes is way, way too long. That's a justified cause of tuneout. Two hits could have played in those 8 minutes. Listeners want what they are looking for, not seemingly endless spots on things they could care less about. A newsbreak at the top of the hour is an exception.
Based upon the listening habits of the younger generation (which is essentially that they are not listening to OTA radio) I'm opining that our discussion about ways to attract them are moot. The battle is over and the war is close to ending. In another decade or two there won't be an audience for pop music on OTA radio and listening, what there is of it, will be the Bible blasters, colon blow feather merchants and sports/politics jocks.
Me and my old time radio will expire together.
Me and my old time radio will expire together.
T
Thomps2525
Guest
Are there any English-language AM music stations that rank in the top ten of their respective market? Music on AM radio today seems to be either Spanish-language, adult standards or Radio Disney.
Mister hagerty was incorrect about KRLA staying top-40 for only ten years. At midnight on September 1, 1959, KXLA became top-40 KRLA. Nineteen-year-old Jimmy O'Neill signed the station on. Twelve years later, 1971,afternoon DJ Shadoe Stevens became program director and changed the format to progressive rock, which didn't work on AM radio. In 1972-73, the format was more top-40-oriented and called "Future Rock." Under Roy Elwell in 1974, KRLA's music was more "mellow" (for lack of a better word). In 1976, Art Laboe took over and returned the station to top-40 but with a higher percentage of oldies. KRLA was now "Hit Radio 11." They stayed with the format until March of 1985, when they switched to oldies.
Mister hagerty was incorrect about KRLA staying top-40 for only ten years. At midnight on September 1, 1959, KXLA became top-40 KRLA. Nineteen-year-old Jimmy O'Neill signed the station on. Twelve years later, 1971,afternoon DJ Shadoe Stevens became program director and changed the format to progressive rock, which didn't work on AM radio. In 1972-73, the format was more top-40-oriented and called "Future Rock." Under Roy Elwell in 1974, KRLA's music was more "mellow" (for lack of a better word). In 1976, Art Laboe took over and returned the station to top-40 but with a higher percentage of oldies. KRLA was now "Hit Radio 11." They stayed with the format until March of 1985, when they switched to oldies.
landtuna said:
When a false premise is used to build a theory, generally the theory fails.
I took Phoenix as an example, and used the November book so as to not get the holiday music / holiday listening issues.
18-34's average 11 hours a week of weekly radio listening.
For 18-49, it is 11.5 hours.
For 25-54 it is 12 hours.
For 36-64 it is 12.5 hours.
The "younger generation" is listening to radio, totally contrary to your blanket and erroneous statement.
Yes, it's less than it was 10 years ago. But 10 years ago we had diary based measurement, so comparisons are meaningless.
LARadioRewind said:
I glanced through the top 100 markets, and there are no AM music stations of any kind in the top 10 that I could find.
Hispanics reject AM music even more than non-Hispanic whites do. The only "successful" Spanish language AM music stations are in markets where there is no FM with a comparable Spanish language format. Evidence of this Hispanic rejection of AM can be seen in Mexico where their congress declared that the AM band was no longer viable and created a mechanism for 85% of their AMs to move from AM to FM, leaving the AM band totally empty in most of Mexico.
oldies76 said:
Facts, as usual, don't support your "belief" (or "wish", perhaps).
Tune out during stops is relatively small, and that is well documented. Tune out during bad songs is greater.
P.S. You won't play any more "hits" with four 4-minute stops than with two 8-minute stops. Stations will sell the same amount of minutes, as they need to do that to stay in business.
Whether we like to admit it or not 90% of people do change the station when a spot comes on and long stopsets are a tuneout. If you are the 4th element in an eight spot break most of those who are still listening can't remember who you are unless the spot is a great attention getter either so good or so bad a listener remembers.. Try it sometime on someone in the car with you and you'll see.
allenv said:
No, they don't.
http://www.americanradiohistory.com/Archive-Arbitron/What Happens When The Spots Come On.pdf
This report shows the effects of stopsets, including longer ones.
Remember, the "button pushing" affects predominantly in-car listening, and two-thirds of radio listening is not in the car.
- Status