That's kind of an oversimplification of the situation. Most stations in Philly have live & local personalities.
It doesn't have to be a one-or-the-other thing. You do what's easy and convenient. Sometimes FM fits that bill.
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- Thread starter CassChopper96
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That's kind of an oversimplification of the situation. Most stations in Philly have live & local personalities.
It doesn't have to be a one-or-the-other thing. You do what's easy and convenient. Sometimes FM fits that bill.
Beazly just lets the heritage rockers run themselves. My guess is they'll let the jocks on MMR and MGK continue until they decide to retire. The ratings sure tell us what they're doing is working.
not sure if its because they're not aloud or what.
Not just the rock stations:
"Andie Summers has been waking up country music fans in Philadelphia and the surrounding counties on 92.5 XTU since 1999."
They do what works. If lots of personality gets listeners, that's what they do.
And Cataldi has been on WIP for a good long stretch. DeBella had some breaks along the way, but still, it’s a lot of time in total. Glenn Kalina went elsewhere around the region, but is still a long time Philly presence. And then there’s Pierre Robert, a class by himself.
Some of the known commodities (Pierre comes to mind), especially on stations that are doing extremely well, are relatively safe. My message is to the wide-eyed kids who want to get into the game today. It's just not the same.
It never was. If you want a secure job, become an accountant. Radio is like any other subjective line of work.
If you're good, are willing to adapt to new things, and know how to network, you can work for a long time.
It never was what it was? Oh boy. Never mind.
Is it fair to say though the total number of opportunities has declined, making it harder, or more competitive. I don’t mean that as a complaint. But let’s say Philly since that’s the board—realistically there are fewer opportunities on air. More syndicated fare, more music-only times. And sometimes it still goes wrong if you’re working hard and talented (to cite one example, I’d say look to Andrea Duffy of B101–yes, that’s a pandemic cut but still, I think illustrative that sometimes the axe still comes for you.)
Exactly.
Much as I find him an awful, wretched person, 1210’s Rich Zeoli is an example too. Worked godforsaken shifts like Sunday nights, did whatever fill-in he could get, finally moved up to nights (often for just an hour because of sports), and finally moved to afternoons then mornings after they canned the former guy.
Does that opportunity exist here now? Not really. That may well be the best thing for WPHT’s budget. Almost certainly is. But it’s different.
Does that opportunity exist here now? Not really. That may well be the best thing for WPHT’s budget. Almost certainly is. But it’s different.
But people are looking at syndication as a negative. To the person doing it, it's more money, more audience, more job security.
I don't know anyone who turns it down. Even in union towns. For some talent, it's a negotiating tool.
Sure, it’s always which side of the table you’re on. If you’re the one getting the gig, more power to you. If you’re on the other end, best of luck.
There are both similarities and differences over time.
There are both similarities and differences over time.
Good example.
WSTW is Hot AC. No rap music and it plays older songs. What would you consider KSTP-FM in Minneapolis
Possibly a fool's errand for individuals to start categorizing radio stations but I think WSTW's format is Adult CHR.
I also believe WSTW reports as Hot AC?
That is what the industry calls Hot AC. It's a standard term for a station that plays non-rap currents (oversimplification, but that is a principal difference) with slightly slower current rotations and more recurrents and gold.
Thank you. I could never quite tell whether the terms were interchangeable.
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