I have written a couple of times about radio going the way of Pandora. I do not think this is healthy for either the individual radio stations or for the artists in our format.
A couple of things happened this month that strengthen my feelings about making sure that radio stays active, engaged and entertaining beyond the music.
First, radio’s new cheerleader (Clear Channel CEO) Bob Pittman continued his rah rah for radio and repeated his contention that Pandora (add Spotify and the other on-line music shovelers) is really a music shuffler. His speech at the Radio Ink conference in New York was a continuation of his road show from earlier this year and most prominently in Chicago at the NAB meeting.
AM and FM radio is a combination of many elements that provides not just music, but also companionship, information, and promotional opportunities for clients and artists. Not leveraging all that a well-programmed radio station has to offer is leaving opportunity behind at every turn.
Secondly, at the Arbitron seminar in Baltimore, Coleman Insights, Media Monitors, and Arbitron presented a comprehensive study proving that commercials on the radio are NOT the tune out terrors program directors have feared and warned of for all these years.
The study looked at 18 million commercial breaks, 62 million minutes of commercials and 866 stations for a year to compare audience levels at the beginning of a commercial break and again at the end. That is a lot of analysis. The bottom line, 1-3 minute commercial breaks deliver levels at the end, practically the same as at the beginning of the break. Even breaks as long as three minute lose only four percent of the lead-in audience.
Not only does this fly in the face of what we have long believed, but also seems to be different to how we watch TV. The fast forward/skip button on my Tivo is worn down to nothing.
Let me ask you if a well-crafted and well-executed 30 second informational bit about an artist, or a 30 second comment by Luke Bryan about his new CD is anywhere as onerous as a commercial from “Big Bubba Johnson’s used cars on the corner of 1st and Main”?
If listeners are willing to stay through a 3 minute spot set, are they likely to stay through something that deals with the reason they chose this specific station? This is why I object to stripping the station of content and making it a music box.
Even longer commercial breaks, 3-6 minutes, retained 90 percent of lead-in audience. This does not mean that 9 out of 10 people listening at the beginning of the spot set are still there at the end. It means that at the end of the spot break there was an audience equal to 90 percent of the audience at the start of the set. This could be listeners who came into the station during the spot break and stayed until the end, making up for the listeners who did leave at some point.
Many of us think of radio usage as being only in the car where the search for another station is just a flick away but in fact, much of the listening is done in other environments where there is no button to push.
Some programmers may program only to the button pushers and fail to consider the listener who comes to their station for the entire entertainment experience that includes the personality, information and yes, even commercials.
I believe Mr. Pittman is correct in describing radio as something different than a music stream like Pandora. Without question Pandora has a place. It is going to be successful for a long time. Even after cell phone companies begin to tighten the amount of data we’re allowed.
I love the warning I get when I call up Pandora on my cell phone: “This product will use a large amount of data and you are responsible for all data charges.”
Not as dire as “cigarettes will cause cancer” but the only warning we should include on terrestrial radio is that “you might hear a song that was driven up the charts by a first class promotion team but is really is a piece of crap and shouldn’t really be played this many times a day.”
Charlie Cook On Air: Radio ≠ Pandora
/by contributorA couple of things happened this month that strengthen my feelings about making sure that radio stays active, engaged and entertaining beyond the music.
First, radio’s new cheerleader (Clear Channel CEO) Bob Pittman continued his rah rah for radio and repeated his contention that Pandora (add Spotify and the other on-line music shovelers) is really a music shuffler. His speech at the Radio Ink conference in New York was a continuation of his road show from earlier this year and most prominently in Chicago at the NAB meeting.
AM and FM radio is a combination of many elements that provides not just music, but also companionship, information, and promotional opportunities for clients and artists. Not leveraging all that a well-programmed radio station has to offer is leaving opportunity behind at every turn.
Secondly, at the Arbitron seminar in Baltimore, Coleman Insights, Media Monitors, and Arbitron presented a comprehensive study proving that commercials on the radio are NOT the tune out terrors program directors have feared and warned of for all these years.
The study looked at 18 million commercial breaks, 62 million minutes of commercials and 866 stations for a year to compare audience levels at the beginning of a commercial break and again at the end. That is a lot of analysis. The bottom line, 1-3 minute commercial breaks deliver levels at the end, practically the same as at the beginning of the break. Even breaks as long as three minute lose only four percent of the lead-in audience.
Not only does this fly in the face of what we have long believed, but also seems to be different to how we watch TV. The fast forward/skip button on my Tivo is worn down to nothing.
Let me ask you if a well-crafted and well-executed 30 second informational bit about an artist, or a 30 second comment by Luke Bryan about his new CD is anywhere as onerous as a commercial from “Big Bubba Johnson’s used cars on the corner of 1st and Main”?
If listeners are willing to stay through a 3 minute spot set, are they likely to stay through something that deals with the reason they chose this specific station? This is why I object to stripping the station of content and making it a music box.
Even longer commercial breaks, 3-6 minutes, retained 90 percent of lead-in audience. This does not mean that 9 out of 10 people listening at the beginning of the spot set are still there at the end. It means that at the end of the spot break there was an audience equal to 90 percent of the audience at the start of the set. This could be listeners who came into the station during the spot break and stayed until the end, making up for the listeners who did leave at some point.
Many of us think of radio usage as being only in the car where the search for another station is just a flick away but in fact, much of the listening is done in other environments where there is no button to push.
Some programmers may program only to the button pushers and fail to consider the listener who comes to their station for the entire entertainment experience that includes the personality, information and yes, even commercials.
I believe Mr. Pittman is correct in describing radio as something different than a music stream like Pandora. Without question Pandora has a place. It is going to be successful for a long time. Even after cell phone companies begin to tighten the amount of data we’re allowed.
I love the warning I get when I call up Pandora on my cell phone: “This product will use a large amount of data and you are responsible for all data charges.”
Not as dire as “cigarettes will cause cancer” but the only warning we should include on terrestrial radio is that “you might hear a song that was driven up the charts by a first class promotion team but is really is a piece of crap and shouldn’t really be played this many times a day.”
Dudley Resigns From CMA
/by MichelleBobette Dudley
The Country Music Association announced today that Senior Vice President Bobette Dudley has submitted her resignation.
Dudley, a 25-year CMA veteran, contributed to the organization’s outstanding growth and success including the relocation of Fan Fair, now CMA Music Festival, from the Tennessee State Fairgrounds to downtown Nashville and the creation of the CMA Music Festival television special; the successful move of the CMA Awards to New York City and then back to its new home at Nashville’s Bridgestone Arena; and the 2010 launch of the “CMA Country Christmas” TV special.
“We thank Bobette for her many contributions to CMA over the years and we wish her the very best in her future endeavors,” said CMA Chief Executive Officer Steve Moore.
“In my years at CMA I have had the privilege of working with many of the greats in the Country Music industry,” said Dudley. “CMA provided me with wonderful challenges and opportunities including working on the transformation of Fan Fair to CMA Music Fest with music and events all over downtown Nashville; taking the CMA Awards to Madison Square Garden in New York City; and creating CMA events in Washington D.C. at the Vice President’s Residence as well as at The Library of Congress.
“I am truly grateful for the years and experiences at CMA as well as the pleasure of working with many fine individuals within CMA and the broader world-wide music and entertainment industry. I look forward to the pursuit of some exciting and new challenging opportunities.”
Dudley began her career at CMA in 1986 and most recently served as Senior Vice President with direct oversight of the organization’s acclaimed Events and Special Projects Department. BizBash, a magazine covering the event-planning industry, named Dudley to their selection of the 15 Top Event Planners of the Year for her work overseeing the CMA Awards’ move to New York City in 2005. She is a member of NARAS/The Recording Academy, Nashville Film Festival, and SOURCE Foundation.
Dudley can be reached at Bobettedudley@gmail.com.
Rodney Atkins Files For Divorce
/by FreemanCelebrity news website TMZ reported yesterday (Dec. 14) that court documents filed in Williamson County reveal that Tammy called 911 at 7:47 AM on Nov. 21 to report that her husband had been drinking and tried to smother her with a pillow. She also claims that Rodney grabbed her by the face and threw her down the hallway, and that the assault took place in front of their son Elijah. Rodney was arrested and later released on $2,500 bail.
Rodney’s attorney Rose Palermo says Tammy’s allegations are completely false, and released this statement today:
Rodney has upcoming tour dates scheduled for Lowell, MA (Dec. 15); Buffalo, NY (Dec. 16); and Lewiston, ME (Dec. 17). His attorney’s statement also states that the singer plans to spend time with his child over the holidays and thanks his fans for standing by him. Atkins will usher in 2012 by performing on Fox’s “American Country New Year’s Eve Live” special December 31 with Lauren Alaina.
Artist Updates (12/15/11)
/by MichelleCongratulations go out to Trailer Choir member Big Vinny who participated in the latest season of NBC’s The Biggest Loser. While he was not crowned as the show’s winner, the 27 year old Nashville native lost 184 pounds and returned to the set for a “reveal” during Tuesday’s (12/13) season finale. Vinny also recently got engaged to his girlfriend Lori Diaz, and the couple plans to wed in 2012.
Big Vinny Before and After Photos
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Woody Paul
Riders In The Sky lead singer/musician Woody Paul has been selected as one of the 2012 inductees into the National Fiddler Hall of Fame. The induction gala will take place on Saturday, April 14th at Cain’s Ballroom in Tulsa, Oklahoma. Riders In The Sky will take center stage as headlining performers during the celebration. Known as “King of the Cowboy Fiddlers,” Woody says being inducted is an honor that is truly one of a kind. “It’s amazing…and I’ve never practiced for it!” Other inductees for the 2012 class are Herman Johnson, Kenny Baker and Keith Coleman. Previous National Fiddler Hall of Fame inductees include: Roy Acuff, Bob Wills, Dick Barrett, Johnny Gimble, Claude “Fiddler” Williams, Johnnie Lee Wills, Buddy Spicher, Rufus Thibodeaux, and Chubby Wise.
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In celebration of Hunter Hayes receiving 100,000 Facebook “Likes,” his label threw him a surprise party on Monday, December 12. Appropriately, party goers got to feast on a Facebook-themed cake.
Warner Music Nashville Celebrates Hayes
Musical Chairs (12/15/11)
/by Eric T. ParkerKaty Brown Epley
Katy Brown Epley has been promoted to Director of National Expansion for the Musicians On Call network. She has served with the organization’s Nashville chapter as Program Director for nearly five years.
In addition to current Program Director responsibilities, Epley will now be directly involved in establishing new MOC branches around the nation along with training and supporting program directors.
Since joining Musicians On Call, Epley has arranged musical visitors and performances for nearly 45,000 patients, coordinated over 100 volunteer musicians, and created the national Rock a Patient’s World campaign to bring a music visitor to a patient’s room every week for one year.
••••
As of Thursday (12/22), Jess Draper will be leaving her Creative Manager position with ASCAP Nashville to accept a director position with The Media Collective.
“I’m sad to say goodbye to ASCAP and all of my amazing colleagues, who have become like family, but I’m also very excitedly anticipating this new chapter and the rest of what the future holds,” said Draper.
The Media Collective is a PR firm representing many Christian music artists as Amy Grant, Steven Curtis Chapman, Phil Wickham, Chris Tomlin, and Christy Nockels.
Draper’s new position will become effective January 2, where she can be reached at jess@themcollective.com or (615) 336-4636.
••••
Janice Bane
Janice Bane will step down from her position as General Manager for Conexion Media Group at the end of 2011. Bane previously handled copyright administration, music licensing, and day-to-day operations for the company.
Bane joined Conexion in January 2008, and has held various jobs in the Nashville publishing world since 1987. She will relocate with her family to Columbus, Mississippi and can be reached at janicebane@aol.com.
Industry Vets Launch Wrinkled Records
/by FreemanThe label’s founders say: “Wrinkled Records is a stimulating and nurturing home for unique artists who defy classification, catering to listeners with discerning taste, curious minds and adventurous spirits.”
BJ Thomas is the legendary hitmaker behind “Raindrops Keep Falling On My Head,” among others, and performer of the Growing Pains theme “As Long As We Got Each Other.” Buffy Lawson was formerly one half of the duo Bomshel and has also recorded with Neil Diamond. Etta Britt was previously a member of Dave & Sugar, and her new album is called Out of the Shadows. Jimbeau Hinson is an ASCAP award-winning songwriter whose credits include David Lee Murphy’s “Party Crowd,” Oak Ridge Boys’ “(I’m Settin’) Fancy Free,” Steve Earle’s “Hillbilly Highway,” and Patty Loveless’ “After All.”
Android 4.0: In Time For The Holidays
/by bossrossRelease dates for this phone have been as elusive as Santa Claus on Christmas eve. Since Thanksgiving there have been reports and rumors of U.S. release dates which came and went with no phone. It is the first phone to run on Android 4.0. The handset was released in the UK in mid-November and a few weeks later in Canada, but Americans were left without access unless they ordered a high-priced unlocked version from overseas.
This writer will present a hands-on review of the new handset soon, but in the meantime critics’ reports are strongly positive. For details about the phone’s features click here and here.
Emmylou Harris To Celebrate Opry Anniversary
/by Sherod RobertsonPhoto: Joel Dennis, Hollo Photograhics, Inc.
Emmylou Harris will be honored by the Grand Ole Opry on her 20th anniversary as an Opry member Sat., Jan. 21, 2012 at the historic Ryman Auditorium. Harris was inducted into the Opry on Jan. 25, 1992.
Harris’ 20-year milestone will be celebrated with performances by the honoree, fellow 20-year Opry veteran Vince Gill, Rodney Crowell, with whom Harris is currently working on a duets album and Grammy winner Shawn Colvin (in her Opry debut).
“Emmylou is treasured not just by all of us at the Grand Ole Opry, but also by fans around the world,” said Pete Fisher, Opry VP/GM. “She’s shared so many great musical moments with us over the past 20 years, singing with and introducing us to some of her favorite musical collaborators. We’re excited to celebrate her Opry anniversary at the Ryman, a stage on which she’s displayed such incredible artistry through the years.”
With her early singing partner Gram Parsons, Harris was at the forefront of the ’70s country rock movement. Over her career, she has enjoyed seven No. 1 and 27 Top 10 hits. Among her most memorable releases: “If I Could Only Win Your Love,” “Together Again,” “Sweet Dreams,” “Making Believe,” “To Daddy,” and “Heartbreak Hill.” In 1999 Billboard Magazine recognized her distinguished career achievements with its highest honor – the Century Award. Harris was inducted into the Country Music Hall of Fame in 2008 and has won 12 Grammy Awards.
Tickets can be purchased at www.opry.com.
Live Nation Uncorks BigChampagne Data
/by bossrossMichael Rapino, Live Nation Chief Executive told the New York Times, “We love the basics of what they’ve created, and love the idea of taking an incredible amount of fan data off-and-online and merging that into a relevant database of what artists are most popular and relevant to today’s consumer.”
Eric Garland, founder of BigChampagne, said: “BigChampagne now collects and analyzes more information about entertainment and online audiences than anyone in our sector’s history. From my first conversation with Live Nation, it was clear to me that this is the right place to dramatically evolve and extend what we’ve built. We’re connecting fans with things they’ll love that are happening nearby or soon, or both. Most importantly, Live Nation has assembled an extraordinary team and we are honored to be invited to join them.”
Included in the deal, BigChampagne founder Eric Garland will be named General Manager of livenation.com and co-founder Joe Fleischer will be Sr. VP of content and product strategy. All of BigChampagne’s 26 employees will now work for Live Nation. Terms of the deal have not been released.
MusicRow has enjoyed an informal alliance with BigChampagne for many years. The publication interviewed Eric Garland last year and has been running Internet charts/country format powered by BigChampagne for many years.
Rapino, in a prepared statement, said, “BigChampagne brings us a great technology platform and an innovative team to help us better understand our fans and deliver insights across all areas of our business. Its expertise will accelerate our mission to drive deeper fan engagement throughout Live Nation…”
Guy Clark Tribute Released
/by MichelleThe collection was co-produced by Tamara Saviano (Grammy winner for Beautiful Dreamer: The Songs of Stephen Foster) and frequent Clark co-writer Shawn Camp (“Sis Draper,” “Magnolia Wind”). Saviano is also working with Clark on his definitive biography.
The tribute features 30 tracks by 33 Americana favorites such as Rodney Crowell, Lyle Lovett, Joe Ely, Shawn Colvin, Willie Nelson, Kris Kristofferson, Emmylou Harris & John Prine, Patty Griffin, Ron Sexsmith, Rosanne Cash, Steve Earle, Vince Gill, Jerry Jeff Walker, Robert Earl Keen, and more. The collection was mixed and mastered by Austin’s Cedar Creek Records principal Fred Remmert. Part of the proceeds will benefit the Center for Texas Music History at Texas State University, San Marcos, Texas.
For more information click here.
Volume 1
1. That Old Time Feeling – Rodney Crowell
2. Anyhow I Love You – Lyle Lovett
3. All He Wants Is You – Shawn Colvin
4. Homeless – Shawn Camp
5. Broken Hearted People – Ron Sexsmith
6. Better Days – Rosanne Cash
7. Desperadoes Waiting For A Train – Willie Nelson
8. Baby Took A Limo To Memphis – Rosie Flores
9. Magdalene – Kevin Welch
10. Instant Coffee Blues – Suzy Bogguss
11. Homegrown Tomatoes – Ray Wylie Hubbard
12. Let Him Roll – John Townes Van Zandt II
13. The Guitar – Ramblin’ Jack Elliott
14. Cold Dog Soup – James McMurtry
15. Worry B Gone – Hayes Carll
Volume 2
1. Dublin Blues – Joe Ely
2. Magnolia Wind – Emmylou Harris & John Prine
3. The Last Gunfighter Ballad – Steve Earle
4. All Through Throwing Good Love After Bad – Verlon Thompson
5. The Dark – Terri Hendrix
6. LA Freeway – Radney Foster
7. The Cape – Patty Griffin
8. Hemingway’s Whiskey – Kris Kristofferson
9. Texas Cookin’ – Gary Nicholson, Darrell Scott & Tim O’Brien
10. Stuff That Works – Jack Ingram
11. Randall Knife – Vince Gill
12. Texas 1947 – Robert Earl Keen
13. Old Friends – Terry Allen
14. She Ain’t Goin’ Nowhere – The Trishas
15. My Favorite Picture of You – Jerry Jeff Walker