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As the KROQ audience aged, it faced a bit of a Catch-22: Attempt to stay relevant to younger audiences but potentially alienate that core listenership? Or stick with the guaranteed older audience, and lose out on the next generation? And, most importantly, can your sales staff monetize the demographic?
“The station has always had this debate,” Tilles says. “Keeping the older demo has its upside. They have more discretionary income, which is great for advertisers, and they’re far more loyal to radio. But over time this demo will diminish and if you haven’t backfilled with new, young listeners, the ratings will suffer. If you bite the bullet and play young, polarizing, trendy music, you can jettison the older listeners in favor of a younger audience. But the irony of the latter plan is that younger people are less inclined to listen to terrestrial radio. So in the end, you’re stuck with an older audience and more Red Hot Chili Peppers.”
This is the unavoidable truth of any high-TSL format -- the loyalty/adaptation catch-22 applies to the Score in a lot of ways, too.
The beginning of the end for Q101, if I remember correctly, was picking up Mancow from the remains of the old 103.5 and trying to chase males 18-34 more than they were before. I think we talked about this in one of the threads about '90s radio documentaries but Q101 of the '90s, at least in some dayparts, sounded closer to the Mix than it did to the Blaze. And they generally (except for that "on shuffle" gimmick) tried to be the more current of the alternative stations, but hit a few bad stretches of new music.
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Molly Lambert wrote:
The future holds the possibility to be great or terrible, and since it has not yet occurred it remains simultaneously both.
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