Someone is bitter .
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| It’s the End of the World Famous KROQ as We Know It https://mail.chicagofanatics.com/viewtopic.php?f=84&t=121630 |
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| Author: | blackhawksfan [ Wed May 20, 2020 8:58 am ] |
| Post subject: | It’s the End of the World Famous KROQ as We Know It |
I'm not sure why they are blaming rock radio's demise on streaming. It's the lack of content that's killing it. When I was in high school Q101 was delivering hit song after song on a weekly basis. There was a never ending flow of new songs and bands. People are too busy tweeting to pick up a guitar and start a band. It's over. https://variety.com/2020/music/news/kro ... 234609654/ It’s the End of the World Famous KROQ as We Know It A funny thing happened the week of March 8. Iconic Los Angeles radio station KROQ, long known for showcasing the top names in alternative rock, programmed a pop hit, Post Malone’s “Circles,” into power rotation. On March 1, the song hadn’t registered a single spin. Seven days later, it had 32 plays. By the end of March, it was averaging 65 a week — and over the last three months it has become the station’s second most-played track behind Billie Eilish’s “Everything I Wanted” and ahead of Shaed’s “Trampoline.” Post’s arrival came amid several major exits for the station: longtime program director Kevin Weatherly, who left in late February after 28 years — on the heels of a proposed pay cut (in the ballpark of 30% according to an insider) — for a position at Spotify (he starts in September); and the March 18 firing of morning host Kevin Ryder after three decades on the job....................................... |
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| Author: | tommy [ Wed May 20, 2020 9:22 am ] |
| Post subject: | Re: It’s the End of the World Famous KROQ as We Know It |
blackhawksfan wrote: I'm not sure why they are blaming rock radio's demise on streaming. It's the lack of content that's killing it. When I was in high school Q101 was delivering hit song after song on a weekly basis. There was a never ending flow of new songs and bands. People are too busy tweeting to pick up a guitar and start a band. It's over. So many listen to hip-hop, too. Not that that's a bad thing, but it probably doesn't inspire kids to start bands the way rock did. ATTN: Curious Hair |
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| Author: | Rod [ Wed May 20, 2020 10:11 am ] |
| Post subject: | Re: It’s the End of the World Famous KROQ as We Know It |
I was sitting in a bar I was very high I got up I walked outside I went to my car and I got in I turned on K-Rock IT WAS GONE! https://www.youtube.com/watch?v=0lVdMbUx1_k |
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| Author: | badrogue17 [ Wed May 20, 2020 10:30 am ] |
| Post subject: | Re: It’s the End of the World Famous KROQ as We Know It |
Someone is bitter .
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| Author: | blackhawksfan [ Wed May 20, 2020 3:13 pm ] |
| Post subject: | Re: It’s the End of the World Famous KROQ as We Know It |
badrogue17 wrote: Someone is bitter . If it didn't involve Entercom her take would be "It's about time we diversify from the standard 4 white guys playing music started in the 50's by minorities. Less rock music is a good thing. Girl Power!" |
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| Author: | Curious Hair [ Wed May 20, 2020 4:38 pm ] |
| Post subject: | Re: It’s the End of the World Famous KROQ as We Know It |
Quote: 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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| Author: | Warren Newson [ Wed May 20, 2020 5:36 pm ] |
| Post subject: | Re: It’s the End of the World Famous KROQ as We Know It |
Curious Hair wrote: Quote: 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. I recently finished James Van Osdol's oral history of Q101, and the behind the scenes hand wringing over "should we sound more like 103.5 or should we appeal more to women" was insane. It seemed like every nine months they were taking a different approach. I would be shocked if more than 10% of their audience knew or cared about all these shifts in direction they were making. |
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| Author: | Curious Hair [ Wed May 20, 2020 7:06 pm ] |
| Post subject: | Re: It’s the End of the World Famous KROQ as We Know It |
How was it? I've been meaning to read it for years now but I've kept putting it off. |
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| Author: | Warren Newson [ Wed May 20, 2020 7:27 pm ] |
| Post subject: | Re: It’s the End of the World Famous KROQ as We Know It |
Curious Hair wrote: How was it? I've been meaning to read it for years now but I've kept putting it off. JVO did a good job organizing it. It's a lot more coherent than the other oral histories I've read. However, I don't think the subject matter justified an entire book. There just weren't that many significant things that happened at one radio station from 1991 to 2011. My biggest take away from it, was that they never seemed to stick with one approach or one group of DJ's for more than about two years, but I think the same thing could be said for about 90% of the radio stations in existence. |
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| Author: | BigW72 [ Thu May 21, 2020 8:56 am ] |
| Post subject: | Re: It’s the End of the World Famous KROQ as We Know It |
Warren Newson wrote: Curious Hair wrote: Quote: 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. I recently finished James Van Osdol's oral history of Q101, and the behind the scenes hand wringing over "should we sound more like 103.5 or should we appeal more to women" was insane. It seemed like every nine months they were taking a different approach. I would be shocked if more than 10% of their audience knew or cared about all these shifts in direction they were making. Like anything, it comes down to which Master do you want to serve.....do you want to be something unique or do you want to pay bills. Paying bills almost always results in losing your identity. CH likening it to the WSCR is definitely comparable. Corporate Radio isn't about being the best out there....it's about making the most money. Making the most money doesn't necessarily allow you to offer the best product. Once Rock 103.5 died off.....it seemed Q101 couldn't wait to drop their whole image and become 103.5 Part II.....yet they still wanted to be labeled "Alternative Rock". I liked things about both stations, but now that you mention JVO thoughts....I can totally see their identity crisis in retrospect. |
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