Tag Archives: On the Verge

WAS MAREN MORRIS – “GIRL” A # ONE RECORD?

Was Maren Morris – “Girl” a # ONE record?

Well, Yes AND No.

Yes, it was manipulated to the #1 spot.

Had Columbia not called and asked stations to hold back on spins on Luke Combs – Beer Never Broke My Heart the song “Girl” by Maren Morris would probably never reached the #1 spot on any chart.

Now Columbia can do what it wants.

Including calling stations and asking them to play a song LESS!

Ironic.

I thought record “promotion” fundamentally was about getting more spins and exposure on their records.

Did Columbia want the Luke Combs record to be played less?

Was there an underlying agenda?

Without Columbia asking radio stations to spin Luke Combs less would Maren have had a #1 with Girl?

Know how to read the charts every week.  For help navigating the fake charts and record company landmines the UnConsultant can help.

252-453-8888      unconsult@aol.com

 

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BREAK THE RULES????? CRS 360

BREAK THE RULES?

Yesterday was another CRS 360 Webinar.  Let’s play what did we learn!

Joey Tack is new to the Country format.

Chris Huff has been in the Country format his entire radio career.

Cumes in Country are atrophying.

More share erosion is on the younger end nationally.

There is speculation that the “sameness” is a sound problem.

The chart speed is an issue for radio and records.

Tack said, make your station exciting.  (Homer Simpson says doh!)

I didn’t expect Huff who is a smart programmer to give up any secrets.  But I’ve noticed that after being the bride’s maid several times (APD who didn’t get the PD nod) that now as PD of KILT for the first time KILT is  beating KKBQ.

I’ve listened online, I hear why KILT is now winning.  Bravo Chris!

But can I posit an idea?

Let’s go back to something really basic.

Define “Country” as a music genre.

25 years ago at Country Radio Seminar Moon Mullins stood up and said, “it’s songs that have some twang, with themes of a country lifestyle about real-life and that folks could relate to. AND we’re still a format where you can hear the words.”

I think the “sameness” argument masks the REAL PROBLEM.

First.  There is cume atrophy because we are the big fish and there are lots of smaller fish nipping at us.  Lots of DSP online choices now compete with us for attention and time.  Hence, some of the cume erosion is real.  For the fix please see the “make your radio station exciting” suggestion above.

Second.  Too much of what is purveyed by Nashville doesn’t match the expectation of the country music consumer.

There are sonics that they expect in country music.

Third.  Take Chances YES!   But don’t be stupid.  I’m amazed that so few radio folks do not understand that Spotify, YouTube, and purchasing music product is a very different experience from listening (using) radio.  Streaming and Shazam data are about as helpful to radio as a thermometer would be to measure linear distance.  Great tool.  Wrong application.

Right now there are precious few who have figured it out.

However, there a few who have figured it out.

The great news is they have chosen not to participate in the “Country Ratings Decline.”

If you need help choosing not two participate in the “Country Ratings Decline”  email unconsult@aol.com  or call  252-453-8888

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IS THIS PAYOLA?

Is this PAYOLA?

Isn’t payola when the radio station in exchange for airplay of a record accepts something of value?

Wouldn’t getting the act to play at a concert for the stations be something of value?

Has anyone gotten a “free” Tenille Townes concert performance without having to play the record?

Could it be that all 52 iHeart stations want to play the Tenille Townes song “Somebody’s Daughter?”

Might one or two of those stations have a PD, MD or Brand Manager who felt it might not be a song that “fits” their station’s sound and strategy?

Did Columbia offer iHeart Tenille Townes for their iHeart Country Music Festival May 4thfor FREE without the promise of airplay?

Or was there an understanding?    Was there an agreement?   Was in done in the shadows?

Are there emails?     Is this payola?    Or am I wrong and it’s just benevolence and a coincidence that 52 stations ALL played it at the same time?

Or was it very above board and legal?

Were there agreements, invoices, 1099’s and taxes paid?

Was the deal or agreement disclosed with every play of the song on the air?

Have you noticed all I have is questions?

Keith Hill ?

252-453-8888?

unconsult@aol.com?

 

 

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Look For The Simple Solution or Simple Answers

Look For The Simple Solution or Simple Answers

I’m amazed at how often folks make things much more complicated than they need to be.

Four and a half years ago I said “tomato” at a radio industry conference and for the past four years, not a lot has changed.

Here’s an inventory of what has changed.

Marissa Moss writes a lot of articles complaining about the plight of women in country music.

I pointed out an easy to count metric.

Why Dr. Jada Watson took over $50,000 to sit and run Mediabase reports that folks in radio have already run. Then she published them as a so called, “Research Study.”

Marissa Moss has written even more articles complaining.

Tracy Gershon, Beverly Keel, and Leslie Fram have not changed the conversation, they have just had more of it.

Emily Yahr has done what Marissa Moss has done.

The Grammy Awards are voted on by industry elites that are disconnected from the real folks listening to the radio.

A substantial portion of those votes are cast from Europe.

In Europe, they hate mainstream country.  They LOVE the esoteric country music.

Going to Concerts is a dramatically different kind of event than listening to free radio.

When you go to a concert and pay you tell yourself “I’m having a good time and enjoy this” otherwise you feel bad about the expenditure.

Marissa Moss has written even more articles.

I have nothing against the women in the country music industry but, they think I am a big part of the gender imbalance.  Uh NOPE!

The simple answer is that radio airplay is not connected to awards and festivals.

The simple answer is the songs on the radio and the spins they get are because of the response of primarily female listeners.

The simple answer is this is a FREE MARKET issue.

Now Marissa Moss will write even more articles on the topic.

The simple truth is Marshal McLuhan was right.  Which means we’re in for even more articles about this gender inequity in radio air-play.

At the 5 year anniversary of “tomato gate,” nothing will have changed except…

Marissa Moss will write even more articles.

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RECAP OF TODAY’S CRS 360 DISCUSSION ON GENDER BALANCE AT COUNTRY RADIO PART II.

Recap Of Today’s CRS 360 Discussion On Gender Balance At Country Radio Part II

 

Welcome Everyone!

Cindy Mabe Can’t Be Here Because Of A Family Emergency.

And That Helps Us Understand That Family Is More Important Than Our Industry Issues.

With Us Today Is Lindsay Ell A Female Country Music Artist

And Beville Dunkerly A Female From  Pandora.

Lindsay What’s It Like To Be A Female Artist Today?

(Insert Lyrics Of Feelings By Morris Albert)

But I Do Acknowledge That Good Music Is What Works

Beville Talk To Us About Pandora.  Blah Blah Blah Algorithms.

Blah Blah I Used To Be In Terrestrial Radio And Go Girls!!!!!

Linsday How Will Things Change?  Well… I Feel That Blah Blah Blah … Unfair… Blah Blah. Blah.

Thank You Linsday.

Beville And Lindsay Do Women Want To Hear Women?    Blah Blah Blah I See Women At My Shows.  And The Algorithms Show That More Women Listen To Country Products.

But They Do Listen To Men.

Breville How Can This Change?   Well Programmers Need To Be Brave And Add More Females And Ah Blah Blah Blah And Algorithms.

Well, Thanks, Everybody.

Glad We Solved This Gender “Imbalance” Issue.   So Stay Tuned Because Our Next Crs 360 Will Be In July On Another And Different Topic!

Actually, They Were Very Articulate And Thoughtful.  But Nothing Was Solved!

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Kudos to R.J. Curtis – But is it the right Question????

Kudos to R.J. Curtis

Yesterday the CRS held a webinar called “A Discussion Of Gender Balance At Country Radio: Part One”

I had thought that R.J. Curtis would stay away from this topic.  Curtis kicked off the webinar by correctly sighting the motto, “Growth Through Sharing.”  The founding members of CRS believed that the country format could be stronger than Pop, Rock, and Adult Contemporary formats by sharing research, ideas, promotions and concepts within the format itself.  They also believed that when radio and records embraced each other that those synergies would make country stronger.

There was one mention of Dr. Jada Watson.  She did not do any research. All she did was compile Mediabase reports.  Jeff Green did more than Watson!

What did we learn yesterday?

Jeff Green did an excellent job of showing us the percentage of singles released to radio by females.  There were also excellent graphs showing the percentages of singles by females that got airplay of certain levels.  Jeff’s biggest reveal was that when the measurement of country radios largest markets by PPM technology there were changes. Country radio played singles longer than before.  That meant shorter playlists and fewer adds.

Jeff also pointed out that County is a top-performing format.  He also pointed out that the cumes of country radio break in favor of women listeners.  I wish he had talked about the real currency we worry about.  That is average quarter hours.  While the cumes of country are 55% female there and even more important metric.  Nielsen boils radio listening down to a uniform currency called average quarter hours.  One person listens for one hour that is four-quarter hours.  Four people listen 15 minutes each that also is four-quarter hours. Females deliver 68% of the average quarter hours to radio!  Women listen longer than men (in the aggregate) to country radio.  The point is that country radio programmers research and caters to female listeners.

We all know country radio ultimately will tune their metrics to optimize cumes and time spent listening and time spent exposed.

Hey, Jeff, the entry of Soundscan changed things too!

Technology has allowed us to get a clearer picture with more accuracy.  Larger samples with precise attribution mean more accuracy and a much higher level of confidence.

There was no mention of MScore.  That’s okay.  John Shomby covered the basics of radio programming and ratings very efficiently.  MScore is a product that takes the Nielsen meter holders and shows the tune in and tune out on each individual song.  Programmers use it to increase the rotation and plays on songs that perform well and inversely reduce the rotation and plays on songs that perform at a lesser level.

My claim is that our programmers don’t care about gender when we increase or decrease the spins on a song.  We care about the relative strengths of the songs based upon the response of the listeners.  This is truly the free market at work.

The discussion of “GUT” cited as a top reason to add records is interesting.  John Shomby explained that a programmer knows his or her station and audience.  Then they make adds based upon a fit into that station’s sound.  He referred to it as a strategy.  In our research, we find that our listeners think the ideal station has more tempo that our station has now.  So we then have a bias against ballads. We tune the programming to drive the tempo more.  That way we are a better product matching the ideal the listeners want. The same might go for other music metrics like a desire for more gold, more twang, etc.  We call these “music lanes.”  Calling it “GUT” really besmirches what it actually is.

Think of it this way.  Captain Sully Sullenberger “used his gut” to land a plane on Hudson after his plane lost both engines.  Well yes and no.  Yes, if you consider “GUT” his years and years of experience and training.  No, if you call it thousands of hours of flying planes, classes in Flight School and reading reports of NTSB Crashes from the past.

Rachel Skaggs presented data on the number of female artists who have won Grammy’s.  Also, industry polls on “I wish I had written that song” and songs on country radio counted in Billboard.

I thought John Shomby helped bring clarity to the Grammy issue.  Grammy’s are very disconnected from Country Radio.  Over the years we have had many artists get Grammy’s that we did not play much on Country Radio.  The list is long.  Glen Campbell from 2015,  Asleep At The Wheel, Alison Krauss, Sturgill Simpson, and R.J. made mention of that 2004 compilation “Songs of the Louvin Brothers.”  So when I hear, “but it won a Grammy!”  I say do the listeners care?

Music Critics were mentioned.  I’ve told many record promoters over the years, “if Robert K. Oermann likes a record I’ll stay away from it.  However, if he doesn’t like it I’ll give it a try.”  These are the opinions of a class of “journalist elites” who have never programmed a radio station where they were pressured to drive ratings in the real world.

I’m not sure R.J. is willing to bring up in Part 2 of this discussion, “are we asking the right question?”

The description of the webinar starts  “There has been plenty of debate recently challenging Country music to find a better male-female balance when it comes to radio airplay.”

What is “Better Balance?”

Isn’t that like  “Trucks are outselling sedans!  Join our discussion to get a better balance of sedans to trucks in America” ????

I understand the optics of the percentages of females at country radio.  The current metrics are not the result of misogyny or sexism.  They are the result of the free market.

I have long challenged someone in Country radio to program a rated station in a PPM market to play 40% to 50% females. (I strongly believe the rating result would prove that the way radio is operating today results in the highest possible time spent exposed.)

We want a “better balance” because we don’t want sexism.  We want a “better balance” because we want fairness.

Welcome to America and a Free Market.

We do have equal opportunity. The doors of every record label are OPEN for business.  Female acts can send demos and make their pitch for record contracts.  The woman of Nashville can start an all-female label if they like.  All female owned, all female executives and an all-female roster. Why that might even drive the one metric mention by Jeff Green that seems to be meaningful, the number of singles released by females. (30%)

As to the number of spins on country radio, those 30 percent of releases get reduced in airplay and spins.

So we have equality of opportunities but NOT EQUALITY OF OUTCOMES!

The spins on country radio are up to the response of the listeners.  Jeff Green did not drill down to see that during the late 90s (95/96/97/98) when we were playing our highest percentage of females what happened to time spent listening.  I’ll tell you it went down considerably.   That is when I studied this issue AND tested it.  I programmed stations with lower percentages of females and defied that national averages on time spent listening.

My question to the CRB… is a “better balance” an artificially inflated number of females?  Or is it the desire for the numbers to be different than what our actual listeners want as the result of listening to our Country radio product and brands across America?

Keith Hill – I believe in Growth Through Sharing!

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NOT ON THE VERGE ANYMORE?

Maybe someone from iHeart will email me.. is Tenille Townes – Somebody’s Daughter not “One The Verge” Anymore?????

 

Marissa Moss are you paying attention?  Dr. Watson?

 

Keith Hill

unconsult@aol.com    252-453-8888

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Uh Oh, Say It Ain’t So Tenille!

The iHeart Country Music Festival is over.  I’m not sure when the “on the verge” for Tenille Townes is over.

Looks like it might be sunsetting.

You mean those plays weren’t organic?

Keith Hill

252-453-8888

Let the Free Market Work for All of Us!

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