2014, in 5
easy pieces
Who
Replaced The DJ? It’s Not Who You
Think. (see #4)
“Fighting to Stay Free” #189...January 2015
And now, ladies and gentlemen…
… for your holiday pleasure (or perhaps not), five
short essays on 2014.
2014:
The incredible shrinking playlist
Here’s
all you need to know about radio’s biggest hits of 2014:
a)
Pharrell Williams, a featured performer in what was
just about the biggest song of 2013 (Robin Thicke’s “Blurred Lines”) scored
what was just about the biggest song of 2014 (“Happy”).
b)
Charli XCX and Ariana Grande – both of whom made
their first chart appearances in 2013 - helped launch the career of Iggy
Azalea, whose debut hit (“Fancy”) featured XCX and who was featured on Grande’s
biggest hit to date (“Problem”). XCX later landed a big hit of her own (“Boom
Clap”) while Grande was later featured on Jessie J’s biggest hit to date (“Bang
Bang”), which also featured Nicki Minaj, who also scored her biggest hit to
date (“Anaconda”). Got all that?
c)
Taylor Swift, famous for straddling the fence
between pop and country, abandoned the latter and scored 2014’s biggest album
and two of its biggest singles (“Shake It Off” and “Blank Space”) with the help
of pop’s winning-est producer, Max Martin.
d)
Come to think of it, there really is no d).
The girls of 2014: They
got by with a little help from their friends.
Ok, the above is an oversimplification of
top 40 in 2014, but not by all that much. Earlier this year Hz So Good pointed out the gradual decrease
in hits reaching critical mass over the past 40 years: while a listen to the
top 100 of 1966, when more songs hit the national top 40 than ever before or
after, would reveal few if any titles that didn’t take over at radio for at
least a few weeks (not to mention exclude quite a few others that did), you’d
be hard pressed to find 40 of this year’s top 100 that did the same.
Why? To quote Thomas Dolby’s one big hit:
“Science!” (exclamation mark intended). Anyone in 1966 could have predicted
charts would become more accurate with time, but would any have seen the day
when an increase in metrics – in the case of 2014, streams, video views and
“Shazams” in addition to old favorites sales, airplay and listener research –
would lead to such a sharp decrease in hits?
They’d have also had to have foreseen the consolidation in both the
music and radio businesses, the increased competition for listeners given a
by-the-minute ratings system awarding stations playing fewer songs with greater
familiarity, and the far longer shelf life of hits due to the industry’s higher
expectations and need for other media in order to reach as many consumers as
possible.
As a result of all the above, the number of
#1 songs has fallen from 30 to 10, with similar shrinkage for top 5s, top 10s
or any cutoff you choose. It also meant more songs failed to reach the
penthouse of high rotation: beyond a)-c) above, few additional songs – maybe
John Legend’s “All of Me,” Meaghan Trainor’s “All About That Bass,” Sam Smith’s
“Stay With Me” and Magic!’s “Rude” – hit that point where everyone knew them.
In earlier eras, acts with successful albums
or at least those with some buzz were guaranteed a pop radio hit, but no
longer. Most of 2014’s best-reviewed and/or biggest-selling projects had no
representation at top 40. Beyonce’s much-discussed and revered album was lucky
to get one key hit, “Drunk in Love,” on top 40. Critical darlings like Haim
found commercial radio an impenetrable force. Country’s biggest hitmakers, like
Luke Bryan or Florida Georgia Line, weren’t able to cross over big time. Even
“Let It Go,” from Disney’s Frozen
soundtrack and the year’s #1 album – a song every kid and parent knew – never
achieved radio success reflecting how huge it really was.
The irony of all this is, there’s more new
music out there than ever, thanks to the wonderful world of the Internet and
specifically YouTube. The world we once knew where radio program directors
lived to introduce us to the latest greatest thing that we’d go out and buy has
been turned upside down: now, we’re in control of new music, and radio plays
only the strongest among those songs powered by our clicks. Our wide-spanning
tastes ought to lead to wider playlists, but it’s just the opposite: fewer
songs reach a consensus, so fewer make the airwaves.
Only a change in radio’s fortunes could also
change this situation. Will we ever again see a day where top 40 really has 40
– ok, 30 - songs in the conversation? I’d say “stay tuned,” but I’m not
convinced that’s going to happen, either.
2014:
The decline of ‘precision pop’
What
did happen to change contemporary music for the better in 2014? 1) Bigger hits
representing a wider variety of sounds and influences, in large part due to 2)
Superstars mostly taking a back seat to the newer acts having knocked out those
hits.
While some of that was due to major artists
not showing up to play in 2014 (Rihanna, P!nk, Adele, fun., Black Eyed Peas),
we also saw acts who’d always been counted on to deliver big hits slip from the
perch. In the summer of 2013, both Katy Perry and Lady Gaga released
much-publicized first singles from new projects; by summer 2014, both projects
were essentially over, with three of Perry’s five singles underperforming (yes,
granted, the other two, “Roar” and “Dark Horse” were huge), and Gaga not even
bringing a third single from an album that turned out to be more art-flop than ARTPOP. In past years Eminem, Pitbull
and Kesha – who headlined #1s at the beginning of 2014 – would have all been
good bets to continue that dominance throughout the year, but not in 2014. Even
Maroon 5’s latest round of hits didn’t reach the heights of earlier efforts.
The story doesn’t end there. There was also
a noticeable decline in formulaic hits in 2014, following a period dominated by
the by-now predictable danceable pop hit with no intro, a rap break and the
fadeless shutdown. This year we got reggae, piano ballads, retro hooks
harkening back to just about every decade gone by, and generally a fresher take
on pop. There was even at least one real rock song in the bunch by year’s end
with newcomer Hozier’s “Take Me to Church.”
Left to right: Staples
Katy, Katy Katy.
The idea that ‘precision pop’ (as I call it)
is being replaced by styles that feel looser (and that’s literal in the case of
One Direction, whose big hit of ’14 was in a folk-pop vein) goes hand in hand
with what may be the beginning of a shift away from acts with corporate
connections. While it’s not clear whether Perry’s Staples sponsorship hurt her
overall image, it feels like we’re starting to see the limits on how far pop
acts can go in the endorsement world. No, we won’t be returning to the days of
“The Who (or any artist of that era) Sell Out,” but we may have reached the
limits of over-commercialism - in terms of both sponsorship and music
itself.
2014:
The rise of “Beavis-and-Butthead journalism”
Although
I wrote fewer stories for Billboard
this year (read, no weekly column(s)), I’m proud of what I did write, and that
everything I wrote treated its subjects fairly and with proper respect.
2014 saw much of online journalism - which
clearly exists to connect clickers with advertisers and move the social media
meter - taken over by stories heavy on opinion and genre- and artist-bashing.
What was once a style limited to the Perez Hiltons and TMZs of the wired world
spread across youth-targeted pop culture sites. I call it “Beavis and Butthead
journalism” for a probably obvious reason: its writers, who grew up watching
MTV’s animated duo pass judgment on popular music and artists, have now
appointed themselves experts on what’s cool and what sucks.
“Heh heh…Robin Thicke
sucks now. Thanks, GawkBuzz dot com.”
Here’s the thing: it was great when Beavis
and Butthead were a rock version of Siskel and Ebert because we knew it was
comedy (even if many of us felt the same way about “college music” or David Lee
Roth’s solo career). Making the assumption that everyone reading who liked
“Blurred Lines” a year ago hates it now is not journalism, it’s foisting your
own opinions on everyone in the guise of news. I know it brings in readers,
gets the twitterverse going and must make advertisers happy, but…it’s still
wrong.
Not that how I feel about it matters, as
it’s not going away anytime soon. Youth has spoken. Rude lights up the
Internet.
2014:
Who replaced the DJ?
“’Judy
in Disguise.’ ‘Judy in Disguise’ what? Judy in Disguise apartment.”
-
Dan Ingram on WABC, 1967
“I
came, I saw, I conquered…or should I say, I saw, I conquered, I came?”
- Pitbull,
from “Fireball,” 2014
I
was wrong when I predicted back in Hz
#130 (January 2009) that “the mouth will rise again,” referring to all-day live
radio air talent. I made what I felt then was a strong case for turnaround,
based on listener demand as well as on research, the needs of a new generation
and the business just doing the right thing (it could happen).
But I didn’t consider – seriously, at least
– the almighty god of radio in the 21st century, the PPM. I naively
suggested commercial radio could succeed by counterprogramming digital
jukeboxes with more human beings talking in and out of music.
Not only has the opposite occurred, the
battleground between terrestrial radio and everything else hasn’t even focused
on live, rather on commercials or the lack thereof. That’s because the
entertainment value of the music element of music radio has gone up, while that
of the air personality has nosedived. And it’s something the modern listener
seems to be just fine with.
At some point over the past several decades,
the top 40 DJ who made jokes about songs and artists became extinct. Ingram may
have been the last, during his short return to afternoon drive on New York’s
WKTU in 1985. Although that station would undergo a call letter, format and target
audience change for it to happen, it still says a lot about the change in humor
on contemporary radio that Ingram was replaced by Howard Stern.
Stern of course went on to
define radio humor for the next two decades. It may have been Stern’s on-air
ridiculing of DJs such as Ingram that led to the eventual end of clever
talk-ups on top 40.
That hip-hop’s influence on pop
music began to take hold after Ingram left might not be such a coincidence.
Then as now, the most gifted rap artists can turn a phrase, play on words or
make clever topical references like no one’s business. Unlike the novelty hits
during top 40’s first three decades, rap hits and the pop tunes and artists
they influenced have held up – that is, remained funny and entertaining – for
as long as any other hits on top 40 radio.
Particularly over the last ten
years, pop’s best artists and songwriters have purposely infused hits with
can’t-forget lyrics that have in many cases become quotable or in the modern
age tweet-worthy. Both Perry (“Is this a hickey or a bruise?”) and Kesha
(“Brush my teeth with a bottle of Jack”) have made a career of it. In 2011,
LMFAO’s “Sexy and I Know It” raised the bar – and reminded us of radio’s
‘theater of the mind’ power – by creating a character that rattled off a series
of one-liners (“No shirt, no shoes, but I still get service”). When was the
last time a top 40 DJ did any of this?
In 2014, pop hit lyrics took on
an even larger role, while air personalities were pushed even further out the
door. Humor was still big, but so were songs that sounded as if they were
recorded on a therapist’s couch, in an attempt to hook the moms and daughters
comprising most of top 40’s audience. In “Habits (Stay High)” newcomer Tove Lo
sang about going to sex clubs and throwing up Twinkies (not at the same time,
mind you). Mary Lambert’s “Secrets” listed all the reasons you might not want
to date her, from having bipolar disorder to using an analog clock. And
Trainor’s “Bass” was essentially three minutes of Barbie-bashing; what better
way to attract the middle-American woman?
Then there’s Nicki Minaj’s
“Anaconda,” which, for all the attention its video received, is really – on
radio, anyway – a stellar example of storytelling, another lost art on the
medium. When you listen to Minaj recount her detail-driven sexual escapades
with former cocaine- or dope-dealing lovers, you realize she’s to radio today
what Jean Shepard was fifty years ago. I know, that’s kind of tough to wrap
your head around, if you remember listening to Shep. Maybe 30 years from now
our kids’ kids will be watching a Nicki Minaj movie every Christmas.
From “Open Road for Boys”
to “Boy toy named Troy.”
Put another way, radio’s role
as all-day live entertainer via the DJ has become, like so many other
components of once-successful stations, reassigned to someone or somewhere
else, in this case to the artists bringing you the hits. So these days when PDs
add a song, think of it as they’re really hiring a new DJ. At this stage of the
game, it’s unlikely this trend will re-reverse.
2014:
The death of the 1960s
If you haven’t taken your Jefferson Airplane albums down from the attic,
here’s a review of the reasons you might want to after 2014.
1. Classic hits radio stations purged most 1960s songs and many 1970s
secondaries, something that had already happened at classic rock.
2. David Letterman announced his retirement in 2015, after which time the
parade of musical guests dating back 40-50 years – no longer invited to either Jimmy’s
last night talker (legends like McCartney and Streisand excepted) – will surely
end.
3. Veteran rock acts took it on the chin this year. Artists such as
Springsteen, Foo Fighters, Tom Petty and especially U2 – all of whom released
new music this year - were targeted by the aforementioned Beavis and Butthead
journalists, who coined the term “Dad rock” (which many pains probably remember
as having once been a contradiction in terms).
The 60s’ smashes got
smashed.
Once upon a time it was easy and natural for
free radio to assume the roles of curator and archivist. As late as 1973, you
could hear all of rock ‘n roll’s history on top 40, and as late as the early
2000s, you could find just about any hit song ever somewhere on the dial. But
radio’s primary business is business, and advertisers targeting a younger
audience - with little appetite for a steady diet of oldies - must be served.
Thus, out go the 1960s, great, innovative
and historic as they were.
For most of you, this isn’t such a big deal:
there are plenty of places to hear the remnants of pop’s glorious history,
mostly via Internet and satellite. But it’s not any lack of availability, or
the absence of most pre-1975 music on FM – or any older music, really - that
bothers me: it’s the lack of respect it gets, which it is always due.
Take the U2 incident: good album, apparently
wrong strategy. But the media responded by treating Songs of Innocence like it was a fruitcake, as in, thanks, guys,
but no thanks. Last I checked, there was nothing wrong with free music,
especially from one of the biggest-selling artists long due for a return. You
don’t like U2, hit delete. Works for all that unwanted email.
Even before U2 returned, most artists with a
20+ year track record were already getting their one-and-done week of media
attention: new album debuts at 1, 2 or 3, then goodbye. Even Weird Al faded
away after his week o’ parodies. U2 of course didn’t even get this, given their
circumstances. In fact, any long-standing rock act that tried something
different got shoved in the same ‘don’t call us, we’ll call you’ drawer: Foo
Fighters’ HBO series preceding its new album blitz led to online bashing of a
band that had always been worshiped as the last of rock’s dying breed.
Which means, if you’re going to blog about
how great – or how much better – the music of the 1960s and 1970s was, or the
continued importance of rock’s pioneers, you can expect as many hits as those
acts are getting lately.
PLUG-OLA: Miss the December 21 debut of That Thing with Rich Appel on
RewoundRadio.com? No matter: come on back any Sunday at 6pm Eastern for 3 hours
of radio as it once was…and never was. If you’re on Facebook, we’re at https://www.facebook.com/ThatThingRichAppel.
You can catch up with my Billboard “Revisionist History” series
(also a part of That Thing…) at http://www.billboard.com/author/rich-appel-4314453.
Hz So Good
online (current issue, and archive back to 2010) at http://www.60s70s.org/HzSoGood/.
Happy Hzidays,
pains one and all.
Click.
Rich Appel is a talented and experienced writer about the
radio and music industries. He's written Hz So Good since 1996, and written for
Billboard since 2011.
His services are available for your publication or website.
Contact Rich at richappel@verizon.net.