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Final Paper: Radio in 2024
“Fighting to Stay Free” #188...November-December 2014
And
now, ladies and gentlemen…
…I
wondered, how many college professors could actually do the assignments they
give their students? So, for this Hz,
I decided to tackle one I’ve assigned my “Introduction to Radio” class:
Forecast what radio will
be like (or if it will even be) in 2024. Try not to exceed 1,000 words.
Here
goes. (I’ve taken the liberty of single-spacing, if that’s ok.)
The Future of
Radio
By Rich Appel
Consider the following:
·
Radio is successful when it generates enough
revenue not only to keep itself going, but also to invest in its future.
·
Radio generates revenue from advertisers who get
proven results from delivering their messages to consumers by using the
airwaves in the most effective fashion.
·
Advertisers get these results, and resulting
revenue, when stations have enough listeners who fit both the advertiser’s
intended user profile and who match the intended target of the station’s
programming.
·
Listeners choose – and adopt - a station when it
satisfies their programming desires, whether it means playing the “right music”
or delivering necessary non-music programming (news, talk, sports) during time
spent listening.
·
In 2014, radio succeeds because it is the easiest
medium for most consumers to use: they simply turn their car’s ignition and
radio is there to enjoy.
·
Radio is, at its core, an appliance or product
people use on a daily or at least regular basis. It is therefore no different
than other products that are part of our daily lives.
Accepting all the above as true, conventional commercial radio is being
challenged by a changing world, with additional and more attractive ways
consumers can receive content they want every day, and by which advertisers can
reach these consumers. This is due to:
·
The rise of audio services not found on
conventional radio, whether also free – such as those delivered by web
streaming – or for a cost, such as satellite radio or on cable TV.
·
The resulting revamping of car (and eventually
home) audio entertainment systems designed to make listening to these other
services as easy as to commercial radio.
·
The shift in power from delivery systems to
consumers in terms of music choice, allowing consumers to more easily choose,
listen to and own all the music they want.
·
The shift in power from delivery systems to
consumers in terms of news, with not only wider choices across all media but
apps for news, weather and traffic that will soon be available at the push of a
button from the driver’s seat.
·
The shift in power from advertisers to consumers, who
now have greater control over receiving messages while enjoying delivered content.
Simply put, in order for radio to continue being successful, it needs
to:
·
Improve on other audio choices offered consumers.
·
Offer consumers what other choices cannot.
·
Create a new and viable model for advertisers that
does not send consumers elsewhere during commercial breaks.
Consider how other products have handled this challenge. Crest
toothpaste at one time owned the cavity-fighting position with consumers. As
other cavity-fighting toothpastes entered the market or offered additional
advantages, Crest needed to up its game, which it did by adding tartar control.
Even before YouTube gave consumers the freedom to watch whatever videos they
wanted anytime, music video networks such as MTV and VH1 had already reinvented
themselves by providing lifestyle and reality programming targeted viewers
could not get elsewhere.
Over the next decade, then, here is what commercial radio will need to
do in order to continue to generate revenue and remain a vital part of the
consumer’s day:
·
Further embrace the Disney Channel, PBS or event location model of ad
support, as in replacing spot clutter with sponsorships and content branding in
any way possible. This will
be necessary as the younger (and future) end of the advertiser-coveted 18-49
demographic abandons commercial radio in favor of just-as-easily accessible
stations with less or no commercial interruptions. CBS Radio has taken a step
in that direction by branding their New York studios “The Royal Caribbean
studios” (which is a stretch as clearly, CBS’ studios are not located on a boat
and/or in the Caribbean). In any case, if commercial radio does not want the
money demo to associate it with unusually long commercial breaks, this must be
addressed.
“Wet Wednesday” on
CBS-FM?
·
Develop content unique to commercial radio. Other services using the word
“radio” have succeeded by offering unique programming not only at the expense
of AM/FM but seemingly with its blessing, as over the past 20 years commercial
radio has relinquished the role of special content provider (and often, curator
and historian). Gone are weekly local countdowns, nightly and weekend special
features, even air personalities who helped define and distinguish a station from
all other competition. The current rules of thumb seem to be: 1) play only the
biggest hits, and most people will listen, and 2) don’t talk much because
people just want those hits. The easier it becomes for listeners to find and
customize that music experience elsewhere, the more urgent it will be for
AM/FMs to stand out from the crowd. Take note again of CBS Radio and how it
revived top 40 on FM in the early 1980s by reviving the format’s most basic
elements, which everyone else had forgotten about or left behind.
·
Develop content worthy of re-broadcast or podcast. Television has been onto this
for years and benefited from it. Then again, since TV has been around, video
content has always been something consumers have wanted not only to view if
they’d missed it the first time but also to experience again (and again). Radio
can also do this too, something already proven by at least one air personality,
Howard Stern. It probably wouldn’t take 500 more Sterns to create enough can’t-miss
content to keep commercial radio afloat by 2024: done right, programming that’s
music- or issues-driven, or just plain topical, could air multiple times a day
or week over various stations to reach the most targeted listeners and maximize
advertiser impressions.
·
Strengthen the relationship with the listener. During the 1960s and 1970s,
radio was expert as doing this without the level of interactivity we have now.
The problem these days is far greater competition for the same listeners; in
other words, everyone wants to be your ‘friend.’ Nonetheless, radio must
discover new ways to be a constant and welcome part of listeners’ lives. One
obvious way that didn’t exist in the pre-digital era is to take advantage of
online advertiser activity. If every account geared to a station’s key demo had
a “K94.7 discount” which took effect when listeners knew a word or song or DJ,
the greater the benefit and the more likely listeners would be to consider the
station a daily help beyond its information/entertainment value.
·
Partner with other media. While everyone in radio says they do this,
is it possible that YouTube channels and Facebook pages are more like spinoffs
than companions? Radio needs to figure out how to tie with other media in ways
that will benefit audio content first and foremost. No better example exists
than when must-hear hosts use it to tease the most important product.
So, that’s what radio needs to do. Now to predict what it will do. Where
will we be in 2014?
·
Most radio listening will be in cars and on portable devices that mix media with other functions more effectively than today’s
smartphones and tablets. Conventional AM/FM radios will no longer exist except
as battery-operated back-ups during emergencies/power outages (so kept in the
same drawer as flashlights).
2024: Toast and jams? Unlikely.
·
AM will reinvent itself as a stand-alone
police, traffic, weather, what-to-do-in-town-x and what-to-do-in-an-emergency
band, also with stations serving ethnic listener segments.
·
FM will be a mix of AM’s current money-makers
(news, sports, maybe issues talk) and holdover “mass music” formats, most of
which will be nationwide with local inserts where (or if) necessary.
·
Most other music formats aimed at young adults (and out-of-money demos)
will be split across pay and non-pay channels, many of which will also be
corporate-owned and nationalized. More Internet-based owners of format clusters
will emerge to compete for ad dollars, and the best of the independent online
channels will be purchased or taken over in the process.
·
While “on-demand” will take a greater share of
music listening, there will still be a
place for the DJ: as ringmaster (morning shows), tour guide (if
ad-supported stations can pay them), and entertainer (although more likely on
the talk side). The art of weaving talk and music will either be limited to
hip-hop (or whatever hip-hop evolves into) or lost entirely, except for unpaid
enthusiasts and an archive of classic airchecks.
That’s my forecast (I know, I passed my own
1,000-word limit). So, what’s my grade?
PLUG-OLA: Hope to see you at the 9th Annual Oldies Fans Meet-and-Greet
Saturday November 15 at Ben's Deli in Manhattan. Join WCBS-FM’s Sue O'Neal,
Rewound Radio’s Bob Radil, Sirius XM’s Cool Bobby B, myself and many, many
others for some good old time rockin’, rollin’ and noshing. More info here: https://www.facebook.com/events/1412880318958588/.
Thanks to Jeff Scheckner and Bruce Slutsky for putting this together every
year.
Speaking of them oldies, join me Saturday,
December 27 at 1pm Eastern when I count down the top 100 hits of 1961 (same
year upside down, so it must be good) on Pop Gold Radio (http://popgoldradio.com/).
Hz So Good
online (current issue, and archive back to 2010) at http://www.60s70s.org/HzSoGood/.
Click.