You don’t have to be a programming genius to know that the most dangerous product you can play is new music. After being in the research end of the business for almost half of my career, I was always surprised how young programmers misunderstood the dangers lurking in the waters of “new music.”
For so many, new music represents the essence of what their format is all about. It gives them a cutting edge and a “hipness factor” that conservative stations don’t get to experience.
In my research days, it never really mattered what format we were discussing; to them, it was a simple way to keep the core happy. There is a good deal of truth in all this since the core grows tired of repetition quickly and more than any others.
However, it’s important to understand that growth comes from building cume and converting that cume to core – without alienating your already existing core. That balance is truly a tightrope walk and will separate the adults from the children quickly!
The process must weave the core and cume together, satisfying both without losing the other. I remember one discussion at a major market station playing six new songs an hour. That was half the product! This became rather heated when the PD told me that I didn’t understand the format, to which I replied, “The format doesn’t matter, and I understand you’re going to ‘new music’ this station down to a 1.0 share.“
The art of clock construction must not only avoid playing too many new songs but be conscious of placement and what they are surrounded with. When I was PD, I always played powers around new songs, and I never came out of a stop-set with a new song. I never played more than two brand-new songs an hour. I was confident in the philosophy that hit songs have greater mass appeal than new songs, with the exception of highly anticipated songs from true mega artists!
My old friend Guy Zapoleon, one of the smartest programmers and consultants in the industry, spoke often of his “spokes theory”. To me, though, it was way more than a theory – it was an axiom. Like the wheels on a car, every clock requires strong spokes, and every quarter-hour needs at least one of those spokes (i.e., powers).
The more new music you play, the weaker your spokes become, so minimize that possibility by being careful with what you add as well as where and how often it is played.
One of the other danger zones to mention is the desire for programmers to add “depth and diversity” in an attempt to offer more variety. “Variety” can be a dog with different fleas. Variety doesn’t mean more songs. It means more favorite songs. No one will ever say, “You know what I hate about your station? You play my favorite songs too much!”
In all the focus groups and one-on-ones I have ever done (and that adds to hundreds and hundreds) when asked about repetition, it’s clearly about “too many songs I don’t like!”
If you have a format that plays current music, the best advice I can offer is what my various heroes throughout my career told me… “Don’t be distracted by those who complain about repetition. When they stop complaining, you know you have a serious problem!
Let the other programmers make all the mistakes and take all the risks. You just play the hits, Bob!”
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Bob Lawrence serves as a Market Manager for Seven Mountains Media, overseeing the company’s Parkersburg, WV/Marietta, OH cluster. He has held virtually every position in the business over his 40+ year career, from being on-air in Philadelphia, San Diego, and San Francisco as well as programming legendary stations including KHTR St. Louis, KITS Hot Hits and KIOI (K101) San Francisco.
Bob also honed his research skills over ten years as Senior VP of Operations at Broadcast Architecture, eventually launching his own research company and serving as President/CEO of Pinnacle Media Worldwide for 15 years. Bob spent five years as VP of Programming for Saga Communications before joining New South Radio in Jackson, Mississippi as GM/Market Manager. Prior to joining Seven Mountains Media, Bob served as General Manager for the Radio Advertising Bureau, overseeing its “National Radio Talent System”.
