It’s
no different that what we were saying before the blowup.
Every company and community is different. What flies in
one market could be well over the line in another. The
same is true of the many companies we consult. Some
clearly encourage envelope pushing. Others are just
naturally more cautious. Whenever this subject comes up,
we urge the programmers we consult to make sure they’re
in the loop about what’s going on, inform upper
management, and make sure the legal bases are covered.
It’s important that programmers are in touch with
their shows. Unplanned "surprises" can be
expensive, painful, and can end up in court. There’s
too much riding on the premise of forgoing permission,
and asking for forgiveness. There are a lot of moving
parts here. Remember that the bit that sunk O&A was
a sales promotion.
How has what is acceptable changed in the post-9/11,
Republican controlled FCC era? Does radio have to be
more cautious of what they are putting on the air?
Paul: It sure looks like the ownership rules are
going to loosen up. But content-wise, I’m not sure
there’s going to be any different thinking regarding
what you’re programming. PDs need to be constantly
aware of where the foul lines are.
Fred: He’s right, of course. You’re not
programming to the FCC, but you’re also aware there’s
a government agency involved and the politics can
change. This is a tough time to be programming. On the
one hand, television has changed immensely, and no one’s
screaming and yelling. And it’s not just HBO.
Broadcast television has changed its standards in a big
way. The standards of the country are changing.
Programmers get fewer complaints. Frankly, the biggest
concern about content comes from advertisers – or what
stations perceive their clients will whine about. It’s
a balancing act, so what’s new?
How about a few programming specific issues? What are
the era lines for Classic Rock? Do U2, R.E.M. etc, make
it? What is dropping out at the back end?
Fred: Actually in the last couple of years, there’s
been more action on the older end of the spectrum. The
‘60s continue to play an important role for many
Classic Rockers. Some of this is because Oldies stations
have begun to integrate more late ‘60s and ‘70s
material, but the older stuff continues to be important
to the overall mix. For many Classic Rock stations, the
‘60s and ‘80s are on pretty equal footing.
How should Classic Rock stations deal with new
records by artists like the Stones, Petty, Springsteen,
etc?
Fred: Every station has a different angle on
this. Overall, the audience likes to know when core
Classic Rockers have something new. I like the idea of
some "FYI" spins for something like the new
Stones or new Springsteen, but it has to be limited, and
have context. It’s important this music is properly
set up, showcased, and treated as the spice that it is.
Some stations have made this work, while others have
avoided it altogether. Let’s face it – no one tunes
in a Classic Rock station to hear something new. So the
place for this material has to – by definition – be
limited.
A related issue is how Classic Rock stations stay
fresh – beyond playing new stuff. I love the idea of
"current events" for Classic Rock artists.
Reminding them that it’s the 30th
anniversary of Dark Side of the Moon makes people
feel old. Telling them about Paul McCartney’s tour
plans, Mick Jagger’s personal life, or that Aerosmith
is going to be appearing on MTV is more interesting,
compelling, and worth talking about.
Paul: A related angle here deals with the record
labels. In Classic Rock stations, they have the most
targeted vehicle for reaching rabid listeners with money
that are interested in buying digitally remastered CDs,
box sets, and DVDs. And most Classic Rock stations are
hungry to do promotions that could be win-wins for
stations and for the labels. Instead of spending all
this money to break a new artist that may or may not
have long-term potential, Classic Rock bands are already
pre-sold. Those legions of Eagles fans are ready,
willing, and financially able to pay for whatever’s
released. But they have to find out about these new
projects somehow, and there’s no more efficient source
than Classic Rock stations. I’d really love the
"wall" between the labels and Classic Rock
stations to come down. I think each side has a lot to
offer. There are some visionaries at the labels who have
put together some strong promotions, but they could
really generate more sales with these 30+ listeners.
Fred: The other dynamic this year is all these
great Classic Rock concerts. 2002 may be remembered as
the greatest year ever – certainly since the format
first took off in the mid-‘80s. When you’ve got the
Who, McCartney, the Stones, Robert Plant, and Bruce all
on the road at the same time, it’s magic. And when
listeners see these shows, their spirits are lifted,
their faith in the music is renewed, and their love for
Classic Rock intensifies. All these bands can still
bring it.
