Today, I’m happy to share a guest blog from Paul Jacobs. Without further adieu:
If you’ve taken an entry level physics course, you are aware of the concept that every action has an equally forceful reaction. We’re seeing that in radio right now. For the past several years, our industry has been criticized for stamping out clone formats across a wide swath of markets. A Mix station in Cincinnati sounds the same as one in Phoenix. The press, and even more importantly, the listeners, have figured it out, and they’ve reacted by ramping up the criticism, and moving away from radio to more interesting, and varied, entertainment options.
But true to Physics 101, radio is reacting. Of course, the mainstream press hasn’t picked up on it yet (remember, newspapers do compete with radio, and it’s in their interest to beat us up), but the evidence is clear. There is probably more new format experimentation happening now than in any time in recent history.
The biggest story going right now is the proliferation of Jack formats. But unlike past new “formats” like Jammin’ Oldies, that were easily replicated, there are multiple versions of Jack. Like NeoRadio, Jack is more of a values-based philosophy than a format. Like Neo, it can be applied across multiple platforms. That’s why Ben-FM in Philly sounds different than Dave-FM in Atlanta. It’s also why NeoRadio proponents like The Mountain in Denver sound different than FM 949 in San Diego. It’s also why Emmis applied the concept to their new Country station in Indy — Hank FM.
This format renaissance isn’t limited just to Jack/Ben/Dave/Neo stations. We’re seeing multiple formats being developed for the burgeoning Hispanic market. Oldies stations are experimenting with different approaches. Air America is bringng a new tilt to talk programming. Entercom’s KWOD flipped last weekend to “KWOD v2.0” — a new AAA/Alternative hybrid crafted for Sacramento.
And I haven’t even mentioned the attempts to reduce inventory and clutter.
The rules of physics apply even to radio. There’s a lot happening. I know that Fred, Bill, Ralph, and Dave will enjoy their monitoring during upcoming market visits. I’m assuming (and hoping), that the audience feels the same way. Radio is coming back.
Feel free to share your thoughts – click the “comments” button below, or email Paul directly at pauljacobs@g5j.8ac.myftpupload.com.
Jacobs Media has consistently walked the walk in the digital space, providing insights and guidance through its well-read national Techsurveys.
In 2008, jacapps was launched - a mobile apps company that has designed and built more than 1,300 apps for both the Apple and Android platforms. In 2013, the DASH Conference was created - a mashup of radio and automotive, designed to foster better understanding of the "connected car" and its impact.
Along with providing the creative and intellectual direction for the company, Fred consults many of Jacobs Media's commercial and public radio clients, in addition to media brands looking to thrive in the rapidly changing tech environment.
Fred was inducted into the Radio Hall of Fame in 2018.
- Baby, Please Don’t Go - November 22, 2024
- Why Radio Needs To Stop Chasing The Puck - November 21, 2024
- Great Radio – In The Niche Of Time? - November 20, 2024
Pardon my less than intellectual way of thinking, but I’m still trying to figure out what “Jack” and all the clones are about if it isn’t just a huge playlist.
We knew what Top 40 represented in its earliest incarnation. We knew what Boss Radio (or the Drake format) was about in the mid-late 60’s. We knew Boss Radio was more than music. In fact, Top 40 playlists varied from market to market a lot more in the 60’s than today. But Boss Radio went beyond the Top 30 music list.
It was a style, a sound, a structure, a presentation, an attitude. The Boss Jock had a signature sound, some veterans in the business at that time could not keep up with that style. The station ID jingles were short. The audio chain proceessing was certainly a big factor in the station sound. 20/20 news and the copycats made the Boss station so much separated from any of the others on the dial. The delivery of the jocks was slick, polished and in some instances loud and faster paced. The spotloads were small, the record counts per hour, huge. Contestings and promotions were a constant. There are many, many other factors that went into Boss Radio.
But my question is: What factors make “Jack” different than a triple A, a modern-style oldies or all-80’s format?
Again, maybe it’s clearly right in front of my ears, but I’m not catching it. I hear the jocks…sound like typical AOR jocks. I hear the clever sweepers and stagers between the songs. I hear the familiar music that is all over the road in terms of genre.
Can someone explain in simpleton terms what “it” is?