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NEWSSTAND PRICE $6.50
Smooth And Sultry "Spanish Guitar" by Toni
Braxton (La Face/Arista)
pulls in a bumper crop of
adds this week at multiple
formats. The Diane
Warren -penned track earns
a total of 93 adds. and it's
No. 1 Most Added at
Urban AC.
THE INDUSTRY'S NEWSPAPER www. rron/ine. corn
NOVEMBER 1 , 2000
St . ing Radi hemelssue Th traditio gal radio industry has never faced as many
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Our Cable Affiliates Nationwide, And Our College And University Partners...
OCT 3 JOHNSON S WALES UNIVERSITY OCT 4 CALIFORNIA UNIVERSITY OF PA OCT 'S UNIVERSITY OF VIRGINIA OCT 7 PHILADELPHIA COLLEGE FESTIVAL OCT 8 SHIPPENSBURG UNIVERSITY OCT 14 KENT STATE OCT 15 INDIANA UNIVERSITY OCT 16 NORTHERN ILLINOIS UNIVERSITY OCT 17 FERRIS STATE OCT 24 ILLINOIS STATE UNIVERSITY OCT 26 ST. LOUIS UNIVERSITY OCT 27 UNIVERSITY OF MISSOURI OCT 28 TRUMAN STATE OCT 30 UNIVERSITY OF COLORADO O BOULDER
NOV 1 UNIVERSITY OF CALIFORNIA O IRVINE NOV 4 SANTA BARBARA CITY COLLEGE NOV 5 UNIVERSITY OF CALIFORNIA SAN DIEGO NOV B CAL POLY TECH NOV 7 SAN JOSE STATE UNIVERSITY
Look for MTV's Campus Invasion Tour in Spring 2001 www.americanradiohistory.com
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4 R&R November 10, 2000 Radio Business
Spanish Broadcasting System To Buy Bloomberg °11.5WI;m°
KFSG-FM/I.A. For $250 Million S &P downgrades SBS' outlook to 'negative'
BY JEFFREY YORKE R &R WASHINGTON BUREAU CHIEI' vorke @mnline.com
Spanish Broadcasting System's acquisition of KFSG -FM/ Los Angeles is a classic good news, bad news story. In a whopper of a deal announced last week, SBS said it had agreed to pay the International Church Of The Foursquare Gospel $250 mil- lion in cash for the 54kw Contemporary Christian/Religious sta- tion. SBS, which had been struggling for a place in the national limelight, achieved that when the deal was billed as the largest - ever single -station radio transaction.
SBS. which will own three Los Angeles stations in addition to KFSG once its purchase of Rodriguez Com- munications is settled. is almost cer- tain to drop KFSG's current format in favor of a Spanish -language tomcat.
SBS President/CEO Raul Alarcon Jr.
calls KFSG's acquisition "an integral part of our strategy to significantly improve our competitive position in the Los Angeles market." which has ahc ut 6 million Spanish speakers.
On the bad news side, Standard & Poor's rating service revised its rat- ing on SBS from "stable" to "nega- tive" based on the increased finan- cial risk that comes with such a large deal. S &P says it is concerned that "interest coverage will be weakened beyond the level appropriate for the ratings. assuming the purchase is largely debt-financed." But S &P also offset the negatives by noting that KFSG "has a full -market signal and considerably strengthens the comp- any's business profile in the largest U.S. Hispanic market. where SBS' KLAX has faced significant competi- tive challenges:'
FCC Enforcement Bureau Celebrates First Anniversary
Big indecency fines among inaugural -year highlights Bl JUL HOWARD R &R WASHINGTON BUREAU jhmrmd @rronline.com
FCC Enforcement Bureau Chief David Solomon met with reporters Nov. 2 to highlight some of the strides his bureau has made since its inception on Nov. 8, 1999. Citing the bureau's "Firm, Fast and flexible" slogan. Solomon reviewed a list of ac- tions that included two especially steep indecency fines levied on radio stations.
Solomon said the agency keeps a
close eye on indecency and that it backed up its policies when it fined WQAM -AM /Miami $35.000 in January and penalized WXTB -FM/ Clearwater. FL twice in June, once for $7,000 and again for $23,000. While those fines were exceptional. the Enforcement Bureau has issued or proposed indecency fines for IO stations over the past year. including WQAM and WXTB, for a total of over $ 120,000 in penalties. Most fines ranged from $2.000 to $7,000.
Solomon also said that notifica- tion to callers when telephone calls
are being aired live or recorded for broadcast is another area closely watched by the Enforcement Bureau. Indeed. the bureau has issued or pro- posed $40,000 in fines against eight stations over the past year for such violations, with individual fines rang- ing from $4.000 to $6.000.
Station contest misrepresentations are "typically the thing that could lead to license revocation :' according to Solomon. and it seems broadcasters are doing their best to abide by the rules on such matters. The bureau has proposed fines against only three sta- tions in the past year for misleading
broadcast contests. for a total of $10.000. R &R asked Solomon to comment on Andy Martin's letter to FCC Chairman Bill Kennard seeking an investigation into Clear Channel's national contests. but Solomon would say only that such a letter exists and he has seen it.
Shutting Down The Pirates
Regarding pirate radio stations. Solomon said that the Enforcement Bureau shares Chairman Kennard's commitment to enforcement. point- ing out that the bureau shut down a
record 180 pirate stations in the past year. up from the roughly 150 per year closed in years past. Bureau in- vestigations have also resulted in the issuing of eight injunctions by fed- eral courts against pirate broadcast- ers and the arrests of two pirates by law enforcement agencies.
More Third -Quarter Radio Results Regent moves into the black in 03
B1' JUI IIUN \KU: \ND JIdi'Kla YORK': R &R WASHINGTON BUREAU mailroom 0, rmnline.com
The flurry of financial reporting from radio companiés con- tinued this week as several companies released positive results, and, in some cases, big news outside of fmances.
Good News At Radio One Radio One had good news for in-
vestors as Q3 after -tax cash flow beat street estimates and soared 154%, from $6.7 million. or 12 cents per share. to $17 million. or 20 cents. First Call analysts had expected an ATCF return of 15 cents per share. Broadcast cash flow rose 86%, from $12 million to $22.3 million. while the BCF margin improved from 5O'%
to 52%. Net broadcast revenue in-
creased 78%. from $24.1 million to $42.9 million. Radio One's net loss was $4 million. or 5 cents per share. compared to a gain of $1.9 million. or 4 cents. last Q3. The company. whose earnings per share were not. covered by First Call. said its net loss was the result of a $7.6 million tax provision related to the acquisition of 12 Clear Channel spinoffs. On a
saine- station basis. net revenues were up 135. and BCF rose 20%. The
news sent ROIA shares up about 28% just before the market closed on Tues- day.
Analysts rewarded Radio One's strong quarter as First Union Securi- ties' James Boyle reiterated his "buy" recommendation and listed a 12- month target of $19 per share the day after Radio One's Nov. 2 earnings report. In addition, the company's newly created D shares (ROIAK) shot ahead of ROJA shares for the first time on Nov. 2, closing up $2.94 to S I3. I9, a 29% gain.
EARNINGS/See Page 6
Beasley -Centennial Deal On Hold The sale of six Centennial Broadcasting stations to Beasley Broad- casting will not go forward as originally negotiated. Beasley said Tues-
day that the acquisition under current terms "would not meet [Beasley's] acquisition criteria." The original $138 million agreement expires Dec. 31, 2000 unless otherwise extended.The parties said they will continue to rene- gotiate the transaction and are in close discussions to reach a new agree- ment. Beasley CEO George Beasley said. 'We feel that the Centennial sta- tions are beachfront property, and we are committed to continuing our nego- tiations to reach an agreement more in line with today's market values."
Big Programming Plans For Jones Radio Networks Jones International Networks CFO Jay Lewis revealed at Tuesday's
03 earnings announcement new programming plans for Jones Radio Networks, the company's radio programming subsidiary. Included will be a financial news show starring MSNBC.com's Chris Byron. The show will air daily at 4pm. Jones has also signed an agreement with former radio group owner Ragan Henry and Urban programmer Don Kelly to distribute and sell 24 -hour Urban formats. with a planned rollout next year.
Regent To Sell CA Trio For $13.5 Million egent Communications said last week that it will sell its California trio to Concord Media Group for S13.5 million. Concord will add KVOY-
AM & KTPI- FM/Lancaster- Palmdale and KOSS- FM/Rosamond to the eight stations it already owns in such markets as Austin: Charleston. SC; Jack- sonville: Pensacola. FL; and San Diego. Regent Chairman/CEOTerry Jacobs said the group is divesting the properties to refocus on larger markets, including Albany and Grand Rapids, and will apply the proceeds from the sale to additional deals. Closing is expected next year.
Year -To -Date L.A. Radio Revenues Hit $641 Mil. Los Angeles radio stations had record revenues of S641 million in the first nine months of 2000, according to the Southern California Broad-
casters Association. That's over S100 million more than the figures for January- September 1999.The Los Angeles radio market billed $70 million ri September as national numbers rose 6% to more than S18 million, but local revenues, at $51.5 million, were slightly below last year's figures.
Advertisers To Radio: Shorten Your Stopsets Advertisers want smaller blocks of advertising. So said client after client to the RAB's board, meeting in Chicago last week. Advertising execu-
tives from Ford. Sprint PCS. Sears and FOX Television complained about the problem, and almost all of them said they would consider paying a premium in order for their spots to be alone or in a shorter stopset. Said Sprint's David Dess. "If there are more than eight or nine spots in a radio pod. we're not buying
Media Buyers Predict Ad Slowdown In 2001 Ad agency execs on hand for the RAB board meeting in Chicago didn't suggest there would be a decline in advertising next year, but they did
say growth could slow to the low single- digits. Reyn Leutz of MindShare USA predicted a soft market: "2001 will be a correction year. This is ex- pected after several years of increases.' Another exec. Phil Gerber. said TV salespeople have been urging him to book spots on their stations in 04 because demand has been so light, and he further predicts that TV ad sales could be anywhere from 2% down to 4% up next year.
In other Radio Advertising Bureau news: Clear Channel Radio Sr. VP David Crowl has been named Chairman of the RAB board.
CCU, Salem, Radio Seaway Swap In Ohio n a major three -way trade announced last week. Salem Communica- tions will get Radio Seaway's Classical WCLV FM/Cleveland while Clear
Channel gets Salem's Religious WHK- FM/Canton, OH. Radio Seaway picks up Salem's Religious WHK -AM/Cleveland and Clear Channel's sub- urban Cleveland CHR/Pop WAKS- FM/Lorain, OH. Radio Seaway said it will flip its new acquisitions to Classical. and WCLV is expected to switch to a Religious format. It's not known whether WAKS' present format will move to WHK -FM or if Clear Channel will unveil a new station on that signal.
R &R Stock Index This weighted index consists of all publicly traded companies that de-
rive more than 5% of gross earnings from radio advertising.
Change Since
I MI.iry9 I1/2'r110 I 1/0.1/00 I IAL99 10/27/0041/03/00
R &R Radkin Index 35(155 234.50 259-17 -26% +10%
Dow Industrials 1(1.609.06 10,590.62 10,817.95 +2% +2.1%
S&P 500 1354,93 1379.57 1426,68 +5.3% +3.4%
www.americanradiohistory.com
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6 RiR November 10. 2000 Radio Business
DEAL OF THE WEEK
KFSG- FM/Los Angeles $250 million
2000 DEALS TO DATE Dollars To Date:
Dollars This Week:
$8,064,092,726 (Last Year: $27,320,257,614)
$27,150,0 (Last Year: $45.660,646)
Stations Traded This Year: 1,025 (Last Year 1,616)
Stations Traded This Week: 13 (Last Year 29)
SBS Grabs Foursquare Gospel's L.A. Gem
Acquires KFSG -FM in stunning $250 million cash deal; Radio One grabs Nash WILD daytimer
Deal of the Week
KFSG- FM/Los Angeles PRICE: 5250 million TERMS: Asset sale for cash BUYER: Spanish Broadcasting System, headed by President Raul Alarcon. Phone: 305 -441- 6901
SELLER: The International Church Of The Foursquare Gos- pel, headed by President Paul Risser. Phone: 213-483-5374 FREQUENCY: 96.3 MHz POWER: 54kw at 480 feet FORMAT: Contemporary Chris - tian/Religious
California
KVEC- AM/San Luis Obispo PRICE: $950,000 TERMS: Asset sale for cash
BUYER: Clear Channel Commu- nications, headed by Chairman/ CEO, Radio Randy Michaels. Phone: 606 -655 -2267 SELLER: Chorro Communica- tions. Phone: 805 -543 -8830 POWER: 1 kw day /500 watts night FREQUENCY: 920 kHz FORMAT: News/Talk
KAVC- AM/Mojave, KOSS -FM/Rosamond and KTPI- FMaTehachapi (Lancaster- Palmdale) PRICE: $13.5 million TERMS: Asset sale for cash BUYER: Concord Media Group, headed by President Mark Jor- genson. Phone: 813- 926 -9260 SELLER: Regent Communica- tions, headed by Chairman/CEO Terry Jacobs. Phone: 859 -292- 0030
FREQUENCY: 1340 khz; 105.5 MHz; 103.1 MHz POWER: 1kw; 2.9kw at 308 feet; 1.9kw at 577 feet FORMAT: Religious; AC; Country
Massachusetts WILD -AM/Boston PRICE: $5 million TERMS: Merger agreement. Ra- dio One is purchasing Nash Com- munications for cash and stock valued at $5 million. Nash's lone asset is WILD. BUYER: Radio One, headed by President/CEO Alfred Liggins Ill. Phone: 301 -306 -1111 SELLER: Nash Communica- tions, headed by President Ber- nadine Nash. Phone: 617 -427- 2222 POWER: 5kw FREQUENCY: 1090 kHz FORMAT: Urban
Controversial Clear Channel Foe Loses Senate Bid
The Florida voters' ballots have been counted, and Indepen- dent Senate candidate Andy Martin, the self- described "trouble- maker" who accused Clear Channel Communications of defraud- ing its listeners through its nationwide contests and of "smearing" him personally, has lost his bid for a U.S. Senate seat. With the election over, will Martin pursue his campaign against the nation's largest radio owner, or will he turn his attention to something new?
Martin has insisted from the out- set that he is not the issue. He told R &R in an earlier interview, "I'm an irrelevancy:' and insisted he was "merely the instigator" of the accu- sations against Clear Channel. He said the matter "will be fought by the attorneys general of the states. the Department of Justice and Clear Channel."
In addition to letters filed with the attorneys general of all 50 states, Martin filed letters with the Depart- ment of Justice and the FCC. In his letter to FCC Chairman Bill Kennard, Martin asked that the commission in- vestigate Clear Channel for' using its deceptive marketing on a nationwide basis." Whether the FCC or any of
the attorneys general Martin contacted will take any action is open to debate, especially given Martin's checkered history.
A Checkered Past
In interviews with R &R Martin repeatedly insisted that his credibil- ity was not the issue and sought to keep the focus on Clear Channel and the "individual facts of his accusa- tions. ", "What have I done that un- dermines my charges?" he asked.
But, by his own admission. Martin is controversial, and it wouldn't be unfair to call him litigious. In a Janu- ary decision the Supreme Court of Florida said Martin had "a long his- tory of being one of Florida's most
active and abusive" litigants and said he has been the source of "hundreds of lawsuits. motions and miscella- neous pleadings. all but a fraction of which lack any merit whatsoever." The court also said Martin has been censured on numerous occasions for his "scurrilous allegations against numerous judges, attorneys and other persons" In fact, that court required the clerk of the court to accept no petitions from Martin unless they were "legitimate or accompanied by a filing fee."
Of his history in the courts. Mar- tin has said, "If more judges are irri- tated. it's a sign I'm doing my job." Martin's plans are uncertain in light of his election loss. but Clear Chan- nel isn't done with him: The com- pany referred to Martin in the civil lawsuit it filed against Inside Radio (see story. Page I). calling him the "archetypal unreliable source" and. "notoriously untrustworthy."
R &R was unable to reach Martin for comment on Clear Channel's re- marks.
TRANSACTIONS AT A GLANCE
KVEC -AM /San Luis Obispo, CA $950,000
KAVC -AM /Mojave, KOSS -FM/Rosamond and KTPI -FM/ Tehachapi (Lancaster -Palmdale), CA $13.5 million
WILD- AMBoston S5 million
KINN -AM & KZZX- FM/Alamogordo, NM $850,000
WOSL -FM & WXQR- FM/Jacksonville, NC $2 million
WPJC- AM/Adjuntas, PR $350,000
WYAK- FM/Surfside Beach (Myrtle Beach), SC $2 million
WOWF -FM /Crossville, TN $2.5 million
FOR THE RECORD: Last week's of four Southern Broadcasting p
transaction involving the sale roperties to Saga incorrectly license of WZZP -FM, which in Fort Campbell, KY. R &R
listed the call letters and city of represents a construction permit regrets the error.
New Mexico
KINN -AM & KZZX -FM/ Alamogordo PRICE: 5850.000 TERMS: Asset sale for cash BUYER: Bill Kurt Broadcasting, headed by owner Bill Kurt. No phone listed. SELLER: KZZX Inc.. headed by owners Dave Nicholson and Vera Vaughn. Phone: 505 -437 -4440 FREQUENCY: 1270 kHz; 105.5 MHz POWER: 1 kw day /80 watts night; 3kw at -630 feet FORMAT: Talk; Country
North Carolina WOSL -FM & WXOR -FM/ Jacksonville PRICE: $2 million TERMS: Asset sale for cash BUYER: NextMedia Group, headed by President Skip Weller. Phone: 303 -694 -9118 SELLER: Cumulus Broadcast- ing, headed by President Lew Dickey. Phone: 414- 615 -2800 FREQUENCY: 92.3 MHz: 105.5 MHz POWER: 22.7kw at 725 feet :19kw at 794 feet FORMAT: CHR/Pop; Rock
Puerto Rico WPJC- AM/Adjuntas PRICE: $350.000
Earnings
TERMS: Asset sale for cash BUYER: WPAB Inc. Phone: 787-
840 -5550 SELLER: Tanama Communica- tions. Phone: 787- 894 -5737 FREQUENCY: 1020 kHz POWER: 1kw FORMAT: Spanish Full Service
South Carolina
WYAK -FM/Surfside Beach (Myrtle Beach) PRICE: S2 million TERMS: Asset sale for cash BUYER: Cumulus Broadcast- ing, headed by President/CEO Lew Dickey. It also owns WJXY- AM & FM, WDAI -FM, WSEA -FM, WSYN -FM & WXJY -FM /Myrtle Beach. Phone: 414-615-2800 SELLER: Myrtle Beach Stations Trust. No phone listed. FREQUENCY: 103.1 MHz POWER: 8kw at 528 feet FORMAT: Country
Tennessee
WOWF- FM/Crossville PRICE: S2.5 million TERMS: Asset sale for cash BUYER: Plateau Communica- tions. No phone listed.
SELLER: Commsouth Radio Inc. Phone: 931-707-1025 FREQUENCY: 102.5 MHz POWER: 25kw at 308 feet FORMAT: Country
Continued from Page 4
Radio One CEO/President Alfred Liggins spoke of "an exciting future" for his company and said he expects Q4 to be a transition quarter. He added that the integration of the sta- tions Radio One has acquired this year is going very smoothly, point- ing to Radio One's KKBT/Los An- geles. which Liggins said has "tre- mendous audience growth momen- tum" and which has seen an increase in ratings from a 2.4 share to 2.8. Liggins said he hopes to see that nun-
ter go as high a. 3.5 next year and noted that a single ratings point in the L.A. market can translate to about $9 million in revenue.
In the face of the overall downturn in radio stocks, Radio One Exec. VP/ CFO Scott Royster urged investors to stay calm. He said the downturn is "an overreaction by investors" and gave shareholders reason to breathe easy when he announced that the company saw revenues increase in 12
of the 16 markets where it operates. Liggins said the company's stock is
EARNINGS/See Page 8
www.americanradiohistory.com
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8 R &R November 10, 2000 Radio Business
Earnings Continued from Page 4
"trading at a steep discount.' which he said is below its private market value and noted that Viacom's inter- est in acquiring BET only validates Radio One's strategy of focusing on Urban formats and African -American listeners.
Roystcr's contract with Radio One was set to expire at the end of next year. but on Nov. I he signed on for five more years. The deal can be ex- tended an additional five years by agreement of both parties. Royster also agreed to buy I million of the newly issued class D common shams and to assume additional operating responsibilities for the group's pro- gramming partnership with XM Sat- ellite Radio. Radio One also an- nounced plans to acquire Boston - based Nash Communications for $5 million. Nash owns WILD -AM. which Radio One has been program- ming under a time -brokerage agree- ment since May. The cash and stock deal also calls for Nash President Bernadine Nash to join Radio One to manage its Boston properties, which include WBOT -FM.
Acquisitions Aid Entravision, Entercom
Acquisitions helped Entr'avision in Q3. Its acquisitions of Latin Com- munications and Z- Spanish Media helped it turn in impressive net rev- enues. with an improvement of 186% to $45 million. up from $15.7 mil- lion in Q3 1999. Broadcast cash flow rose from $6.7 million to $17.7 mil- lion, a gain of 163 %. The company's
net loss was $25.2 million (30 cents per share). compared to a net loss of $10.9 million (34 cents) last Q3. On a same -station basis. net revenues were. up 25% to $17.8 million, and BCF increased 31% to $7.9 million.
Entercront's Q3 was also aided by acquisitions as it completed the pur- chase of four Sinclair stations in St. Louis for $126.6 million and divested three stations in the market to Susquehanna for $113 million. Entercom released its better- than -ex- pected Q3 results late on Oct. 30. Net revenues climbed 56 %, from $59.2 million to $92.5 million, while broad- cast cash flow grew 68 %, from $23.2 million to $39 million. As a result of the Susquehanna sale, Entercom rec- ognized a gain of $41.5 million in Q3. On a pro forma basis. excluding all gains or losses from the sale of as- sets, after -tax cash flow rose from $14.9 million. or 40 cents per share. to $24.3 million, or 54 cents. Pro forma net income was $8.3 million. or 18 cents per share. compared to $8 million. or 22 cents, last Q3. First Call analysis had estimated a 15 cent gain. In spite of the good Q3 performance. the issue was downgraded from "strong buy" Tuesday by Barrington Research Associates analyst James Goss.
Hispanic Beats Estimates, Regent Improves
Hispanic Broadcasting also beat First Call's earnings estimate. turn- ing in 12 cents per share on $13.1 million in net income. a penny ahead of First Call's estimate. Net revenues improved 24 %, from $52.4 million to $64.9 million, and broadcast cash
flow grew 22%. from $24.8 million to $30.3 million. On a same- station basis, net revenues increased 19 %. and BCF was up 25 %. The company also came in ahead of First Call's 20 cent after -tax cash flow estimate as
ATCF rose from $19 million. or 18
cents. to $23.7 million. or 21 cents. President/CEO Mac lichenor said
the company will incur additional expenses in Q4 to promote KLVE/ Los Angeles' 25th anniversary and WOJO /Chicagti s revamped format and to step up promotion for WCAA/ New York. The company expects Q4 BCF to approximate $30 million and ATCF to be about 21 cents per share.
Still, HSP shares were met with analyst downgrades - they were lowered from "accumulate" to "hold" by Prudential Securities' James Marsh and from "strong buy" to "outperform ' by Morgan Stanley's Frank Bodenchak on Tuesday. Marsh's I 2-month target is $32 per share, and Bodenchak's is $37.
Even with a reponed net loss. there was still some good news for Radio Unica investors as the company im- proved on its Q3 loss. Radio Unica net loss decreased from $28.8 mil- lion ($2.60 per share) to $6.5 mil- lion (31 cents). First Call analysts had estimated a 30 -cent loss. Net rev- enues gained 83 %. from $4.7 mil- lion to $8.7 million. EBITDA before stock option compensation expense improved 62 %, from a loss of $3.2 million to a loss of $1.2 million. Chairman/CEO Joaquin Blaya said Q4 is pacing in line with Radio Unica's revised expectations and that the company expects to generate positive EBITDA in Q3 and Q4 2001.
latest Calls From Wall Street Company
Beasley
Mayor. Company
Timothy Wallace, Banc Of America Andrew Marcus, Deutsche Banc Paul Sweeney, Credit Suisse
Jordan Rohan, Wit SoundView Christopher Dixon, UBS Warburg
Scott Davis, First Union
Entravislon
Target Price,
Raring It Available
Strong buy
Market perform
Buy
Buy
Strong buy
Buy Niraj Gupta, Salomon Smith Barney Buy Keith Fawcett, Merrill Lynch Near -term accumulate Jessica Reif Cohen, Merrill Lynch Near -term accumulate
Hispanic Broadcasting Leland Westerfield, UBS Warburg Anne Thompson, Wedbush Morgan Timothy Wallace, Banc Of America James Marsh, Prudential Securities P. Gordon Hodge, Thomas Weisel Frank Bodenchak, Morgan Stanley Andrew Marcus, Deutsche Banc
Interep Victor Miller. Bear Stearns
J.Timothy Keefe, HCFP/Brenner
Radio One James Boyle, First Union Andrew Marcus, Deutsche Banc James Marsh, Prudential Securities
Regent Frank Bodenchak, Morgan Stanley Niraj Gupta, Salomon Smith Barney James Marsh, Prudential Securities
Saga James Boyle, First Union Andrew Marcus, Deutsche Banc Frank Bodenchak, Morgan Stanley
Sirius Satellite Radio William Kidd, CE UnterbergTowbin Jonathan Lawrence, Dain Rauscer Marc Nabi, Merrill Lynch
Robert Peck, Bear Stearns & Co.
XM Satellite Radio William Kidd, CE Unterberg Robert Peck, Bear, Steams & Co.
Marc Nabi, Merrill Lynch
Buy
Buy
Strong buy Hold
Buy
Outperform
Strong buy
Buy
Strong buy
Buy Buy
Strong buy
Strong buy Outperform
Strong buy
Market perform Buy
Neutral
Strong buy
Buy
Near -term accumulate
Buy
Strong buy
Buy
Near -Term accumulate
$20
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Regent investors saw net income improve from a loss of $790,000 in Q3 1999, or $9.19 per share. to a gain of $18 million. or 51 cents, for Q3. Net revenues rose 76 %. from $6.6 million to $11.7 million, while broad- cast cash flow increased 119%, from $ I.7 million to $3.7 million. On a pro forma same -station basis, excluding results from stations held for sale. net broadcast revenues increased 12%. and BCF was up 26 %. Regent Chair- man /CEO Terry Jacobs said Q4 same- station revenue is pacing in the 12 % -13% range. and BCF is in the 25 % -30% range. First Call analysis did not cover Regent in Q3.
Cox Revenues Climb, Interep Improves
First Call did follow Cox Radio. and that company met First Call's 10 cent earnings -per -share estimate as net revenues climbed 19 %, from $79.7 million to $95 million. Broad- cast cash flow rose 21%, from $33.2 million to $40.5 million. On a same - station basis. net revenues went up 12% to $70 million.
Interep had a lot of news to re- port. including after -tax cash flow per share, which climbed from 14 cents to 45 cents while earnings per share improved from a loss of 47 cents to a loss of 8 cents. Revenue increased 10% on a pro forma basis, from $24.6 million to $27.1 million. Operating EBITDA rose 66 %, from $3.8 mil- lion to $6.4 million.
The company also reponed that 2000 billings have been solid de- spite a pacing slowdown marked by a decline in dot -corn advertising. The Interep report states that sev-
eral ad categories have remained strong, including political, telecom- munications, automotive aftermar- ket, and medical and health ser- vices. Retail and telecommunica- tions return to their traditional spots as the top two advertisers, each with 13 % -14% of billings. While dot - corn advertising falls from the No. I spot it held last year to third this year with 7 %. the sector still wins the year-to -date top -dollar category due to heavy spending in the first two quarters.
Regarding the downturn of radio stocks, Interep CFO Bill McEntee said, "Wall Street has to get up to speed:' McEntee told R &R that he and CEO Ralph Guild will be meet- ing with current and prospective in- vestors in the coming weeks to "tell the Interep story:' That story includes McEnteé s assertion that Interep will strive to deliver positive results and his hope that the company's stock price will rise to a level more reflec- tive of the company's value. While he acknowledged that radio investors have "a lot of anxiety over what lies ahead," he added that he doesn't get a lot of calls from Interep sharehold- ers worried about the company's stock value.
Privately held Nassau Broadcast- ing doesn't have stockholders to an- swer to. but the news for CEO Lou Mercatanti was good. Nassau's Q3
'reported total revenues were $9.6 million. a 10% increase from Q3 1999. Broadcast cash flow was up 17% to $3.4 million. Both figures exclude results of the tower company that Nassau sold in QI 2000. First Call does not cover Nassau.
BMG Continued from Page 3
rollout of a subscription service based on Napster's song -duplicating soft- ware (R &R 11/3). It also caps a tu- multuous period that saw the exit of Arista Records founder Clive Davis and a hitter dispute with Jive Records over 'N Sync.
In announcing the restructuring, Bertelsmann cited 'the fundamental changes taking place in the media and communications markets" in its de- cision to form three new divisions. The new business units are Content. which is comprised of Random House, BMG, Gruner +Jahr, RTL Group and Benelsmann Springer: Media Services. which is made up of printing, the Services Group. in- formation technology and storage media: and Direct -to- Customer, which consists of the hook and mu- sic clubs as well as BeCG, the e-com- merce division that, in addition to the Napster partnership. includes barnesandnoblc.com, CDNow and Bertelsmann Broadband Group.
Under the new alignment the BMG music division's current struc- ture will remain intact, with no divi- sion between the North America and international operations. The regional and U.S. label and distribution heads will continue to report to the Presi- dent/CEO.
Commenting on Gassner's ap- pointment. Bertelsmann said, "Over the course of his stellar career, (Radii has earned the reputation as an ag- gressive. savvy, content- oriented en- trepreneur."
In accepting his new post. Gassner said, "f Bertelsmann Chairman/CEO] Thomas Middelhoff presented me
with the opportunity to lead BMG into an exciting and challenging future, and 1 am honored to accept. To be able to return to a company I know and love as much as BMG, with the clear, singular charge of developing our mu- sic. is truly a dream realized. I also consider it an honor to step into Michael Dornemann's shoes. He brought me into this company origi- nally and gave me the freedom and support to build a powerhouse inter- national organization. I hold him in the highest personal regard.
"In terms of my plans for the com- pany, they are very simple. I, and ev- ery single member of the BMG fam- ily, will concentrate exclusively on the development, marketing and distribu- tion of music. BMG is home to some of the finest artistic talent in the world. and they deserve nothing less. Tho- mas has given me his assurance that we will have no distraction from that goal. and 1 have every confidence that when this singular focus is achieved. our profitability and market share numbers will take care of themselves.
"Moreover. Bertelsmann has laid the groundwork for BMG to fully le- verage emerging technologies for the distribution of our music. I look for- ward to working hand -in -hand with our sister companies to ensure that we are employing every technological means available to get our music heard"
Gassner, who will be based in New York. joins the company from Edel Music. where he most recently was Chairman of the Supervisory Board. Before that he was International Presi- dent/CEO for BMG Entertainment. Prior to his tenure with BMG. he spent 18 years in various capacities with PolyGram.
www.americanradiohistory.com
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www.americanradiohistory.com
10 nit November 10, 2000
Emmis' Tom Severino in the GM Spotlight, Page 12
Big bucks with online employment advertising, Page 16
Dan O'Day's Commercial Copy Makeover, Page 20
"Getting information off the Internet is like taking a drink from a fire hydrant."
-Mitch Kapor
S A L E S & M A N A G E M E N T
AD- INSERTION TECHNOLOGY Is it radio's answer to covering streaming costs and generating revenue?
By Parr Baker saies 8 wowing Editor
pambaker®muiMe.mm
The idea is brilliant: Create a way for radio stations to auto- matically insert targeted ads into Internet broadcasts. This dramatically increases the ad's value to the consumer, the ad- vertiser and the station. Not only can stations charge more for ads delivered exclusively to local online listeners, they can attract more national advertisers by participating in national ad campaigns and promotions.
Confused? I'll try to make it simple. Ad- insertion technology lets broadcasters insert ads heard
only by online listeners into their Internet audio streams. For example, a New York resident listening to a Dallas radio station on the Internet would hear an automobile commercial from a New York dealership instead of a Dallas dealer. On top of that, there are application technologies available that can customize ad insertion even more. If that New York resident makes more than $120,000 per year, the auto ad can be targeted with a more upscale car -a BMW, Mercedes or Lexus.
According to Arbitron Internet Services /Edison Media Research, online listening has more than tripled in America since 1998, from 6% of Americans to 20`!,. In addition, 13`Z, of the population has tuned in to an Internet -only radio station.
Over the past few years many companies have popped up that offer streaming and ad- insertion technologies. For a radio broadcaster, it can be overwhelming to find out about all the options and figure out what technology will best suit a station's needs.
Below are brief backgrounds on eight ad- insertion providers and related companies. I encourage you to visit their websites and call them directly for more information. Before committing yourself to a provider, do your research, and ask for specific success stories or revenue figures. Follow that up by talking with the companies' clients. It's amazing what you can learn just by networking with other stations; it can save you thousands of dollars and many hours.
If executed correctly, ad- insertion technology just might be the perfect opportunity for an individual station, station cluster or group. Happy surfing!
ADACOUSTICS
A division of The MusicBooth tvu'zo.ndLuous tics.corn
914 -235 -2099 AdAcoustics' technology enables advertisers to
seamlessly integrate highly targeted commercial messages into audio and video programming streamed
tiACOUStICS SuWaa,Y, a .:\.rv. ,, tly,
over the 'Net. With this technology radio stations that were previously limited to using the local ads from their regular broadcasts in their online programming can customize ads to individual listeners, regardless of market. AdAcoustics creates customized solutions for each station.
Using such information as the user's ZIP code, gender, age, purchasing history and web preferences, AdAcoustics allows advertisers to efficiently and flexibly deliver personalized messages to listeners about products or services that those listeners are most likely to be interested in. Its system includes an onscreen, interactive feature called "i- fetch" that enables listeners to respond to ads immediately.
AdAcoustics does not require a download to operate. That allows a listener instant access to content without having to install and set up a program. This is also beneficial to those listening at work who may be behind firewalls or otherwise unable to install programs on their computers.
The cost of the AdAcoustics technology is individually negotiated with each station or group and may include revenue share, ad sales and per -ad -play charges.
Later this month AdAcoustics will be announcing several strategic partnerships and station group deals. AdAcoustics parent MusicBooth recently entered into an agreement with Interep under which it will sell targeted audio advertising for the AdAcoustics Network.
COOLLINK BROADCAST NETWORK zvzou,.clbn.corn
469 -737 -0500 Coollink Broadcast Network is a complete Internet
broadcast solutions provider. Using enhanced compres- sion technology, CLBN delivers audio and video over
the Internet, provid- ing its online busi- ness partners with a revolutionary real - time and interactive medium to deliver content anywhere in
CLBN c:xnilnk rr.Yanrk
the world. CLBN has the ability to track and report detailed listener
demographic, psychographic and geographic data in real time through its DemoTrak technology, eliminating the need for costly Internet ratings services. Customizable reports on specific demographics, geographic regions, ZIP codes and TSL can be viewed and generated in real time for an individual station, market or network, and broadcasters and advertisers can access this data from Demo- Trak's online database. If a station chooses, CLBN will assist in developing and nurturing one-on-one interactive relationl.hips with the audience by implementing a permission marketing campaign that sends targeted e- mails offering special discounts, promotions and Internet- only promotional and marketing campaigns for advertisers and sponsors.
CLBN has partnerships with Akamai Technologies, Hispanic Broadcasting, Foundry Networks, Next Audit, Omnia /Telos, UUNET and Citadel Broadcasting. Since its launch, CLBN has partnered with Citadel to stream over 100 radio stations. For a complete list of par- ticipating stations, go to www.clbn.conr103c.htm.
(BEAM BROADCASTING
www.ibeam.com 877 -811 -9440 or 408-523-1600
iBEAM offers stations a complete menu of services to help move business to the Internet. Some of the key features of the iBEAM Radio Solution include:
PureStream encoder: The easy -to-install Pure - stream encoder is optimized to stream low- bit -rate audio with high fidelity across the Internet. iBEAM remotely mon- itors and manag- es the system 24 hours a day. AS' Nationwide Ilk III DSL acquisition: iBEAM can ac- quire audio sig- nals directly from your station and cam them on a private, digital network using DSL technology.
Live ad in.sertion: iBEAM has developed On- Target, its own technology for inserting live advertising. iBEAM's live ad insertion uses a tone -based detection system and is interoperable with leading radio auto- mation systems.
Ad sales: iBEAM lets radio stations sell ads themselves or use a pooled block of presold advertising.
Arbitron- compliant reporting: iBEAM provides Arbitron -compliant logs at no extra charge, allowing stations to be part of the Arbitron Webcast Ratings.
Profitability enhancers: In addition to live ad insertion, iBEAM offers other tools to help stations make money, including pay -per -view events, event webcast- ing and secure digital downloads.
More than 275 companies use iBEAM's services, including Sony Music Entertainment, MSNBC.com, Rollingstone.com and LAUNCH.com. In September iBEAM formed a strategic partnership with Interep Interactive, making Interep's advertising representation services available to iBEAM customers. Interep will also use iBEAM's On- Target infrastructure to insert ads into live and on- demand audio content.
B R O A D C A S T I N G
NIWIRE
www.hiwire.com 213 -489 -3900
Hiwire is a Los Angeles -based company that makes streaming media a viable and lucrative business. Through Hiwire's ad- targeting sys- tern, audio ads h w I re,,, can be delivered
i to specific listen- ers in markets around the world, generating premium revenue for every broadcaster and extending the reach of every ad campaign. Through a combination of ad- targeting technology, a leading sales force and a global market- place for online audio ads, Hiwire offers broadcasters and advertisers global reach into local markets.
The Hiwire encoder software, which works with all standard automation systems, is installed at the station. Hiwire -enabled stations can sell a new inventory of avails or let Hiwire's global sales force sell for them. Hiwire delivers premium spots to targeted listeners that can be tracked in real time. Its intelligent delivery adds value for the advertiser and generates higher CPMs for the broadcaster.
Hiwire's key benefits for broadcasters are: Increases available inventory of online audio ads Offers a complete delivery system using Hiwire's
worldwide sales organization to sell spots for out -of- market listeners
Generates higher CPMs than banner or gateway ads Works with both live and on- demand streams Provides access to a premier marketplace of
advertisers Hiwire provides sales and ad- insertion services for
Intelligent Audience Delivery
Continued on Page 14
www.americanradiohistory.com
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12 R&R November 10, 2000
The 'Voice of Indiana' speaks
This week's GM Spotlight honors 28 -year radio executive Tom Severino. "He is easy to work with, very approachable with any and all concerns and always fair -minded in addressing problems at the station. Were lucky to have him," e-mails one R &R reader. "Tom not only has enormous sales ability, he understands programming and marketing," comments a WIBC staffer, who adds, "He allows his team to manage, to be creative, to try new things and to have fun." Congratulations!
I decided to enter the world of broadcasting because:
"While growing up with the great Top 40 stations, like WIXY 1260 in Cleveland and CKLW in Canada, I couldn't think of anything better than being on the radio. 1 was always fascinated with the entertainment and informa- tion business. Radio was the easiest entry into that world. It seemed like a great way to make a living." First job in broadcasting:
"My first commercial job was at WRWR in Port Clinton, OH. I was the morning man and the newsman and even did a talk show. While the records played, I was on the phone to the various news sources and typing mv next newscast. 1
also did production after my airshift. You have to love this business to work that hard for
'6' M management marketing sales
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TOM SEVERINO VP/GM of WIBC- AM/Indianapolis,
Network Indiana and AgriAmerica Network (Ennis Communications)
NETWORK INDIANA
minimum wage. It took me almost three years to figure out I wasn't going to be the next million - dollar morning man, and then I decided to go into sales. Ed Christian hired me at WNIC in Detroit. It was his first GM job and my first sales job. He either had a good eye for talent or was desperate, or maybe both. But it worked out for both of us." Career highlights:
"I have been a very fortunate person. I have worked in such great radio markets as Detroit, Chicago, Cincinnati and Indianapolis, and with some extremely talented people in each city. Winning a Marconi Award for Large Market Station of the Year at WCKY in Cincinnati was a
thrill, but, more than awards, my biggest accomplishments have come from building great teams of people. I also consider working with and becoming friends with people like Jeff Smulyan, John Dille, Ed Christian and Doyle Rose to be highlights in my career."
The most challenging aspect of being a GM: "Balancing the needs of the company with the
needs of the staff." My most unforgettable moment at a radio station:
"It is a long story that includes a fugitive, the state police, a disc jockey and a listener. My
program director interrupt- ed a meeting to tell me a listener had called to in- form him that the contest we were running was fixed. The PD said the listener provided him enough in- formation to make him think she was right. I
immediately put a halt to the contest until we could get to the bottom of it. As it turned out, our midday jock had set us up and fixed some winners. He might have gotten away with it, except the winner, who was a female, picked up a one -night stand who happened to be a fugitive from the law. The fugitive found out about the scam and blackmailed both the girl and the disc jockey. She panicked and called the state police, who then contacted me. I never knew what happened to the fugitive, but the money was paid back to the station - and it was the only time I
ever enjoyed firing someone." I'm most proud of "First, my family. Second, all
the people I have worked with who have gone on to achieve their
goals and the satisfaction that I have been a small part of that." The best words of advice I've ever received were:
"Take what you do seriously, but not your- self."
You'd be surprised to know that.... "I have been trying to be adopted by Jeff
Smulyan or Lowry Mays. Smulyan is pending, and Mays wants me to sign a preadoption agreement."
The GM Spotlight is selected by your nominations. Acknowledge the GM who made a difference in your career! E -mail nominations to [email protected]. J
BE UNAFRAID. Be very unafraid.
We understand if you're a bit nervous about
trying Spot Traffic, the revolutionary new
Internet spot delivery system. Change can
be scary. However, stations from coast to
coast are finding that Spot Traffic is the
quickest, easiest, and most reliable way to
receive radio spots and traffic instructions.
All you need is a web- connected computer
and your station is ready. No fancy software.
No passwords. No user names. Just point
and click. And did we mention that its free? Ah, suddenly its a lot less scary. Cull
us today at (800) 229.7234 or visit our web
site. Well hook you up and tell the adver-
tising world that your station is "web- ready ".
www.spotlralfic.com
SPOT TRAF FIC ml A w Ai.rna :.,v
www.americanradiohistory.com
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14 R &R November 1G,
Ad- Insertion Continued from Page 10
l'remiere Radio Networks, DiscJockey.com, GWR (the largest radio group in the U.K.), Jefferson -Pilot Com- munications and Salem Broadcasting, as well as a variety of broadcast and Internet -only radio stations.
LIGHTNINGCAST
a 'u'zv.l ig h h r i n,.' i ast. ceru 703 -535 -5806
Founded in 1999, Lightningcast is a streaming - media advertising network. By inserting ads into streaming media, Lightningcast provides advertisers
the opportunity to reach a potential audience of over 25 million streaming - media users.
With a scalable, patent- pending tech - nology that does not
require downloads and works with all forms of streaming media, Lightningcast enables advertisers to reach specific audiences by using profiling techniques based on behavior, geography and demographics. With Lightningcast's targeting capability', the cost-to- acquisition for radio per consumer is considerably lowered. Advertisers are guaranteed a global, pre - qualified audience.
Lightningcast's network affiliates include 2000radio.com, ChoiceRadio.com, CyberRadio2000.com, DiscJockey.com, E- RadioLive, Golfvision.com, Kundi.com, Morfeo.com and TradeMentor. Lightning - cast brokers advertising time on behalf of these companies.
LIQHTNINOCABT
RCS
anew. resmork:.corrr 914- 428-4600
RCS has developed two software products, InSert and SplitStream, that enable broadcasters to insert targeted advertising into Internet audio streams. InSert
can replace any given spot in a
stream with an alternate spot. SplitStream is more sophisticat- ed, using specific
database and profile information to insert ads targeted to each listener. These advertisements can include graphical components and click -throughs to encourage impulse buying. Either ad- insertion system can be combined with another RCS product, RadioShow, which is an Internet audio player and graphic synchronizer that enables interactive advertising and provides animated graphics and e-commerce capabili- ty to any webcaster.
RCS is a leading provider of broadcast software used by more than 5,000 radio stations worldwide. Activate, RCS and Engage recently partnered to launch the Activate Radio Network, featuring RCS' SplitStream.
WEENIE.. roll= dltltEMEI
/ o I s IMES
RUN SPOT RUN
A division of Sonicbox Inc. unew.sonicbox.com 650-%7 -4842
In September Sonicbox announced the creation of Run Spot Run, an ad- insertion and e- commerce system for stations featured on Sonicbox's iM Band broad- band-optimized Internet radio network RSR is a highly
Flexible, software-only solution that enables stations to generate nontraditional revenue through precisely tar- geted advertisements.
With RSR, targeted ads can be inserted over local spots on a per -user basis, giving advertisers the ability to reach spe- cific demographics. Listeners can also act on ads instantly by pressing a "Tell Me More" button on iM Tuning -enabled hardware or software. All products using the iM Tuning Service feature "Tell Me More" and "Smile And Frown" buttons that allow listeners to receive up -to -date news and purchase information on the artist being heard and to offer feedback and participate in contests and polls. These features make it easy for radio stations on the iM Band to track revenue, gauge marketing effectiveness and increase revenue for their advertisers.
RSR-compliant stations on the iM Band include BnetRadio, Beethoven.com, Flashback Radio, Audiocandy.com, Tikihut, Cool Jazz, Cablemusic, Box O'Bones, Adventures In Radio and Lovecats, to name a few. Other stations on the iM Band that are not yet RSR- compliant but do use other Sonicbox interactive capabili ties include KNAC.com, GrooveRadio.com, KIISFMi.com, Radio Margaritaville, KMEL /San Francisco, WGN /Chicago and WNNX /Atlanta.
RUN SPOT RUN"
SPOTTAXI.COM
unrne.spottnxi.corn 206 -903 -3400
SpotTaxi.com is not an ad- insertion provider, but a true business -to- business application service designed by ad traffic professionals. Its primary function is to facilitate the fast, accurate and cost- effective distribution of radio spots to broadcasters. Spots can be at radio stations across the country
within minutes of the final mix. For radio stations, this minimizes confusion, prevents "lost spots" and delivers one -stop downloading.
AdOutlet and SpotTaxi.com have formed an alliance to create an integrated, end -to-end solution for placing, trafficking and distributing advertising for radio and Internet radio through the seamless transfer of data between the partners' websites. Through this partnership bothAdOutlet's and SpotTaxi.com's customer bases will be able to access both companies' resources.
In addition, agencies will be able to go to one source for both radio and Internet radio media campaigns. Agencies can use AdOutlet's ADS plat- form to generate their target -specific media buys.
Once that's com- pleted, AdOutlet pushes the creative requests to Spot Taxi.com, which can fulfill the agen- cies' creative and traffic needs.
SpotTaxi.com sends stations high -quality, broad- cast -ready MP2 files. If You use Windows 95, 98 or NT with the WindowsMedia Player, you can play MP2s. The SpotTaxi.com rate card outlines spot distribution orders (charge per delivery) of:
ali .COM
One to four spots $10 Five to 10 spots $15
Traffic instructions only $1
Thumbnail audio delivery $2.50
Archive retrieval $10 Since its April launch, SpotTaxi.com has worked
with over 1,000 radio stations, production studios and advertising agencies, including Publicis, DDB, McCann - Erickson and Wong Doody. Activate.net, Lightning - cast.com and Hiwire also use SpotTaxi.com's delivery of stream -ready spots.
THE FOURTH ARBITRONIIEDISON INTERNET STUDY
As part of the ongoing collaboration between Arbitron Internet Information Services and Edison Media Research, the companies have conducted a study that takes a comprehensive look at the state of the Internet and, in particular, the growing streaming media space. This information, along with all the research findings from Arbitron and Edison's earlier studies. can be found free of charge at http. / /internet.arbitron.com and www. edison research. corn.
Here are some highlights of the most recent study. " Streamies," those people who watch or listen to
Internet audio and video, are consumers worth their weight in gold. Streamies represent 43% of web users and 24% of all Americans. These are the most experienced web users. and they spend 46% more time online than the average person. Streamies are twice as likely to click on web ads and make online purchases. They spend lots of money online and plan to spend even more. Streamies are very interested in new devices that will enable them to consume streaming media in more convenient ways.
Between 17 million and 40 million Americans say they are very interested in such new content- delivery tech- nologies as downloading music files to a Walkmanlike device: commercial -free music channels for the car; web -enabled cell phones, cars and personal digital assistants; and devices that play webcasts via a radiolike device or via radios throughout the house. Persons 12 to 24 show significant interest in these concepts.
Nineteen percent of Americans (34% of web users) have now listened to online audio (radio stations on the web or Internet -only audio channels). Fourteen percent of Americans (25% of web users) have viewed video on the Internet.
In the last six months the number of people listening to audio available only on the Internet has doubled.
Consuming streaming media is not easy. Nearly 20% of people who tried to access video and audio from the web were unsuccessful. Nearly one in three says trying to listen to or watch webcasts is difficult.
The number of American Internet users who have visited a website as a result of radio advertising has surged from 29% to 45 %. Visits to radio station websites also continue their steady rise.
Radio is the top companion to web use. More Americans say they listen to the radio while online than listen to recorded music, talk on the phone or watch TV.
Dot -corn advertisers have mostly targeted America's largest markets. based on the idea that those markets are where Internet use is strongest. There is actually very little difference in web use and online -purchasing behavior between large and small markets.
A majority of senior advertising executives indicate that webcasters will get a significantly larger share of ad spending in the next three years. Yet only half of advertising agencies report having been approached by webcasters hying to sell time.
www.americanradiohistory.com
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ONLINE EMPLOYMENT ADVERTISING:
BILLIONS UP FOR GRABS Why broadcast media is poised to dominate classified
employment advertising on the web ad-
By Mike Kapl Online employment ad- vertising is a big -money
game -a potential $7.1 billion game, according to Forrester Research. And, of course, games have winners and losers. So who's going to win the billions of online classified advertising dollars? Will it be the monstrously large national ob -board websites? Or will the newspapers come from be- hind to win some of the profits that are now go- ing to those national sites? My answer is: neither. My money's on broadcast media.
WHY BROADCAST WILL WIN Newspapers have already lost the game.
Newspaper readership is at an all -time low and dropping. Increasingly, business professionals are receiving their news from online and radio sources during the day and from the plethora of local and cable news channels in the evening. Worse still for the newspapers, searching the Sun- day want ads with a pair of scissors in hand is giving way to surfing the 'Net for hot job open- ings.
The weakened newspaper industry is scram- bling to gain ground online, as we've recently witnessed in the mergers of large newspaper groups and their efforts to create their own online job boards. Of course, these print- media -funded job boards must be promoted in order to be suc- cessful. But papers can't advertise their online employment classifieds in their own print classi- fied sections - that would be shooting them- selves in the foot - so they must spend money to promote their services elsewhere.
Why the giant Internet job boards' days are numbered: There are fundamental problems with the business model. First, most hiring is done on a local level. Hiring authorities don't want to search through a nationwide pool of applicants to fill a local position. These large sites are al- ready branded in consumers' minds as national, and employment classifieds are thought of as a local thing, not a national thing.
Radio and TV, on the other hand, talk directly to the local market, which is what job seekers and employers want. Most people don't want to re- locate in order to change jobs, and most employ- ers don't want the hassle and costs associated with relocating a new employee. Thus, the local employment market is ripe for domination.
Another inherent flaw in the business model of these national job boards is the need for mas- sive ad expenditures to support name recogni- tion and site traffic. These sites are created in a wave of public relations, but they must be sus- tained by massive ad campaigns. Thus the site that can advertise the most wins the game. The constant need to advertise not only drains the big boards' funds, it makes them vulnerable to any organization that can out- advertise them.
Why broadcast will win this game: Broadcast is set to take the field, fresh off the bench and has a built -in promotional tool: broadcast stations. Radio, broadcast TV and cable are incredibly ef- fective means for reaching the masses, and thus for dominating the local employment markets. Broadcast entities can advertise and promote their websites and job centers more economically than
any other industry, and they can do it through a
medium the public is already consuming heavily.
PLUGIN JOB CENTERS The process works this way: Broadcast com-
panies acquire "plug -in" employment centers for their websites. These online job centers allow lo- cal employers and local job -seekers to come to- gether with a few clicks of a mouse. Outsourced software developers do all the installation and site maintenance, and the station simply activates the job center after the software company has cus- tomized the center to fit station specs.
Broadcasters should compare employment center software carefully: Some software pack- ages give the appearance that the employment center is the broadcaster's own creation, and all user traffic remains on the broadcaster's site. Other software providers steer traffic away to their own sites - the broadcaster's job center sim- ply serves as a link. These packages also promi- nently display their own logos, branding them- selves and not the broadcaster.
HOW YOU MAKE MONEY Here's how you make money: Employers send
you money to post their jobs on your site, just as they do with newspapers. Will companies pay to advertise on your site? Yes, they will. Advertis- ing is the third -largest revenue generator on the Internet today. Forrester Research says online employment advertising in 1999 totaled $602 mil- lion and predicts it will grow to $7.1 billion by 2005. And that number is conservative compared to Hunt -Scanlon's - that company predicts there will be $16 billion generated through online em- ployment classifieds by 2005.
What will it cost? This is often the first ques- tion a media company asks when deciding whether to install and maintain an online job cen- ter. The answer depends on the software company you go with - some will even set up the center for free. As far as effort on the part of the media company, most software allows stations to sim- ply set up the job center, then be responsible for nothing but promoting it. In addition to site main- tenance, software companies can handle all financials, including credit card processing, col- lections, etc.
So there may be no cost and no labor needed from media companies adopting this technology. For their part, the software companies receive a portion of the money from the employers that pay to advertise in the employment centers.
Once broadcast executives understand that winning this $7.1 billion game can happen with- out adding a sales force, without going into the software business and without shelling out any upfront dollars, a clear winner in the game of online employment advertising is sure to emerge.
Mks Kappol is President of Top Echelon. Founded in
1988, Top Echelon is the world's largest and most profit- able network of recruiting firms. Top Echelon has been creating technology for employment solutions for 12 years.
For more information and examples of plug -in classified employment ad technology, visit www emptoyment- dassifieds coom.
HOW TO INTERVIEW FOR A JOB BY PHONE
By Dick Kazan There's a job you really want, and you
y just landed a telephone interview. If
you're like most people. you'd prefer to interview face to face, but this is still a great opportunity. How do you capitalize on it? By doing the following.
Do your homework. Learn as much as you can about the history, products, people, reporting structure and earnings of the company you'll be interviewing with, along with as much other useful information as you can gather. Visit the company's website, and make some calls. Being well -informed will make you feel more confident, and with the knowledge you've gained, you'll make a better impression.
Find out the company's objectives. If the company ran an ad for the job you want, study that ad for clues. Then, early in the telephone interview, ask what the company would like the person in that position to accomplish. Candi- dates seldom do this, yet the question goes right to the heart of why the recruitment is being conducted. It's very much of interest to the interviewer and something he or she will often discuss.
Remember your goal. Because it's not likely you'll be hired by phone, your primary objective is a face -to -face interview. The phone is usually used to screen candidates, and you want to get to the finals.
Eliminate any distractions. This is no time to have a dog barking, a TV blaring, call waiting going off or any other interruptions. Think of it as if you're meeting with the interviewer in a conference room. To help you get that
feeling and to make it
easier to concentrate, take the call in a private home office or at a professional facility.
Make a brief opening comment. To make a
good first impression. put a smile in your voice and sincerely say
something positive about the company you're interviewing with. You could refer to its rapid growth, its ability to create new products, its outstanding reputation or even its poten- tial. For example, you might say, "Good morning. I'm Dick Kazan. and I thank you for inviting me to this interview. I've been looking forward to our discussion, because your firm has had remarkable growth, becoming the dominant company in its industry in only five years. It's nice to have the opportunity to speak with you."
Have your resume handy. The interviewer will ask about the information on your resume, so review it in advance and note any key points you'd like to make during the interview. Do you have any special skills you want to emphasize? Anything you want to add that may have been overlooked or understated? The interview is your chance to make those points.
Take notes. Taking notes makes you a better listener and lets you answer questions more effectively. It also helps you keep the interviewer's key points in mind and respond to them throughout the discussion.
Phone interviews are difficult because you can't see the body language or the facial expressions of the person you're speaking with. and you won't be aware of any distractions on the interviewer's side, such as people coming and going, other calls being taken or documents being signed. But if you'll follow these tips, you'll make the most of your opportunity and show the interviewer you're an outstanding candidate. You'll dramatically raise the likelihood of your becoming a finalist.
Dick Kazan is a successful entrepreneur who founded what became one of the largest computer leasing companies in the United States and is a successful real estate entrepreneur. E- mail your comments or questions to him at [email protected]. corn.
www.americanradiohistory.com
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www.americanradiohistory.com
18 RaR November 10, 2000
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management marketing sales
DON'T UNDERESTIMATE
By Mike Mahone
THE IMPACT What's happening on the Internet? Wall
Street has recently frowned on Internet compa- nies, and the entire technical sector has suffered. Venture capital for Internet startups has slowed to a trickle. A slew of web -based companies have closed their doors. Many people who left our business to make their fortunes on the 'Net are coming back to radio. The wave of unbridled spending on advertising by dozens of major dot - coms has receded and, in many cases, dried up completely.
So the naysayers were right. The dot -corn frenzy is over. There's no need for radio to worry about the impact the Internet will have on busi- ness. Right?
Wrong! In his book Business at the Speed of Thought,
Microsoft founder Bill Gates points out that busi- nesses almost always overestimate the short -term effects of major shifts in tech- nology - and severely underestimate the long -term effects.
THE TIME MACHINE Jump into my time machine, and let's
go back 10 years. Suppose it was 1990, and I pointed to the big, heavy; bulky tele- phone sitting on your desk and told you that by the turn of the century, millions of people would carry a phone with them at all times, hanging on their belts or in their purses. You probably would have
OF THE INTERNET portunity in the history of our industry. It's a threat because very soon the technological issues that have thus far limited the 'Net will disappear. The availability and cost of bandwidth will soon no longer be issues, and audio and video will be de- livered with unparalleled quality and speed. Wire- less, untethered access to the 'Net will be common- place. Dozens of devices, including TVs, car ra- dios, mobile phones, personal digital assistants and even wristwatches will be Internet receivers. The computer will become just one of many ways con- sumers will access the web.
FIVE HUNDRED NEW COMPETITORS Be aware that we already have over 500 new
competitors webcasting on the Internet. Most are streaming multiple channels of highly targeted for- mats. Many are offering listeners the opportunity to completely customize the listening experience. Additionally, portals like AOL, music sites like MTV,
aggregators like Yahoo! Broadcast, record companies like Sony and even retailers like The Gap are in the business of broad- casting audio on the Internet. Addition- ally, our traditional competitors - news- paper, TV and direct mail - are all offer- ing new and compelling audio options to their Internet audiences.
The good news for radio is that, over the long term,the consumer is not going to care if the programming to which he or she is listening is arriving via the Internet, a terrestrial signal, cable or sat- ellite or a wireless technology. And since
called me crazy, or, at the very least, thought of me as someone who spent too much time watch- ing Star Trek. And that perspective would have been perfectly understandable because, unless you were really focused on that area of technology, it would have been difficult, or even impossible, to foresee the advancements in wireless communi- cations and microchip technology that have ulti- mately made mobile phones nearly as common as desktop phones.
The Internet is most assuredly one of those major shifts in technology to which Gates was re- ferring. It's the fastest -growing medium in history; having taken less than five years to achieve a "criti- cal mass" of over 50 million U.S. users (it took ra- dio 38 years and TV 13 years to do the same). Al- most 50'9 of the U.S. population now has Internet access, and it is estimated that, worldwide, seven new users log on to the 'Net every second.
At the same time the Internet is still in its in- fancy. And, like most babies, it must crawl before it walks, stumble and fall a few times, cry, whine and even throw a few temper tantrums. But make no mistake about it, the Internet will continue to grow. Technological advances will continue at a rapid pace, and, ultimately, accessing content via the 'Net will be as quick, easy and commonplace as turning on the radio or picking up the telephone.
THE 'NET IS NOT FAILING It's important that we don't equate the failure
of some of the first wave of Internet startups - those companies that overestimated the short -term impact of the 'Net - with an overall failure of the medium. The Internet has not failed; the baby just fell on its butt. Many companies made a lot of wrong assumptions about practical business mod- els, the power of Wall Street, and, most impor- tantly, how fast the public would he willing to embrace a combination of new technology, a new system of commerce and a host of brand -new busi- nesses.
Despite all the initial problems, the Internet still represents the biggest threat and the greatest op-
all the listening devices available will be capable of receiving transmissions from all of these sources, why should consumers care? But what they will care about is content. What they will want - make that demand - is programming that is entertain- ing, compelling and targeted to their individual interests and desires.
Radio has the potential to maintain its position as the king of content if it is willing to focus a por- tion of its attention, talents and resources on un- derstanding and mastering the dynamic new me- dium of the web.
IS ANYBODY MAKING MONEY? Of course, being radio broadcasters, the first
question we ask is, "Is anyone making money on the Internet ?" The answer is yes, but today it's only a few courageous pioneers - those companies or individual stations with sufficient operational au- tonomy that also have an understanding of the Internet medium and an entrepreneurial spirit. Those companies have been willing to make the initial investments and take the short -term losses that are part of any new venture.
Today Internet -savvy radio stations are generat- ing small but ever -growing revenue streams through sponsorships, banners, links, jump pages, classifieds, coupons, e-mail, music sales, merchan- dising and e- commerce. Streaming audio with digi- tal ad insertion is one of the newest opportunities.
Some of those options will continue to grow and generate serious dollars. Some will prove to be less profitable, some will disappear, and, un- doubtedly, a vast array of brand -new online rev- enue opportunities looms on the horizon.
Here's the bottom line: The Internet is not go- ing to go away. As it continues its dynamic and unprecedented growth, it can become a profitable and complementary component of our business, or it can become a competitive nightmare.
It's your choice.
Mike Mahone is Exec. VP /Services for the Radio Advertising Bureau.
STREAMING MEDIA'S ROLE IN
THE TRADITIONAL MEDIA MIX By Graham Keenan
An aura of uncertainty still surrounds the integration of
streaming media into the traditional media mix. This ambiguity generally stems from two points: First, will the mass adoption of streaming media occur? And, if it does, how will that impact the role of traditional media in
consumers' lives? Interep recently commissioned four
leading academicians specializing in
audio entertainment to share the findings of their research. The resulting white papers, part of Interep's Radio 20:20 initiative, offer an intriguing perspective on the future of audio entertainment.
With regard to the question of streaming audio eventually achieving mainstream penetration, the answer appears to be yes. Approximately 20% of consumers have already sampled streaming audio, and the numbers continue to climb. Since researchers generally consider 25% to be the "tipping point" for mass adoption of technology, the mainstream use of audio streaming certainly seems likely.
How will this affect broadcast radio? A more difficult question, perhaps, but one on which the aforementioned experts agreed. All their research papers suggested that, while some aspects of the radio industry may change completely, others will merely be reformed, and still others will remain unchanged. In other words, consumers will continue to have the need and desire for broadcast radio even after streaming usage reaches critical mass.
Our Radio 20:20 experts concluded that streaming audio will not replace, but will work in conjunction with, terrestrial radio for a variety of reasons. First, from a historical per- spective, a new -media technology generally does not replace its predecessor because it cannot reproduce the exact experience or benefits of that predecessor. The photograph did not replace the drawing; radio did not replace the newspaper; television did not replace radio; and the Internet seems unlikely to replace newspapers, televi- sion or radio.
Second, the adoption of a medium is a cultural process as well as a technological one. Consumers use a medium not simply because it exists, but because it answers a real need or desire. But not all people have the same needs, and people don't have the same needs and desires all the time. For those who enjoy actively programming their own entertainment, the flexibility of Internet radio will offer an appealing option. However, this hands -on approach is not for everyone. And while the Internet audio trend seemingly has the potential to reduce terrestrial radio audiences, many consumers will likely rediscover the more comfortable and uncomplicated joys of passive consumption in their audio entertainment.
G R A H A M
KEENAN
Graham Keenan is Managing Partner for Interep Interac- tive. He can be reached at 212 -916 -0711 or keenanc' interep.com. For Interep's complete Radio 20:20 white pa- pers, visit its website at www.interep.com.
ADD R &R TO YOUR 2001 BUDGET! Now's the time most stations are planning their 2001 bud- gets. Receive an additional station copy of R&R exclusively for your sales staff for only $149 per year. Call R&R at 310- 788 -1625 for more details.
www.americanradiohistory.com
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www.americanradiohistory.com
20 R&R November 10, 2000
DAN O'DAY'S COMMERCIA L
C O P Y M A K E O V E R
DOT-COM ADVERTISING Too many Internet companies choose comedy over content
The dot -com advertising orgy has begun to slow down, after having squandered the most money in the history of the world (not including projects ini- tiated or administered by politicians). The waste was very democratic. Dot -com companies displayed their advertising incompetence on radio, on televi- sion, in print and on billboards.
While I'm as delighted as anyone else to see all those 19-year-old former millionaires out on the streets being forced to look for honest work, I do feel bad for the Internet companies that offer valuable services but that have been badly served by the people who create their radio advertising. Not just because I'm a radio guy, but because radio has proven to be the single most effective offline medium for driving traffic to websites.
To effectively advertise a website with a dear Unique Selling Proposition, or USP, you do not need to be particularly creative. You do not need to entertain. You do, however, need to be able to:
1. Identify the one clear message you have to commu- nicate
2. Identify the target audience for your message 3. Communicate that message to that audience
WHAT DOT.COMS DON'T UNDERSTAND Here is what 90% of dot-corn advertisers do not under-
stand: Advertising solves problems. And, by a wonderful coin - cidence, successful business websites solve problems too. Even better, radio is a terrific way to help people find the sites that solve their problems.
But most people who create dot-corn radio commercials don't have a due about problem -solving. They think the fast -or, too often, the only -jobofa commercial is to entertain
In fact, I don't think I have ever heard a single produced dot-corn spot that didn't try to be funny. Not one.
Do you want your dot-corn commercial to set itself apart from the crowd? To be heard above the cacophony of com- edy? Then try opening the mike and talking straight. Tell lis- teners how your site will solve their problems. Show them, if possible. Then tell them how to find your site. Unfortunately, that kind of commercial won't win any awards. It won't make your co-workers laugh when you play it for them. All it will do is make money for the dient.
WHAT DOT -COM SPOTS DON'T DO Here is what 90% of all radio commercials, televisionspots
and print ads do not do - even though if they don't do it, they'll fail: They don't answer the question "Why ?'
In addition to solvingcorstumer problems, successful ad- vertising must answer that question. To test a commercial's effectiveness, you should state the spot's desired consumer response and then ask, on behalf of the listener, Why ?'
"Why should I test -drive a BMW and not a Mercedes ?" "Why should I shop at Sears and not J. C. Penney ?" "Why should I fly American Airlines instead of United?" "Why should I visit your website instead of the other 10
million on the World Wide Web?" Below are some examples of dot-corn advertising, along
kith my analyses.
EXAMPLE NO. 1: NETWORK SOLUTIONS Here's a commerdal that most Americans have either seen
on TV or heard on the radio. (SFX: Typing on computer keyboard) Man: Hmmm ... Let's see. How about "bob- the -bug- killercom ?' No, no, no. Wait, wait, wait 'tugsbegone.com." No, that's no good, either. Announcer. Network Solutions makes it incredibly easy to get your business online. Now we've made it even easier with a savings of 20%. Man: "Bugs- not -in- your -rugs.com!" Yes! I mean, no! Um ... "Ex- live- bugs.com." That doesn't even make sense!
Announcer Call today and get a web address and a one -page website, and pay only $48. Or choose to get a web address, a one -page website and an e- mailbox for only $68. Man: "Whama -whama -lama- drop -dead -bug.com!" I don't know, I don't know! 'The -bug- reaper axn!" That's brilliant. I'm the man! Announcer: Your only challenge is deciding on the perfect dot- corn name. For details, visit us at netunrksolutions.conr, or call 1- 800- 4DOT.COM. Network Solutions: the dot -corn people.
Problem illustrated: Difficulty in naming a website. Solution offered by advertiser: None. Advertising effectiveness saxe:2%(for remembering to men-
tion the name of the client). What is the core message of the Network Solutions commer-
dal? Quick, think about what you just read. What is the one im- age in your mind? It's that guy, desperately hying to name his website. So I guess the core message is "It's really hard to name websites." And does Network Solutions offer the solution to that problem? Let's check. Which one of the following features listed in the ad solves that problem? A 20% discount? No. A web ad- dress? Nope. A one -page website? Sony. An e- mailbox? No.
Look at the announcer's very first line: "Network Solutions makes it incredibly easy to get your business online." From that line we know at whom this commercial is aimed: businesses that are not yet online. Fora business that isn't online but wants to be, the biggest problem is not what URL to register. The questions such a business is likely to ask are "Why should we go online?" "What would we want our site to accomplish?" and "How do we begin?"
Maybe -nurybe- Network Solutions can help answer that third question. After all its core business is website registration. But someone who has never registered a URL is likely to be in- timidated by the prospect and asking, "What do I have to do? How do 1 do it? What if I make a mistake? " The Network Solu- tions spot doesn't address any of those questions, either.
Frankly, it lookslike Network Solutions doesn't have any idea what it wants to communicate. The commercial is apparently focused on the efforts of a professional exterminator to choose a name for his business' website. (I'm taking the liberty of ruling out the possibility of his representing online bug fetishists.) But the ad's offer includes a one -page website! Exactly how much business does he expect to conduct with that one page? The most he can do is provide digital copy of his yellow pages ad, which is a pathetic waste of the marketing power of the web.
Maybe the ad agency was stuck with a "fad sheet" with several bullet points that had to be included in the commer- cial. (That's probably why the company phone number is in the spot too.) Or maybe Network Solutions said, "We don't know what we want to communicate, but someone told us it's important to advertise. So here's a few million dollars. Please make sure you spend it all."
EXAMPLE NO. 2 APARTMENTOUIDE.COM
(Music: beaus/ metal)
Voice: You found high -quality music online. (Music Caribbean) Voice: You booked your vacation online. (SFX:'car horns, traffic) Voice: You found your car online. (SFX: fabric ripping) Voice: You found your trousers online. (Music. jazz) Voice: Why not find your next apartment online? Apart - mentGuide.com. Point, didc, rent.
Problem illustrated: None. Results demonstrated: None. Advertising effectiveness score: 0.5 %. Brilliant. A30- second commercial that devotes its first 25 sec-
onds to talking about something other than what is being adver- tised. If ApartmentGuide.com couldn't think of anything else of value to say, it should have flooded the airwaves with five -sec- ond spots.
How does it do on the "why" test? Remember, to test a commercial's effectiveness in answering that, you state the spot's desired consumer response and then ask on behalf of the listener, "Why ?"
In the above commercial the desired response is for the consumer to go to ApartmentGuide.com. To which we respond, "Why?" Um ...because' found high -quality music on ine ?Well, no. Because my pants ripped? No, I don't think Apartment - Guide.com could help me there. So why should I visit Apart- mentGuide.com? The commercial doesn't tell me. So I went to the website to find out, and then I quickly wrote this copy:
If you're looking for an apartment but haven't found ex- actly what you're looking for, then ApartmentGuide.com is exactly what you need. Just enter your desired neighborhood and price range, number of bedrooms, whether you want a swimming pool or a fireplace or a balcony, and Apartment - Guide.com will instantly provide you with an up-to -date list of apartments that meet your specifications, complete with photographs, floor plans and even a map that shows you where it's located. ApartmentGuide.com makes it easy to find the exact apartment you're looking for. See for yourself at ApartmentGuide.com.
Problem illustrated: Finding an apartment that fits your desires.
Resultsdemonstrated: Using ApartmentGuide.com to find an apartment.
Advertising effectiveness score: You be the judge.
EXAMPLE NO. 3: FIRSTLOOK.COM (Music: Somber piano solo) Announcer. It's tragic. Each week millions of people make the wrong entertainment choices. They are the people frozen in front of endless rows of new releases at the video store, unable to choose. Man: I rented a three -hour German film about cabbage. Ill never get that time back Announcer They are the ones who buy a CD because some- one recommended it. Woman: My mother swore I would love Latin punk. Now even the used -CD stores won't buy it back. Announcer. The people who buy a video game based on the box. Man No. 2: Man, that game had a great box. Now it's just a $40 coaster. Announcer These stories are all too real for millions of people. Fortunately, there is help. Firstlookcom helps people make the right entertainment choices by giving them samples of movies, music and games. If you or someone you know needs help, log on to Firstlookcom. With Firstlookcom, you don't have to rely on the opinion of your mother. You can see for
yourself before you buy. Problem illustrated: Having to buy a movie, video game
or CD without first knowing if you'll like it. Results demonstrated: Finding out what a particular
movie, video or CD is like before deciding to buy it. Why should I visit Firstlookcom? To test -drive movies,
video games or CDs before deciding to buy them. Advertising effectiveness score: 98% A tiny copy quibble: I don't know any grown woman who
would trust her mother's opinion on what kind of music to buy. Change "mother' to "girlfriend," and the believability problem disappears.
A larger copy quibble: This commercial is otherwise so well -written that I'm surprised to see it illustrate the announcer's concept of "buying a video game based on the box" with a guy who says, "Man, that game had a great box." He's simply repeating the announcer's line. The problem would disappear if the guy said, "Man, that game really had some cool -looking packaging" - the same message with a new key word.
But quibbles aside, if you ever purchase movies or video games or CDs I'll bet you can see the value in Firstlookcom - and all from that one, simple commercial.
This column is excerpted from The Dan O'Day Radio Advertising Letter. For your free e-mail subscription, send your request to
danoday ®danoday.com with "R &R Ad Request" in the subject line. Or you can subscribe online at www.danoday.com.
www.americanradiohistory.com
22 MR November 10, 2000
INTERNET
Akoo's Kima: Taking 'Net Radio Off The Computer
By Paul Maloney RARI Rado And
Intent tknslette,
The Kima system is one of the more impressive attempts to streamline the process of listening to
Internet radio. Introduced in September by Chicago -based Moo, the Kima system aims to improve the Internet audio experience by enabling listeners to listen to Internet radio over a stereo system anywhere in the house, thus liberating users from their computers.
Streaming audio has
not yet achieved the mass
acceptance of instant
messaging, a -mail, file - sharing. online auctions
or the other Internet
applications that have
become a familiar part of the daily experience of millions of people.
Certainly. the less-than-
overwhelming reception for webcasting by the Internet audience does not reflect the hopes and beliefs of an industry that has made available thousands of streams backed by millions of dollars in investment capital.
The industry is doing its best to come up with an explanation for the slow adoption of audio streaming, but the most valid explanation may be the simplest: The
process of receiving and listening to Internet audio is,
compared to traditional radio, just too difficult. Which is
not to say that downloading a player, finding a station one might enjoy and minimizing it while working on
other things ranks near the pinnacle of human achieve- ment. But traditional radio is easy; it always has been.
You turn it on. If you don't like the station, press a
button or turn a dial. Go outside, get in your car, and
radio's there. There's no logging on, no buffering, no
dropouts and no being stuck near your PC.
The Kima system consists of two nearly identical
units, each under five
inches wide and 3 1/2
inches tall. The units
have a rounded, silver -
and -black design. and
each is crowned by an
antenna resembling that
of a cordless phone. The
system was a breeze to
set up. The base unit
plugs directly into the
output of your comput- er's sound card. in the same jack you'd use for speakers or headphones. Then the output of your computer's sound card is converted to a 900mHz signal - the same frequency your cordless phone uses.
Although precautions have been taken to keep the
signals separate, should you find yourself hearing
Continued on Page 24
Sonicbox Makes Worthy Attempt To Corral The 'Net By Ron Rodrigues
Earlier this year Son -
icbox became the first appliance to make an
attempt to corral the vast audio resources on the Internet. The three -piece setup is not a standalone device; it requires a full -time connection to a
computer, as well as a wired connection to your stereo.
Sonicbox is distinctive because of its futuristic IM
tuning device - about the size of a videocassette - which allows a listener to access more than 800 online radio stations. The device can also be used to control volume, skip songs (on webcasts that allow it) and register user likes and dislikes for particular program- ming. Listeners can also inquire about particular songs by pressing the "Tell Me More" button.
Setup of the device - while not exactly a breeze - can be accomplished in about half an hour. For me. the hardest part of installation was navigating through the yards of wiring behind my computer to access the necessary ports and plugs.
The system includes a transmitter that sits by the
RAIN Radio And Internet
Newsletter Publisher and
Editor Kurt Hanson is a
well -known researcher and
consultant who also serves
as Chairman of Strategic
Media Research, the firm
he founded in 1980. RAIN
is available daily at
www.kurthanson.com.
iiifnn .0 it..
Or: WOO
computer and plugs into a USB port and sound card. a
pager -sized receiver that plugs into your stereo and the IM tuner. Sonicbox also comes with a CD -ROM that includes the necessary drivers and desktop software.
Once everything was hooked up. I had trouble tuning in to a decent signal. Sonicbox uses the 900mHz band - the same band used by most cordless telephones - and things were pretty noisy even when nothing was
being transmitted. After about another half -hour of fine - tuning of both transmitter and receiver. I was able to pick .up a signal that was tolerable, but noisier and
subject to more interference than an FM broadcast signal.
.Once most of the kinks had been ironed out, "Sonicbox performed well. The hardware seemed very responsive to commands generated by the IM remote. If you switch stations. a "preroll" announcement fills the
gap while programming is buffered.
Users can choose from 25 genres of online radio - going to "A" for Alternative. "B" for Blues and so on - and then select any of 32 on -air and Internet radio
stations from the U.S. and abroad within each genre.
The "Z" band is reserved for up to 32 of the user's favorite stations and can include any online stations or audio content stored on the user's computer.
Listeners don't have to remember which letter
Continued on Page 24
U A ::ulutIsi With
Radio And
Internet Newsletter
Thelceberg.com:
A Unified Vision
Rarely do I see Internet radio so nicely presented as it is
at Thelceberg.com (www.theiceberg.com). Its three
channels look like the result of serious end -to -end
thinking.
Here's what I mean: Pick an Internet radio site. Visit the
site as though you have never seen it before, as though
you don't work in the industry. You may find that the site
you choose, like so many Internet audio sites, doesn't
look like it has a guiding spirit in its design and
implementation.
Some webcasters have done a great job of pro-
gramming their music. They've gone to the trouble and
expense to get gifted, experienced programmers to get
the music just right. They then hit the web - as if the
quality of the music will attract listeners even through the
murkiness of shoddy- looking design, poor -quality
streams or less- than -reliable hosting. "The music's good;
nobody pays attention to the rest of that stuff," seems to
be the thinking. On other sites one or two individual
elements are brilliant, but the whole suffers because the
other facets don't stand up. Thelceberg.com, however,
has the whole package.
Toronto -based Iceberg Media is an all -in -one
developer of audio and video programming, a production
and design house and a streaming provider. The
Ice berg.com site features
scheduled and
archived con-
cert video and
audio from PrimeTicket.net, an online magazine called Deeper and
three round- the -clock streaming stations. 1 Groove.com
is Thelceberg's electronic and dance offering,
2Kool4Radio.com is for indie and alternative fans. and
Illnoiz.com covers rap and hip -hop. All three stations do
a nice job of delivering the music their format partisans
want, presenting it with a sense of style and the attitude
appropriate to their audiences. You can listen live 24/7 to
a full roster of air talent on each station, and archived
shows, with playlists, are available for all three channels.
The station sites are also searchable, should you want to
hunt for a particular artist or piece of music, and there are
some interesting lifestyle features as well (such as a
"Samhain Halloween ritual" promised on 2Kool4Radio).
Continued on Page 24
www.americanradiohistory.com
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www.americanradiohistory.com
24itaR November 10, 2000
Akoo
43121131 NEWS & VIEWS
'Continued from Page 22
Eminem instead of Grandma, the Kima gives you a
choice of four channels on which to transmit. The base
unit also includes a quarter -inch output. so you can reconnect your computer's speakers.
The receiving unit can sit near any stereo in the
house, up to 1,000 feet away from the base. If you have
a stereo system without a tuner and with an extra input
available, simply connect the receiving unit to the
amplifier as you would any other stereo component. If
your system is more of the clock radio or boom box
variety, with no external inputs, simply tune the radio to
88.1 or 88.3 and set the same frequency on your receiving unit. The receiver then transmits a very limited
FM signal for your tuner to pick up.
With everything in place, you'll now hear the output of your sound card through your stereo - that means
Internet radio, CDs and the AOL guy's "You've got mail!" You can even listen to the sound from computer games on your stereo. But don't forget, the idea here is
to be able to listen to Internet radio in different rooms or
even outside.
We first listened to the output from the Kima over the
RAIN test lab's tuner. We were very pleased when the
first strains of Louis Armstrong were heard (not that we
expected Kima to disappoint; we're just happy when
technology comes through). The levels were a little
low, and the signal was a little noisy, but fiddling with
the FM antenna wire on the Kima receiver helped a bit.
Then we tried connecting the system to one of our stereo's inputs. As expected, that took away most of
the hiss. Cranking up the output on the Kima base unit
and the volume on the sound card brought the sound
level up to a more acceptable level.
But the sound still wasn't quite up to par with most of what we hear on the FM dial. The dynamic range
wasn't very wide - the highs seemed muffled, and the
lows weren't really "there." So we picked another
station, one with a broadband stream, figuring wider
bandwidth would improve the sound. The broadband
station was more impressive, but still not up to FM
quality in side -by -side comparisons. So, as a final test,
we popped a CD into the PC and the same CD into the
stereo's CD player. That improved the performance of
the Kima even more, but not to the point that we
couldn't tell the difference between the two sources.
This is not to say that the Kima is unlistenable. On
the contrary, we were very pleased with the unit's performance and ease of use. Perhaps with a higher -
end sound card and better- quality streams the Kima
could rival FM stereo. But there is one possible
shortcoming to the system: There is no remote tuner,
so if you lose the connection or want to dial up another
stream, you have to go back to the computer to make
the change.
Ile A: :BI:tUW will
Radio And
Internet Newsletter
Continued from Page 22
Being a streaming company, Thelceberg handles stream-
ing right, with nice broadband audio in RealAudio format
that came over my cable modem with a minimum of
problems.
Each of the three channels has cool little navigational
gimmicks - spinning records and slidable mixer
controls on 1Groove, spiffy transitions on Illnoiz, etc.
Nothing overdone, just little things that make it look like
Thelceberg is trying to make visaing its sites a cool
experience overall.
So can Thelceberg make money from this venture?
That remains to be seen, but the company obviously has
a plan: Get the product up and running exactly the way it
envisions it, then work on selling it.
-Paul Maloney
Sonicbox Continued from Page 22
belongs to a particular genre -a complete list is
printed on the back of the IM tuner. However, they're on
their own when trying to figure out which stations are
on each of the 32 channels within each genre. The ideal
solution would be an LED readout on the tuner that
could display the station, song titles (and even store
locations) while commercials are playing.
The "Thumbs -Up" and "Thumbs- Down" listener
feedback buttons are nice - they can provide some insight as to listener preferences for music and other
content. But the same information can probably be
gleaned from other listener behaviors. such as when the
listener turns up the volume or switches stations. A
better use for the buttons would be to allow listeners to
use "Thumbs -Down" to exclude a particular artist from
future play on a station and "Thumbs -Up" to increase
plays.
Much more useful is the "Tell Me More" button, which allows stations to provide more information
about a song or commercial. Again. the button could
be rendered even more valuable if the requested
information could be displayed right on the IM tuner.
but, as things stand now, the information is delivered
by e-mail.
Perhaps Sonicbox's biggest shortcoming is at the
receiver end of its setup. The receiving device must be
plugged into a stereo using RCA connectors. If you
want to listen in another location of your house, you'll need to reach in back of your receiver, unplug the
connectors and find another receiver in your house
with the same kind of connectors. Most portable and
clock radios can't be used because they lack RCA jacks.
Sonicbox is licensing its technology to a number of third -
party companies, and it will be more useful when it is built
into computers instead of having to be added as an aftermar-
ket item. The company has also created a new, scaled -down
product, dubbed the K.O. Wireless Remote. Designed for
offices and dorm rooms, the K.O. lacks the Sonicbox's
wireless receiver but still allows remote control of radio
station tuning.
Finally, Sonicbox suffers from a limitation common to all
Internet radio tuners: Despite the thousands of webcasters
on the Internet, only so many can be listed at any given time.
Sonicbox limits this even further by including 25 genres that
may or may not appeal to a particular listener. There are
genres for "Eclectic," "Upbeat" and "Dance." but only one
genre for all of rock. It would be great if listeners were able to
create their own genres in a future version.
March of Dimes
Saving babies, together
Thank you radio, for helping the March of Dimes fight to save babies' lives by participating in the 2000/2001 Achievement in Radio (A.I. R. Awards)
Houston Oct. 27 Phoenix Oct. 30 Boston Nov 2 Washington Nov 2
Atlanta Nov 7 Cleveland Nov 13 Philadelphia Nov 13 Baltimore Nov 14 Miami Dec. 5 New York Jan. 25 Milwaukee Mar. 1 Pittsburgh Mar. 1
St. Louis Mar. 2
Sponsored Nationally By: Ford Motor Company Co-Sponsored By:Arbitron,Associated Press, Metro Networks /Shadow and R&R
A.I.R. AWARDS
Achievement In Radin
A Broadcast Competition Celebrating
h warner in Radio to Benefit the
Starch of Dimes Birth Defects Foundation
www.americanradiohistory.com
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26 UR November 10, 2000
le Ass ullthfu With
Radio And
Internet Newsletter
Fischer Becomes FullAudio VP Radio programming vet Michael Fischer
has joined web company FullAudio as VP/ Content & Programming. Chicago -based Full- Audio is developing technology that will allow consumers to use portable devices to hear the music of their choice on an on- demand basis. The company also appointed Thomas Leavens VP /Legal and General Counsel.
"Michael and Thomas are key new mem- bers of our team, and we are pleased to have attracted executives with their level of industry experience and talent," remarked FullAudio President/CEO Chris Gladwin. "As the digital music revolution progresses. both will be instrumental in
keeping FullAudio ahead of the curve and shaping its growth and development."
Fischer will be responsible for the devel- opment. creation and acquisition of original music and editorial content for FullAudio. He
will also produce genre- specific music preview channels for the service, as well as custom subscription packages.
Fischer was most recently Director /Pro- gramming for SW Networks, where his duties included the development of a 24 -hour satellite channel. He has also worked in programming positions at WNUA/Chicago, KOAI /Dallas and
KIFM /San Diego.
Echo Effect Found In People Meter Testing
A Philadelphia station that encoded its radio signal as part of Arbitron's Personal People Meter testing found its air personalities heard an echo every time they spoke into the microphone, Arbitron spokesperson Thom Mocarsky told RSA. Eight other stations in Philly and nearby Wilmington experienced similar trouble, and new software is being developed that will erase the reverberation. "Engineers at the stations have been very cooperative, and we're working on solutions." Mocarsky said. "Preliminary results of tests on our new software have been very en- couraging."
MeasureCast, Harris Identify `Typical' Streaming Media Consumer
According to a new Measurecast- Harris Interac- tive study, the typical streaming media consumer is a 36- year -old white male who lives in the Midwest, has completed some college and earns between $50,000 and $75,000 annually. That typical consumer is online for at least eight hours per week and is more likely than other 'Net users to have a broadband connection. The study also
found that 67% of the online population is familiar with streaming media, and people with household incomes of $50,000 or more are significantly more familiar (71 %) with streaming than households earning less than $50,000 (65 %). The complete study can be viewed at www.measurecast.com/ study.
NetRadio.com Adds Six New Channels
NetRadio.com has announced the addition of six new channels to its Internet audio service. Users of the service's RealPlayer 8 and RealNetwork preset menus now have 20 stations to choose from: The new stations are "Solid Gold Soul," "Smooth Urban Hits," "Hard Rock," "Power Hits," "Disco" and "Lite Hits."
SurferNETWORK To Stream New Northwest Stations
SurferNETWORK has announced an agreement to stream 42 New Northwest stations by Decem- ber. Streaming will roll out immediately for New Northwest's 12 stations in Yakima, WA and Tri- Cities, WA. Stations in Billings, MT; Astoria, Klamath Falls and Coos Bay, OR; and Anchorage and Fairbanks, AK will follow.
Hot new music -related World Wide Web sites, cool cyberchats and other points of interest along the in- formation superhighway.
'Net Chats
Those punk pranksters The Offspring are available for heckling on Monday (11/13) at 9pm ET, 6pm PT (www.
twec.com).
They signed with The Beatles' Apple label and had a
string of hits in the late '60s. Right, mate, 'ave yourself a chat with Badfinger on Monday (11/13) at 8pm ET, 5pm PT
(chat.yahoo.com).
Want the lowdown on reggae legends Bob Marley and Peter Tosh? Ask radio host and music historian Roger Stef- fens on Wednesday (11/15) at 6pm ET, 3pm PT (chat. yahoo.com).
Drummer Russell Simins busts out of the Jon Spencer Blues Explosion for some serious soloing. Talk to him on Friday (11/17) at 5pm ET, 2pm PT (www.soundbreak.com).
On The Web
He's gone from being a homie to Ice -T to fronting an Irish -American rap group. Now Everlast stands alone, performing on Monday (11/13) at 3pm ET, 12pm PT
(www.hob.com).
They're a little bit'techno, a little bit rock 'n' roll. Join Vibrolush in performance on Thursday (11/16) at 9pm ET,
6pm PT (www.getmusic.com).
- Michael Anderson
New Technology Good For Net Radio?
Do devices like the Sonicbox and Akoo's Kima really simplify Internet audio? Find out how these devices and others like them work in the real world - and if they'll really help Internet radio become more popular. Follow new developments daily with RAIN: The Radio And Internet Newsletter at www.kurthanson.com.
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This do 9 is a real cash cow.
Introducing Run Spot RuDji the can't -miss targeted ad insertion system for stations on the iM Band.
What if you could match exact demos to ads for your Webcast? What if you could transform your audio streams into
major revenue streams? Now you can with Run Spot Run. The simple, inevitable targeted audio ad- insertion system from Sonicbox. Now you can
make serious money by targeting ads within streaming programming. Run Spot Run is a breeze to implement, and you'll get new P1 listeners
from around the world. Want more? Then mosey by booth #53 at Webnoize to get an earful of Run Spot Run.
RUN SPOT RUN"
Come to our booth at Webnoize and register to win a Sonicbox K.O. and SPOT the i /D, For more information on Run Spot Run, contact Sonicbox at 650.934.0898 www.sonicbox.com
SONIC TM
O 2000 Sonicbox, Inc. All rights reserved. Sonicbox, the Sonicbox logo, iM, iM Band, Run Spot Run, and RSR are trademarks of Sonicbox, Inc. Other trademarks are properties of their respective holders.
www.americanradiohistory.com
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www.americanradiohistory.com
30 Rail November 10, 2000 INTERNET
the Urge To Merge: Radio And The Internet
Continued from Page 1
and will welcome the opportunity to do so."
CDNOW Director /Radio & Ra- dio Services Ali Castellini sees an
expansion of radio's offerings. "I don't think it going to blow tra- ditional radio out of the water, but I think the 'Net can further the dis- tribution of traditional radio. and there will be further fragmentation of the audience."
Mark Cuban. founder and former CEO of Broadcast.com (now Yahoo! Broadcast) secs a
longer timeline. The now- Dallas Mavericks owner says. "Five years? No. Ten years? Yes. defi- nitely. No one will buy a stereo or
"A star will be created by
the medium of an
interactive broadband
show. When that star
emerges, that's when the
potential of broadband
will be realized and
embraced."
Walter Sabo
a CD player. All music will he
digital. sourced from a lot of dif- ferent places. and there is a 50 -50 chance that there will he 75% or more penetration of digital media signals into cars by then."
BroadcastAMERICA.com VP/ Sales & Marketing Mike McPher- son looks at the issue from an ag- gregator's viewpoint: Broadcas- tAMERICA has over 7(X) radio stations and syndicators in its au- dio "mall." McPherson says that radio broadcasters need to he
more responsive and take advan- tage of new delivery systems for radio content. "Not understand- ing where the industry is going is shortsighted. The world is com-
ing to compete in broadcasters' markets."
Ken Kohl, OM for Newsfralk KFBK and Talk KSTE. Clear Chan- ncl's market- dominating Sacra- mento outlets. predicts further fragmentation of the existing radio listencrship hase. "1 see terrestri- al radio and the Internet operating side -by -side, each complementing the other, with radio driving peo- ple to the web and the web en- hancing the radio experience by providing video. music, suhchan- nels. background information. links to topics. guests. shopping. webcams and God knows what else."
WGN /Chicago has one of the most -trafficked wchsites in the in- dustry. and Asst. PD and webmas- ter Randy Eccles sees the impact already. "Office listening and pe- ripheral listening [late night and weekends] are beginning to see
the earliest impact. Well -branded broadcast streamers have a huge head start playing on the Internet."
McPherson remarks. "Conver- gence means radio and Internet. TV and Internet and lots of devic- es that untethcr you - Sony Play - station 2 has enough computing power to make people concerned that it could be an outlet for radio and TV delivery. The overlap con- tinues. and the lines will continue to blur."
And what kind of devices will the listener in 2010 he carrying around to take advantage of that overlap? Castellini says she uses
a radio and CD player right now, and that's not likely to change for her any time soon.
Cuban secs the devices or sources as being irrelevant to the listener. "Bits are hits. There will he a variety of programmers. Some will come from the radio in- dustry. some won't."
The Cost
What about the cost of delivery Of audio on the Internet? Will someone find a model that works? Or will it still be. for the foresee-
able future, too expensive to deliv- er an audience large enough to matter to advertisers? Kohl says not to worry: The size of the audi- ence can be replaced by the qual- ity of the audience. "Don't forget the value of a highly targeted au- dience to a specific advertiser," he
reminds us. "Think of selling the qualitative vs. selling the cume."
Castellini notes that it's a Jap- anese business model to cooperate with competitors to get to the cus- tomer. and adds. "The Akamai Technologies and the iBEAMs of the world will he the important back end. but the content people will drive these partnerships."
Sabo Media President Walter Sabo often answers questions with a diferent, more reflective question. The legendary program- mer and consultant says, "What about the cost of delivery of audio on the radio? The cost of entry to terrestrial radio today is impossi- ble for any startup or moderate in- vestor."
"Don't forget the value
of a highly targeted
audience to a specific
advertiser." Ken Kohl
Eccles looks to database mar- keting. "The cost- per -listener may continue to be radio's greatest ad- vantage. but at some point data - hase Internet marketing may make each listener's stream pay for it- self," he says. and asks. Can cost -per -point and cost- per -stream become compatible ?"
Cuban adds a pessimistic note: "Webcasting of music as a standa- lone business will have to die be- fore it lives. The RIAA will see to it that the economics of webcast- ing music destroys the business as
a standalone. Music as part of a
"Webcasting of music as a standalone business will have to die before it lives. The RIM will see to it
that the economics of webcasting music destroys the
business as a standalone." Mark Cuban
bigger digital media play will work fine - Yahoo, AOL and others, with profits from other parts of their businesses. will be
able to subsidize the RIAA's ex- tortion."
Performance rights concerns play a role in everyone's plans. Bennett Lincoff is Sr. Counsel at
Darby & Darby and a former Di- rector/Legal Affairs for New Media at ASCAP. where he developed and authored the organization's webcasting license agreement. His take on the security issue: "The industry will not likely be able to ensure that audio players operate only with files containing partic- ular codes. Not all audio is music, not all music is copyrighted, and not all copyright owners want to limit online uses of their works. Moreover, 'copyright -friendly' players may raise free speech con- cerns. depending on whether and how they impede individuals from communicating with one another."
Room to Grow
Is what we now know as broadband really broad enough to support a successful Internet au- dio industry'' Castellini asks, "How many people are capable of going through one pipe now if you want to deliver a great live event? Five hundred? A thou- sand? That pales in comparison to the half -million that any major - market station can deliver at any moment. It may he there some- day. but no. not now."
Sabo disagrees, saying that there's enough room: "Every me- dium has created stars uniquely capable of thriving in that medi- um. Fred Allen was a huge star on radio in the '30's but was a fail- ure on TV. A star will be created by the medium of an interactive broadband show. When that star
emerges. that's when the potential of broadband will be realized and embraced.
"The stupidity of the financial markets is that they have pulled away from content sites and in- vested in hardware. If they bet wrong on hardware, there is some
liquidation recapture of the mon- ies spent. But it will he chump change compared with the for- tunes that will he realized by the content sites that create stars, that create the best shows and draw people to them. Content is
the correct place to put financial bets. People don't watch the VCR. They watch the tape in the VCR."
Clear Channel /Washington. DC AM Manager Jim Weiskopf says that the technology we have now is good enough. "You can have good audio on a 28.8 mo- dem, and you don't need broad - hand. 48k is overkill. and a 28.8 modern will keep most people happy."
Eccles agrees that we may al- ready he there. "Broadband may he broad enough." he says. but adds. "As we've already seen. de- sign and content will always meet
and crave additional capacity."
What About Napster?
All the experts I talked to weighed in on the Napster ques- tion except for CDNOW's Castell- ini. whose company is owned by Bertelsmann. which recently allied with Napster. The final "keep it or kill it" tally ran in favor of' killing the file- sharing service. with a
clear thread of "unless it can make
the artists whole" in the answers. The speed with which the Inter-
net audio industry is changing can
only give us all new questions to ask over the next decade of Inter- net -audio convergence.
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32 RsR November 10, 2000 Internet
Internet Music Research: Unlimited Opportunities
Flexibility and affordability are key benefits
By Kevin McCabe, R &R Director /Charts & Formats
In the fast -paced and very successful world of online investing, Charles Schwab was a guy with an Internet vision. The famed San Francisco stock wizard was an early and leading force
_ in the field of e- investing. Schwab has often been quoted in newspapers and magazines as saying that his original instinct to invest $30 million to create an online entity for his company was one of the smartest moves he has made in his illustrious career in the financial industry.
Having an online vision paid off for Schwab. The financial sector is a
model for Internet success - so much so that the stock market boom of I997 -I999 has largely been attrib- uted to the ease of investing online for millions of people on a global level. The point is that the Internet works and is here to stay.
Radio stations and record compa- nies are looking to the Internet to help shape their futures. Research con- ducted online presents major opportu- nities for radio and labels, and as pan
of this Internet/tech special issue we turn our attention to three innovative companies leading the charge. RateTheMusic.com's Mark Todd. RadioResearch.com's Jonathan Little and PickTheHits.com founder Alan Burns explain how their compa- nies are structured and define the op- portunities that await radio stations that get on board with this powerful new way to research an audience.
RateTheMusic.com
Premiere Radio Network, and
Mediabase Research recently an- nounced their acquisition of Rate
TheMusic.com, which was found- ed in 1998 by pro- gramming veter- ans Bill Richards, Mark Bolke and Mark Todd. RateTheMusic.com entered the mar- ketplace with a sound strategy for both national and local music re- search estimates for seven formats.
Math Todd Jonathan LlftM
veloped a tiered method of screening
participants - much like a radio sta-
tion would screen for traditional re- search - in both our local- station and national systems. There are'açtu- ally four screeners that a prospective participant must go through to sign up as a member of RateTheMusic. corn.
First. on the local level they are
screened for their station partisan- ship. and nationally by format prefer- ence using broad format descriptors.
Second, the prospective panel member is screened for their favorite type of music within the format. such
as the different rock. pop and rhythm sounds that make
up CHR or the metal to alterna- tive sounds that make up Rock.
Third, we determine a partici- pant's listening habits and their pas-
sion level for their secondary formats of preference.
Finally, the participant is screened
again for format preference with much narrower format descriptors as
a double -check and for use in report
filtering. We have developed a vely thor-
llS1G 1,71/11 '`
R &R: Describe your company's rnethodology for testing music on the
Internet. MT: RateTheMusic.com has de-
"We have systems and software in place that not
only identify attempted abuse of our system, but
disregard any suspect data and track its source."
Mark Todd
ough yet flexible screener that can provide a multi- tude of custom re-
ports based on specific needs.
R &R: What are
the advantages and disadvant- ages of testing mu-
sic on the Internet Alan Burns compared to tradi-
tional forms of music research?
MT: This is not callout research;
this is Internet research. and they are
different animals. using different tech-
nologies. Internet music research is
another tool in the war for ratings and
determining what is or isn't a hit. The participant receives an e -mail inviting them to take pan in a survey that they
can do at their leisure. h is not dictated
by the timing of a phone call. A mother trying to clean up after dinner and get the kids ready for bed, who previously could not participate in music research. can participate in an
Internet survey. People who could not.
or would not. participate in a phone
call can do it on the Internet.
An example would be: May 8.
2000 Creed's "Higher" hits No. 4 on
the RateTheMusic.com pop chart; July 7, 20(X) "Higher" hits No. 4 on
the R &R CHR/Pop chart. We have
dozens of examples in multiple for- mats that demonstrate the predictive capabilities of this kind of research.
Sample size and the low cost of achieving results are other clear ad-
vantages. Users of our system can send 1,000 invitations at 5pm and
find 200 to 250 completed surveys in
the morning. R &R: Host about quality control
and security issues? What measures
do you have in place to ensure that the
sample is accurate and net controlled by a few repeat individuals who par- ticipate under different identities?
MT: We have instituted a lot of different levels of security in the sys-
tem. First, the sheer number of par-
ticipants is a tremendous advantage. The Internet' allows us sample sizes
five to IO times greater than tradi- tional form, of music research. Sec- ond. each rater must receive an invi-
r
"This is not callout research; this is Internet
research, and they are different animals, using
different technologies." Ì Mark Todd
tation to participate any given week.
This is not request -line -type Internet research, where one person can vote
as many times as they like. whenever
they like. to win a prize. Only a por- tion of the database is used each week. This is to keep participants from burning out, as well as to pre-
vent "professional test -takers" from skewing the results.
Obviously. without sharing too many secrets. technology has its ad-
vantages, and we have systems and
software in place that not only iden- tify attempted abuse of our system,
but disregard any suspect data and track its source. Twelve- year-olds are
breaking into the Pentagon RadioRese and banks; if they want to get in, they will. How- ever, the large sample size makes the
impact of any fraudulent data minute. R &R: What is the greatest benefit
to radio stations and record labels? MT: For radio stations, this is an
extremely cost- effective way to gather information about the music based on three or four times the sample size of traditional callout with incredible turnaround time.
RateTheMusic.com can also be
used for perceptual information. If you have questions about marketing.
morning shows or music. you can get
answers quickly. RateTheMusic.com is also a terrific e-mail database man-
agement system. Wednesday night, right before you leave the radio sta-
tion, you can send a message to 10.000 station Pis reminding them
that you are giving away â1,000 to- morrow morning at 7:20am, and it costs you nothing.
For the record labels. RateThe- Music.com provides a variety of ser-
vices to not only identify an indi- vidual song's potential before release,
but also to identify which track out of three has the greatest potential at
which format and with which specific audiences. Does the song have cross-
over potential or not? it costs hun- dreds of thousands of dollars to roll out a release. For a very small invest- ment, labels are armed with data that
used to be cost- prohibitive. Finally, once a song does receive national air- play. our chart research picks up on
its potential very early on. R &R: What is the biggest differ-
ence between Internet research and traditional callout?
MT: its more cost-effective: it has
larger sample sizes; and it's open 24
hours a day, seven days week. 365 days of the year. Also its turnaround
time, accessibility and predictive ca-
pabilities. The people participating with us are the passionate music lov- ers and trendsetters. According to Arbitron, 20% of a station's cume delivers 80% of its Average Quarter Hours. Percentages of music pur- chases in comparison to the popula- tion are probably similar.
RadioResearch.com
R &R: Describe your company's methodology for testing music on the
Internet. JL: The focus of RadioResearch.
Com is providing local radio stations
with an online tool that allows them
to communi-
arch.Com cate more ef- fectively with
regard to music, programming and
promotion. Music testing is just one
function of our system. It involves the
use of an e-mail invitation to a select
database of a station's cume. Partici- pants click on song titles to hear song
hooks. Weekly. the survey partici- pants provide familiarity, popularity and fatigue responses on up to 30 songs.
Following the submission of song re-
sponses, participants are asked a per-
ceptual question. which can be any-
thing the programming or marketing departments of the stations want to
know about music. programming. con-
testing. lifestyle, buying behaviors. etc.
It's important to point out that most
programmers who become Radio Research.Com subscribers do so ini- tially for the fast, cost-effective genera-
tion of music data from their most
loyal listeners. They quickly discover
that the verbatim comments generated
by the perceptual questions are ex-
tremely valuable and in many cases
more actionable than the music re-
search. "Tire power of the perceptual" is what has motivated us to develop even more sophisticated perceptual re-
search. including online focus groups.
which will be introduced in 2001.
R &R: What are the advantages and disadvantages of testing music
on the Internet compared to tradi- tional forms of music research?
JL: A major advantage of Internet
testing is that you can receive almost
instant feedback from a maximum number of listeners for a minimum investment. It costs no more to test
your music with 5,000 listeners than
it does to test it with 50 listeners. A clear advantage for a budget-conscious
Continued on Page 34
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34 R&R November 10, 2000
Internet Music Research Continued from Page 32
program director is that weekly Internet research costs about 80% less
than traditional weekly callout or two AMTs annually.
Internet research for radio is fast, inexpensive and effective. Also, Internet research allows a PD to get feedback from a huge number of people who are usually hard to reach: Pls. Some stations in our industry spend six figures a year just to try to get feedback from 35 PI s a week on the phone. On the web we can get 35 hundred a week or more.
R&R: What measures do you have in place to ensure that the sample is accurate and not consmlled by a few repeat individuals who participate under different identities?
JL: RadioResearch.Com provides complete quality control over the test- ing process. We have a full -time staff responsible for conducting surveys, providing client service and writing new enhancements. In contrast to sonic recent competitors who provide stations with a do-it- yourself tool, we do the entire survey function on be- half of our subscribers. They e-mail us the song list and perceptual ques- tion; we do all the rest. With a secure usemame and password. the client station's programmer can view the survey data in real time.
A survey respondent is able to par- ticipate only if they're a preregistered member of a station's Listener Advi- sory Board. It takes a unique e-mail address to participate. The program director has the ability to view the entire database at any time and can delete any suspicious respondents if he or she desires.
Huge sample sizes diminish the impact of individuals attempting to participate under different identities. The average database of our client stations is newly 3,000. If the survey is sent to the entire database. 40% to 509t will respond. so you're looking at data from 1200 to 1,500 people.
Our random survey feature allows us to send music tests and perceptual questions to randomly selected seg- ments of the database. That prevents any participants from becoming weekly respondents and also reduces
the possibility of survey contamina- tion.
R &R: What is the greatest benefit to radio statues and record labels?
JI.: There are multiple benefits to radio stations. If budget is paramount, the cost benefit is greatest. We be- lieve there are four or more benefits.
Web research is fast. Mast respon-
Internet
dents complete a survey within 48 hours of receiving it.
It's flexible. A program director can ask about anything they can think of. Have a question today? Have the answer to it by tomorrow. It really opens up a lot of new possibilities when you can find out anything at any time.
It's effective. Our clients are learn- ing things about their audiences that they could never have knosin any other way. which gives them a com- petitive advantage.
It's inexpensive. Most traditional callout runs $40,000 to $60.000 a
year for far fewer than 52 surveys a year. Internet -based research can be conducted for a fraction of that cost.
Our experience shows that Internet -based research for record la- bels on new releases or potential re- leases has yet to be perfected. We've seen strong early scores on new songs
tested along with well -established songs. Some went on to become hits: some didn't. Most music -survey re- spondents refuse to score a song they're not familiar with, so you're often looking at responses from a mi- nority of a station's database when you're testing new music within a list of mainly recognizable songs.
If a test involves brand -new musk, respondents are likely to be hearing a song for the first time. Back in the mid -'70s, when music research was in its infancy. a Texas researcher, Dr. Tom Turrichi, concluded that the av- erage person had to hear a song ap- proximately II times before they de- cided if they liked it or not. Online. focus groups, which we're inumduc- ing in early 2001. may provide us
some new insights on how to pick the hits with a high level of confidence.
R &R: What is the biggest differ. ence between Internet research and traditional callous?
JL: Other than the speed, flex- ibity. lower cost, immense sample size and promotional value in asking, for opinions from loyal listeners, there are a couple other differences between Internet research and tradi- tional callout.
In fairness to companies conduct- ing traditional music research. we must acknowledge that most Internet research on music is not done in a
scientific fashion. Internet research is,
in reality. a feedback system that seems to produce results similar to those of scientific traditional callous. But our client stations who are using callout keep telling us that traditional callout is harder and harder to accom- plish. Some markets have been so
ovenelemarketed that it's nearly im-
"Internet users come to PickTheHits to hear new music and have their opinions about music be
heard. They can also win cash." .
Alan 8ums1 i
possible to find a random sample that represents the station's audience. Many stations have moved to a two- week rolling average of 100 respon- dents. With caller ID, more and more folks choose to not be bothered at
home in the evening. With Internet -based research, the
listener can select a convenient time within their routine to give 15 min- utes of feedback on music and opin- ions on programming. They choose to participate. They have a voice in the music and programming heard on their favorite station. and the radio station is looking at data from thou- sands, not dozens, of respondents.
Pick The Hits.com
R &R: Describe your company's methodology for testing music on the Internet.
AB: First of all, PickTheHits was created as a way for labels and artists to expose new music and gather feed- back on it. It's both a marketing and a research tool for them. However. PickTheHits has three major benefits to radio stations.
First, it helps labels bring stations records that are right for those stations. If a label rep brings you a song and says. 'Ibis tested in the top 10% with target consumers of your format on PickTheHits," you know the record has already been confirmed by con- sumers before you take a chance on it. And, by the way, if a station wants to call us, we'll verify whether the label's representation of the results is accurate.
Second are the promotional ben - efits to stations. How would you like to be able to offer your listeners $1,000.000 just for listening to cool new music? PickTheHits is available for radio stations to frame inside the station's site. That way no one ever leaves the station's site Then the sta- tion runs liners like, "What do you think of the new song by so-and -so? You could win 51,000.006(m listen- ing to new music. Just go hi www. ssxr.com and click on 'Pick The Hits! "' With that the station is work- ing on its new music image. offering its audience a million dollars, and driving more traffic to its website..
Third, stations can test their own music. Coming soon, we'll be intro- ducing a way that stations can test their own playlists confidentially through PickTheHits.
The benefit of PickTheHits to la- bels is this: They can expose new music and generate consumer feed- back on it at the same time. Right now the exposure level is about equal to the AQH of three large -market CHRs, and it's growing fast. With the
feedback we provide, labels can re- fine their marketing and targeting, use resources more efficiently, and - when consumers confirm a song - show radio positive acceptance by lis- teners before the station has to take a chance on the song.
Internet rises Come to PickTheHits to hear new music and have their
"The focus of RadioResearch.Com is providing local radio stations with an online tool that allows them
to communicate more effectively with regard to music, programming and promotion."
Jonathan Little
opinions about music be heard. They can also win cash. We've been giving away $5,000 a month, and we're about to up that to a SI,000,000 weekly lottery. Users give us demo- graphic and music -preference infor- mation, stations they listen to and some information about their music - purchasing habits. They then listen to and evaluate songs that they choose from categories like Top 40, Alterna- tive, Hip Hop, Adult, etc. We then provide the client label or artist with aggregated information like, "Here's how your song did with 18- 34 -year- old Top 40 fans who are heavy record buyers "
This is important: PickTheHits' information is much more like a
census than a sur- vey. In small - sample surveys you talk to a few dozen or a few hundred people and try to project
from them what the rest of the popu- lation thinks. In a census you inter- view everyone. A census is the final word, the information a small -sample study is trying to estimate.
Instead of talking to a few people, PickTheHits gathers information from thousands and thousands, and ultimately it has the same effect as
talking to everyone. The results are very, very accurate. So far, it's been
100% dead -on.
R &R: What are the advantages and disadvantages of testing music on the Internet compared to tradi- tional forms of music research?
AB: For one thing, cooperation rates have been plummeting for tele- phone -based research, so telephone- based surveys are not as accurate as
they used to be. Also, with Internet studies. the respondents can listen to songs and give responses at their con- venience, so cooperation and re- sponse are better.
Also, with a service like PickThe Hits, we can gather information fron massive numbers of people - man; more people than you could eve, reach in a phone or auditorium study
R &R: Who measures do writ have in place to ensure that the sample I accurate and not controlled by a fell repeat individuals who participate under different identities?
AB: First of all, there is absolutely no incentive for respondents to cheat
or misrepresent themselves. We wane
people to listen to and rate songs a often as they want. If someone listens to and votes on a song a dozen times. they have a dozen chances to win some money, but only one of those votes - the latest one - is counted. And we have some pretty sophisti- cated security software that can iden- tify people or organizations that might try to' jam" the votes.
R &R: What is the greatest benefit to radio stations and record labels?
AB: As I said, PickTheHits gives radio stations a great way to work on their current music image and offer their listeners $1,000,000 just for lis- tening to music. And it is about to reveal a new program that will allow the station to conduct its own playlist research.
For labels, PickTheHits helps re- fine their targeting, marketing and priorities and helps them do a better job of taking hits to radio. Both radio and the music industry benefit when labels have better information about the appeal of their product.
R &R: What is the biggest differ- ence between Internet research and additional callow?
AB: For PickTheHits vs. tradi- tional research, the advantages are speed and size. We're more accurate than callout due to the massive num- bers of people who participate. and. second, things happen faster on the Internet. We can see positives or negatives much faster than with tra- ditional research.
"In contrast to some recent competitors who
provide stations with a do-it -yourself tool, we do
the entire survey function on behalf of our subscribers."
Jonathan Little
www.americanradiohistory.com
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36 R &R November 10, 2000 Ne wsbreakers Oldies 'SUN/Tampa Goes Alternative
After stunting with the theme to 2001: A Space Odyssey, Cox Radio flipped Oldies WSUN/Tampa on Nov. 3 to "97X, Tampa's New Rock Alternative." WHPT & WSUN OM Chuck Beck oversaw the sign -on with the assistance of consultants from Jacobs Media.
The WSUN call letters are scheduled to be changed. but new call letters had not been chosen at press time. Tampa is the second Florida market in one week to gain an Alternative station; Infinity flipped WOCUOrlando on Hallow- een (R &R 11/3).
"Tampa Bay needed an Alterna- tive radio station where you could find Limp Bizkit, 3 Doors Down, Stone Temple Pilots and Beck with- out having to wade through classic rock." Bcck told R &R. "We are providing that radio station.'
Morning man Scott Robbins ex- ited with the flip, but the rest of the airstaff is being reassigned within the Cox/Tampa cluster. Currently running jockless, the station is searching for a PD and airstaff.
WWDB Continued from Page 3
presently commercial -free and is in the process of hiring a PD. Dave Donahue, currently GM at sister WXTU, adds. GM duties for WWDB. Donohue succeeds Den- nis Begley, who exited on Monday, along with the entire airstaff. Con- sultant Randy Kabrich is oversee- ing the station's launch.
Company CEO /founder George Beasley commented. "Philadelphia is the largest of the seven markets in which we operate. and, with over $283 million in advertising revenue annually, we are committed to deliv- ering a great sound to listeners and an attractive demographic to our ad- vertisers. The Point will help us im- prove our platform in Philadelphia with a competitive format that ap- peals to both underserved listeners and to an advertising base eager to reach the post -baby boom genera- tion. Beasley is always striving to improve its performance, and the Point will help us achieve that goal."
Beasley COO Bruce Beasley added, "Beasley has invested sig- nificant resources into researching and determining the best format to meet the desires of Philadelphia audiences. Our goal is to deliver a
previously unavailable mix of sounds from the 1980s. a decade of pure excess and energy that set the tone for the new millennium. The Point not only satisfies the market, but is a format that has proven it- self with great ratings in other mar- kets around the country. It will al- low Beasley to raise the perfor- mance of its Philadelphia cluster another notch."
In the summer 2000 Arbitran rat- ings for Portland, Infinity took KVMX to No. I in one book with a similar '80s format. But, in the City of Brotherly Love. that feat will be difficult to accomplish.
Creed Climbs `Higher' And Reaches 10 Million In Sales
Before a recent performance in Columbia, MD, Creed received plaques from the RIAA to commemorate combined sales of more than 10 mil- lion copies of their albums Human Clay and My Own Prison. Pictured (l -r) are Creed's Scott Phillips and Scott Stapp, the R/AA s John Hen- kel and Creed's Mark Tremonti.
IOW
Martin Climbs To PD At KRXQ/Sacto KRXQ (98Rock)/Sac-
ramento Asst. PD Pat Martin has been promoted to PD of the Rock station. Martin. who retains his midday airshift, has been at
the station for 13 years, the last five as Asst. PD.
Station Manager Curtiss Johnson. who has been do- ing double duty as PD, noted. "Since I first arrived here in 1995, Pat has been an invaluable resource for me. His long -term market experience, in- dustry knowledge and passion for making great radio have been an integral part of the success of the station. In the past year, as my role has expanded within Entercom, Pat has become much more involved in the day -to-day operational issues of guiding 98Rock. As I've relied on Pat more and more, I felt it only
Martin
natural he should assume the title of Program Direc- tor as well." "I'm obviously thrilled
with the appointment." Martin told R &R. "A great deal of my life has gone into this radio station, so to have it pay off and be recognized is extremely gratifying. A very special thanks to Curtiss Johnson for making this happen. It
makes sense for me to officially take the reins of 98Rock on a day - to-day basis as Curtiss takes more of a global role in his programming and management viewpoints, over- seeing both KRXQ and KSEG. I'd also like to thank VP John Geary for his belief in me and his vote of confidence. We've just come off our best book in eight years. so life is pretty good right now:'
Clear Channel's WLCE (Alice 104.5) offers many of the same titles as WWDB with its "Rockin' Hits of the '80s, '90s and '70s" pre- sentation. AC WBEB and Classic Hits WMGK will also see shared listening with WWDB.
When asked about WLCE's im- age in the market as a place to hear '80s music. Kabrich told R &R, "Alice plays music from the '80s, '90s, '70s and today. We're playing one decade of music, and they play music from four decades. It's as simple as that." During the hour of WWDB's sign -on, WLCE featured a wide variety of titles from such artists as Fine Young Cannibals, Chumbawamba, Free, Journey and 3 Doors Down.
Kabrich added that the switch to an '80s format was the best move for a Talk station that had fallen on hard times after 25 years in the for- mat. "It would have taken five years to build itself as a Talk station it was a shell of its former self. Like a dog that's been hit by a car, we put it out of its misery. It was a mercy killing. We explored several formats. but this one looked as if it would have the biggest impact and
fill the biggest hole in the market. This was unfilled territory:'
In related news, WXTU GSM Natalie Conner has become Direc- tor /Sales for both 'XTU and WWDB. Neil Latamore will serve as The Point's interim PD.
The end of WWDB -FM's tenure as a Talk station comes just as "FM Talk" has matured into a powerful format, delivering rich financial re- wards for such companies as Infin- ity. While WWDB did not offer male- oriented, in- your -face pro- gramming, the station was one of the first Talkers on the FM dial. Donahue told R &R that the depar- ture of Rush Limbaugh and Dr. Laura Schlessinger to crosstown WPHT -AM helped seal the fate of WWDB.
When asked about "Hot Talk" with such hosts as Tom Leykis and Rick Emerson, Donahue said, "I think that's another opportunity in this market, but we feel that at this point we have identified a more sig- nificant opportunity for WWDB."
R &R Radio Editor Adam Jacobson and News/Talk Editor Al Peterson contributed to this .story.
EXECUTIVE ACTION
Shockley Named 0M For WOOL & WM/Birmingham WODUBirmingham PD Rick Shockley has been elevated to OM for
the Cox Oldies station and Country sister WZZK. He replaces Jim Tice, who spent 14 years as PD of WZZK. Tice exits Nov. 17, as Cox has chosen to not pick up the option on his contract.
"I'm thrilled to be a part of Cox Radio," Shockley told R &R. 'This corn - pany stands head and shoulders above the rest. I'm excited to have the opportunity to move into a position of leadership and follow in the big foot- steps of Jim Tice, who did a tremendous job at the stations. I hope to live up to his legacy, add some freshness to the stations and carry the torch for another 20 years:'
Shockley's resume includes a five -year stint as PD at Oldies WODS/ Boston. He joined Cox's Birmingham operation in February following a 19- month tenure as PD at Oldies KOOUPhoenix.
KISN Off Hot AC With Flip To '80s Long- standing Hot AC KISN/Salt Lake City relinquished that format
Nov. 3 in favor of a more '80s- intensive approach. The station's new slo- gan is "Kissin' 97 - The Best Songs of the '80s and More." Represen- tative artists on the new station include Bryan Adams. The Cars, Phil Collins, Journey and Supertramp.
PD Sam Elliott, the station's heritage Fisher. Todd & Erin morning show (which will celebrate its 15th anniversary in February) and the KISN calls remain in place. Middayer Brian Fox moves to 1 -6pm, as former after- noon driver Elliott comes off the air.
"The core of the station falls right in the middle of the '80s.' Elliott told R &R. "It definitely has a rock feel to it. We're playing late -'70s songs that fit that feel, as well as some '90s songs:' KISN isn't including songs from after 1994.
Given the number of Salt Lake City stations playing contemporary mu- sic, Elliott said, "It was a struggle to get a music position. I expect we'll lose 30% of our cume, but we hope to make up for that with men com- ing in. It will probably be a 60% female/40% male -appeal station."
Regarding timing, Elliott added, "Our research was screaming that this is the hole, and we needed to do it before someone else did. I know [Citadel's new Exec. VP/Programming] Ken Benson is a huge '80s fan. and Citadel has Hot AC KBEE here. We had less than four days to put this on the air."
Among persons 12+ this summer, Alternative KXRK (6.4) was the mar- ket leader. KISN ranked 17th (3.0) in a field of 32 signals.
Dillon Continued from Page 3
also played a part in his decision. "Things are bad when flight atten- dants know your name when they see you, but your son asks who you are. You know that's the time to get off airplanes."
On the other hand, he said, he'll miss being a Journal owner /em- ployee. "It's been a fabulous run. We made light -year progress in some situations and slower prog- ress in others. It's been a wonder- ful experience, and I'm glad I had the chance to work for a non -pub- lic company for a while and see how things are done on the other side of the industry."
As far as what awaits him. Dillon told R &R, "I listened for a hit dur- ing the NAB Radio Show in San Francisco. I'm very comfortable
with KIOI's Hot AC direction. I've never met KIO1 morning man Don Bleu. but I'm sure it will be great working with a morning man like that. Since Dr. Don Rose is gone. Bleu is the heir apparent to morn- ing entertainment radio in San Francisco. Finding a good morning show that knows the market is. per- haps, the hardest thing to do with a Hot AC.
"We need to make it a little more usage -oriented and polish the sta- tion. There's really nothing else to say going in, other than we intend to win:'
Dillon - who begins his new duties Dec. I - was previously VP/Programming for Capstar and Regional VP /Programming for SFX. He has also programmed KODA/Houston, WJQY /Miami, WHTX/Pittsburgh, WAIV /Jackson- viIle, WEZS/Richmond and WQQQ/ Allentown.
Benson Continued from Page 3
A I6 -year industry veteran. Benson has also served as VP/Mu- sic Programming for MTV and PD of KKR2/Portland. His early radio industry experience included vari- ous programming and on -air posi- tions at middle- market stations throughout the eastern U.S.
"Ken's appointment supports Citadel's strategy of bringing ma- jor- market programming and sales techniques to midsized markets throughout the U.S.," said Presi- dent /COO Bob Proffitt. "With Ken's innovation and expertise, we will continue to create an exciting radio product that steals share from competing local media such as newspapers and television."
www.americanradiohistory.com
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www.americanradiohistory.com
38 R &R November 10, 2000 Ne wsbrreakers
National Radio SYNDICATED SOLUTIONS presents
The Herbal Pharmacist Show, airing Saturdays from 7 -9am ET and repeat- ing Sundays from 9-11 am ET, beginning Dec. 2. For more information, contact Matthew Sullivan at 203-921-1548.
BURBANK CREATIONS now car- ries the weekend comedy show Gary Burbank's Weekly Rear View. For more information, contact Rick Consolo at 800- 327 -5748.
TALK RADIO NETWORK debuts the automotive talk shows Motor Trend Radio Magazine. airing on Saturdays. and Motor Trend Weekend, on Sun- days, both from 8 -10am ET and PT. For more information, contact Mary McGeachy at 949-363-8120.
WESTWOOD ONE presents Ala- bama 8 Friends: A Salute to 20 Years of Hits, airing Nov. 23 -26 as part of W W 1's Country Six Pack series.
Also, WW1 airs the live simulcast of Faith Hill's network TV special Faith! on Thursaay, Nov. 23 from 8 -9pm ET. For more information, contact Todd Goodman at 212 -641 -2177.
TALK AMERICA RADIO NET- WORK now carries Inside /Out With
CHRONICLE
CONDOLENCES
WOIR-AM/New York broadcaster. columnist Jack O'Brian. 86. Nov. 5.
Michael Levine, airing 9 -10pm ET Sun- days. For more information, contact Rebecca Gallegos at 323. 692 -9999, ext. 13.
ZONI MEDIA makes available the news feature 'There You Have lt," hosted by David Jones. For more information. contact David Jones at 480 -488 -1000, ext. 24.
Records DAWN ROBERTS is named VP /Mar-
keting for Virgin Entertainment Group. She was previously VP/Brand Alliances at Digital Brandcast Corp.
STEVE DOWNES is now Sr. Dir. for Syndicated Solutions. He was most re- cently Exec. VP /GM of WODX -AM/ Marco Island, FL.
SHARLOTTE BLAKE is appointed Head/Marketing for Giant Records. She
PROS ON THE LOOSE
WMXQ /Jacksonville morning hosts Monk & Kelly; 904 -264- 7852; monkandkelly @aol.com.
was previously an executive atAlchemy Marketing.
Lauriot- Prevost
MATTHIEU LAURIOT- PREVOST is pro- moted to SVP/Intl for the Island Def Jam Group. He rises from VP/ Int'l.
Industry SHIRA BERK is named VP /Media
Relations for Clickradio. She was most recently Dir. /Publicity for Rolling Stone.
Products & Services JASONCOOPERCREATIVE.COM
launches a custom imaging service through its website. For more information, contact Jason Cooper at 601-938-4545.
Congratulations _
A triumphant first impression with
"Shape of My Heart" Simultaneous release tó1,240 stations
From your friencts at DG Music.
Secure, Simultaneous, Nationwide Distribution 800.207.7822
MUSIC
11X1 SYSTEMS
NATIONAL RADIO FORMATS
ADDED THIS
WEFT
ALTERNATIVE PROGRAMMING Steve Knoll (800) 231-2818 Gary Knoll
Rock
EVE 6 On The Roof Again
LIFEHOUSE Hanging By A Moment
STRAIT UP IMJON OF SEVENOUST Mçslh Son
Alternative
EMINEM Stan
FASTBALL This Is Not My Life
MOBY UGWEN STEFAN! Southside
NICKELBACK Breathe
CHR
BBMAK Still On Your Side
FISHER I Will Love You
TIONNE "T -BOZ" WATKINS My Getaway
Mainstream AC
KARISSA NOEL Corrupt
SR -71 Right Now
Lite AC
BARENAKED LADIES Pinch Me
NATALIE COLE Angel On My Shoulder
BRIAN MCKNIGHT We
RAC
BRENDA RUSSELL You Can't Hide Your Heart
DC
JAGGED EDGE Promrse
JAY -Z I Just Wanna Love U (Give It .
10 UF-BOZ Tight To Del
OUTKAST Ms. Jackson
JONES BROADCAST PROGRUNAMS Ken Moultrie (800) 426.9082
Alternative
Teresa Cook CRAZY TOWN Butterfly
EVERCLEAR When It All Goes Wrong Agam
Hot AC
Steve Young/Josh Hosier N SYNC This I Prorruse You
DIR
Steve Young/Josh Nosier BRITNEY SPEARS Stronger
Rhythmic CHR
Steve Young /Josh Hosier I IMP BI /Nit SPICE Gift S
Soft AC
Mike Betteil! N ATAL IE COL E Angel On My Shoulder
Mainstream AC
Mike Bette!!! se DEGREES My Everything
Delilah
Mike Bettelli NATALIE COLE Angel On My Shoulder
JONES RADIO NETWORK
Jon Holiday (303) 784 -8700
Adult Hit Radio
JJ McKq N INE DAYS If I Am
MY* Colo dlho Ex (Whacks ...)
Rock Classics
Rich Bryan BOB WEIR A RATOOG Odessa
Soft Hits
Rick Brady No Adds
RADIO ONE NETWORKS Tony Mauro (970) 949 -3339
Choice AC
Yvonne Day SISTER HAZEL Champagne High
New Rock
Steve Leigh No Adds
WESTWOOD ONE RADIO NETWORKS Charlie Cook (661) 294.9000 Bob Blackburn
Adult Rock & Roll
Jeff Gower TOM PETTY Surrender
Sott AC
Andy Fuller No Adds
Bright AC
Jim Nays BACKSTREET BOYS Shape Of My Heart
SHAWN MULLINS Everywhere I Go
Changes '80s Oldies: KHPT/Houston naines Clint Wright DirJPromotion.
AC: KURB/Liule Rock APD Aaron Anthony exits.
CHR: KHKS/Dallas midday host Dave Morales adds MD duties ...
KPTY/Phoenix adds Guy Marino as APD/MD and afternoon host ...
KSLY /San Luis Obispo. CA after- noon host Jackhammer exits ... KSLZ/St. Louis APD /midday host Kandy Klutch exits ... Mike Ma- chuta joins WKFR/Kalamazoo. MI for nights ... WVSR/Charleston. WV morning host Coach Kidd adds APD duties.
Cooney: KNFR/Spokane adds the morning team of Tim & Willy as
morning host Lyn Daniels segues
to middays.
News/Talk: KNX-AM/Los Angeles news anchor FA MacKay exits.
Rock: Trixie joins WLZX/Spring- field. MA as Haze segues to after-
noons ... WRIF /Detroit MD Troy Hanson is now APD.
Urban: Afternoon host Rick Party exits WGCUChicago.
National Radio: AP Radio adds Bill Garcia. Nancy Lambert. Taryn Fisher and Starr Talley to its regional sales staff.
Records: MCA Records names Kami Broyles Paralegal/Business & Legal Affairs ... Laurie Gonzalez is
now Dir./Label Copy & R.A.A.S. Administration for RCA Music Group ... Toni Ann Marinaccio is' appointed VP/Int'l and Dana Kash- Murray Dir. /Creative Ser- vices for Universal Music Publishing Group ... Capitol Records names Diann Mayer DirJWk- o Pnonioik E ... Greg Bell is appointed VP/Finance & Ad- ministration for RED Disuihution.
Sports: Scott Paulsen joins WBGG -AM /Pittsburgh for after- noons ... WNSA/Butïalo adds Tony Bruno for mornings. Art Wander for middays. Mike Schopp for af- ternoons and Dave Miller for eve- nings.
www.americanradiohistory.com
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40 R &R November 10, 2000 Show Prep DATEBOOK . ...,:. . . ., .._ . .
National Peanut Butter Fudge Day 1969 /Soccer legend Pelé collects his
1.000th career goal. in Rio de
Janeiro. 1984 /The 50 billionth McDonald's
hamburger is grilled and sold. 1986 /Fortune magazine's annual list of
innovative products includes the
U.S. Gold Eagle coin and the La-
ser Tag toy pistol. Born: Bo Derek 1956. Sean Young
1959
In Music Nlstory
1954 /Gene Autry plays at the Grand Ole Opry for the first time.
1990 /The press reveals that Vanilla Ice's bio is not what the rapper
claims: Rather than growing up on the streets of Miami, Ice comes from an upper- middle- class home.
1995 /Snoop Dogg goes on trial in Los Angeles for a 1993 drive -by murder. He is eventually acquit- ted.
Born. Duane Allman (The Allman Broth- ers) 1946-1971, Joe Walsh 1947, Mike Diamond (Beastie Boys) 1965
TUESDAY, NOVEMBER 21
False Confessions Day
/955/The Fulton Theatre in New York City is renamed in honor of Broadway actress Helen Hayes.
1972 /World Hello Day debuts. People are asked to greet at least 10
people on this day.
1980 /The largest audience in television history, 82 million, watches the
character Kristen Shepard (Mary Crosby) admit that she shot J.R. Ewing (Larry Hagman) on the prime -time soap opera Dallas.
Crosby: She shot J.R.
Born: Goldie Hawn 1945. Ken Griffey Jr. 1969 '
la Music History
1986 /Frank Zappa makes a rare tele- vision appearance. as a guest on the short -lived Joan Rivers Show. Among other things, Zappa warns Rivers not to make fun of his children's names.
1990/Mick Jagger marries model Jerry Hall in Indonesia. Or does he? When the couple split in 1996. Jagger claims the mar- riage was never legal. Also... Madonna's neighbor takes her to court in Los Angeles over the height of her hedges. which he
claims block his view of the city. A judge eventually rules that the
hedges must be trimmed. Born: Bjork 1965
WEDNESDAY, NOVEMBER 22
Go For A Ride Day
1959 /Air Force Capt Joseph Kittinger parachutes almost 15 miles (safely) to test new equipment.
1984 /Fred Rogers. host of PBS -TV's Mr Rogers' Neighborhood. do- nates a sweater knitted by his mother to the Smithsonian Insti- tution.
1986/20- year -old Mike Tyson knocks out Trevor Berbick in Las Vegas
to become the youngest -ever heavyweight champion.
Borer Billie Jean King 1943. Marcel Hemingway 1961
In Music History
1955/Elvis Presley signs with RCA.
1990 /Two members of boy band Menudo are arrested on drug possession charges and tossed out of the group.
1997/INXS frontman Michael Hutch - ence is found dead in his Sydney hotel room. an appar- ent suicide.
THURSDAY, NOVEMBER 23
National Roast Turkey Day
1958 /Ronald and Nancy Reagan ap- pear together in the GE Theatre
TV production of A Turkey for the President.
1969/The first space -to- ground news conference. between reporters in Houston and astronauts on
board Apollo 12, is telecast. 1994 /Baywatch star Pamela Ander-
son sues the Globe tabloid for writing that she was once a
heroin addict. Born: Susan Anspach 1939. Domin-
ique Dunne 1959 -1982
In Music History
1991 /Queen lead singer Freddie Mer- cury, 45. announces that he is
suffering from AIDS. He dies of the illness the next day.
/993/Guns N' Roses release The Spa-
ghetti Incident? with a track written (though uncredited) by
mass murderer Charles Man- son. The ensuing uproar causes the band to consider pulling the track until they dis- cover that the killer is not prof- iting from his work - the roy-
alties are going to the son of
one of Manson's victims. 1994/A paternity suit against Michael
Jackson is thrown out after DNA testing clears the per- former.
Jackson: The kid is not my son.
Born: Bruce Hornsby 1955
FRIDAY, NOVEMBER 24
National Kitchen Sink Day
1967 /Actor and TV host Gary Collins marries former Miss America Mary Ann Mobley. -
1971.' 11.8. Cooper" hijacks a Boeing
727. demands and receives S200.000 ransom and para= chutes from the plane ovér the
Cascade Mountains in Washing- ton state. never to be seen again.
1986/The American Eagle silver dol- lar debuts and sells out.
Born: William F. Buckley 1925, Denise Crosby 1957
In Music History
/972/Rick Nelson's comeback rec- ord. "Garden Party," goes gold.
1991 /Cyndi Lauper marries actor David Thornton. Little Richard and Patti LaBelle play at the cer- emony.
. .. c e ne ..... .. ..:. - .. . n .rv } R ,11..1 K.
7997-Fleetwood Mac, The Eagles, Santana and The Mamas & The Papas are inducted into the Rock and Roll Hall of Fame.
Born: Donald "Duck" Dunn (ex- Booker T. & The MGs) 1941.
Bev Bevan (ex -ELO) 1945
SATURDAY, NOVEMBER 25
National Parfait Day
/973/The maximum speed limit on
U.S. highways is cut to 55 mph.
1983/The Russian space ship Soyuz T -9 returns to Earth after 149
days in orbit. 1988 /Richard M. Daley, son of
former Chicago MayorRichard J. Daley. announces that he
will run for mayor of the city (he wins). Daley senior served from 1955 until his death in 1976.
Born John Larroquette 1947, Chris- tina Applegate 1971
In Mule History 4. /984/Bob Geldof's Band Aid project
for African famine relief records "Do They Know It's Christmas ?" Members of Duran Duran, Human League.
Genesis and many others par- ticipate: the single sells over 3
million copies. 1991 /Ozry Osbourne breaks his ankle
during a Chicago show. He at-
tempts to continue the tour. but has to cancel when the break becomes infected.
1992 /Whitney Houston makes her big- screen debut, in The Body- guard. It's a hit: The film gross- es over S300 million world- wide.
Born: Amy Grant 1960, Scott Mer- cado (Candlebox) 1964
SUNDAY, NOVEMBER 26
National Carrot Cake Day
1956 /The game show The Price Is Right debuts.
1975/A federal jury in Sacramento finds Lynette "Squeaky" Fromme guilty of attempting to
assassinate President Gerald Ford.
1997/CompUSA announces it will no
longer sell Postal, a computer game featuring a berserk gun- man. because of complaints about violence
Born: Rich Little 1938. Garcelle Beauvais 1966
In Music History
1973/In London. the short-lived (just one album) but influential New
York Dolls play their first show. 1976 /Onetime Bob Dylan backup
group The Band play their final show, a five -hour event in San
Francisco that is filmed for the
concert movie The Last Waltz.
The Band: The train stops here.
Born. Tina Turner 1938. John McVie (ex- Fleetwood Mac) 1945
- Mlehard Anderson a Brida Corner*
Madonna and Guy Ritchie: I Do? How does Madonna rate herself
as a potential wife, on a
scale of one to 10? "Ah ... zero,' she tells Us Weekly. Hmmm. Should we get out our score cards, then? Because, as Us Weekly and the Star speculate, wedding bells may be ringing in
December for the Material Mom and her boyfriend, Guy Ritchie. the Star reports that's when the couple will be throwing a christen- ing party at a Scottish castle for their son, Rocco. And, the 'zine continues, since all of their friends and family will be gathered for the ceremony, Madonna and Ritchie are considering getting married afterward. Us Weeklywarns, how- ever, that although Ritchie has given Madonna what may be an engagement ring, these marriage rumors aren't confirmed.
RobThomas tells People that he and his wife, Marisol, cel- ebrated their first wedding anni- versary Oct. 2. "I like this mar- riage thing." he says. it suits me well:'
Paul McCartney liked that marriage thing too: He and his late wife, Linda, were married for almost 30 years. McCartney and his girlfriend, Heather Mills, de- clared their love for each other recently on a British talk show. People reports. However, the Globe reports that Paul's kids watched the show and were ap- palled by the display of affection.
Break It Up!
it was just me and three blondes cooking up a turkey. I was the turkey! " - Rod Stewart spent last Christmas with ex -wives Alana Stewart and Rachel Hunter and girlfriend Kelly Emberg. (Us Weekly)
There seems to be nothing more venomous than an ex -wife who didn't receive enough di- vorce- settlement cash from her rocker ex- husband. Just ask Aero- smith frontman StevenTyler. The Globe reports that his ex -wife. Cyrinda. recently posted a nude photo of him on her website and charged web surfers S9 a hit to see it. She apparently needed the money - she received a
settlement of only $137.000 when her nine -year marriage to the rocker ended in divorce.
Speaking of going to splitsville. have Phish broken up? Rolling Stone reports that the band an- nounced'Yhey would be taking an indefinite break." However, the band's manager, John Paluska, insists that this is not a breakup.
I'm Too Sexy
People's Sexiest Man Alive this year isn't a rock star - he's ac- tor Brad Pitt. However, Jon Bon Jovi and Tyrese are among the 'zine's Guys Worth Watching; and Keith Urban and Savage
BARENAKED, UM ... MEN? - "Every time we record. we do one song naked. People are becoming less and less willing. as we get older and fatter and hairier, to join in the fun " - Barenaked Ladies' Ed Robertson, regarding the band's re- cording habits. (Rolling Stone)
Garden's Darren Hayes are among the 'zine's Awesome Aussies.
Foo Fighters and Carlos Santana are among GO's Men of the Year. The 'zine also includes portraits of the Godfathers of Punk - Blondie's Chris Stein, The Neon Boys' Richard Hell. The Ramones' Joey Ramone. X's John Doe, MC5's Wayne Kramer and The New York Dolls' David Johansen.
Vanity Fair's music issue fea- tures a 59 -page portfolio with cur- rent portraits of Brian Wilson, George Clinton, Lou Reed, Eric Clapton and others who, accord- ing to the 'zine, comprise an ulti- mate who's who of artists, legends and divas.
Jennifer Lopez's Versace gown is Us Weeklys Dress of the Year as part of its 100 Best Looks:
Stylemakers of 2000 issue. And Paul McCartney's daughter, Stella McCartney. is the VH1/Vogue Fashion Awards' Designer of the Year.
A Constant Battle The most sexy women I have
ever seen are the ones with confi- dence on their faces, whether they are a size two or 20. That is what we need to teach women, to be- lieve in themselves. I think it is still an issue for me, but at least now I
am more at a point where I can say. 'I can look good no matter what I weigh.' It's not the most im-
portant thing about me. and it
doesn't change how my voice sounds" - Trisha Yearwood struggles with weight issues, but she's rising above them. (Mode)
Brian Wilson's daughter, Carrie Wilson, is also triumphing over her weight. She tells Us Weekly that, during this past year, she not only lost 150 pounds, but also got married and re- formed Wilson Phillips.
In People's book bonus, Natalie Cole writes about how she has tri- umphed over her past drug addic- tion, which led her to theft, check fraud and counterfeiting - and al- most took her life.
- Deborah Overman
Each week R&R sneaks a peek through the nation's consumer mag- azines in search of everything from the sublime to the ridiculous in music news. R &R has not verified any of these reports.
www.americanradiohistory.com
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Plays
OFFSPRING Orginai Prankster RICKY MARTIN She Bangs
LIMPBIZKIT Polh«
SAMANTHA M UMBA Gotta Tel You
JA RULE I,.C. MILIME Between Me And You
DESTINY'S CHILD Independent Women Part 1
BACKSTREET BOYS Shape 01 My Haan
NELLY.
CODSMACKAwake
OUTKAST B 0 B
BLINK-182 Man Overboard
GREEN DAY Metonty
MYSTIKAL Shake Ya Ass
3 DOORS OOIMN Loser
'N SYNC Tnis I Promise You
FUEL --- .ormage (In My Hands)
L UDACRIS What's Your Fantasy
SOULDECISION;aded
MARILYN /MASON Disposable Teens
MOBY IXVIDI STEM! Soot's* U2 Beauidui Day
NO DOUBT BaeNMer
ORGY F.-t:on (Dreams In Digrtall PAPA ROACH Broken Home
JAY -Z -Jst Wane Love U(Gwe It _1
LENNY KRAVITZAgan
OEFTONES Back To School Mn (ii Maggrti DAVID GRAY Babylon
R. KELLY Wish
EYERIAST Black Jesus PINK Most G'ns
BEBELAH MORGAN Dance Wdh Me
MANDY MOORE Walk Me Horne
ROBBIE WILLING Rode DJ
JILL SCOTT Genet' In The Way
P.0.0. School a Hard Knocks
CHRISTINA AGUILERA Come On Over Baby (Air I 1
WYCLEF JEAN L MARY J. SLICE 911
LINKIN PARK 'Jr).). Step Closer
LIE' KIM VSISOO How Many Licks
GOOD CHARLOTTE Lrllk Thongs
MYA Case Ot The [u (Whatcha WUTANG Protect Ya Neck (The Jump OBI
BAHA MEN Who Let The Dogs Out
DISTURBED Stupdy
MUS10.. st Friends
SR -71 Right Now
PROPYLE Lot SLIPKNOT Wan And Bleed
STONE TEMPLE PILOTS No Way Out
OUTKAST Ms Jackson
WALLFLOWERSSleeowaker
COLD ,,ust Got %cked SPINESHANK Svnmetic
UNION UNDERGROUND Tum Me On -Mr Deadman"
COLLECTIVE SOUL Why Pt 2
BRITNEY SPEARS Stronger
JURASSIC 5 Duality Contra LIMP BIIKIT My Generation
KANDI: Think I'm Not
TIONNE T -BOZ- WATKINS My Getaway
AT THE DRIVE-IN One Anned Srnssor
BILAL > Seta FUNKMASTER FLEXION( Do You
STRAIT UP AARON... Angers Son
VERTICAL HORIZON You're AGod MATCHBOX TWENTY I1 You're Gone
CAM'RON What Means The World To You
IHE01 PLANET EARTH Bartender
BARE NAKED LADIES Pinch Me
BEENIE MAN G.-Is Dem Sugar
C-MURDER Down For My NT
DREAM Be Loves U Not
RUFF END/ No More
LIL BOW WOW Bow Wow (Thais My Hamel 3LW No More (Baby l'ma Do Rghl) CHANGING FACES That Other Woman
MACK 101/T -BOZ Tigm To Del
Video playksf for the week ending November 5
1E
ü 16
15
14
14
13
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13
13
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12
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4
4
4
4
4
3
3
3
3
3
3
2
2
2
2
2
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2
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2
70 million households
Paul Marszalel
VP Music Programming
ADDS
SON JOVI Thank You For Loving Me EVERCLEAR AM Rado FAITH HILL Where Are You Christmas ELTON JOHN VMARY J. SLICE I Guess That's Why. K-CI & JOJO Crazy
'N SYNC Thrs I Promise You
UNCLE KRACKER Follow Me
INSIDE TRACK EVAN ANOJARON Crazy For This Gin DANA GRAY Babylon
VERTICAL HORIZON You 're A God
XL 3 DOORS DOWN Kryptonite
CREED Wrth Arms Wide Open
FAITH HILL The Way You Love Me MATCHBOX TWENTY It You re Gone
U2 Beautiful Day
NEW BON JOYI Thank You For Laing Me EYERCLFARAM Rado
DESTINY'S CHILD Independent Women Part I MACY GRAY SIM
SADEBy Your $de
LARGE BARE NAKED LADEY Pinch Me
CORKS Breattless EVAN AND JARON Crazy For Ths G.e DAVIO GRAY Babylon LENNY KRWtTZAgan RICKY MARTIN She Bangs VERTICAL HORIZON You're A God
MEDIUM CHRISTINA AGUILERA Come On Over Baby (A I ..)
BACKSTREET BOYS Shape Of My Heart
COLLECTIVE SOUL Why Pt. 2
FAITH HILL Where Are You Chrstmas MADONNA Musc MOBY IIGWEN STEFAIII Soumsge SHAWN MULUNS Everywhere I Go
NINE DAYS ru Am JILL SCOTT Getter In The Way UNCLE KRACKER Folbw Me
WALLFLOWERS Sleepwalks'
CUSTOM 3 DOORS DOWN' Laser
A PERFECT CIRCLE 3 Libras YOLANDA ADAMS Open My Heart RICHARD ASHCROFTC'Mon People (We're Making...) ERYKAH BADU Bag Lady
BAHA MEN Who Let The Dogs Out TONI BRAXTON Spanish Guitar ALICE COOPER Gimme
OIDO Here Wen Me
EVERLAST Black Jesus FUEL Hemorrhage (In My Hands( GREEN DAY Minority WHITNEY HOUSTON Fete
WYCLEF JEAN MARY J. BUGE 911
ELTON JOHN UNARY J. BUGS I GIINS Nan 11AAc..
K-CI & JOJO Crazy R. KELLY I Wish
DEBELAN MORGAN Dance WM Me MUSIOJust Friends
LEIGH NASH Need To Be Next To You NO DOUBT Bayswater
'N SYNC 'his r Promse You
SINEAI7 O'CONNOR Jeaous STEPHEN SIMMONDS Can't Do That SPICE GIRLS . u' e STONE TEMPLE PILOTS No Way Out
STRAIT UP I/MON... Anger's Son
CARL THOMAS Emotional
TIONNE "T -BOZ" NATIONS My Getaway
Video airplay from November 13-19.
55 million households
VPProgrammrng
National Top 20
R. KELLY !Wish
NELLY E I
L UDACRIS What s Your Fantasy
SPICE GIRLS Holler
BACKSTREET BOYS Shape 01 My Heart
JAY -Z I Just Wanna Love U (Give It )
LIMP BIZKIT Rollin'
WYCLEF JEAN IIMARY J. BLIGE911
B.O.N. Boys
BLINK- 152Man Overboard
JA RULE VC. MILIAN Between Me And You
DESTINY'S CHILD Independent Women Pan 1
L L' KIM USISOO How Many Licks
LIMP BIZKIT My Generation
ORGY Fiction (Dreams In DrgmO
'N SYNC This I Promise You
MYSTIKAL Shake Ya Ass
OUTKAST B O.B
LINKIN PARX One Step Closer
SLIPKNOT Wart And Bleed
Video playlrat for the week ending November 5
36 mllllw MrsNolds Cindy Mahmoud
VPMuslc Programming 8 Entertainment
VIDEO PLAYLIST PROFYLE Liar
R. KELLY I Wish
ERYKAH BADU Bag Lady
LUOACRIS What's Your Fantasy
AVANT My First Love MYSTIKAL Shake Ya Ass
WYCLEF JEAN IIM ARY J. MAGE 911
JA RULE VC. MILIAN Between Me And You
JAY -Z I Just Wanna Love U (Give It )
MUSIO Just Friends
RAP CITY OUTKAST Ms Jackson
WU TANG CLAN Protect Ya Neck (The Jump OH)
EMINEM Stan
JA RULE SIC. MILIAN Between Me And You
MYSTIKAL Shake Ya Ass
NELLY E I
JAY -Z I Just Wanna Love U (Give It 2 Me)
OUTKAST 8 0 B.
DE LA SOUL All Good
LIL' KIM 1751500 How Many Licks
Video playhst for the week ending November 12
Show Prep
i: ir .. 'TELEVISION. TOP TEN SHOWS
OCT. 30 -NOV. 5
Total Audience (95.9 million households)'
1 E.R.
2 Friends
3 Who Wants ToBeA
Millionaire (Wednesday)
4 Everybody Loves Rayrnond
5 NFL Monday Night
Football (Tennessee at Washington)
6 Will & Grace 7 WhoWantsTo Be A
Millionaire (Sunday)
8 Frasier 9 The West Wing
10 Cursed
.. ï .'. . : ..
Adulta 2550
1
2
3
4
5
6
7
(tie) 9
10
E.R.
Friends Will & Grace
Just Shoot Me
Cursed Frasier
NFL Monday Night Football (Tenneaaseat Washington)
X -Files
Everybody Loves Raymond The West Wing
Source: Nielsen Media Research
COMING NEXT WEEK
Friday, 11/10
Green Day. The Tonight Show With Jay Leno (NBC, check local listings for time).
Aaron Neville, The Late Show With David Letterman (CBS, check local listings for time).
Blur, Late Night With Conan O'Brien (NBC, check tical listings br time).
John Doe The Late Late Show With Craig Kilbom (CBS, check lo-
cal listings for time).
Saturday, 11/11 Lee Ann Womack and Eric
Heatherly, Austin City Limits (PBS. check local listings for time).
Mandy Moore. Mad TV (FOX, llpmi
Ricky Martin, Saturday Night Live (NBC. 11:30pm).
Sunday, 11/12 Brian Setzer. Behind the Musc
(V1-11. 9pm).
Monday, 11/13 Randy Travis is profiled on
A &E's Biographly(8pm).
Vertical Horizon. Crag Kilbom.
Tuesday, 11/14 Natalie Cole. Jay Lena.
Arturo Sandoval sits in with the band on David Letterman.
Queens Of The Stone Age, Conan O'Brien.
Nina Gordon. Craig Kilbom.
Wednesday, 11/15 Ricky Martin, Dave Letterman. Fuel. Craig Kilbom.
Thursday, 11/16 Cher guest -stars on NBC's Will
& Grace (9pm). Michael McDonald sits in with
the band on David Letterman.
-Julie Gidlow
All show times are ET/PT unless otherwise noted; subtract one hour for CT7 Chedd 1shngs kr showings in the Moesltam time zone. All hshngs subject b charge. J
GODSMACKA ,vake
AT THE DRIVE -IN One Armed Sassc'
GREEN DAY nonly
ROBBIE WILLIAMS Rock DJ
U2 Beautdul Day
JILL SCOTT Gettiri In The Way
PI HARVEY Good Fortune
OUTKASTB.O.B
COLOPLAY Yellow
OFFSPRING Onginal Prankster
3 DOORS DOWN Loser
NO DOUBT Saltwater
GOODCIIARLOTTE Little Things
FUEL Hemorrhage (In My Hands)
LIMP BIZBITRoller
LENNY KNMRTZApam
ELTON JOHN TnN Dancer
TRAVIS Turn
DEFTDNES Back To School IMim Maggni
WALLFLOWERS SIeeowa'ker
WYCLEF JEAN WARY J. BUGE911
MYSTIKAL Snake Ya Ass
VAST Free
Os) 2
BADLY DRAWN BOY Once Around The Bock
LINKIN PARK One Step Closer
BLINK -182 Man Overboard
RICHARD ASHCROFT C'Mon People (We're Kitting...)
JAY-Z IJust Wanna Love U (Give It i
MATCHBOX TWENTY N You're Gone
JA RULE UC. MILIAN Between Me And You
BARENAKED LADIES Pkch Me
COLLECTIVE SOUL Why Pt .2
VERTICAL HORIZON You're A God
PAPA ROACH Broken Home
0100 Here With Me
Video playlet for the week of October 30-November 5.
FILMS BOX OFFICE TOTALS
Nov. 3 -Nov. 5
Title Distributor
S Weekend (S To Date)
1 Charlie's Angels $40.12 Sony' ($40.12)
2 Meet The Parents S12.63 Universal (5116.46)
3 The Legend Of $11.51 Bagger Vance DreamWorks' ($11.51)
4 Remember The Titans $6.96 Buena Vista ($96.73)
5 Book Of Shadows: $5.01 Blair Witch 2 Artisan ($21.79)
6 Bedazzled $4.65 Fox ($30.81)
7 Pay It Forward $4.27 WB ($25.12)
8 The Little Vampire $3.50 New Line ($9.97)
9 Lucky Numbers $2.05 Paramount ($7.70)
10The Legend Of $1.57 Drunken Master Miramax (59.71)
All figures in millions
First week in release
Source: ACNielsen ED!
COMING ATTRACTIONS: This week's openers include Little
Nidry, starring Adam Sandler. The film's Maverick/WB sound- track contains two cuts by The Deftones - "Change (In the
House of Flies)" and an acoustic version of 'Se Quiet and Drive (Far Away)" - along with P.O.D-'s
"School of Hard Knocks:" Incu- bus-Pardon Me' Cypress Hill's
"(Rock) Superstar," Powerman 5000's 'When Worlds Collide." Filter's "Take a Picture" and a re-
mix of Disturbed's "Stupify.' Songs by Insolence, Linkin Park, Unloco and Muse round
out the ST.
?bu Can Count on Me. starring
Laura Linney. opens in limited re-
lease. The film's Artemis sound-
track features five songs by Steve Earle & The Del Mc- Coury Band ( "Texas Eagle;' "Harlan Man;' "The Mountain" "I'm Still in Love With You and "Pilgrim ") and three by The V-
roys ( "Straight Highway;' 'Strange" and "Amy 88"). The ST also includes tunes by Marah, Bap Kennedy, 6 String Drag and Cheri Knight.
PangaeaAnterscope is re-
leasing the soundtrack to Red Planet. starring Val Kilmer. The
ST highlights Peter Gabriel's The Tower That Ate People," Sting's "A Thousand Years" and Strange Cargo's "Montok Pont" along with original music by boh Graeme Revell and Emma Shaplin. "When the World Is Running Down (You Can't Go Wrong)" by Different Gear Vs. The Police completes the pack-
age.
Men of Honor, starring Robert
de Niro and Cuba Gooding Jr.,
has a Motown soundtrack that showcases Brian McKnight's 'Win ','The Temptations "I Wish It Would Rain:' Marvin Gaye's "Say When" and Mark (shams score. - Julie Gidlow
www.americanradiohistory.com
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www.americanradiohistory.com
44 R &R November 10, 2000 News/Talk
Push To Talk Continued from Page 43
best part is that the radio station gets
a transactional commission on all calls
generated by that click- through.'
No Tech Degree Required
One of the biggest drawbacks of many of the online tools we've seen
in the past few years is that they seem
to require a degree from M.I.T. just to understand how to make them work. But Gaus says that is not the case
with Push To Talk. "All that you really need is a PC and a browser." he explains. We actually have sev-
eral call -completion models, two of which are being used most by radio.
With the first one. Call -Me -Now, you simply use your PC and browser to launch a call setup that comes back
to your desk phone or cellular phone.
You are using the web just to control the setup of a telephone call. Our an-
ecdotal evidence shows that the ma- jority of our network's users are choosing this model, primarily be-
cause they are listening in an office or work environment where everything they need to make the connection is
right there on the desk" "The second connection is one
where users traverse the Internet. That is to say. they are actually talk- ing through their PCs. This option re-
quires a Windows PC. a browser and
an Internet phone - an example would be Microsoft's NetMeeting - along with a microphone and speak-
ers. With that setup users can actually talk back to the radio station through
their PCs. We've found this option is more frequently used by international callers who may be traveling and lis- tening to their favorite radio station from back home."
OK, What's It Cost?
A quick and easy way to offer online phone access to listeners sounds good. but. as with every new technology, a good radio manager is
bound to ask, "What's this going to cost me ?' Gaus says the cost is con-
siderably less than you might think. especially now, in the early stages of Push To Talk's development.
"Nye have suggested retail per -call prices of 95 and 75 cents." he says.
"Ninety -five cents for each telephone call that is originated from the web- site. and 75 cents for all calls originat- ing from an e-mail message or a ban-
ner ad. That is a flat -rate price, re- gardless of the duration of the phone
call. It's an Internet pricing model that is based on a per- click- through basis. It's a little like offering your customers or listeners an 800 number. They place the call, but you absorb the cost of it."
But Gaus doesn't expect to gener- ate a lot of revenue for his company from phone -call charges in the early stages of the product. His real goals are to establish the service and brand with radio and its listeners and to spread the gospel of his company's new function all over the Internet. We didn't enter into the radio end of
this because we expected to get a
whole lot of telephone- traffic revenue early on," he says.
"The math is pretty simple: If you have a one -hour talk show, and you take phone calls for 20 minutes dur- ing that hour at an average length of five or six minutes per call. it's pretty easy to see that there isn't going to be
enough traffic to generate any sort of significant revenues. But our goal is
to expose people to the brand and the
whole idea of the Push To Talk func- tion so they will learn over time that it is possible to launch phone calls from websites."
As Gaus seeks to ftuther the Push To
Talk brand name on the web, he feels
that radio stations that recognize the benefits of such a service early in its development can reap some benefits. ..Whtu we are willing to do in order to become part of a station is one of two things." he says. "We will either sell the
service outright to the station, or. in some cases. we will consider a barter
amingement where we will provide the
service too radio station in exchange for an agreed -on amount of promotional
inventory. Naturally, all that would be
worked out based on a number of fac-
tors. including a station's demos and
web penetration"
The Future Is Now
Asked how he views the future of his new product, Gaus recalls a
speech given by Microsoft's Bill Gates at a European trade show in October. "Bill Gates stood up in front of all these industry people from all over the world and said. In the fu- ture there won't be any significant website that doesn't have Push To Talk.' So the question I'd ask any ra- dio station that has launched a dot - corn site would be, 'Is your site sig-
nificant?' "Obviously, that's a bit of a rhe-
torical question - if you don't think your site is significant. why on earth did you launch it? And if you do think it's significant. and it doesn't include Push To Talk, have you fig- ured out how you will compete in the future with those sites that do have it?"
Gaus believes that Push To Talk will be a standard part of most websites in short order, and he urges
stations to get in now, or they may be
playing catch -up with the competi- tion later. "If you are in the dot -corn radio space, especially in Talk radio. that in itself suggests that you want to appeal to a specific kind of clien- tele," he says. "These people are wired, they're educated. and they have higher -than -average income levels. And they're going to demand this kind of service from your web - site.
"And. finally, your advertisers will come to expect it too. Adding Push
To Talk to your infrastructure will provide advertisers with a service that will enhance their presence on
your website and increase your abil- ity to generate new revenues in the
years ahead"
For more on Push To Talk. contact ITXC at 503- 207 -6300 or on the weh
at mils: itxr.rom.
Favorite Suing Sites I recently asked a cross -section of Talk radio programmers and hosts if
they would share some of their favorite websites for finding show prep and content. While some were reluctant to divulge where they like to lurk on the World Wide Web for fear of giving away a competitive edge, most of- fered at least one or two of their favorites.
Ken Beck, Entercom /Kansas City: Assignment Editor (www. assignmenteditor corn)
Bob Shomper, WBAP/Dallas: WavCentral.com (www.wavicentralcom), WAV Place (wwwwavplace.com)
Bob Agnew, KNBR /San Francisco: CBS.SportsLine.com (http: // cbs.sportsline.com)
Mike Gallagher, Dame -Gallagher Networks syndicated host: AlterNet.org (www.altemet.org), INSIDE (www.inside.com)
Greg Moceri, WSB -AM /Atlanta: The Obscure Store And Reading Room (www.obscurestore.com), HotSheet.com (www.hotsheet.com)
Andrew Ashwood, WOAI /San Antonio: FARK.com (www.lark.com), SportsSLEUTH.com (wwwsportssleuth.com)
Walter Sabo. Sabo Media/New York: RadioSurfer News & Commen- tary (wwwradiosurfercom), The Smoking Gun (www.thesmokinggun.com)
Jason Jeffries, KIEV/Los Angeles: Google (www.google.com). Pollstar (www.pollstar.com)
Mitch Rosen, WMVP (ESPN Radio 1000) /Chicago (www. am1000.com), ESPN.com (httpu /espn.go.com). Sportspages.com (www. sportspages.com)
Steve Konrad, WTVN /Columbus, OH: Preplinks.com (www. preplinks.com)
Lori Shepard, WIOD/Miami: refdesk.com (www.reldesk.com) Dave Macy, WOWO /Ft. Wayne, IN: The Christian Broadcasting Net-
work (www.cbn.com), NewsLinx (www.newslinx.com) Keith Rovell, Shane Media/Houston: CRAYON: Create Your Own
Newspaper (www.crayon.net), Neil Chase (www.neilchase.com) Paul Harris, KTRS/St. Louis: TV Barn (www.tvbam.com), AM NEWS
ABUSE (wwwamnewsabuse.com) Rick Scott, RSA Sports /Bellevue, WA: individual.com (www.
individual.com), The Weather Channel (www.weaThercom) Drew Garabo, WTKS- FM/Orlando: InterPrep.com (www.interprep.
corn), 440 International (www.440int.com) Kevin Straley, XM Satellite Radio/Washington, DC: Salon.com
(www.sa/on.com), The Onion (www.theonion.corn) Michael Packer, Packer TalkRadio /Rochester Hills, MI: America
Online's "My News" feature (httpu /myaol.com) Tom Langmyer. KMOX /St. Louis: The Working Reporter
(www. workingreporter.com), Mother Jones' MOJO Wire (www.mother Jones.e-om)
Jeff Hillery, KLIF/Dallas: The Drudge Report (v. wdrudgerepoitcorn), Napster (wwwnapstercom)
Ken Kohl, KFBK/Sacramento: MSNBC's customized homepage feature(wwwmsnbc. corn)
A few others your faithful News/Talk Editor might suggest: Hypotenuse Music Pulse (www.hypotenuse.com), NewsMax.com (www.newsmax. corn), RAIN: Radio And Internet Newsletter (www.kurthanson.com), POPhistory now (www.pophistorynowcom) and the Editor & Publisher magazine homepage at www.mediainto.com, which features a listing of the top 100 newspapers in the U.S. and around the world, with links.
WSW Atlanta WLS Chicago WRKO Boston KTRH Houston KSFO San Francisco KLSX Los Angolos WOY Albany
Kim Komando is America's
-Digital Goddess. "In a world of talk radio that fails to capture listeners,
Kim brings great energy, personality and revenue." Mike Elder, Director of Operations, WLS Chicago
TalkRadio's #1 Computer & Internet Show _O Kim Komando. Now over 350 stations. That's almost every market. But just in case we missed you, give us a call.
ritstStar TalkRadio Network
602 -381 -8200 ext. 201 eastern stations or ext. 211 western stations
www.weststar.com
KCMO Kansas City KFYI Phoenix KSTP Minneapolis KXNT Las Vegas WIBC Indianapolis WRVA Richmond
www.americanradiohistory.com
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46 R&R November 10, 2000
You're not dreaming ...
BarenakedLodies PINCH ME
The follow -up to their quadruple -platinum album Stunt
R &R CHR /POP
R &R HOT AC
R &R POP ALTERNATIVE
Top 40 Monitor: 17* Adult Top 40 Monitor: 2* Modern Adult: 2*
Strong Callout Continues:
Star 94 63x KZZO 56x WSSR 60x PRO -FM 58x WNCI 35x
G105 61x KZZP 45x KOMB 72x
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Z100 N.Y. 26x WPST 35x KITS FM 16x WHY! 18x KRQQ 20x WZPL 34x
From the new album Produced by Don Was
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`Magic' Mores For KTXQIDaIIas Clear Channel's KDGE/Dallas was set to swap its suburban 94.5 MHz signal with that of Rhythmic Oldies KTXO (Magic
102) on Thursday morning (11/9) as part of a deal that gives the intellectual property of KTXQ and the 94.5 facility to Sunburst Media. In return, Clear Channel gets a full- market Class C signal at 102.1 MHz for KDGE, which has been ema- nating from Gainesville, TX since its inception. Sunburst Media won't be hanging on to the 94.5 signal for very long. though, as the company has already announced that it will make a swap with Salem's KLTY. When all is said and done, Sa- lem will operate Contemporary Christian KLTY at 94.5. adjacent to its Religious KWRD at 94.9 MHz. and KTXQ will wind up at 100.7 MHz. If that wasn't enough to digest, the Dallas Morn- ing News reports that Sunburst has already agreed to sell KTXQ to Radio One and quoted the company's Dallas Market Manager, George Laughlin. as saying that the station's format "could still work, although it needs some tweak- ing:" Laughlin added that he is also interested in retaining several members of KXTQ's airstaff.
KIIS /Los Angeles swept the Top 40 /Pop cat- egory at the 2000 Radio Music Awards, held on Saturday in Las Vegas. KITS not only took Ra- dio Station of the Year honors, it also won for PD (Dan Kieley), APD /MD (Michael Steele) and Air Personality (Rick Dees). Infinity swept the Rock/ Alternative category, as KROQ/L.A. took Radio Station, PD (Kevin Weatherly) and APD /MD (Lisa Worden) awards. WNEW /N.Y. afternoon hosts Opie & Anthony won the Air Personality award in the Alternative category - even though their station is an FM Talker. KNIX /Phoenix was named Country Radio Station of the Year, while KPRS /Kansas City took similar honors in the Urban category. A complete listing of this year's winners can be found at www.rronline.com.
With the appointment of Dave Dillon as PD of KABL & KIOI /San Francisco (see page 3). Clear Channel /S.F. Market Manager Doug Sterne has taken on additional responsibilities as interim Manager of KIOI. He succeeds Brent Osborne, who remains with Clear Channel and has relocated to L.A. for a position with subsid- iary Premiere Radio Networks.
Clear Channel VP /Marketing Bev Tilden has officially exited her position. Tilden shifted over from AMFM following its merger with Clear Chan- nel earlier this year.
Martin Mauled In FL Senate Race
Democratic U.S. Senate candidate Bill Nel- son late Tuesday night was declared the win- ner of Florida's hotly contested congressional battle. At press time, Nelson had 2.54 million votes, while Republican challenger Bill McCol- lum was close behind with 2.37 million. How did Andy Martin. the man who has filed consumer fraud charges in all 50 states against Clear Channel for its "deceptive" national contesting. finish? Dead last. According to the website for Miami's WFOR -TV, Martin had received a pal- try 12,419 votes. Martin ran as an independent with Republican leanings.
In another race of importance to the radio industry, Minnesota incumbent Republican Sen- ate candidate Rod Grams was defeated by his Democratic challenger. 49 °o to 42%. Grams was the leading sponsor of the anti -LPFM bill.
Donald Jackson, a.k.a. "One -Eyed Jack,' a Republican talk show host at WMAY /Spring- field, IL, told listeners Monday that Republicans would vote on Tuesday while Democrats would cast their votes on Wednesday. While most in- formed voters would laugh off such a remark. it seems some listeners apparently believed his old joke, the Chicago Sun -Times reports. About two dozen people called the Sangamon Coun- ty Clerk's office to check out what they heard. while the local Democratic headquarters also received several calls. While Jack's boss "threw a fit,' Jackson commented, "If you're either that silly or confused, maybe you shouldn't vote any- way."
While Americans decided who to vote for on Election Day, several radio executives over the last week were busy deciding what direc- tion to take their respective stations, as a host of format flips took place. Among them was the surprising switch to an all -'80s format by CHR/ Pop KCHQ /Albuquerque, which topped the Santa Fe, NM spring 2000 Arbitron ratings. KCHQ failed to achieve similar success in the much bigger Albuquerque market, however, consistently registering in the 2.5 -share range. Simmons Media/Albuquerque OM Sam Newton adds interim PD duties for 'CHO.
Continued on Page 48
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48 R&R November 10, 2000
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Street Ta/k® Continued from Page 46
Country KKHN /Honolulu is expected to flip formats any moment now. PD Nancy Knight has already departed and will join Capitol /Nash- ville on Nov. 27 as Northeast Regional Promo- tion rep. Is a move to CHR in the cards for the New Wave -owned property? Rumors are float- ing around Oahu that a rhythmic -leaning. hit - driven format is what's in store and that Cox's KXME and Clear Channel's KIKI are in for a dogfight as New Wave tightens up KQMQ's pop presentation. Look for the answer in next week's R &R.
Last week ST told you that 18 -year KABC/ L.A. vet Dennis Prager was leaving Nov. 18 to join Salem's crosstown KIEV. As expected, Prager also inks a syndication deal with the Sa- lem Radio Network. SRN will assume syndica- tion rights from Jones Radio Network on Jan. 1, 2001 and will offer Prager's KIEV program to a national audience. Prager will hold the noon - 3pm ET shift. ' Dr. Laura Downgraded
By CBS -TV Dr. Laura Schlessinger's hopes of mirror-
ing the success of Oprah Winfrey, Rosie O'Donnell and Montel Williams have been dashed by CBS Television, which announced this week that the Premiere Radio Networks syndicated host's TV program will be moved from its present afternoon time slot to tam on its O &Os in N.Y., L.A., Chicago and San Fran- cisco. Furthermore, Bloomberg reports that KYW -TV /Philadelphia has decided to drop Dr. Laura from its lineup. A local UPN affiliate has already agreed to add the program. A move to overnights is traditionally seen as the final act before pulling the plug on a show. But Para- mount, which produces the program, tells Daily Variety it still thinks the show is viable and will continue producing it for the 191 stations on which it airs.
Meanwhile, the trade tabloid reports that the character "Dr. Nora" has been suspiciously ab- sent from the Paramount -produced Frasier's
KELLY'S KEYBOARD TO INSTANT GRATIFICATION
Our friends at Jive Records came up with this crafty package to promote the latest release by R. Kelly, TP- 2.com, which features such tracks as I Wish," "Strip for You," "Feelin on Yo Booty," The Greatest Sex" and "The Real R. Kelly." While
we could really use another laptop, ST was nev- ertheless quite happy with the CD hidden under the faux keyboard.
Records Arista VP /Crossover Promo Tom Maffei and the
label part ways. Epic Records Group ups Jon Borris, who's
been VP /Promo Joel Klaiman's assistant. to Hous- ton local rep, effective at the first of the year. Mike Lieberman is also brought on board in an L.A.- based crossover post.
Atlantic taps former MCA rep Dwayne Ward as its new Charlotte local.
syndication lineup. The disappearance began when Paramount began producing Dr. Laura. and even Frasier Exec. Producer David Lee is de- manding answers from Paramount. An episode from the show's sixth season has been AWOL from syndication since December 1999, and Dai- ly Variety is hypothesizing that Paramount pulled the program from its rotation at the request of Schlessinger, who the "Dr. Nora" character is
based on. Paramount issued a release stating that Schlessinger did not request that the epi- sode be pulled and that it will next air in Febru- ary.
WNUA/Chicago PD Bob Kaake has added interim programming duties at crosstown AC sis- ter WLIT until permanent replacements for 'LIT PD Mike Del Rosso and MD Genevieve Shana- han are hired. Del Rosso and Shanahan were released from their positions one week ago. Co- incidentally, Kaake signed on WLIT about a de- cade ago when he served as VP /Programming for Viacom.
Monday's announcement by Clear Channel that it would be suing Inside Radio for various acts that the company believes were designed to hurt its business (see page 1) has led one cre- ative mind with lots of free time to launch a par- ody website dubbed lnsidelnsideRadio.com. "News stories" on the site ask Inside Radio pub- lisher Jerry Del Colliano why his publication "is printing such awful things against Clear Chan- nel" and claim the negative coverage has esca- lated recently because Editor Nicole Ovadia has departed the industry newsletter. "Inside Inside Radio" is also offering 5100 to anyone who calls its toll -free number with a news item concerning Del Colliano.
WTPT /Greenville, SC morning co -host Kim- berly declared on -air that Democratic presiden- tial candidate Al Gore would not win Tuesday's election and if he did pull off a victory, she'd eat crow. In anticipation of a Gore win, Kimberly and Rude Awakening co -host Zakk bought hunting li- censes, crowcalls and a shotgun and went hunt- ing for a plump bird to serve. The hunt was suc- cessful, and a fine fowl awaited Kimberly for breakfast Wednesday morning. Did she chow down on crow? Nope. Bush was declared our next President at 2:30 am ET Wednesday, but Gore was just 1,380 votes behind in Florida one hour later with 30,000 absentee ballots to go. We hope the bird was kept in the fridge.
The rollout of the FOX Sports Radio Network has begun, as Clear Channel's WYUR /Detroit becomes part of the family as "FOX Sports Ra- dio 1310" Over on Puget Sound KHHO /Seattle- Tacoma is expected to become "FOX Sports Radio 850" within days, offering a mix of network and local programming. KHHO had been simul- casting sister KJR -AM. And down in Southern California Clear Channel's KAVL/Lancaster- Palmdale ends its simulcast of KXTA to become
Continued on Page 39
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Street Talk. Continued from Page 48
"FOX Sports Radio 610." KAVL will also blend in some local programming.
The Milwaukee Journal -Sentinel reports that WMCS VP /GM Don Rosette will depart the heritage Urban AC at the end of next month. He's held the position since 1990, but has opt- ed to relocate to Austin, where his wife has lined up a teaching job. Rosette is still search- ing for his next role.
Traffic, Weather And Border Patrol Alerts
The phrase "traffic and weather together" has become ubiquitous at News stations throughout the United States. Now one radio station has taken public service to a new level by alerting its listeners to the presence of Bor- der Patrol agents. Matty y Ramon en la Maña- na, the morning show at Hispanic Broadcast- ing's Regional Mexican KROM (Estereo Lati- no)/San Antonio, has been airing a running bit in which listeners call the station with reports of the whereabouts of limones verdes (or "green limes "). Why the term? KROM PD Roger Leal tells the Christian Science Monitor that the agents wear green uniforms and that limes are representative of the fact that if they catch you, they'll sour your whole day." So far, no one has claimed that these "alerts" have had any effect on Border Patrol enforcement.
A Mobile County, AL circuit judge on Nov. 1 placed Baldwin Broadcasting's WAVH & WZEW/Mobile into receivership and is consid- ering a move that would put the stations into the hands of an impartial third party until a 14- month -long ownership dispute is settled. Barry Wood claims he is the sole owner of Baldwin and recently provided the Mobile Register with FCC documentation backing his claims. How- ever, former WAVH & WZEW GM Bill Phillips claims he has a 40% stake in Baldwin thanks to an "unwritten partnership" with Wood. The quarrel between Wood and Phillips was first re- ported by ST in September 1999, when Phil- lips abruptly changed WZEW's Adult Alternative format without permission and was subsequent- ly dismissed. ' Geronimo Becomes
Good Samaritan It's refreshing to note when an air person-
ality does something for the benefit of his or her listeners. This week ST has the pleasure of be- stowing kudos on WKTU /New York MD /nighttim- er Geronimo. Geronimo is slated to be a guest on an upcoming episode of Maury, featuring host Maury Povich, in which Povich will be mak- ing the wish of a terminally ill child come true. It seems the child wants to get into the sold - out 'N Sync show at New York's Nassau Coli- seum, and Geronimo has agreed to grant the child's wish. Check local listings for the epi- sode's airdate and time.
WBTS /Atlanta Music Coordinator Benji Kurtz has departed the CHR /Pop station to be- come OM of New South Radio's four Jackson. MS properties: Gospel WIIN, AC WJKK, Coun- try WUSJ and CHR /Pop WYOY. He'll also han- dle programming duties for 'YOY.
Dick Taylor, most recently Market Mgr. for Connoisseur's Waterloo, IA properties, returns to Atlantic City, NJ as GM of South Jersey Ra- dio's WOND, WONZ, WGYM & WTKU. Taylor managed WFPG -AM & FM and WKOE /Atlantic City from 1984 -97.
Laura Hagan elevated to President of Katz His- panic Media. Austin Vali appointed VP/GM for Cox/Honolulu quartet. Nick Roberts promoted to OM /PD of Cok/Dayton's FM stations. Bob Buchmann jumps to WAXO/NewYork as PD. Tim Richards selected as PD of WKOI/Detroit.
Jim McGuinn assumes OM duties for WIBF /Phil- adeiphia. Ted Taylor tapped as PD /afternoon personality of WDRE /Long Island. Johnny Chiang advances to MD of KOST/Los Angeles. Ken Webb joins WBLS /New York for the third time. taking the morning shift. Rich "Brother" Robbin returns to Tucson for af- ternoons at KWFM.
KRFX/Denver GM Don Howe earns VP stripes. Leap O' The Week: WXLK/Roanoke VP /GM AI Casey joins WJOI /Norfolk for similar duties. Mike Phillips picked as KRTH/L.A. PD.
Kerry Wolfe upped to WMIL/Milwaukee PD post. Jeff McCartney swings to the PD chair of WAPE/ Jacksonville. KFI /L.A. replaces Mother Love with Dr. Laura Schlessinger.
WINZ (1 -95) PD Rick Stacy changes his mind about working in Miami and returns to the program- ming chair at WHLY (Y -106) /Leesburg -Orlando. Art Wander joins KCMO /Kansas City as PD.
Howard Stern joins WXRK/New York for after- noons. Tom Tradup joins WASH/Washington as the morn- ing show's executive producer. The clock runs out for the "Game Zone" format on KFRC /San Francisco. as it reverts back to an all - music presentation.
John Bayliss selected President of Charter Broad- casting. Jay Lasker appointed President/COO of Motown. Al Brady Law returns to New York as GM of WYNY. Tom Casey accepts KZLA/Los Angeles PD chair. Format Flips: WCFUChicago goes AC with Fred Winston as PD. and KSAN /San Francisco goes Country with Bob Young as PD.
Nancy Plum hired to do weekends at KGBS -AM & FM /L.A.
Former KDOT & KHXR /Reno, NV part -timer Tim Rainey joins Americom's crosstown KODS & KWNZ for similar duties. He'll also produce the imaging for KLCA/Reno. By the way, Rainey is a
senior in high school and is still deciding which college to attend.
If you have Street Talk, call the MIR News Desk at 310 -788 -1699 or e -mail streettalkOrronline.com
www.americanradiohistory.com
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54 RsR November 10. 2000 Sound Decisions LAUNCHING PAD LAUNCHING PAD LAUNCHING PAD LAUNCHING MD LAUNCHING PAD LAUNCHING PAD LAUNCHING PAD LAUNCHING PAD LAUNCHING PAD
LAUNCHING
'Camera' Action For Josh Joplin Group One programmer. one market at a time. That sums
up the low -key approach Artemis Records is taking for The Josh Joplin Group, whose debut single for the label. 'Camera One," was Most Added at Adult Alternative this week and No. 2 Most Added last week.
Josh Joplin Group
Stations in the format supporting the single include WXRV/Boston; WXPN/Philadelphia; WRNR/Balti- more; WRLT/Nashville; WKOC/Norfolk; WDOD/ Chattanooga, TN; KENZ/Salt Lake City; KXST/San Diego; and KINK/Portland. The track has also been added at Alternatives WKRL/Syracuse, WHTG/ Monmouth -Ocean and WEND /Charlotte and Rock outlets WYBB /Charleston; KFZX /Odessa- Midland, TX; and WZZO /Allentown.
Raised in Lancaster. PA, Josh Joplin grew up on a
steady diet of classic folk artists such as Bob Dylan, Phil Ochs and Pete Seeger. As a teenager he supple- mented that with bands like The Clash and The Smiths. At the age of I6 Joplin quit school and traveled, vis- iting the hometowns of heroes Dylan, Ochs and Woody Guthrie.
After a shoe stint washing dishes in New York. Joplin moved to Atlanta and eventually hooked up with Shawn Mullins. Joplin took a page from Mullins' career. hit the coffeehouses, released an album and began building a local following.
That activity caught the attention of Artemis Records. President Daniel Glass remembers, We heard about what was going on with him and the band
in Atlanta and were very impressed with what he had
accomplished. He sold about 2,500 copies of his al- bum. which is really good. He's an incredible song- writer and a self- starter."
Once Artemis had signed the band, it hooked them up with producers Jeny Harrison (Live, No Doubt) and Peter Collins. Mullins, however, produced the bulk of the new album, Useful Music.
When formulating its plans for JJG and "Camera One," Artemis kept it simple and targeted music fans
at radio. Glass comments, "When I first started work- ing at Chrysalis Records years ago, I remember the founders. Chris Ellis and Terry Wright, said there were
two things they looked at when signing artists: I ) Can you picture them in Madison Square Garden? and 2) you'd better be ready to go around the world to help them build their audience and watch them connect
with their fans. That's always stuck with me. and its basically what we are doing with Josh Joplin. Our promotion department has done a wonderful job of making sure everything is pretty low -key and that we're not hyping the group."
As part of that plan Artemis has had JJG play for retailers such as The Wherehouse and Borders. They just finished a performance for indie distributor Val- ley Media. The label mixed those shows in with vis- its to radio.
VP/Promotion Todd Glassman comments, "The most important thing for us was to find music- oriented
programmers. We wanted Josh and the band to sit down with those people and talk about the music and
their lives.
"This isn't necessarily about formats. It's about finding the right people to start the record and spread
the story. That's already begun to happen. It's a great compliment to Josh and the band when we get phone
calls from people who have heard about their music." Artemis wasn't worried about going for airplay at
the busiest time of the year. In fact. the phenomenal success of David Gray's "Babylon" and music from new artists like Five For Fighting and Lifehouse have opened the door for singer -songwriters. Glass ob- serves, "The timing's right for music with lyrics that mean something. Rap metal and pop dance will al- ways have their place, but people are demanding this type Of music. especially from artists who can deliver a rock 'n' roll experience in concert like Josh and the hand can."
One early supporter of "Camera One" is WKOC, the weekly plays leader, according to Mediabase. PD Paul Shugrue says the song's retro feel fits perfectly with the station. "It has a very catchy feel to it. It defi- nitely has a contemporary sound. but it's also reminis- cent of some of the great '80s songs. Since we play a
lot of '80s music. it fits right in there." JJG are currently in the middle of an extensive
promo trip. On Nov. 14 Artemis will release a I i mited- edition single of ̀ Camera One" that also includes two acoustic songs. The album Use`id Music is scheduled
to be released Jan. 23. 2001. - Steve Wonsiewicz
'CANDLES' LIGHTING UP FOR CAPITOL'S PRU I Capitol Records artist Pru (a.k.a. Pru Renfro) and friends Stevie J (c) and rap diva Eve (t) mug for the camera at S.O.B :s in New York. Prú s self - produced eponymous de- but album is slated for release Nov. 7. She wraps up a
lengthy promo trip Nov. 17 in New Orleans, where she will perform at the National Black Programmers Coali- tion Convention. Her debut single, "Candles," is already at radio.
Eagles Live On Web Lane The Eagles will begin offering 12 previously unreleased
songs for free download as part of the marketing plan sur- rounding the release of their four -disc boxed set. The Eagles: Selected Works 1972 -1999. The download promo begins the day the boxed set hits retail. Nov. 14. The songs. which won't time out. will be made available at eight websites: Amazon.com. barnesandnoble.com. TWEC.com. CDNOW. Borders.com. Checkout.com. Towerrecords.com and Musicland.com. Among the songs offered are live versions of Hotel California" "Victim of Love" "Take It to the Limit" and "Best of My Love: The bands best -of disc. Their Greatest Hits 1971 -1975. is one of the best -selling albums of all time with more than 27 million copies sold.
Deftones To Monitor. FUCT You Maverick hard rock band The Deftones and Los Angeles -
based Gen -X clothier FUCT have donated S5.000 to Nora Garza. the ex- Features Editor at the McAllen, TX newspaper the Monitor. Garza was fired a couple of weeks ago, when she published. in the Monitors entertainment section. a stan- dard publicity picture of The Deftones that features lead singer Chino Moreno wearing a dark blue sweatshirt bearing the FUCT logo.
Deftones Comings and goings: Alternative urban group Lucy Pearl
have tapped Joi as their new lead singer, replacing former En Vogue vocalist Dawn Robinson. No reason was given for Robinson's departure ... MTV News reports that Atlanta hip - hop group Arrested Development have re- formed and are finishing a new album titled The Heroes of the Harvest. No word yet on which label the group signed to ... Ben Folds Five have called it quits after six years and three studio al- bums. Manager Alan Wolmark says the split is amicable and that The decision was made because all three members felt the band had run its musical course and wanted to pursue other musical interests" ... Orgy and their management com- pany. The Firm, have parted ways.
This 'n'that: VH1 has tapped U2. The Red Hot Chili Pep- pers. Creed. Christina Aguilera and Bon Jovi to perform during its inaugural My VH1 Music Awards. to be televised live on Nov. 30 at 9pm ET ... The first officially sanctioned Beatles website, www.thebeatles.com, launches Nov. 13, the first day of release for 1. the band's new 27 -track greatest -hits pack- age ... Tonos.com, the website founded by Grammy- and Oscar - winning songwriters Carole Bayer Sager. Kenneth " Babyrate" Edmonds and David Foster, has closed on S10 million in financing. led by leading high -tech venture capital firm Softbank .. Listen.com has offered to buy beleaguered file -shaving software maker Scour for an estimated S5.5 mil- lion and 520.000 shares of stock Scour recently filed for Chapter 11 ... NARAS has announced that the 43ro annual Grammys will be held Feb. 21 al the Staples Center in Los Angeles.
Pos. Artist
1 DAVE MATTHEWS BAND 2 OZZFEST 2000
3 TIM MCGRAW/FAITH HILL 4 SANTANA
5 PHISH
6 STING
7 DIXIE CHICKS
8 PEARL JAM
9 BRITNEY SPEARS 10 UP IN SMOKE TOUR
11 AC/DC
12 CREED
13 RED HOT CHILI PEPPERS
14 COUNTING CROWS/LIVE 15 KISS
Avg. Gross (in 0005) Among this week's new tours:
51 165 ,
5900.7
5779 6
5719.2
56111 56176
561.7 5610.6
5600 1
5565.9
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www.americanradiohistory.com
56 R8R November 10, 7000 CHR TONY NOVIA [email protected]
Mahe Money On the Web Interep creates the seller's ultimate guide
to online advertising
ust about every radio broadcast group is trying to figure out what to do with its websites. They are wondering whether or not to stream and, most importantly, puzzling over how to make money with online advertising. While these broadcast entities work be-
hind the scenes to come up with a winning online formula, there is still an enormous learning curve within radio stations and advertising agencies when it comes to understanding online advertising.
As with any product, be- fore you market. promote and sell, you have to know your product and how it ben- efits consumers and clients alike. If you are attempting to tap into the new business model of online advertising, there is a must -read guide just out for traditional sell- ers, buyers and almost ev- eryone else in radioland: Michele Interep's Research Division Vice President/Marketing Communi- cations, Michele Skettino, has me- ticulously researched and written A Radio Seller :s Guide to Online Ad- vertising. and I got my hands on one of the very first copies.
This 28 -page booklet is one of the most helpful and concise that I have seen on this subject. Skettino took on this project because she was hearing from Interep's traditional sellers and station people that they were being asked more and more to look for new sources of revenue on the web.
Skettino points out that the web is still very confusing to most traditional sellers. With all of the different online, advertising and computer terms and lingo. the fine folks at, Interep thought it would be extremely helpful to put all of the needed infor- mation about online advertising into one concise, easy -to-read guide. This project is also timely, given the launch of Interep's new interactive division.
A Radio Seller's Guide to Online Advertising is a necessity for tradi- tional radio buyers who are now be- ing asked to look at streaming. It should also be mandatory for every- one inside a radio station. especially
Skettino
the sales and programming departments. With Sket- tino's guidance, we've combed through her report' to offer you a look inside the world of online advertising, beginning with some of what she calls online re- search basics.
Unique Visitors Vs. Ad Views
Many of the measurements commonly used in online research are identical to. or almost equivalent to. traditional media measurements. The terms "unique visitors "and "ad views/page views" are the ones most commonly used when referring to the online audience. They correlate roughly to the research concepts of cumc and impressions.
Unique visitors/users/audience, a.k.a. come: The number of different individuals visiting a website during a given time (usually daily, weekly or monthly). This is similar to the cume number in radio and is a measure of a site's reach.
If an advertiser runs a schedule on a website with a monthly unique visi- tor count of 10.010. that would mean that the campaign has the potential to reach 10.000 consumers each month.
The unique visitors number im- plies nothing about how long each visitor stays on a site, how often he or she visits within a given period or how many pages are viewed per visi- tor. Whether the same person visited a site every day of the month or one day per month, he or she instill only counted only once in a monthly unique visitor total.
Ad views, a.k.a. impressions: Ad
As in traditional media, the reach or coverage of a
website refers to the number of a given population that uses that site in a designated time period.
views. a term sometimes used instead of the more common "impressions;' refers to the number of ads viewed (or, more precisely, the number of ads served and downloaded to individual PCs -as with any medium. one can- not ensure that a user actually reads or listens to an ad). As with tradi- tional media measures, the number of impressions does not equate to reach, as one individual may see an ad mul- tiple times.
Page views. a concept similar to ad views, refers to the number of total pages viewed, regardless of whether or not the pages contain an ad.
As in traditional media, the reach or coverage of a website refers to the portion of a given population that uses
that site in a designated time period. The reach number is equivalent to the
number of unique visitors. Coverage is usually dis- cussed in terms of a percentage.
Coverage And Reach
The percentage of a given demo- graphic group that visits a site can also be called "reach percentage. " However, be aware that when cover- age percentage is discussed in tradi- tional media, it almost always refers to the percentage of the total demo- graphic group in die U.S. Online ser vices sometimes use different criteria when setting their "universe" and re- fer only to the percentage of U.S. online users reached. Care should be
taken when using these estimates to determine which universe is refer- enced.
lithe universe is the U.S. total for a given demographic, then the cov- erage percentage is equivalent to a
rating. For instance. if a site's cov- erage for men 18 -34 is 15% of all men 18 -34 in the country, the site has a 15% rating against this demo.
The calculation for this type of rat- ing would he:
Unique Visitors in Demo x 100
Demo Population
RESEARC
It the universe is the total U.S.
Commonly Used Metrics The following terms are also commonly used in online mea- surement.
Average Unique Pages Per Visitor Per Day/Week/Month: The average number of pages within a site that are viewed by a visitor in a given time period.
Average Dally/Monthly Unique Visitors: The average number of different people who visit a site each day during the course of a day or month.
Average Usage Days Per Visitor Per Month: The average num- ber of days per month that a website's visitors accessed the site.
Average Minutes Spent Per Usage Day/Week/Month: The av- erage length of time that a visitor spends on a website during a given time period. This figure is an indication of a sites "stickiness:' or its ability to hold visitors.
'rime Spent Tuning: A term soon to be used by Arbitron's Info - stream (and possibly other services) for Streaming measurement. Re- fers to the average time spent listening (per listener) to an audio web - cast over the course of a month (or other time period).
Aggregate Tuning Hours: A term currently employed by Arbitron's Infostream to measure total listening hours to an audio webcast (not per person). While this can be loosely correlated to an impression lev- el, in that it is affected by both cume and Time Spent Listening, it is a pure total, with no averaging involved.
online users, the coverage percentage is more equivalent to the traditional measure of share. though not analo- gous, because there is no measure of time spent on a site included in the figure. In the online arena a coverage percentage based on the online uni- verse is perhaps more equivalent to what might be called an online rating.
Measuring Composition And Index
Composition in online measure- ment remains the same as in all other media, referring to the percentage of a website's audience that is in a spe- cific consumer segment. Composition
is used by adver- tisers to identify those sites with a
high concentration of a given con- sumer target. The composition per-
centage equals a given demographic expressed as a percentage of a site's total unique users.
For example, if a site has a total unique visitor estimate of 300,000 and 175,000 unique visitors who are women 25-54. the site's composition percentage for women 25 -54 is 58 %.
Unique Visitors in Demo x 100
Total Unique Visitors
Index refers to the relationship be- tween the percent composition of one variable vs. the percent composition of another variable. As it refers to websites, it is usually the relationship between a site's composition for a
particular demo and either the U.S. composition or the total online user base's composition.
An index above the norm of 100 denotes a higher -than- average con- centration of a specific target group. For instance, if a site has a composi- tion percentage of 65% among women 25-M. and women 25 -54 rep- resent 35% of the online audience, the site would index 186. In other words, visitors to that site are 86% more likely to be women 25 -54 than
µ YMMry IN Mm H DIVISION
visitors to the average site.
Percentage of Site's Composition
Percentage of Online Composition (Or Percentage of U.S. Composition)
Exploring Reach And Frequency
Frequency within an ad schedule affected by media use over tim Within online media, it refers to ti average number of times that eac
person will see or hear an online ar
vertisement. It is affected by how fn quently a user visits a given site ar how long he or she spends there o
how many pages are viewed. Frequency is generally discussed i
terms that include reach and follow the same equation for all media:
Reach x Frequency = Ad Impressions
Therefore. different schedules ca
deliver the same number of ad imprei sions yet have dramatically differer reach and frequency levels. Reach an frequency form a mathematically it verse relationship: If impressions rc
main constant when reach goes up. fn quency goes down. and vice versa.
An effective level of reach and fre
quency depends on an advertiser' objectives. If an advertiser desires higher reach level or a higher fre quency, campaigns can he adjuster accordingly. In general. the following guidelines apply: To Increase Frequency
Limit the campaign to fewe sites or channels.
Narrow the time frame of cam paign. Retain the same impression level.
Use websites or channels will similar appeal to increase the likeli hood of audience duplication. To Increase Reach
Use more websites or channels. Extend the time frame of the
x It
Continued on Page 55
www.americanradiohistory.com
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www.americanradiohistory.com
58
1:f CHR/Pop Top 50 1I.,.tiwJ. fin November 10, MOO
LAST THIS WEEK WEEK ARTIST TIRE LABELS,
TOTAL PLAYS
I- PLAYS
GROSS IMPRESSIONS
lx
WEEKS ON CHART
TOTAL STATINI ADDS
CREED With Arms Wide Open (Wind -up) 10257 -100 1035878 13 170/1 3 0' PINK Most Girls (LaFace/Arista) 10025 +64 996807 15 171/1 2 3 DOORS DOWN Kryptonite (Republic/Universal) 9423 -552 1059913 21 167/0
5 0 `N SYNC This I Promise You (Jive) 8631 +147 869429 10 176/0 4 MADONNA Music (Maverick/WB) 8099 -713 764135 15 171/0 7 0 SAMANTHA MUMBA Gotta Tell You (Wildcard /Polydor /lnterscope) 7533 +409 720156 14 175/0 6 SOULDECISION Faded (MCA) 7527 -112 602289 22 167/0 B 0 BACKSTREET BOYS Shape Of My Heart (Jive) 7093 +377 713693 6 176/0
12 0 MYA Case Of The Ex (Whatcha...) (University/lnterscope) 7066 +1100 824278 8 164/2 9 0 RICKY MARTIN She Bangs (Columbia) 7000 +286 707774 7 174/0
15 Q DEBELAH MORGAN Dance With Me (DAS /Atlantic) 5883 +465 583253 18 164/1 D 12 VERTICAL HORIZON You're A God (RCA) 5853 -202 544815 16 158/0
20 ® DESTINY'S CHILD Independent Women Pt. 1 (Columbia) 5696 +1384 631457 7 158/11 16 0 KANDI Don't Think I'm Not (So So Def /Columbia) 5352 +326 546189 12 146/4 17 ® BARENAKED LADIES Pinch Me (Reprise) 5119 +337 486037 13 149/1 18 0 MATCHBOX TWENTY If You're Gone (Lava/Atlantic) 5045 +360 479064 7 161/6
11 17 CHRISTINA AGUILERA Come On Over (All I Want...) (RCA) 5007 -973 481204 17 162/0 14 18 NELLY Country Grammar (Fo' Reel /Universal) 4801 -655 567078 16 143/0 13 19 DESTINY'S CHILD Jumpin' Jumpin' (Columbia) 4767 -705 648621 23 146/0 21 ® DREAM He Loves U Not (Bad Boy /Arista) 4591 +553 444237 9 149/5 19 CO RUFF ENDZ No More (Epic) 4460 +146 509101 10 140/1 23 ® EVAN AND JARON Crazy For This Girl (Columbia) 3659 +200 341252 14 145/5 25 ® FAITH HILL The Way You Love Me (Warner Bros.) 3223 +186 283950 11 123/8 22 24 BAHA MEN Who Let The Dogs Out (Artemis) 3055 -769 303846 17 137/0
Breaker e NINE DAYS If I Am (550 Music /Epic) 2698 +333 276797 6 131/5 Breaker SHAGGY It Wasn't Me (MCA) 2628 +1052 318929 3 125/32 Breaker VITAMIN C The Itch (Elektra/EEG) 2551 +424 226031 4 150/7
26 26 EVERCLEAR Wonderful (Capitol) 2441 -375 204866 19 116/0 24 29 98 DEGREES Give Me Just One Night... (Universal) 2434 -909 253826 14 140/0
SR -71 Right Novi (RCA) 2302 +99 239134 8 124/2 SISOO Incomplete (Dragon/Def Soul/IDJMG) 1978 +90 200993 7 94/0 MIKAILA So In Love With Two (Island /IDJMG) 1911 +214 148224 4 118/7 BRITNEY SPEARS Stronger (Jive) 1910 +1037 186626 2 136/26
29 WALLFLOWERS Sleepwalker (lnterscope) 1858 -355 154359 8 111/0 3.5 MANDY MOORE Walk Me Home (550 Music/Epic) 1683 +179 158465 4 114/2
RED HOT CHILI PEPPERS Californication (Warner Bros.) 1667 -223 163679 7 99/0 ® BOYZ II MEN Pass You By (Universal) 1553 +141 138160 6 118/0
m LENNY KRAVITZ Again (Virgin) 1528 +265 177610 5 93/8 3E m MYSTIKAL Shake Ya Ass (Jive) 1444 +223 167597 4 88/10
0 USHER Pop Ya Collar (LaFace/Arista) 1309 +266 106497 2 90/5 ¡Debut> m EVERCLEAR AM Radio (Capitol) 1248 +597 81092 1 87/12 ¡Debut> m EMINEM Stan (Aftermath/Interscope) 1095 +430 110942 1 87/15
41 0 JOY ENRIOUEZ Tell Me How You Feel (LaFace/Arista) 1061 +53 98700 4 78/0 ¡Debut> U2 Beautiful Day (lnterscope) 1031 +475 98790 1 84/17 ¡Debut> 0 SPICE GIRLS Holler (Virgin) 958 +318 110263 1 62/11
4; m TIONNE "T -BOZ" WATKINS My Getaway (Maverick) 942 +106 67561 2 83/4 PAPA ROACH Last Resort (DreamWorks) 931 -92 99763 10 60/1
4' 0 LEANN RIMES Can't Fight The Moonlight (London Sire/Curb) 860 +50 47909 3 52/1
0 MACY GRAY Still (Epic) 854 +3 92300 3 82/1 (Debut.> m BBMAK Still On Your Side (Hollywood) 849 +629 81867 1 107/30
176 CHR/Pop reporters. Monitored airplay data supplied by Mediabase Research. a division of Premiere Radio Networks. Songs ranked by total plays for the airplay week of Sunday 10/29- Saturday 11/4. Bullets appear on songs gaining plays or remaining flat from previous week. If two songs are tied in total plays, the song being played on more stations is placed first. Breaker status is assigned to songs reaching 2500 plays or more for the first time. Songs below No. 20 are moved to recurrent after 20 weeks. Gross Impressions equals Average Quarter Hour Persons times number of plays (times 100). Average Quarter Hour Persons used herein with permission from The Arbitron Company (Copyright 2000, The Arbitron Company). ® 2000. RSA Inc.
Most Added. ARTIST TITLE LABEL(S ADDS
98 DEGREES My Everything (Universal) 103
BON JOVI Thank You For Loving Me (Island/IDJMG) 61
SHAGGY It Wasn't Me (MCA) 32
BBMAK Still On Your Side (Hollywood) 30
GREEN DAY Minority (Reprise) 29
BRITNEY SPEARS Stronger (Jive) 26 0 -TOWN Liquid Dreams (J) 22
U2 Beautiful Day (lnterscope) 17
JA RULE F/C. MILIAN Between Me... (MI/DefJam /IDJMG) 16 EMINEM Stan (Aftermath/lnterscope) 15
Most Increased Plays
ARTIST TITLE LABELlSI
DESTINY'S CHILD Independent Women... (Columbia)
MYA Case Of The Ex... (University/lnterscope) SHAGGY It Wasn't Me (MCA)
BRITNEY SPEARS Stronger (Jive) BBMAK Still On Your Side (Hollywood) EVERCLEAR AM Radio (Capitol)
DREAM He Loves U Not (Bad Boy /Arista)
U2 Beautiful Day (lnterscope)
DEBELAH MORGAN Dance With Me (OAS /Atlantic) EMINEM Stan (Aftermath/lnterscope)
Breakers® NINE DAYS
If I Am (550 Music/Epic) TOTAL PLAYSINCREASE TOTAL STATIOSISADOS
2698/333 131/5
SHAGGY It Wasn't Me (MCA)
TOTAL PLAYSRIICREASE TOTAL STATIONSADOS
262811052 125/32
VITAN1 C
The Itch (Biking/EEG) TOTAL PLAYSINCREASE TOTAL STATORS/ADDS
2551/424 150/7
TOTAL PLAY
INCREASE
+1384
+1100
+1052
+1037
+629
+597
+553
+475
+465
+430
CHART
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BON JOVI T H A N K YOU FOR LOVING ME
KYSR WKQI WSSR WKI WZPL WP
RE!!!
een the great reaction to 'It's My Life' and the way the concerts are selling out, it shows that America wants Bon Jovi back! 'Thank You...' is a GREAT follow up! Were already playing it and its a SMASH! -John Ivey/WXKS
"Bon Jovi have re- established themselves as core artists tor Top 40 radio. This song will be going Top 10! Already getting requests!" -Jon Zellner /KMXV
"SMASH! This will be HUGE...!" -John Reynolds,MINKS
Over 6 Million Albums Sold World Wide! SOLD OUT U.S. TOUR!
Wlrwislandrecntds cam ln. J ' .B JPvI and ' Ichie Saplbora
Check out Jon Bon Jovi in this week's PEOPLE magazine... SEXIEST ROCK STAR...
at newsstands now!
www.americanradiohistory.com
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www.americanradiohistory.com
60 ra CHR/Pop ® November 10, 2000
Most Played Recurrents MATCHBOX TWENTY Bent (Lava /Atlantic)
TONI BRAXTON He Wasn't Man Enough (LaFace /Arista)
NINE DAYS Absolutely (Story Of A Girl) (550 Music /Epic)
CREED Higher (Wind -up)
BBMAK Back Here (Hollywood)
PINK There You Go (LaFace /Arista)
VERTICAL HORIZON Everything You Want (RCA)
JOE I Wanna Know (Jive)
'N SYNC Its Gonna Be Me (Jive)
SONIQUE It Feels So Good (Farmclub /Republic /Universal)
SANTANA F/ROB THOMAS Smooth (Arista)
DESTINY'S CHILD Say My Name (Columbia)
'N SYNC Bye Bye Bye (Jive)
BLAQUE Bring It All To Me (Track Masters /Columbia)
MACY GRAY I Try (Epic)
ALICE DEEJAY Better Off Alone (Republic/Universal)
CHRISTINA AGUILERA What A Girl Wants (RCA)
MARC ANTHONY I Need To Know (Columbia)
BLINK -182 All The Small Things (MCA)
GOO GOD DOLLS Slide (Warner Bros.)
CHR/POP Going For Adds 11/14/00
FUEL Hemorrhage (In My Hands) (550 Music /Epic) INNSOENSE So Together (RCA) JAY -Z I Just Wanna Love U (Give It 2 Me) (Roc- A- Fella/IDJMG) OFFSPRING Original Prankster (Columbia) ORGY Fiction (Dreams In Digital) (Elementree /Reprise) PROFYLE Liar (Motown /Universal) LEE ANN WOMACK I Hope You Dance (MCA/Universal)
Virgin's newest Latin diva, Crystal Sierra (c) recently went on a promo tour in support of her latest project, "Playa No More." Her team includes (L -r) Virgin VP /Promotion Cary Vance; JMAs Neela Marnell, Rick Cooper and Scott Burton; Virgin Sr. VP /Promotion Michael Plen; and JMA's Jeff McClusky, Holly McCormick and Tom Barsanti.
R&R/MEDIABASE 24/7
WABE /Mobile
3am
NEW RADICALS Someday We'll Know CHRISTINA AGUILERA Come On Over Baby... MATCHBOX TWENTY It You're Gone EVE 6 Inside Out EVERCLEAR AM Radio
DESTINY'S CHILD Jumpin' Jumpin' VERTICAL HORIZON Everything You Want 98 DEGREES Give Me Just One Night... GREEN DAY When I Come Around CORRS Breathless
LENNY KRAVITZ Again CREED With Arms Wide Open
NINE DAYS If l Am BBMAK Still On Your Side MACY GRAYStill BOBBY BORIS PICKETT Monster Mash
llam
3 DOORS DOWN Kryptonite JENNIFER LOPEZ If You Had My Love SEMISONIC Closing Time
MATCHBOX TWENTY If You're Gone SOFT CELL Tainted Love FAITH HILL The Way You Love Me DAVE MATTHEWS BAND What Would You Say 98 DEGREES Give Me Just One Night... RED HOT CHILI PEPPER Otherside VERTICAL HORIZON You'reA God MADONNA Music AEROSMITHCrazy EVERCLEAR AM Radio 'N SYNC Bye Bye Bye
4pm
FAITH HILL The Way You Love Me BLESSID UNION OF SOULS Hey Leonardo ...
DREAM He Loves U Not MATCHBOX 20 3 AM LEIGH NASH Need To Be Next To You
VERTICAL HORIZON You're A God DIONNE FARRIS I Know SR -71 Right Now ENRIQUE IGLESIAS Be With You
SOULDECISIONFaded
SUGAR RAY Every Morning BOBBY BORIS PICKETT Monster Mash DEXTER FREEBISH Leaving Town BARENAKED LADIES Pinch Me
8pm
MEST What's The Dillio PINK Most Girls
CREED With Arms Wide Open
RICKY MARTIN She Bangs MATCHBOX TWENTY If You're Gone DREAM He Loves U Not BARENAKED LADIES Pinch Me BACKSTREET BOYS Shape Of My Heart KID ROCK Only God Knows Why SOULDECISIONFaded
EAGLE -EYE CHERRY Save Tonight
SUGAR RAY Someday
DESTINY'S CHILD Independent Women Part 1
BLINK- 182All The Small Things
WERZ/Portsmouth
3am
MANDY MOORE I Wanna Be With You
STING Desert Rose
FISHER I Will Love You
MATCHBOX TWENTY Bent BON JOVI It s My Life BRITNEY SPEARS Oops!... I Did It Again CREED With Arms Wide Open DESTINY'S CHILD Say My Name EVERCLEAR AM Radio
PINK Most Girls
U2 With Or Without You
ENRIQUE IGLESIAS Be With You
RED HOT CHILI PEPPER Under The Bridge EVAN AND JARON Crazy For This Girl DREAM He Loves U Not SOUL DECISION Faded
11am
CHRISTINA AGUILERA Come On Over Baby... MARC ANTHONY I Need To Know JEWEL You Were Meant For Me SAMANTHA MUMBA Gotta Tell You
SAVAGE GARDEN Truly Madly Deeply EVERCLEAR Wonderful U2 Beautiful Day
SOFT CELL Tainted Love
'N SYNC Bye Bye Bye
SUGAR RAY Someday DESTINY'S CHILD Jumpin' Jumpin' ALANIS MORISSETTE You Oughta Know LOU BEGA Mambo 0.5(A Little Bit Of...)
4pm
JESSICA SIMPSON I Think I'm In Love With You DESTINY'S CHILD Jumpin' Jumpin' TONIC If You Could Only See
FASTBALL Out Of My Head
BBMAK Back Here
CHRISTINA AGUILERA Come On Over Baby... SAMANTHA MUMBA Golta Tell You
BACKSTREET BOYS Shape Of My Heart FAITH HILL This Kiss CREED With Arms Wide Open BRYAN ADAMS Summer Of '69 TLC Waterfalls
MARIAN CAREYBOYZII MEN One Sweet Day
8pm
MADONNA Music DIDO Here With Me
98 DEGREES Give Me Just One Night ... DESTINY'S CHILD Jumpin' Jumpin' 'N SYNC Bye Bye Bye MYA Case Of The Ex (Whatcha...) BARENAKED LADIES Pinch Me DAVE MATTHEWS BAND Crush BILLY IDOL Mony Mony MARC ANTHONY / Need To Know BACKSTREET BOYS As Long As You Love Me FAITH HILL The Way You Love Me
EVAN AND JARON Crazy For This Girl GINA G Ooh Aah, Just A Little Bit... NO DOUBT Don't Speak
Monitored airplay data supplied by Mediabase Research, a division of Premiere Radio Networks. Tuned -In is based on sample hours taken from Monday 10/30.02000, MR Inc.
www.americanradiohistory.com
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66 R&R Novemoer 10, 2000 CHR/Rhythmic
rfTik: CAM;
Hip Hop Top 20 November 10, 2000
r' TOTALPLAYS 1 LW 1W ARTMT TITLE LABELIS 1W LW
1 Q J. RULE FIC. MILAN Between... (Murder Inset Jam4WMG) 6453 6207
IOTA_ STATIONS/ ADDS
142/0
2 2 MYSTIKAL Shake Ya Ass (Jive) 5181 5689 141/0
3 0 NELLY E.I. (Fo' Reel/Universal) 5008 4847 137/0
J 0 LUDACRIS What's Your Fantasy (Def Jam South/IDJMG) 4714 4467 141/2
5 0 WYCLEF JEAN F/ MARY J. BUGE 911 (Ruf house/CJolumbia) 3618 3482 113/2
9 0 JAY -2 ! Just Wanna Love U... (Roc- A- Fella/IDJMG) 3486 2436137/113
10 a OUTKAST Ms. Jackson (LaFace/Arista) 3482 2198 133/9
7 0 BEENIE MAN F/MYA Girls Dem Sugar (Virgin) 2971 2956 131/3
6 9 LIL BOW WOW Bounce With Me (So So Def /Columbia) 2692 3128 115/0
8 m LIL' KIM F/SISOO ...Licks (Queen Bee/Undeas/Atlantic) 2513 2454 116/0
15 m EMINEM Stan (Aftermath/Interscope) 1967 1634 111/42
11 12 SHYNE F/BARRINGTON LEVY Bad Boyz (Bad Boy /Arista) 1874 2095 103/1
13 13 NELLY Country Grammar (Fo' Reel/Universal) 1719 1783 106/0
14 14 DR. ORE The Next Episode (AftermatiOnterscope) 1528 1670 98/0
12 15 C- MURDER Down For My N's (Tru/No Limit/Priority) 1450 1814 88/2
18 16 SHADE SHEIST Where I Wanna Be (BabyRee/London Sire) 1402 1403 101/1
16 17 COMMON The Light (MCA) 1294 1546 106/1
20 m MACK 10 F/T -BOZ Tight To Def (Hoo Bangin7Priority) 1210 1149 106/0
1; ,9 CAM'RON What Means The World To You (Epic) 1096 1432 74/0
- 20 U. COOL J FADiLY PRICE You And Me (Def Jam/IDJMG) 1019 1063 98/0
71 CHR/Rhythmic and 83 Urban reporters combine into a custom chart. Hip Hop titles are ranked by total plays for the airplay week of Sunday 10/29-Saturday 11/4. For complete reporter lists refer to CHR/Rhythmic and Urban sections. U 2000. R8R Inc.
New & Active
AVANT My First Love (Magic Johnson /MCA Total Plays 388 Total Stations: 24. Adds: 19
E-40 MATE DOGG Nah. Nah... (Sick Wid' It/Jive) Total Plays: 374. Total Stations: 10. Adds: 0
DOGGY'S ANGELS Baby If.. (Doggy Style/IVT) Total Plays: 330, Total Stations 34. Adds: 4
FUNKMASTER FLEX F/DMX Do You ILoudl Total Piays' 321. Total Stations. 24 Adds: 6
YOLANDA ADAMS Open My Heart (Elektra/EEG) Total Plays. 311. Total Stations: 16, Adds: 1
OUTKAST B.O.B. (LaFace/Arista) Total Plays. 252, Total Stations. 10, Adds: 0
B.G. I Know (Cash Money /Universal) Total Plays: 245, Total Stations: 22. Adds: 0
BRITNEY SPEARS Stronger (Jive) Total Plays: 232. Total Stations: 16. Adds: 3
TONI BRAXTON Spanish Guitar (LaFace/Arista) Total Plays: 208. Total Stations: 20. Adds: 15
UL BOW WOW Bow Wow... (So So Def /Columbia) Total Plays: 202. Total Stations: 29. Adds: 20
VITAMIN C The Itch (Elektra /EEG) Total Plays: 200. Total Stations: 12. Adds: 1
CASH MONEY... Project Chick (Cash Money Universal) Total Plays: 194. Total Stations: 9. Adds: 6
OUTSIDERZ 4 LIFE Not Enough (BlackGroundNirgin) Total Plays 173. Total Stations: 26. Adds: 3
BABYFACE Reason For Breathing (Arista /Epic) Total Plays: 166. Total Stations: 20, Adds 2
WU -TANG CLAN Protect Ya Neck... (Loud /Columbia) Total Plays: 136. Total Stations: 7. Adds 0
LOUCHE LOU I MIME ONE 10 Out Of 10 (Interscope) Total Plays: 136. Total Stations: 6, Adds: 1
98 DEGREES My Everything (Universal) Total Plays 117. Total Stations: 32, Adds 29
SADE By Your Side (Epic) Total Plays 112. Total Stations 11, Adds O
DAVE HOIUSTER One Woman... (Det Squad- DreamWorksi Total Plays 9: Total Stations 15, Adds
SUNDAY I Know (Better Place/Capitol) Total Plays: 28. Total Stations: 12. Adds: 8
Songs ranked by total plays
KKSS/Albuquerque. NM ' PO Tom 11871o
KYLZ/Albuquerque. NM Po Robe Noyal,
KPRF/Amarillo, TX PO MO EricMrtbaeM
KFAT /Anchorage, AK OM Marl Carlson PD Steve Konrghler APO MD Masan Nugent
WZBZ/Atlantic City. NJ PD Ted Noah
KDBT /AIrsfn, TX PD. Scema B Sewell
APO: Merk McCray
KISVBakerslield, CA Po Bob Leven
APD MD Paulo
WEROBaNimore, MD PO Dia Sommers APO. Nme At AWN MO Daran Own
WBHJ,/Birmingham. AL PD Mickey Johnson APO MO Mary Kay
WJMN/Boston. MA Station Mgr. Cadillac Jae APO Oennrs 0 Heron MO Monelle Waltman
WSSP/tharleston. SC PO dell Reynolds
WBBM- FM/CMSago, IL PO Todd CSn0001l
MO Ene Bradley
KBTE/Corpus Christi, TX PD Jason Hillery M0: Derek Lee
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ItZFINCoopee CAAeK, TX PO: H asma
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KOKS/Demer- Boulder, CO PD Cal Collina MD. Jaen E. Kaye
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KPRRIB Pam, TX MAIM VIM Wm M My-I -Jwr
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KSEO/Fresno, CA PO. Tommy Del Rio
M0. Je Jo Lime:
CHR/Rhythmic Reporters Stations and their adds listed alphabetically by market
WJMH/Greensboro. NC 0M P0. Brian Dallas APO: Kendall B
NO Boogie 0
KIKI/Honolulu. HI PO. Frednoo MO Pablo 5ato
KXME/Honolulu. HI Po Jamie Nyatl
MO Ryan Kaw.meo
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I010{4IS rLMAMaraa, TX PO: RM aesrW MR: Mime Melt
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WINNMndfanapolis, IN PO: Seen Wheeler VID: Carl Frye
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WOBT /Jachtoll. MS PO Stan Steele MO. Brace The Moose
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WXIS /Johnson City. TN PD Blade Michaels MD' Todd Ambrose
KLUC/Las Vegas, NV PO. Cr Thomas APO' Mae Spencer MO JO tong
KHTE/Little Rodi, AR enroll Lang LeBlaec MD' Pena Oae0
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KPWR/Los Angeles, CA VPJPreg: Jimmy Steal APO- Damia Young M0 E-Men
KLZKAubbock, TX PO Tom Manero MO. Julio James
KXHTRMemphis. TN ' Po lee Cagle Me Denn Sleet
KIRNMreN, CA PO: Mee RaBMM UMW Om aRlr b JM.2 -JW'
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KDON/Monterey-Salinas, CA PD Cory Menali APDMD Dennis Martinez
WJWZì 4ontgomery. AL POMO O Rock
WKTU/New York, NY wrap.: Moto. Wee MO: Memo
04.7 MT.
WOHTMew York. NY ' Pa' Tract Cloherly MD Son Tent'
WNVVJNodolk. VA PO' Don London
MD Jay West
KBAT/DdessaMidland. TX Po Leo Caro
MD: DJ Slow Motion
TOO. SRAM 0dr Ssa M DEGREES 'Ewrr1.-,
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KKUU/Palm Springs. CA PC Pattie Moony MO Noise
KKFRPhoenix. AZ PD Once SI Jame, APDiMD. Cloche Note
'CUM/Portland, OR PO: Mae Mans MO: hem Bay O.
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WWKXProvidence. RI PO Jerry McKenna MD Bradley Ryan
KV/NZ/Reno. NV PO: Bill Schulz
KGGIALiverside. CA PO: Jeme Doran MO: CM
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KUBEISeaI e- Taeorrla. WA OM Mello NM PD. Inc Power 1110: JNM PYM 1R JAY Z 31.141*
PROMS W KSYRBheeepott, LA PD Howard Clara MD. Gram Deaver
9e DiJALLS 'l Wret2r;. PRmLt 1.wr JA MAT FC SKIM Omen'
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WLLD/Tampa. FL PD: orlaar
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WOWZNtica-Rome. NY Po MO J P. Marks
WPGCAVasLlingrorl, DC PO : Jay Stevens MO: Thea Mitchell
KDGS/Wichita. KS' PO Greg Williams MO Jo Jo Collins
* = Mediabase 24/7 monitored
71 Total Reporters 71 Current Reporters 70 Current Playlists
Did Not Report, Playlist Frozen (1): KBBTJSAn Mario, TX
www.americanradiohistory.com
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68 CNIf/Ahythmic Nn..e...wn. fn aLU November 10, 2000
DR. ORE The Next Episode (Aftermath /Interscope)
RUFF ENDZ No More (Epic)
SISDO Incomplete (Dragon /Def Soul /IDJMG)
DESTINY'S CHILD Jumpin' Jumpin' (Columbia)
JOE I Wanna Know (Jive)
JAY -Z Big Pimpin' (Roc- A- Fella/IDJMG)
AALIYAH Try Again (BlackGroundNirgin)
JAGGED EDGE Let's Get Married (So So Def /Columbia)
JANET Doesn't Really Matter (Def Soul /IDJMG)
DMX Party Up (Up In Here) (Ruff Ryders / IDJMG)
SISQO Thong Song (Dragon /Def Soul/IDJMG)
NEXT Wifey (Arista)
PINK There You Go (LaFace /Arista)
JUVENILE Back That Thang Up (Cash Money /Universal)
TONI BRAXTON He Wasn't Man Enough (LaFace /Arista)
DESTINY'S CHILD Say My Name (Columbia)
'N SYNC It's Gonna Be Me (Jive)
EMINEM The Way I Am (Aftermath /lnterscope)
BLAGUE Bring It All To Me (Track Masters /Columbia)
DR. DRE F/EMINEM Forgot About Dre (Aftermath /lnterscope)
CHR/RHYTHMIC Going For Adds 11 /i*vo
CASH MONEY MILLIONAIRES Project Chicks (Cash Money /Universal) CUBAN LINK Still Telling Lies (Terror Squad /Atlantic) DE LA SOUL f /CHAKA KHAN All Good (Tommy Boy) SHYNE That's Gangsta (Bad Boy /Arista)
H
Slammin' HITS Superstar Interviews
Top Air Talent
The most entertaining 3 -hour airshift in the format!
MAINSTREAM version coming early 2001!
PPS/ 800.572.4624
R&R/MEDIABASE 24/7
KUBE/5ealtle
Sam
DESTINY'S CHILD Jumpin' Jumpin' NEXT Wiley EMINEM The Real Slim Shady WYCLEF JEAN MARY J. AWE 911 LIL' KIM I/SISQO How Many Licks MONTELL JORDAN Get It On... Tonite LUDACRIS What's Your Fantasy 3LW No More (Baby l'ma Do Right) NELLY Country Grammar T.W.D. Y. Players Holiday LL COOL J MELLY PRICE You And Me WHODINI Freaks Come Out At Night SHAGGY It Wasn't Me
11am
DRU HILL How Deep Is Your Love SHADE SHIEST Where I Wanna Be DESTINY'S CHILD Independent Women Part 1
JUVENILE Bask That Thang Up SHAGGYIt Wasn't Me NEXT Wiley PINK There You Go SLIMM CUTTA-CALHOUN It's OK DESTINY'S CHILD Jumpin' Jumpin' HAMMER Adam's Groove RUFF ENDZ No More LIL' KIM I/SISOO How Many Licks SOUL II SOUL Back To Life
4pm
SHAGGYIt Wasn't Me SLIMMCUTTA- CALHOUNIt's OK AALIYAH Try Again JA RULE f/C. MILIAN Between Me And You OUTKAST Ms. Jackson DESTINY'S CHILD Independent Women Part 1
JAY- Z/JA/AMIL Can I Get A... LIL BOW WOW Bounce With Me MYA Case Of The Ex (Whatcha...) DR. ORE I/EMINEM Forgot About Dre OUTKASTB.O.B. BLACK EYED PEAS Weekends NELLY Ride With Me PINK Most Girls
KOHT/Tucson
Jam
SHADE SHIEST Where I Wanna Be
K -CI & JOJO Crazy SITYNE IAA. LEVY Bad Boyz LL COOL J I/K. PRICE You And Me SAMANTHA MUMBA Gotta Tell You KEITH SWEAT Twisted CUBAN LINK Still Telling Lies MYSTIKAL Shake Ya Ass EMINEM Stan MYA Case Of The Ex (Whatcha...) LIL' KIM 1/SISQO How Many Licks DESTINY'S CHILD Say My Name SWV Can We
OUTKAST Ms. Jackson
11am
LL COOL J IAr. PRICE You And Me 2 PAC I /JODECI How Do U Want It SHADE SHIEST Where I Wanna Be R. KELLYI Wish BIG PUN I /JOEStill NotA Player NELLY Country Grammar K-CI Ç JOJO Crazy NEXT Wiley MYSTIKAL Shake Ya Ass EMINEM Stan ENRIQUE IGLESIAS Be With You JA RULE I/C. MILIAN Between Me And You 3LW No More (Baby l'ma Do Right)
4pm
JUVENILE Back That Thang Up PUBLIC ANNOUNCEMENTMamacita KURUPT Who Ride Wit Us R. KELLYI Wish MELLYE.I. NOTORIOUS B.I. G. Big Poppa SHAGGYIt Wasn't Me EMINEM Stan GINUWINE So Anxious JA RULEI/C. MILIAN Between Me And You
Monitored airplay data supplied by Mediabase Research, a division of Premiere Radio Networks. Tuned -In is based on sample hours taken from Monday 10/30. ©2000, R&R Inc
www.americanradiohistory.com
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Urban
The Inlemet Two Urban Business Perspectives
Two 'Net- company CEOs talk about ad sales, streaming audio
T .
his week we'll be taking a look at two Urban -related Internet businesses and the services they offer. We've all seen the fever pitch of interest in the Internet and related _ businesses. With that in mind, I recently spoke with Spotset.net founder and CEO Howard
Robertson and BroadcastUrban.com CEO Jesse Wineberry.
Spotset.net is a product of Mem- phis -based Trust Marketing & Communications. The Spotset.net website features a proprietary pro- gram that can almost instantly cre- ate customized radio advertising networks of stations all over the U.S. from an extensive database. Through the Spotnet system, adver- tisers can plan. place. bill 'and pay for radio ads anywhere in America. The company, which launched last month, calls itself the "time- saving time- buying network."
CEO Robertson has more than 25 years of experience in broadcast ad- vertising, marketing and public re- lations. He tells me, "Buying radio advertising in multiple markets is usually an inefficient, time- consum- ing ordeal for media buyers. It is a
process that has not changed signif- icantly in the past 30 years.
" Spotset.net has created synergy between the speed. reach and con- venience of the Internet and our ability to provide relationships, in- teraction and personal attention to provide faster, more efficient and more pleasant service to media buy- ers everywhere.
" Spotset.net is a new business - to- business website that is used by advertisers, ad agencies and media buyers. It is for anybody who has responsibility for buying radio ad- vertising and who deals with mul- tiple markets around the country."
Advising The Buyer
Robertson gives an example: "Buying multiple -market radio is a
Howard Robertson
Jesse Wirwb ny
pain at best. Here's a quick scenar- io: An advertiser calls its agency and tells the agency it needs to buy 30 different markets -We want to be on the Country. Urban. AC and News/Talk stations in all these markets. That's four times 30, or up to 120 contacts or stations.
The media buyer must under- take to get information, rates and research on all those stations - and to get programming information for the client to know which stations even fit its format criteria. As you can see, that's a lot of contacts, and to put together a buy of that nature, a buy that extensive, is going to take well over a week to accom- plish.
With Spotset.net, all the buyer needs to do is log onto the site and input the specific client require- ments with the markets, formats and demographics the client is in- terested in and to submit the infor- mation to us. In about an hour the buyer will get two things back: a
fax or an e -mail and a call from one of our market specialists.
"BroadcastUrban.com prides itself on a singular
mission, and that is to enable radio stations to
compete in the future." ¡Jesse Wineberry
The fax or e-mail will include a 'network list' of stations fitting the' media buyer's criteria. The call from the market specialist helps the buyer look even more closely at the information. The specialists know the markets and the effectiveness of the stations in the markets and can advise the buyer.
"After that the buyer gets a sec- ond e-mail or fax and a phone call, this time including a bottom -line network rate. which is a cumulative rate for one spot on each of the sta- tions identified. Once that's ap- proved. Spotset.net places the buy - and it's still fully commission - able to the agency, so the agency will not have lost any dollars to its bottom line."
Robertson continues, "I would like to extend an open invitation to Urban radio stations particularly. We have all different types of for- mats in our database, obviously. but I came out of what is now called Urban radio when it was still known as Black radio. I understand and have a particular sensitivity to the format and know that Urban sta- tions are underrepresented in buy- er consideration. We want to make sure that our database includes as
many different formats with Afri- can- American appeal as are out there. We want to make sure their information is submitted to all buy- ers serviced by Spotset.net."
Robertson can be reached at 901- 521 -1300, by fax at 901 -521 -0901, or by e-mail at howurd @rrusrmkt. corn.
Urban Streaming Providei
Jesse Wineberry of Washington. DC -based BroadcastUrban.com ex- plains exactly what services BroadcastUrban.com offers: "We're in partnership with Broadcast America.com in providing the tech- nology and infrastructure for radio stations to stream their programs live on the Internet."
How many stations is Broadcast Urban.com now serving? "We're
"I know that Urban stations are underrepresented in
buyer consideration. We want to make sure that our
database includes as many different formats with African- American appeal as are out there."
Howard Robertson
1
nearing the 125- station mark: the exact count as of today is 123 sta- tions for BroadcastUrban.com," Wineberry says. "Our partner. BroadcastAmerica.com. has 600 radio stations, so together we are the largest Internet broadcasters in the world, surpassing even Yahoo! Broadcast."
What should R &R readers know about what BroadcastUrban does? Wineberry replies. "Our company prides itself on a singular mission, and that is to enable radio stations to compete in the future. Certainly, they will have a lot of competition for their audiences. I think the best - known competitors will be the sat- ellite radio companies, XM Satel- lite Radio and Sirius. They'll be competing for a large share of the current radio -listening audience with their satellite transmissions to listeners in their cars.
"The Internet, however, is put- ting local radio stations in a posi- tion to be on the same dashboard with satellite programming - thanks. in part. to Motorola's up- coming iRadio product. The sta- tions that take the step of being streamed on the Internet will be the stations that will be available to lis- teners all over the country and able. as a result of that, to grow their au- diences.
"Internet streaming also helps radio stations in another way. Most radio stations are concerned with local audience and local advertising and not so much with what's out- side of their local reach. For exam- ple, if a radio station is located in Los Angeles, it's not concerned about being heard in Houston. Its concern is Los Angeles listening and Los Angeles advertising dol- lars.
"The Internet has helped with that by increasing listening in lo- cal markets. When listeners leave their cars after morning drive, sometimes local FM signals are not available in their office build- ings, and that's usually when lis- tenership declines. The Internet makes stations that stream audio available in the office for listeners during the workday, and we're see- ing listenership going up. Arbitron is reporting skyrocketing listener - ship during the 9am -5pm daypart, which has never been experienced before. So the Internet actually helps radio stations compete better locally, as well as nationally and, ultimately, globally."
So if iRadio and similar technol-
ogies will be available in the Unit- ed States, what about the rest of the
world? Wineberry notes. "iRadio is
not just going into cars domestical- ly. It will be going into cars in Can- ada, Europe, the Pacific Rim and
other parts of the world. So those stations will not only have their lo-
cal audiences, they'll have a world- wide audience."
An Urban Superportal
What other services. does BroadcastUrban.com provide? "We've taken it a step beyond just streaming programming, partly at
the request of many of our cli- ents," Wineberry says. "We have
now moved to form an Urban 'su- perportal' to bring all of our cli- ents together. When the average music lover is surfing the 'Net. trying to find urban music, rather than having to decide which way to go, he or she can decide to go
to a single destination. That will be BroadcastUrban.com, where he
or she can listen to hundreds of ra-
dio stations from all over the world.
"Another thing we are doing is
enabling the stations in the portal to make money. It's one thing to
build an audience, but its another thing to monetize that audience - in other words, to create some re%-
enue or monetary value for adver-
tisers. We're doing that by develop- ing targeted ad- insertion technolo- gy that will enable a radio station to play one spot on the air targeted to the local audience and play an-
other spot on its Internet audio pro- gramming at the same time. There
will be different messages for the
different audiences listening local- ly, domestically and international- ly
If you would like to know more
about BroadcastUrban.com, please
give Wineberry a call at 202 -625- 4885.
As you can see, technology is on
the move, and it behooves all of us
to know, understand and be ready
to use it to help us continue in our quest for excellence and success.
TALK BACK TO R &R!
Do you have questions, comments
or feedback regarding this column
or other issues?
Call me at 310 -788 -1667 or e-mail:
babylove®rronline.com
www.americanradiohistory.com
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CNR /POP ROCK /ALTERNATIVE adio Station KIIS/L.A. Station KROQ/L.A.
D Dan Kle ley / KIIS/L.A. PD Kevin Weatherly / KROQ/L.A.
PD/MD Michael Steele / KIIS/L.A. APD/MD Lisa Worden / KROQ/L.A.
it Personality Rick Dees / KIIS/L.A. Air Personality Opie & Anthony / WNEW/N.Y.
abel Jive Label Universal
abel Promo Chris Lopes / IMerscops Label Promo Jim Del Balzo / Columbia
larketing Director Sammy Simpson / WHTZ/N.Y. Marketing Director Jennifer Nech / WNNX/Atlanta
[URBAN CNR /RHYTHMIC rRadio Station KPRS/Kansas City Station KPWR/L.A.
PD Elroy Smith / WGCl/Chicago PD Jimmy Steal / KPWR/L.A.
PD/MD Jay Alan / WGCI /Chicago APD/MD Damion Young / KPWR/L.A
it Personality Tom Joyner / ABC Radio Air Personality Big Boy / KPWR/L.A.
abel IDJMG Label IDJMG
abel Promo Johnnie Walker / IDJMG Label Promo Lisa Ellis /Columbia
arketing Director Angela Fleming / WGCl/Chciago Marketing Director Diana Obermeyer / KPWR/L.A.
OUNTRY HOT AC
lo Stan KNIX/Phoenix Station KYSR/L.A.
D Mike Kennedy / KBEQ/K.C. PD Angela Perelli / KYSR/L.A.
APD/MD Cody Alan / KPLX/Dallas APD/MD Chris Patyk / KYSR/L.A.
Air Personality Randy Miller / KBEQ/K.C. Air Personality Jeff & Jer / KFMB/San Diego
Label MCA Label Columbia
abel Promo Mike Wilson / RCA Label Promo Pete Cosenza / Columbia
arketing Director Vicki Fioreili / KNIX/Phoenix Marketing Director Robert Lyles / KYSR/L.A.
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76 Rail November 10, 2000 Urban Action
ARTIST BREAKDOWNS
ARTIST: PATTI LABELLE ALBU'.' WHEN A
WOMAN LOVES MCA
I am lucky that I'm able to open Walt's mail. He received Patti LaBelle's new album. When a Woman Loves, and he didn't know it! I took it upon myself to "check it for scratches."
so that I could save him the trouble of request-
ing another copy. (Reminder. Return his CD to him before he reads this Breakdown.)
"My favorite song is 'Tell Me Where It
Huns. "' I told my "mama." the exceptionally talented songstress Pani LaBelle. 'That's mine
too." she replied. While touring the R &R of- fices. this very personable and gentle -spirited lady met with most of the Wednesday staff.
posed for numerous photos ( Hey, it's the Patti
LaBelle! Everybody and their mama wanted a
pic!) and signed Music Meeting Director/Ur- ban Music Marketing Herb Jones' cookbook. When MCA's Ken James told me he was go-
ing to bring Patti by the R &R offices, I re-
plied, "OK. what time`?' but I have to admit that I felt nervous, excited and somewhat in- ferior.
After she greeted me, Miss Patti com- plimented me on my eyebrows, which I told her took a steady hand. While she refreshed
her lipstick. she told me how she looked in the
morning. I replied that, without my eyebrows, I look like Ronnie DeVoe. Exciting, appeas-
ing and rewarding is the best way to describe
Miss Patti's visit. Passionate. emotionally ful- filling and eye -opening is the best way to de-
scribe When a Woman Loves.
For whatever reason. the powers that be
chose "Call Me Gone" as the way to present
this dynamic woman. However, if it was up to
me. after a toss of the coin (because it isn't an
easy job to choose just one good song from this joint). I would've gone with one of the
following: "When.a Woman Loves," "Make Tonight Beautiful," "Why Do We Hurt Each
Other. Tell Me Where It Hurts" or "I'll Still Love You More."
I'm not saying that the debut single isn't a
good song, but damn! For someone who has a
romantic heart (yes. I'm talking about me), lis-
tening to this CD is like being a kid in a candy store. With so many romantically appetizing
choices. I found myself with the candles lit. the CD player programmed to repeat and a
straw in the merlot bottle. Ms. "I've got a new attitude" shows it in
the straightforward "Call Me Gone." In this
single she has had enough of the drama. so
she makes her exit while telling dude to "watch me from the back." A la R. Kelly's "When a
Woman's Fed Up," the title track schools men
on the complicated yet potentially overwhelm-
ingly rewarding components of a woman's
heart. (OK, I may have embellished a hit on
that description.) Miss Patti goes rhythmic on 'Too Many
Teats, Too Many Times" and 'Time Will." and
she sets the romantic scene in "Make Tonight Beautiful." Like water and oil, love and pain
don't mix, and "Why Do We Hun Each Other' focuses on that fact. The remedy for "Tell Me Where It Hurts" is a hefty dose of love. And the emotional contents of Miss Patti's heart
can't be matched in "I'll Still Love You More." When a Woman Loves is yet another Patti
LaBelle hit. It is filled with rich melodies, soul-
stirring performances. touching lyrics and full - bodied harmonies. Can this woman record any
wrong record? With her remarkable vocals and
passionately involving performances.. LaBelle
could sing 'The Little Engine That Could" and
move you to tears.
This column fc dedicated w the uremory
of my Grandma Myrt. Rest in peace.
- Tanya O'Quinn Asst. Urban Editor
Usher "Pop Ya Collar" LaFace /Arista
With Al Jai Wallace
President - National Black i
Programmer Coalition
Supastar! Supastar! Go ahead, Usher. Usher is on the right tip. He is hot stuff.
I can't wait until the album comes out, because I know it will be packed with hits.
He deserves it, because he has been true to his music and his style. His legion of
followers is going to love this brand -new effort. I promise you, this is a hit! "Pop
Yo Collar" is o smash!
If you offended Usher's presentation at the Arista Music Consortium in the
Daufuskie Islands, you had the opportunity to preview some great music. If you
didn't attend, you missed out on some good listening. Arista hos a musical
weapon in this young man.
ADOVANCE NOTICE Giving you loir warning: These are the singles that are going for adds on
Tuesday (11/14).
GENOVESE My Life (Universal)
KOFFEE BROWN After Party (Arista)
QB'S FINEST Da Bridge 2001 (Columbia)
SHAGGY It Wasn't Me (MCA)
SHYNE That's Gangsto (Bad Boy /Arista)
BEANIE SIGEL In The Club (Roc -A -Fella /IDJMG)
SO PLUSH Things I Heard Before (Darkchild /Epic)
TANK Maybe I Deserve (BlackGround)
TRICK DADDY /SOCIETY Amerika (Slip 'N' Slide /Atlantic)
CHARLIE WILSON Big Pimpin' (Interscope)
Quality... Custom Production - Callouts & Montages
All Formats & Internation - !..Titles
Feat tiring: GaidDiecs and HUNK%!
H&KS U N L I M I T E D
The World's Premier Music Hook Service
Email: [email protected] [email protected]
www.hooks.com FAX: (573)443 -4016
200 Old 63 South. #103
Columbia, MO 65201 -6081
For The Best Auditorium Test Hook Tapes
Bernie Grice (573)443-4155
(
www.americanradiohistory.com
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www.americanradiohistory.com
78
Urban ® November 10, 2000
B.G. I Know (Cash Money/Universal) Total Plays. 606 total Stations. 43. Adds. 1
DE LA SOUL F/CHAKA KHAN All Good (Tommy Boy) Total Plays: 605. Total Stations 46 Adds 3
LIL BOW WOW Bow Wow... (So So Del /Columbia) Total Plays 589, Total Stations 64. Adds 6
PRU Candles (Capitol) Total Plays. 586 Total Stations. 39, Adds 0
TAMIA Stranger In My House (Elektra/EEG) Total Plays: 563 Total Stations 54. Adds 3
GERALD LEVERT Dream With No Love (Motown) Total Plays: 557 Total Stations 42. Adds 0
TONI ESTES Stupid (Nothing I Believe) (Priority) bra: Plays: 553, Total Stations 58 Adds 6
K -CI I JOJO Crazy (MCA) "ca Puys: 519, Total Stations 39. Adds 1
RUFF ENDZ Where Does Love Go From Here (Epic) Total Plays 515. Total Stations 53. Adds. 1
SAMMIE Cant Let Go (Freeworld/Capitol) Iota' Plays. 511, Total Stations 37 Adds 2
GROOVE THEORY 4shure (Columbia) Tora. Pays. 495, Total Stations 41. Adds 1
SUNDAY I Know (Better Place/Capitol) Total Plays. 486. Total Stations. 42. Adds: 1
BABYFACE Reason For Breathing (Arista/Epic) Total Plays. 464. Taal Stations 55. Adds. 5
SYGNATURE The Rain (Columbia) Total Plays. 447. Total Stations. 46, Adds 0
WUTANG CLAN Protect Ya Neck... (Loud/Columbia) Total Plays. 444. Total Stations. 45. Adds 2
SHADE SIBST Where I Wama Be (Baby Reelondon Sire) Total Plays: 411. Total Stations: 37. Adds 0
MR. C THE SLIDE MAN Cha -Cha Slide (Universal) row PINS: 387. Total Stations: 14. Adds 0
BILAL Soul Sista (Moyo/Interscope) Taal Plays 386, Taal Stations: 35. Adds 1
EMINEM Stan (Altermath/Interscope) Toni Pia;s. 356. Total Stations 43 Adds. 41
LIMP BIZKIT Rollin (Flip/Interscope) Total Plays 337 Total Stations. 27. Adds 0
PHILLY'S MOST WANTED Cross The Border (Atlantic) Total Plays. 329 Taal Stations: 28. Adds 2
Soaks ranked by total plays
. - i - i a: T ..- tri F. , - . .-.-, r .. .... . .., -
YOLANDA ADAMS Open My Heart (Elekha EEG)
SISOO Incomplete (Dragon/DefSouUlalAlG)
JAGGED EDGE Let's Get Married (So So DebColumbia)
RUFF ENDZ No More (Epic)
NEXT Wifey (Arista)
JOE Treat Her Like A Lady (Jive)
AVANT Separated (Magic Johnson /MCA)
NELLY Country Grammar... (FO' Reel / Universal)
DONELL JONES Where I Wanna Be (Untouchables/LaFace /Arista)
IDEAL Whatever (NoontimeNirgin)
AALIYAH Try Again (BlackGroundNirgin)
JOE I Wanna Know (Jive)
CARL THOMAS I Wish (Bad Boy /Arista)
DMX Party Up (Up In Here) (Ruff Ryders/IDJMG)
DA BRAT F/TYRESE What'chu Like (So So Del /Columbia)
SISOO Thong Song (Dragon /Del Soul /IDJMG)
LUCY PEARL Dance Tonight (Overbrook/Pookie /Beyond)
TONI BRAXTON He Wasn't Man Enough (LaFace /Arista)
DONELL JONES U Know What's Up (Untouchables /LaFace /Arista)
JUVENILE Back That Thang Up (Cash Money /Universal)
-(TUNED-IN RSR/MEDIABASE 24/7
KJMM/Tulsa
3am
TIONNE "T -BOZ" WATKINS My Getaway SADE By Your Side WYCLEF JEAN MARY J. BLIGE 911 TRIN -I -TEE 5:7 Imagine That
SNOOP DOGG Doggy Dogg World B.G. I Know FIELD TRIP Pretty Dress FOXY BROWN UDRU HILL Big Bad Momma MISSY ELLIOTT The Rain (Supa Dupa Fy) 2 PAC Dear Mama SPARKLE Its A Fact BUSTA RHYMES UJANETJACKSON What's It Gonna Be E-40 Sprinkle Me
11am
WYCLEFJEAN MARY J. ELIGE 911 KELLY PRICE You Should've Told Me
SPARKLE It's A Fact
DAVE HOLLISTER One Woman Man IDEAL Whatever BILAL Soul Sista PRU Candles 3LW No More .
YOLANDA ADAMS Open My Heart LAURYN HILL Ex Factor WHRNEY HOUSTON Fine
CHANTS MOORE Straight Up
4pm
OUTKAST Ms Jackson MACK 10 UT -BOZ Tight Ta Oct USHER Pop Ya Collar NO QUESTION If You Really Want To Go OHIO PLAYERS Fire
MONIFAH I Can Tell
DE LA SOUL MUM KHAN All Good CHANTE MOORE Straight Up
BUSTA RHYMES I /JANET What's It Gonna Be
8pm GURU I /ANGIE STONE Keep Ya Worries OUTKAST Ms Jackson 3LW No More (Baby I'm Do Right) BLAME Bring It All To Me MYSTIKAL Shake Ya Ass KANE S ABEL Shake It Like A Dog BRIAN MCKNIGHT Anytime CARL THOMAS Summer Rain SPARKLE Ifs A Fact
WYCLEFJEAN 001ARYJ. BLIGE 911 CAM'RON What Means The World To You
DO OR DIE V.I.P.
LUOACRIS What's Your Fantasy
WTMG/Gainesville
3am GERALD LEVERT Dream With No Love 3LW No More (Baby I'm Do Right) FLOATERS Float On METHRONE Loving Each Other 4 Life JAHEIM Could It Be
DRAMATICS (I'm Going By) The Star... R. KELLY I Wish RANDY CRAWFORD Imagine CHICO DEBARGE Player Hater OLETA ADAMS Rhythm Of Life JAGGED EDGE Promise TEDDY PENDERGRASS Turn Off The Lights RUFF ENDZ Where Does Love Go...
K -CI & JOJO Crazy
11am CHERRELLE I /A. O'NEAL Saturday Love GEORGE BENSON Inside Love... CAMEO Word Up MIDNIGHT STAR Midas Touch MUSIO Just Friends SHAGGY It Wasn't Me BILL SUMMERS... Call It What You Want SHANNON Let The Must Play MICHAEL JACKSONThrider OMX I/SISDO What You Want JAGGED EDGE Let's Get Married SISOO Incomplete KEITH SWEAT !7l Give All My Love... ERYKAH MOU Bag Lady
4pm DESTINY'S CHILD Independent Women Part 1
JAGGED EDGE Let's Get Married 2PAC Thug Nature MYA I/JADAKISS Best Ol Me CHANGING FACES That Other Woman SHADE SHEIST MYATE DOGG Where I Wanna Be
SHAGGY If Wasn't Me PRINCE Lets Work Lit ' BOW WOW Bow Wow (That's My Name) JOY ENRIQUEZ Tell Me How You Feel
ERYKAH BADU Bag Lady TONI ESTES Stupid (Nothing I Believe)
8pm MARY MARY Shackles (Praise You)
B.G. Sling Sling BEENIE MAN IyMYA Girls Dem Sugar SLIMM CUTTA- CALHOUN It's OK
JAGGED EDGE Let's Get Married SHADE SHEIST MYATE DOGG Where I Wanna Be
SHAGGY It Wasn't Me 0-TIP Lets Ride JAY -Z Do It Again LIL' BOW WOW Bow Wow (That's My Name) TRICK DADDY Nann N"'a JOY ENRIQUEZ Tell Me How You Feel CUBAN LINK Still Telling Lies
Monitored airplay data supplied by Mediabase Research. a division of Premiere Radio Networks. Tuned -In is based on sample hours taken from Monday 10/30. m 2000, FAR Inc.
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80 RaR November 10, 2000 Reporters Station and their adds listed alphabetically by market
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Urban AC Playlists FIND COMPLETE PLAYLISTS FOR ALL URBAN AC REPORTERS ON RAR ONLINE MUSIC TRACKING
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Urhan AC Top 30 ® November 10, 201010
ARTIST TITLE LABEL(S)
YOLANDA ADAMS Open My Heart ( Elektra/EEG)
CHARLIE WILSON Without You (Major Hits)
JILL SCOTT Gettin' In The Way (Hidden Beach/Epic)
AVANT My First Love (Magic Johnson /MCA)
SADE By Your Side (Epic)
ERYKAH BAN Bag Lady (Motown)
SISOO Incomplete (Dragon /Del Soul/IDJMG)
KELLY PRICE You Should've Told Me (T- Neck/Def SouI/1DJMG)
TONI BRAXTON Just Be A Man About It (La Face/Arista)
PATTI LABELLE Call Me Gone (MCA)
R. KELLY I Wish (Jive)
CHANGING FACES That Other Woman (Atlantic)
STEPHEN SIMMONDS I Can't Do That (Priority)
WHITNEY HOUSTON Fine (Arista)
GERALD LEVERT Dream With No Love (Motown)
CARL THOMAS Emotional (Bad Boy /Arista)
BEBE WINANS MCKNIGHT & JOE Coming Back Home (Motown)
TEMPTATIONS Selfish Reasons (Motown)
DAVE HOLLISTER One Woman Man (Def Squad/DreamWorks)
PRU Candles (Capitol)
BOYZ II MEN Pass You By (Universal)
BABYFACE Reason For Breathing (Arista/Epic)
WYCLEF JEAN F/MARY J. BLIGE 911 (Ruffhouse/Columbia)
AL JARREAU Just To Be Loved (GRPNMG)
CARL THOMAS Summer Rain (Bad Boy /Arista)
TAMIA Stranger In My House ( Elektra/EEG)
BRIAN MCKNIGHT Win (Motown)
PROFYLE Liar (Motown)
RONNIE LAWS Old Days/Old Ways (HDH)
CHANTE' MOORE Straight Up (Silas/MCA)
TOTAL GROSS WEEKS ON TOTAL STATIONS/
PLAYS PLAYS IMPRESSIONS CHART
(On
826 -33 131712 27 38/0
738 +34 78283 11 40/1
709 +65 88951 12 34/0
627 +73 94928 8 31/0
604 +30 77152 6 40/0
598 +64 100790 13 33/0
593 -15 92466 19 27/0
541 +49 79769 9 33/0
514 -96 85411 21 35/0
456 -28 44868 7 35/0
444 +25 74649 6 28/2
442 +47 62376 6 33/3
373 -7 39007 7 33/2
364 +48 34503 7 27/0
361 +29 38284 4 29/0
356 +47 65136 3 28/2
338 -101 62870 15 24/0
338 -5 33612 10 20/0
337 +47 44809 2 31/1
325 +32 33105 3 25/0
316 -122 54051 17 27/0
295 +198 34158 1 33/4
291 +45 46729 3 17/2
248 -35 20526 13 21/0
215 -87 44956 16 19/0
213 +77 25613 1 29/4
205 +3 20364 2 30/2
193 +10 44149 1 10/1
170 -5 13321 1 16/0
168 +11 34170 1 9/0
ADDS
41 Urban AC reporters. Monitored airplay data supplied by Mediabase Research. a division of Premiere Radio Networks. Songs ranked by total plays for the airplay week of Sunday 10/29 -Saturday 11/4. Bullets appear on songs gaining plays or remaining flat from previous week. If two songs are tied in total plays. the song being played on more stations is placed first. Breaker status is assigned to songs reaching 350 plays or more for the first time. Songs below No. 20 are moved to recurrent after 20 weeks. Gross Impressions
equals Average Quarter Hour Persons times number of plays (times 100). Average Quarter Hour Persons used herein with permission from The Arbitron Company (Copyright 2000, The Arbitren Company). C 2000. R&R Inc.
New *Active KEITH SWEAT FAIL' MO I'll Trade (A Million Bucks) (Elektra/EG) Tou: Plays 167 idalStrbons 20 Ados 1
BOYZ II MEN Thank You In Advance (Universal) Too, Ptrys 156. TOM Sueas 22 Pals 6
TONI BRAXTON Spanish Guitar (LaFace/Aristai Tool Plrys 140 Total SUro s 24 Ws 21
K-CI 8 JOJO Crary (MCA) TO IPys IO4.TOplSUern 17 Ados 0
DONELL JONES This Luv TUntouchablesLaFace/Arista) ToMPMys 102.TmSNWM 12 MOs 0
NIL ST. SOUL Strictly A Vibe Thang (Dome/Select -O -Hits) TO PStys lao TualSWan 1.945 1
WILL DOWNING Tired Melody (Motown) 19141 Wt's 36 IoM SMCns 19 Adds
MIsm Just Friends (Def Soub'IDJMG) vsevIA92. ToulSMOns 4 kids C
DESTINY'S CHILD Independent Women Pt. 1 (Columbia) TMYPtrys 91 ToU SMons 6 Adds
INCOGNITO FIMAYSA Change ( Talkin Loud/Blue Thumb!VMG) ToMMPMfs 67 Told SUlons 10 Ws 5
MONIFAN I Can Tell (Universal) Tool Pt 1, 02 TOWSMOm 6 Ws
JOHNNIE TAYLOR Soul Heaven (Mataco) ks lftys 72 1ob91SUrons 4 AUS .
BRENDA RUSSELL Something About Your Love (Hidden Beach/Epic) iota Pot's 51. hat I W aC t t. Aa9s 2
Songs ranked by total plays
Most Added® ARTIST TITLE _48E S ADDS
TONI BRAXTON Spanish Guitar (LaFace/Arista) 21
WILL DOWNING Tired Melody (Motown) 8
BOYZ II MEN Thank You In Advance (Universal) 6
INCOGNITO FMIAYSA Change ( Tapan LauctBlue Thumb/I/MG) 5
YOLANDA ADAMS Still I Rise (Verity) 5
BABYFACE Reason For Breathing (Arista/Epic) 4
TAMIA Stranger In My House (Elektra/EEG) 4
BRENT JONES 8 T.P. MOBB Good Time (Holy Roller) 4
CHANGING FACES That Other Woman (Atlantic) 3
NO QUESTION It You Really Wanna Go (Ruffnation/WB) 3
Most Increased Plays TOTAL
PL AY
ARTIST "LE .4651..5» INCREASE
BABYFACE Reason For Breathing (Arista/Epic) +198
TAMIA Stranger In My House (Elektra/EEG) +77
AVANT My First Love (Magic Johnson/MCA) +73
JILL SCOTT Gettin' In The Way (Hidden Beach/Epic) +65
ERYKAH BADU Bag Lady (Motown) +64
TONI BRAXTON Spanish Guitar ( LaFace/Arista) +57
BRENDA RUSSELL Something About.. (HiddenBeadvEpic) +57
WILL DOWNING Tired Melody (Motown) +54
INCOGNITO FIMAYSA Change ( Tapan Loud/Blue ThumbNMG) +53
KELLY PRICE You Should've... (T-Neck/Def Soul/IDJMG) +49
Brealrersl WHITNEY HOUSTON
Fine (Arista) TOTAL PLAYS /INCREASE TOTAL STATIONS /ADDS
364/48 27/0
GERALD LEVERT
Dream With No Love (Motown) TOTAL PLAYS/INCREASE TOTAL STATIONS /ADDS
361/29 29/0
CARL THOMAS Emotional (Bad Boy /Arista)
TOTAL PLAYS /INCREASE TOTAL STATIONS /ADDS
356/47 28/2
CHAR'
Q
CHART
CHART
o Most Added is the lotat number of new adds officially reported to RAR
by each reporting station. Songs unreported as adds do not count
toward overall total stations playing a song. Most Increased Plays lists
the songs with the greatest week-lo-week increases in IMP/ mays.
Weighted chart appears on RSA ONLINE MUSIC TRACKING.
[ ._J- Iu_ SOI/C-THVG r30VT
YOVR LOM/C- A Perfect Song For Lovers Going Into The Holiday Season
Most Added Urban AC WMXD WKJS WLXC WDMK KOKY WFLM WGPR WMGL WRBV WHUR WDLT WAGH WDAS KDKO
www.americanradiohistory.com
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www.americanradiohistory.com
86 RAR November 10, 2000 Country
Complementary Formats On A Stream Near You
The Internet can flank your radio station, if used properly
Throughout this special issue of R &R you'll fund just about everything you need to know about - streaming audio on the Internet, including the whys and why nots, along with the hows and the wheres.
But Country is in an odd place when it comes to Internet- related ac-
tivities. Many companies doing busi-
ness on the Internet have placed the
format low on the priority list. I once had a conversation with an
executive from Feed The Monster. the
creator of exquisite websites for radio stations. who told me that, because
Country listeners weren't heavy Inter-
net users, FTM would not be working with Country radio until most stations
in other formats were up and running.
(Editor's note: FTM has effectively shut down and at the moment is not
creating or populating websites for anyone.] The feeling among many companies is that Country fans are not
heavy users of computers or the 'Net.
Jumping The Gun
In fact. there are statistics that in- dicate that any move to the Internet by a Country station is a bit prema- ture. A recent Edison Media Re- search- Arbitron Internet study pre- sented at this year's NAB Radio Show showed the following web behavior among Country Pis:
154E have visited the website of any radio station.
13% have visited the website of
the one station they listen to most. 12% have listened to radio sta-
tions online. 7% have listened to Internet -only
audio online. 20% have listened to Internet au-
dio or watched Internet video.
10% have watched or listened in
the last month. 104E are "very interested" in spe-
cial audio channels offered by their favorite station over the Internet.
Those statistics, which are all on
the low end of the scale when com- pared to other formats, paint a rather bleak picture of current 'Net usage by
Country fans and offer little incentive for Country outlets to do too much on
the Internet.
The key question. of course, is
whether or not that usage will change
in the future. And, if so, what kind of growth can be expected, and when?
Will it be soon, or is it a long -term situation?
To some degree. this could be con- strued as a "chicken or the egg" type of question. Are Country fans by their very nature going to be slow to grav- itate to the Internet, especially when
it comes to fulfilling their musical desires? Would it be possible to ac-
Over 12 million listeners each week
Carried by more than 280 stations in North America
"I wasn't prepared for the immediate, terrific reaction .. " -Bob Bruno. VP /GM, N't fR -AM. New York
-Of the dozens of special reports we air daily. it generates the most positive mail from our listeners."
' ! trims. news Jiro. tor. KNX. I.os Angelo.
freeFdemo Lees talk about how Focus on the Family
us Commentary can boost both your audience and ratings. For your FREE DEMO, call either ABC
FAy Radio Today Entertainment at 212-735-1111 Irnm or Focus on the Family Representative t>RW Paul Batuta at 719 -531 -3309.
"A greavfrat II r that generates
- Rod
response:
ty/ wtJ Aryoeue. YP, sot, wt IJr rt City
'Dr. Dobson has become part of a legacy of 700 (AM) in Detroit." - ,like Ferrer. Station Manager,
WIR -AM. Detroit
celerate their participation by offer ing a unique musical product that their favorite Country station is un-
able to provide them over the air? This leads to my "modest proposal."
The Case For Country Side Channels
The germ of this idea first sprouted
at the R &R convention in June. when
Edison Research President Larry Ras-
h% presented his study tided "Radio's Future - Today's 12 -to -24 -Year- Olds." During his presentation Rosin
made several recommendations to the
radio industry. He advised, ' Co-opt audio on the Internet. There are liter- ally dozens of companies that have
business plans that state. We will be
the radio provider of the Internet.' These firms believe that the Internet
will replace the airwaves as the prin-
cipal source of audio entertainment. What if they are half right? Or even
one -quarter right? Is radio prepared to
take that kind of hit ?" Rosin concluded his presentation by
noting, "It gets down to how radio de-
fines itself. If radio broadcasters are
in the business of providing audio en-
tertainment and information regardless
of the transmission source. they will quickly move to co-opt the world of Internet audio for themselves."
This comment made me think that.
while this strategy may be a bit pre-
mature - especially for Country - it is an idea that should be seriously considered. In fact. I believe that in no format is this more true than Coun- try. I've long felt that Internet and sat-
ellite radio both have the potential to
make a huge impact with those lis- teners who are only partially satisfied with what comes from their favorite Country station.
We all hear from the vocal fringe clamoring for more music from the
'50s. '60s and '70s, as well as more
new music from artists who became
famous in those eras. On the other side of the spectrum are those who might be actively seeking the newest
music from Nashville and music that's not exactly right down the mid- dle of the format.
Fringe largets Today's Country station. in partic-
ular, is ill- suited to satisfy many mu-
BONUS BUCKS
WSIX /Nashville's Gerry House regularly gives away cash to listeners
during his morning show. As a songwriter, however, House recently
collected a briefcase full of money when he sold his song catalog to
Warner Chappell Music. With material recorded by George Strait, Reba
McEntire, Pam Tiflis, LeAnn Rimes, Trace Adkins and others, House's
catalog includes four BMI Million -Air awards, reflecting airplay of more
than one million spins. Pictured are (l -r) attorney Bernard Cahill, Warner
Chappell President Rick Shoemaker, House, Warner Chappell VP /GM
Tim Wipperman, legendary music publisher Al Gallico and Richard
Falklen.
sical needs that aren't right down the
center of the country road. That is why Internet radio is already aiming pro- gramming in that direction, and why satellite radio will target those fring- es with narrowly focused channels.
As proof. the latest Arbitron Web - cast Ratings show Netradio's "'6Os Country" channel ranked No. 16
the top 75 of Aggregate Tuning Hours. with 123.700 ATH. and Netradio's "'70s Country" channel at No. 50,
with 54.800 ATH. Netradio's main- stream "Route I Country" channel ranks 10th. with 179,300 ATH.
These ratings demonstrate that Netradio. among other companies, is
already beginning to fill a niche. Fur-
ther. both XM and Sirius have an-
nounced that they will have channels
dedicated to both classic and tradition- al music in addition to channels fea-
turing new music. And, as if all that
isn't enough. there are more than 9.000 Internet -only radio stations on
the web.
All that said, the question then be-
comes this: Why wait for these out - side-of- your -market audio interlopers to come in and eat the fringes of your audience? Why not create a couple of Internet radio stations that use the
"country authority" brand of your call letters to drive and entice people to your own online outlets offering "fringe" formats? If your radio station is KRNR. "KRNR Classic Country" and New Country KRNR" brands on
the 'Net could shore up your flanks.
Think of it as your parent compa-
ny suddenly acquiring two new sticks
in the market and giving both of them
to you to protect the Country fran- chise. You'd lose sleep thinking about
that, wouldn't you? The 'Net gives
you precisely that opportunity. It strikes me that no format is positioned
to utilize the 'Net in this manner bet-
ter than Country. precisely because its
fringes are so well -defined. AC and
CHR are already splintered eight ways on the radio, while Country sta-
tions still strive to be all things to all
country fans.
Utilize Your Brand
Another reason Country is perfectly positioned for such an initiative is that
these stations own the country brand
in every market. Your call letters stand for country. They position the
station as the authority on all things
country. Who else would that honor
go to in any city in North America' Even in markets where two Coun-
try outlets exist. the country brand
belongs to the two stations. A coun-
try fan, asked where to find country on the radio, should be able to rattle off the calls of the market's Country station or stations. If they can't. you have a bigger problem that would take more space than we have here
to fix. For an Internet -only Country sta-
tion - or for one of the forthcoming satellite radio Country channels - one of the biggest challenges is and
will be branding the channel as the
country authority. Just imagine the
marketing effort that will take. But here again, as Rosin points out in his
I2 -24 study. radio has an edge. Ros-
in states, "Radio has its own promo- tion and marketing built in - the
competition is typically forced to buy spots on the radio! There is no doubt
that the companies that are best pre-
pared to 'own Internet radio are the
major radio ownership groups." Couple the fact that your calls best
brand country in your market with the
incredibly expensive. uphill battle
companies outside your market will have in branding their products. and
Country radio would seem to have the
clear inside track to establishing co-
branded side channels, as Rosin has
dubbed them. WUBE/Cincinnati PD Tim Clos-
son was fond of calling then -sister
WYGY "the on -ramp to WUBE" for
new Country listeners. In much the
same way. co-branded side channels
on the Internet can serve as an on-
ramp to your Country station. Turn-
ing on new listeners to Country or
giving traditionalists a place to go
should ultimately bring folks to your
station. This is especially true of to-
day's 12 -to-24 -year -olds, who are
heavy Internet users.
In fact. it's not a stretch to say that,
from now on, the Internet will have a
Continued on Page 88
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www.americanradiohistory.com
88 R&R November 10, 2000 Nashville CALVIN GILBERT gilbert@rronline. com
Giving Thanks To Netwoil TV Chicks, Hill and Opry featured in Thanksgiving week specials
Shhh ,,. don't tell the TV networks that country music is in the doldrums. They must be unaware _ of that. Why else would they schedule so many country music specials this month?
On the other hand. decisionmakers at CBS. NBC and A &E aren't fools. Don't ever think they don't research
every aspect of their audience and ad-
vertisers before making a final deci- sion regarding which shows are added
to the programming schedule.
In the coming weeks two of country's superstar acts will each be
featured in their first -ever prime -time network specials. Two other specials - each two hours long - will be
devoted to the Grand Ole Opry's 75th anniversary. And country music will play a large role in the coverage of two Thanksgiving Day parades.
America's Music
The first event is the A &E special
The Grand Ole Opry: 75 Years of Americas Music, set to air Nov. 19
at 8pm ET. Hosted by Garth Brooks, the documentary includes interviews with Barbara Mandrell, Loretta Lynn. Lorrie Morgan. Pam Tillis, Poner Wagoner. Ricky Skaggs. Ronnie Milsap, Travis Tritt, Steve Wariner, Little Jimmy Dickens. Trisha Yearwood and Vince Gill.
The program will also feature his-
toric film clips. including Patsy Cline's first appearance on the Opry stage. a rare home movie of Hank Williams backstage at the Opry and
footage of opening night at the new
Opry House in the '70s, when Roy
Acuff gave President Richard Nixon a yo-yo lesson. (The yo-yo was one of the late singer's trademarks.)
Up next is The Dixie Chicks' one- hour NBC special. airing Nov. 20 at
9pm. The program was shot Aug. 24- 25 at Washington's MCI Arena dur- ing the trio's Fly tour. Obviously, the
special features the Chicks and their six -piece band performing material from Wide Open Spaces and Fly, but
it will also include a short comedic film starring the Chicks.
I Love A Parade
Country's other TV time is set for Nov. 23 - Thanksgiving Day. Nash -
ville is featured for the fourth year in the CBS All- American Thanksgiving Day Parade. The final segment high- lights the Aqua Parade, which is pretaped on the manmade Delta River running through the Opryland Hotel. Hosted by Toby Keith and Miss USA Lynnette Cole. the parade features seven floats and appearances by Lyric Street recording artist Sonya Isaacs,
the Tennessee State University Marching Band and the Tennessee
Titans' cheerleaders. Jo Dee Messina will he featured on
ABC -TV during its coverage of the
Macy's Thanksgiving Parade. Mess-
ina. who made her parade debut in 1998. will ride this year's Jeito float and sing several songs from her cur-
rent album, Bunt. All of CBS' prime -time program-
ming on Thanksgiving night will be
devoted to country. Faith Hill's first prime -time special, Faith!, airs at
8pm ET. The special was taped at the
Palace Theater in Auburn Hills, MI during Hill's ongoing Soul 2 Soul tour with husband Tim McGraw. Shot during two sold -out shows that
played to more than 30.000 fans. the
spécial will feature hits from all of Hill's albums and a duct with McGraw.
Immediately following Hill's spe-
cial CBS will broadcast Grand Ole Om' 75th -A Celebration at 9pm
ET. Vince Gill and Dolly Parton host
the special, which was taped last month at the Opry House and features
live performances by Alan Jackson,
Martina McBride. Trisha Yearwooxl
and others. Highlights include Garth Brooks' performance of "Friends in Low Places" with fellow Opry mem- bers Bill Anderson. Johnny Russell and John Conlec.
Martina McBride is also getting TV time with a guest appearance on
figure skater Kristi Yamaguchi's CBS special. which airs Nov. 24. A Nov. 17 appearance on NBC's The Today
Show is also scheduled, along with a
performance on the Boston Pops' Christmas special. airing Dec. 16 on
A &E.
Complementary Formats Continued from Page 86
very important place in young people's lives as an entertainment me-
dium. Aside from being an on -ramp to Country, the Internet will probably also serve as an on -ramp to radio. As Rosin says in his -Radio's Future" report. "Young people are the medium's future, and they must be
able to expect fulfilling programming from radio. As this study shows. young people are already experiment- ing with these new technologies to a
great extent. Can radio afford to wait and watch kids learn to define audio entertainment without radio being part of it?"
The Lady Or The Tiger?
The primary objection I hear from programmers I've mentioned this to is that such a strategy has the poten-
tial to hurt their radio stations ratings by siphoning off Time Spent Listen- ing. My only answer to that is that
both the Internet and satellite radio have the potential to do the same
thing. As those two entities prolifer- ate, people will find them and use
them. Where would you rather have
those people go to get what they ob- viously want, an Internet or satellite
channel or to your Internet radio sta-
tion? It's certainly very early in the game.
To be honest, I'm not sure how prac-
tical this is right now. But preemptive strategic strikes are often launched early in the game. What's that old line about not even letting the enemy hit the beach?
I'm sure you can get some great
ideas from the other columns in this week's R &R. While there may he no sense of urgency at this moment, things will heat up soon, especially as
the Internet becomes more portable. Kerbango radios are set to hit the marketplace this quarter, and we'll be seeing Internet -ready car radios as
soon as next year. We'll certainly be
seeing satellite radio-ready radios in
the coming year.
Thanks for the indulgence. This is
something I've thought about for a
while. and I just wanted to throw it out there. While Rosin didn't speak
to Country radio per se in his NAB talk during the R &R CHR session.
we talked afterward, and he very much felt that this could be a -win" for Country radio.
As he says in the online version of his study, "If you are a Country radio station. you should think about put- ting a Classic Country side channel
on the Internet instead of on AM. You
could also put on a channel that only plays the newest country music - one
has to assume that the record compa- nies would support that one. Do you have even a ripple of interest in your market for Americana music? Put one
of those on too. The Internet allows you to consider any number of side
channels." It's November 10. 2000. Do you
know where your audience will be in
two years? L
MARSHALL DYLLON
NEW ARTIST FACT FILE
Current Single: "Live it Up" Current Album, Label: Enjoy the Ride. Dreamcatcher (Dec. 5 release) Influences: Diamond Rio, Restless Heart
Background There's plenty of power in Marshall Dyllon's debut single, "Live It Up."
but the Dreamcatcher quintet are using their radio tour to prove that there's
no studio trickery behind their explosive harmonies. Ranging in age from 17
to 22, Marshall Dyllon consists of Paul and Michael Martin (brothers from
Clinton, MS), Todd Sansom (from
Stannardsville, VA), Daniel Cahoon (a native of Woods Cross, UT) and
Jesse Littleton (from Sabina, OH). Paul Martin co- starred in the
ABC -TV series Making the Band,
where he met Littleton, who audi- tioned for the show. They remained in
contact, eventually meeting again in
Nashville, where Dreamcatcher was assembling a vocal group. Cahoon was recommended by a vocal coach who had contacts at the label.
Sansom had recently graduated from Nashville's Belmont University with
a vocal degree. Paul Marlin tells R &R that he immediately knew his brother could
provide the vocal talent to complete the group. He says, "I finally got up the
nerve to call my mother to see if my little brother could come up to Nashville.
Her initial reaction was, 'Theré s no way that you're taking my baby. "'
Although the members came from different geographical regions, they
had one thing in common. Martin explains. "As a group. we all listened to
Diamond Rio. The five -part harmony we do is different, so that's good for
us, but vocal groups have been a big influence on us - Little Texas.
Restless Heart. Me, personally, the thing that dragged me into country
music was Garth Brooks."
Marshall Dyllon
The Music Once an act is signed to a label, it's not unusual for a year or more to
pass before the first single is released. Incredibly, Marshall Dyllon formed
just this past March. Martin admits, "We've been on a racetrack, trying to
get the album out." Founded by Kenny Rogers. Dreamcatcher is an
independent label with a small artist roster, which enabled the gears of the
music machine to move more quickly. Martin says, We know they're
focused on us. We know they're working for us." The group's debut album, Enjoy the Ride, will be released Dec. 5.
Producers involved in the project include Phil Vassar, Robert Byrne. Mike
Clute, Chris Farren. Kenny Rogers Jr., Michael Egizi, Bob DeMarco. John
Guess and Joe Chemay. Martin says, "We sang for a lot of these guys first:
then they jumped on it and said, 'OK, let's do this. "' Vassar and Byrne co -wrote and co-produced the first single, "Live It
Up." Martin recalls, "After we sang for them, we wanted to get some songs
from Phil. The next day he brought us his entire catalog and said, 'Take your
pick.'" As it turned out Vassar had already earmarked "Live It Up" for his
next album, but relinquished it after he heard the group perform Sansom's
arrangement of the song. "That song stuck out," Martin says. "It's
something that means something to all of us. We're all excited about life
In recording Enjoy the Ride, Martin says, 'We wanted to keep the album
fresh for people. When they listen to it, we don't want them to keep hearing
the same thing and get bored with it.We have different producers and
different lead singers. A lot of the songs have different feels to them. which,
hopefully. will make for an enjoyable listening experience throughout the
album."
The Kenny Connection Marshall Dyllon spent the summer on an extensive radio tour to meet
programmers and perform on listener -appreciation shows. Martin says, "At
the beginning of next year we might do some shows with Kenny. We won't
really open the show for him. We'll be in the middle of his set as a showcase.
We're really excited about the possibility of doing that." When asked to recall the first time he met Rogers, Martin says. "I
walked into the Dreamcatcher office. He introduced himself, and I shook his
hand, trying to be really cool. He was very nice. We sat down and talked
about where we wanted to go with the group and what he had in mind." Later
in the day Marshall Dyllon met Rogers and Dreamcatcher executives for
dinner. Martin says, "Everybody was talking. It was just a casual ex-
perience. After it was over, I had to tell myself that I had just sat down and
had dinner with Kenny Rogers. Even now, every time I see him, I learn
something. He has a lot of wisdom about life. It just seems like he knows
everything."
www.americanradiohistory.com
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90
Country Indicator TM
November 10, 2000 R &R'S EXCLUSIVE REPORTED OVERVIEW OF NATIONAL AIRPLAY
ARTIST TITLE ¡LABEL) TOTAL STATIONS/ TOTAL TOTAL
ADDS POINTS PLAYS 50. 1049 30.39 20-29 10.19
TRACE ADKINS I'm Gonna Love... (Capitol)
ALABAMA When It All Goes South (RCA)
GARY ALLAN Right Where I Need To Be (MCA)
JOHN ANDERSON Nobody's Got It All (Epic)
JESSICA ANDREWS Who I Am (Dream Works)
CHAD BROCK The Visit (Warner Bros.)
CHRIS CAGLE My Love Goes On... (Virgin)
KENNY CHESNEY I Lost It (BNA)
CLARK FAMILY... (Meanwhile) Back... (Curb)
TERRI CLARK A Little Gasoline (Mercury)
NEAL COTY Legacy (Mercury)
BILLY RAY CYRUS You Won't Be... (Monument)
CLAY DAVIDSON I Can't Lie To Me (Virgin)
DIXIE CHICKS Without You (Monument)
MARSHALL DYLLON Live It Up (DreamCatcher)
SARA EVANS Born To Fly (RCA)
VINCE GILL Feels Like Love (MCA)
BILLY GILMAN Oklahoma (Epic)
ANDY GRIGGS You Made Me That Way (RCA)
ERIC HEATHERLY Wrong Five O'Clock (Mercury)
STEVE HOLY Blue Moon (Curb)
CAROLYN DAWN JOHNSON Georgia (Arista)
TOBY KEITH You Shouldn't Kiss Me... (Dream Works)
KINLEYS im In (Epic)
LONESTAR Tell Her (BNA)
PATTY LOVELESS That's The Kind... (Epic)
MARTINA MCBRIDE There You Are (RCA)
NEAL MCCOY Every Man For... (Giant)
MINDY MCCREADY Scream (Capitol)
REBA MCENTIRE Were So Good... (MCA)
TIM MCGRAW My Next Thirty Years (Curb)
GEORGIA MIDDLEMAN Kick Down The Door (Giant)
MONTGOMERY GENTRY All Night Long (Columbia)
JOHN M. MONTGOMERY The Little Girl (Atlantic)
JAMIE O'NEAL There Is No Arizona (Mercury)
BRAD PAISLEY We Danced (Arista)
RASCAL FLATTS This Everyday Love (Lyric Street)
COLLIN RAYE She's All That (Epic)
KENNY ROGERS He Will, She Knows (Dream Works)
TIM RUSHLOW She Misses Him (Atlantic)
SHEDAISY Lucky 4 You... (Lyric Street)
GEORGE STRAIT Go On (MCA)
TRICK PONY Pour Me (H2E/WB)
TRAVIS TRITT Best Of Intentions (Columbia)
SHANIA TWAIN I'm Holdin' On To Love... (Mercury)
KEITH URBAN But For The Grace... (Capitol)
PHIL VASSAR Just Another Day (Arista)
CLAY WALKER Once In A.. (Giant)
WARREN BROTHERS Move On (BNA)
MARK WILLS I Want To Know (Every...) (Mercury)
DARRYL WORLEY A Good Day To...(DreamWorks)
DWIGHT YOAKAM What Do You Know...(Reprise)
17/0 730 221 0 0 0 3 12 2
28/5 1048 316 0 0 1 2 15 10
22/3 801 259 0 0 0 3 11 8
2/0 57 15 0 0 0 0 1 1
10/4 221 73 0 0 0 0 4 6
36/0 2342 722 0 0 2 17 17 0
35/1 2088 661 0 1 0 15 18 1
38/0 3367 1025 1 1 10 23 3 0
33/0 1712 518 0 0 1 7 21 4
37/0 2595 797 0 0 1 27 9 0
1/0 19 5 0 0 0 0 0 1
35/0 2536 778 0 1 2, 23 9 0
36/0 2090 641 0 0 1 15 16 4
38/0 3883 1217 1 6 16 13 2 0
Gro 233 67 0 0 0 0 4 2
38/0 3455 1071 1 2 13 18 4 0
38/0 4127 1285 2 3 25 6 1 1
8/2 191 60 0 0 0 0 3 5
26/3 1023 319 o 0 0 2 19 5
3/3 62 19 0 0 0 0 1 2
1/0 31 9 0 0 0 0 0 1
16 /0 623 203 0 0 0 2 10 4
29/4 1049 326 0 0 0 2 19 8
2/1 38 10 0 0 0 0 0 2
37/1 2558 812 0 1 3 20 13 0
38/0 2968 920 0 1 5 25 7 0
36/0 3144 956 0 2 11 16 5 2
21/0 800 234 0 0 0 1 14 6
7/2 192 59 0 0 0 0 4 3
38/1 2482 765 0 0 2 20 15 1
38/0 3901 1199 1 7 15 12 2 1
1/1 20 5 0 o o o o 1
17/1 604 185 o 0 0 1 11 5
37/0 4293 1332 2 4 27 2 2 0
31/3 1447 453 0 0 1 8 15 7
38/0 4572 1404 1 8 27 1 1 0
37/2 1882 584 0 0 1 7 26 3
3/2 20 6 0 0 0 0 0 3
26/1 1419 423 0 0 0 10 11 5
8/4 248 69 0 0 0 0 3 5
24/4 825 259 0 0 0 1 15 8
36/0 3779 1180 1 2 27 1 4 1
4/0 151 47 0 0 0 0 3 1
38/0 4505 1389 2 6 27 2 1 0
37/0 2674 826 0 1 1 27 8 o
35/4 1246 383 0 0 1 2 18 14
38/0 4617 1420 1 10 25 1 1 0
1/0 102 30 0 0 1 0 0 0
10/2 355 105 0 0 0 2 4 4
27/1 1145 351 0 0 0 5 15 7
35/0 1518 466 0 0 1 4 24 6
20/1 665 204 0 0 0 1 11 8
37 Country Indicator reporters in markets 124 -202. Songs ranked alphabetically for the airplay week of Sunday 10 /29- Saturday 11/4. 02000. R&R Inc.
Most Added ARTIST TITLE ,A6E4S
ALABAMA When It All Goes South (RCA)
DIAMOND RIO One More Day (Arista) KEITH URBAN But For The Grace Of God (Capitol)
TOBY KEITH You Shouldn't Kiss Me Like... (Dream Works)
SHEDAISY Lucky 4 You (Tonight I'm...) (Lyric Street) JESSICA ANDREWS Who I Am (Dream Works)
TIM RUSHLOW She Misses Him (Atlantic)
JAMIE O'NEAL There Is No Arizona (Mercury) ANDY GRIGGS You Made Me That Way (RCA)
GARY ALLAN Right Where I Need To Be (MCA)
ERIC HEATHERLY Wrong Five O'Clock (Mercury) RASCAL FLATTS This Everyday Love (Lyric Street)
WARREN BROTHERS Move On (BNA)
BILLY GILMAN Oklahoma (Epic)
MINDY MCCREADY Scream (Capitol)
COLLIN RAYE She's All That (Epic)
STEVE HOLY The Hunger (Curb)
TIM MCGRAW Things Change (Curb)
ADDS
Most Increased Points
ARTIST TITLE -aSELS
5
5
4
4
4
4
4
3
3
3
3
2
2
2
2
2
2
2
TOTAL POINT
INCREASE
ALABAMA When It All Goes South (RCA)
TOBY KEITH You Shouldn't Kiss... (Dream Works)
SARA EVANS Born To Fly (RCA)
TIM MCGRAW My Next Thirty Years (Curb)
ALAN JACKSON www.Memory (Arista) DARRYL WORLEY A Good Day To Run (Dream Works)
RASCAL FLATTS This Everyday Love (Lyric Street) JO DEE MESSINA Burn (Curb)
SHEDAISY Lucky 4 You... (Lyric Street)
LEE ANN WOMACK Ashes By Now (MCA)
DIAMOND RIO One More Day (Arista) LONESTAR Tell Her (BNA)
CHRIS CAGLE My Love Goes On And On (Virgin)
WARREN BROTHERS Move On (BNA)
ANDY GRIGGS You Made Me That Way (RCA)
Most Increased Plays
ARTIST -ITLE :ABETS.
ALABAMA When It All Goes South (RCA)
SARA EVANS Born To Fly (RCA)
TOBY KEITH You Shouldn't Kiss... (Dream Works)
ALAN JACKSON www.Memory (Arista) TIM MCGRAW My Next Thirty Years (Curb)
RASCAL FLATTS This Everyday Love (Lyric Street)
DARRYL WORLEY A Good Day To Run (Dream Works)
JO DEE MESSINA Burn (Curb)
LEE ANN WOMACK Ashes By Now (MCA)
SHEDAISY Lucky 4 You (Tonight I'm...) (Lyric Street)
DIAMOND RIO One More Day (Arista)
LONESTAR Tell Her (BNA)
CHRIS CAGLE My Love Goes On And On (Virgin)
DIXIE CHICKS Without You (Monument) GARY ALLAN Right Where I Need To Be (MCA)
ANDY GRIGGS You Made Me That Way (RCA)
JESSICA ANDREWS Who I Am (Dream Works)
+413
+356
+344
+343
+296
+279
+276
+261
+247
+236
+232
+202
+181
+161
+142
TOTAL
PLAY
INCREASE
+122
+108
+105
+92
+92
+88
+80
+77
+77
+77
+73
+65
+60
+47
+47
+45
+45
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92 RaR November 10, 2000 Country New & Active
JESSICA ANDREWS Who I Am (DreamWorks) Total Stations: 32. Adds: 10. Points: 834. Plays: 155 ( +77)
MINDY MCCREADY Scream (Capitol) Total Stations: 26. Adds: 6. Points: 699. Plays: 165 ( +108)
COLLIN RAYE She's All That (Epic)
Total Stations: 10. Adds: 4. Points: 567. Plays: 92 ( +4)
NEAL COTY Legacy (Mercury) Total Stations: 16, Adds: 7. Points: 359. Plays: 69 ( +42)
GEORGIA MIDDLEMAN Kick Down The Door (Giant) Total Stations: 14. Adds: 3. Points: 330. Plays: 68 ( +30)
Songs ranked by total points.
SONS IN SAN DIEGO
MCA recording artists Sons Of The Desert stopped in San Diego to hang out with the KSON crew. Pictured (1 -r) are Son's Tim Womack, KSON Music Director Greg Frey, Son's Drew Womack, PD John Dimick and Son's Doug Virden.
LONESTAR AND MONTGOMERY
BNA recording artists Lonestar stopped by WUSQ/Win- chester while in town to do a show at the JMU convo- cation center in Harrisonburg, VA. Pictured (l -r) are Lonestars' Dean Sams and Keech Rainwater, APO Mike Montgomery, and Lonestars' Richie McDonald and Michael Britt.
R &R wants your best snapshots (color or black & white).
Please include the names and titles
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National Radio Formats
ABC RADIO NETWORKS
Coast -To -Coast
Mark Edwards (972) 991 -9200
Adds: No Adds
Hottest: SHANIA TWAIN I'm Holdin' On To Love...
LONESTAR Tell Her
JO DEE MESSINA Burn CHRIS CAGLE My Love Goes On And On
ALTERNATIVE PROGRAMMING
Steve Knoll (800) 231 -2818
Gary Knoll
Adds: JESSICA ANDREWS Who I Am
DIAMOND RIO One More Day
COLLIN RAYE She's All That
TIM RUSHLOW She Misses Him
Hottest: SARA EVANS Born To Fly
LEE ANN WOMACK Ashes By Now
RES BROADCAST PROGRAMING
Ken Moultrie (800) 426 -9082
Mainstream Country
L.J. Smith
Adds: CHRIS CAGLE My Love Goes On And On
Hottest: TIM MCGRAW My Next Thirty Years
TRAVIS TRITT Best Of Intentions PHIL VASSAR Just Another Day In Paradise
BRAD PAISLEY We Danced
DIXIE CHICKS Without You
New Country
L.J. Smith
Adds: CLAY DAVIDSON I Can Lie To Me
REBA MCENTIRE We're So Good Together
Hottest: BRAD PAISLEY We Danced
TRAVIS TRITT Best Of Intentions
JOHN M. MONTGOMERY The Little Girl
ALAN JACKSON www.Memory TIM MCGRAW My Next Thirty Years
Lia
Ken Moultrie/Hank Aaron
Adds: No AdCs
Hottest: TRAVIS TRITT Best Of Intentions DIXIE CHICKS Without You
BRAD PAISLEY We Danced PHIL VASSAR Just Another Day In Paradise
TIM MCGRAW My Next Thirty Years
.JONES RADIO NETWORK
Jim Murphy (303) 784 -8700
CD COUNTRY
John Hendricks
Adds: NEAL COTY Legacy
ERIC HEATHERLY Wrong Five O'Clock MARSHALL DYLLON Live It Up
Hottest: DIXIE CHICKS Without You
JOHN M. MONTGOMERY:The Little Girl
SARA EVANS Born To Fly
TIM MCGRAW My Next Thirty Years
BILLY RAY CYRUS You Won't Be Lonely Now
US COUNTRY
Penny Mitchell
Adds: MARK WILLS Want To Know (Everything...)
Hottest: JOHN M. MONTGOMERY The Little Girl TIM MCGRAW My Next Thirty Years
BRAD PAISLEY We Danced
DIXIE CHICKS Without You
TRAVIS TRITT Best Of Intentions
GREAT AMERICAN COUNTRY
John Hendricks
Adds: JESSICA ANDREWS Who I Am
STEVE HOLY The Hunger MINDY MCCREADY Scream
COLLIN RAYE She's All That
SHEDAISY Lucky 4 You (Tonight I'm...)
Elite: PATTY LOVELESS That's The Kind Of Mood I'm In
KENNY CHESNEY I Lost It
PHIL VASSAR Just Another Day In Paradise
TRAVIS TRITT Best Of Intentions DIXIE CHICKS Without You
BRAD PAISLEY We Danced
SARA EVANS Born To Fly
TERRI CLARK A Little Gasoline ALAN JACKSON www.Memory CLARK FAMILY EXPERIENCE (Meanwhile) Back At...
PREMIERE RADIO NETWORKS
After Midnite
KELLY ERICKSON (818) 461 -5435
Adds: CLARK FAMILY EXPERIENCE (Meanwhile) Back At...
JAMIE O NEAL There Is No Arizona
LEE ANN WOMACK Ashes By Now
Hots: GEORGE STRAIT Go On
BRAD PAISLEY We Danced TRAVIS TRITT Best Of Intentions PHIL VASSAR Just Another Day In Paradise
VINCE GILL Feels Like Love
DIXIE CHICKS Without You
TIM MCGRAW My Next Thirty Years
RADIO ONE COUNTRY PLAYLIST
JIM WEST (970) 949 -3339
Adds: BILLY YATES What Do You Want From Me Now
DWIGHT YOAKAM What Do You Know About Love
Hottest: PHIL VASSAR Just Another Day In Paradise
TIM MCGRAW My Next Thirty Years
ALAN JACKSON crave/ Memory
WESTWOOD ONE RADIO NETWORKAS
Charlie Cook (661) 294 -9000
Mainstream Country
David Felker
Adds: CLARK FAMILY EXPERIENCE (Meanwhile) Back At...
Hottest: JOHN M. MONTGOMERY The Little Girl
GEORGE STRAIT Go On
TRAVIS TRITT Best Of Intentions
DIXIE CHICKS Without You
BRAD PAISLEY We Danced
Hot Country
David Felker
Adds: KEITH URBAN But For The Grace Of God
Hottest: AARON TIPPIN Kiss This
JOHN M. MONTGOMERY The Little Girl
TRAVIS TRITT Best Of Intentions TIM MCGRAW My Next Thirty Years
PHIL VASSAR Just Another Day In Paradise
GREAT
w * : AMERICAN
+* * COUNTRY
ADDS
JESSICA ANDREWS Who I Am
STEVE HOLY the Hunger
MINDY MCCREADYScrean
COLLIN RAPE She's All That
SHEDAISY wcky 4 You (Tonight I Just Mel
TOP 10 SARA EVANS Born To fry
AARON TIPPINKSS This
BILLY GILMAN Okahoma
WARREN BROTHERS w3ARA EVANS That's The Beat DI
FAITH HILLTIM MCGRAW Let's Make Love
KENNY CHESNEY I Lost It
TRAVIS TRITT Best Of Intentions
LEANN RIMES I Feed You
BRAD PAISLEY We Danced
LEE ANN WOMACKAshes By Now
PHIL VASSAR Just Another Day In Paradise
SHEDAISY I Wtli But
Information current as of November 6
C MCIC ICIM
J2 million households
"tins Pan. Duector Programming
Paul Hastaba. VP GM
ADDS SHEDAISY LUCK) 4 You (Tonight I'm Just Me)
SONYA ISAACS Hon Can I Forget
TRENT SUMMAR Ji 114E NEW ROW MOB It Never Rains
VINCE GILL Feels Like Low
TRAVIS TRITT Best Ot Intentions
PHIL VASSAR Mother Day In Paradise
SARA EVANS Born To Fly
BILLY RAY CYRUS +cu Wont Be Lonely Now
FAITH HILLTIM MCGRAW Let's Make Love
KENNY CHESNEY I Lost It
TERRI CLARK Little Gasoline
PATTY LOVELESS That's The Kind 01 Mood Em in
CLAY DAVIDSON I Can't Le To Me
ALAN JACKSON .win Memory
AARON TIPPIN Kiss This
HEAVY AARON TIPPIN Kiss This
ALAN JACKSONswM Memory
BILLY RAY CYRUS You Won't Be Lonely Now
CLAY DAVIDSON I Can't L.e To Me
DIXIE CHICKS Without You
DON HENLEY For My Wedding
FAITH HILLTIM MCGRAW Let's Make Love
KENNY CHESNEY! Lost It
PATTY LOVELESS That's The Klnd 01 Mood I'm In
PHIL VASSAR Just Another Day In Paradise
SARA EVANS Born To Fly
TERRI CLARK A Little Gasoline
TRAVIS TRITT Fest Ot intentions
HOT SHOTS ALISON
BILLY GILMAN
CAROLYN DAWN JOHNSON ,., oa
CHRIS CAGLE My Love ùoes On And On
DARRYL WORL El' A Good Day To Run
DIAMOND RIO One More Day
JESSICA ANDREWS Who I Am
KEITH URBAN But For The GraceClOud
LEE ANN WOMACK Ashes By Now
RASCALL FLATTS This Everyday Love
CLARK FAMILY EXPERIENCE (Meanwhile, Back At.
TOBY KEITH You Shouldn't Kiss Me Like This
Heavy rotation songs receive 28 plays per week. Hot Snots
receive 21 plays per week
information current as of November 6 .2000
www.americanradiohistory.com
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www.americanradiohistory.com
98 R&R bi.i to. rruw Country Song Index
A
TRACE AOKINS I m Gonna Love You Anyway (Capitol) Prod: Trey Bruce Wr: Dean Miller, Stacy Dean Campbell Pub: EMI Blackwood Music Inc.(BMI)/ Song Island Publishing (Mm. by EMI Blackwood Music Inc.) (BMI)/Reynsong Publishing Corp. (Adm. by Wrensong Publishing Corp.) (ASCAP)/McSpadden Music (BMI)
ALABAMA When It All Goes South (RCA) Prod: Don Cook. Alabama Wr: John Jarvis. Rick Carnes. Janis Carnes Pub: Sony /AN Music and Songs Of Peer Music (ASCAP)
GARY ALLAN Right Where I Need To Be (MCA) Prod: Tony Brown, Mark Wright Wr: Casey Beathard, Kendall Marvell Pub: ACUFF -Rose Music, Inc. /601 Broadway Music (BMI)
JOHN ANDERSON Nobody's Got It All (Epic) Prod: Blake Chancey. Paul Worley Wr: Layng Martine Jr.. Kent M.
Robbins Pub: Layng Martine Jr.. Songs (BMI), Irving Music, Inc. (BMI). Cotter Bay Music (BMI).
JESSICA ANDREWS Who I Am (Dream Works) Prod: Byron Gallimore Wr: Brett James. Troy Verges Pub: Sony/ AN Songs LLC dba Tree Publishing Co. /Songs Of Teracel (BMI)
Songs OI Universal Inc.. BMI
B
CHAD BROCK The Visit (Warner Bros.) Prod: Norro Wilson, Buddy Cannon Wr: Charlie Steil. Gene Ellsworth. Brad Rogers Pub: Major Bob Music Co.. Inc./ Mid - Summer Music Inc. (ASCAP)
C
CHRIS CAGLE My Love Goes On And On (Virgin) Prod: Robert Wright Wr: Chris Cagle. Don PfrimmerPub: WB Music Corp.(ASCAP), Platinum Plow Music(ASCAP), All rights administered by WB Music Corp.(ASCAP)
KENNY CHESNEY I Lost It (BNA) Prod: Buddy Cannon, Norro Wilson Wr: Ned Thrasher, Jimmy Glander Pub: Major Bob Music Company Inc. (ASCAP) Warner - Tamerlane Publishing CorplTaxicaster Music (BMI)
CLARK FAMILY EXPERIENCE (Meanwhile)... (Curb) Prod: Byron Gallimore, Tim McGraw Wr: Gordon Kennedy. Wayne Kirk Patrick Pub: Universal- PolyGram International Publishing, Inc./ Sondance Kid Music (ASCAP) All rights on behalf of Sondance Kid Music controlled and admin. by Universal -PolyGram International Publishing, Inc./Warner -Tamerlane Publishing Corp. (BMI) /Sell The Cow Music (BMI) All rights admin. by Warner - Tamerlane Publishing Corp.
TAMMY COCHRAN So What (Epic) Prod: Blake Chancey, Anthony Martin Wr: Roxie Dean, SonnyTillis. Jamie O'Neal Pub: WB Music Corp. (ASCAP) Warner -Tamerlane Publishing Corp. (BMI) EMI April Music (ASCAP)
NEAL COTY Legacy (Mercury) Prod: John Kelton Wr: Neal Coty, Randy VanWarmer Pub: Murrah Music.Corp./Neal Coty Music (BMI); Caribbean Stud Music, a
division of Big Picture Entertainment LLC /Suzabelle Music (ASCAP)
BILLY RAY CYRUS You Won't Be Lonely Now (Monument) Prod: Dann Hutt Wr: Brett James, John Bettis Pub: Sony /ATV Songs LLC dba Tree Publishing Co. (BMI) /Songs Of Teracel (BMI) /Big Red Tractor Music (ASCAP)!Hay Wagon Music (ASCAP)
D
CLAY DAVIDSON I Can't Lie To Me (Virgin) Prod: Scott Hendricks. Jude Cole Wr: Clay Davidson. Kenny Beard.
Casey Beathard Pub: Steel Wheels Music/CLMAT Publishing(BMI) All rights administered by Steel Wheels Music /Milene Music Inc.(ASCAP)/ Acuis Rose.Inc.(BMI)
DIXIE CHICKS Without You (Monument) Prod: Blake Chancey. Paul Worley Wr: Natalie Maines. Eric Silver - Pub: Scrapin Toast Music (ASCAP) admin. by Bug MusicEMI April Music Inc. (ASCAP)/703 Music (ASCAP)
MARSHALL DYLLON Live It Up (DreamCatcher) Prod: Robert Byrne, Phil Vassar. Jim Mazza Wr: Robert Byrne, Phil Vassar Pub: EMI Blackwood Music Inc./ Artbyrne Music (BMI) and EMI April Music Inc.! Phil Vassar Music (ASCAP)
E
SARA EVANS Born To Fly (RCA) Prod: Paul Worley Wr: Sara Evans. Marcus Hummon. Darrell Scott Pub: Chuck Wagon Gourmet Music/Famous Music Corperation (ASCAP)
G
VINCE GILL Feels Like Love (MCA) Prod. Tony Brown Wr. Vince Gill Pub. Vinny Mae Music (BMI)
BILLY GILMAN Oklahoma (Epic) Prod: David Malloy. Blake Chancey Wr: D. Vincent Williams, John Allen Pub: WB Music Corp. (ASCAP) Richard and Kastle Music
(ASCAP)
ANDY GRIGGS You Made Me That Way (RCA) Prod: David Malloy. Gary Smith Wr: David Malloy, Gary Burr Pub: Starstrudk Angel Music. Inc./Malloy'sToys Music (BMI)/MCA Music Publishing. a division of Universal Studios. Inc. /Gary Burr Music. Inc. (ASCAP).
H
ERIC HEATHERLY Wrong Five O' Clock (Mercury) Prod: Keith Stegall Wr: Eric Heatherly. Richard E. Carpenter Pub: Süll Working For The Woman Music. Inc. /Psychobily Music; RC Moon Pie Music. admin. by MRBI (ASCAP)
JOLIE & THE WANTED I Would (Dream Works) Prod: Dann Hutt Wr: Troy Verges, Brett James Pub: Tree Pub. Co.! Songs of Teracel (BMI).
REBECCA LYNN HOWARD I Don't Paint Myself Into Corners (MCA) Prod: Mark Wright, Greg Droman Wr: Rebecca Lynn Howard. Trey
Bruce Pub: Tennessee Colonel Music/Rebecca Lynn Howard Music/Mopan River Music(admin. by ICG)/Bg Red Tractor Music/ Ice Trey Music -ASCAP
SONYA ISAACS Barefoot In The Grass (Lyric Street) Prod: Michael D. Clute, Shelby Kennedy Wr. Shaye Smith. Ken
Harrell Pub: EMI Blackwood Music Inc./ Mark Alan Springer Music (BMI) (All rights for Mark Alan Springer controlled by EMI Blackwood Music Inc.) (Acuff -Rose Music Inc.) (BMI)
J
CAROLYN DAWN JOHNSON Georgia (Arista) Prod: Paul Worley. Carolyn Dawn Johnson Wr: Carolyn Dawn Johnson. Troy Verges
K
TOBY KEITH You Shouldn't Kiss Me Like That (Dream Works) Prod: James Stroud. Toby Keith Wr: Toby Keith Pub: Tokeco Tunes
(BMI)
KINLEYS I'm In (Epic) Prod: Radney Foster Wr: Radney Foster. Georgia Middleman Pub: Universal- PolyGram International Publishing. Inc.(ASCAP) St.
Julien Music (ASCAP) On My Mind Music (ASCAP)
L
LONESTAR Tell Her (BNA) Prod: Dann Huff Wr: Craig Wiseman. B. Kwesi Pub: Almo Music
Corp./ Daddy Rabbit Music (ASCAP). Rondor Music (London) Ltd.
(PRS)
M
NEAL MCCOY Every Man For Himself (Giant) Prod: Ed Seay. John Hobbs Wr: Mark Elliott, Tim Johnson Pub: Sony /ATB Songs Ilc (All rights obo Sony /ATB songs Ilc adm. by
Sony Music Pub.)/ EMI Blackwood Music Inc./ Tim Johnson Music (All rights for Tim Johnson Music controlled and adm. by EMI
Blackwood Music Inc. (BMI)
MINDY MCCREADY Scream (Capitol) Prod: Billy Joe Walker Jr. Wr: Helen Darling, Jenai Pub: Dayspring Music Inc.,BMI /Little Chatterbox Music,BMI/Writers Extreme Music.BMI (adm. by Dayspring Music Inc.) /Sis 'N Bro Music CompanyASCAP!Moraine Park Music, a division of Moraine Music Group.ASCAP
REBA MCENTIRE We're So Good Together (MCA) Prod: David Malloy. Reba McEntire Wr: Annie Roboff, Bob DiPiero, John Scott Sherrill Pub: ALMO Music Corp.!Anwa (ASCAP) /Sony/ AN Songs LLC/Nothing But The Wolf Music (BMI)
GEORGIA MIDDLEMAN Knock Down The Door (Giant) Prod: Tony Haselden. Russ Zavitson Wr. Georgia Middleman. Kristy
Jackson Pub: UniversaVPolygram International Publishing Inc. /On My Mind Music (ASCAP)/Fever Pitch Inc., BMI
MONTGOMERY GENTRY All Night Long (Columbia) Prod: Joe Scaife, Jim Cotton. Anthony Martin Wr: Charlie Daniels. Taz DiGregorio, Charlie Hayward, Jack Gavin, Bruce Brown Pub: Music Corporation Of America, Inc. (BMI)
O
JAMIE O'NEAL There Is No Arizona (Mercury) Prod: Keith Stegall Wr: Jamie O'Neal. Lisa Drew. Shaye Smith Pub:
EMI April MusicfPangToon Music. adm.by EMI April Music; EMI April
Music /Jersey Girl Music, adm. by EMI April Music (ASCAP); EMI
Blackwood Music Inc. /Mark Alan Springer Music adm.by EMI
Blackwood Music Inc. (BMI)
R
RASCAL FLATTS This Everyday Love (Lyric Street) Prod: Mark Bright. Marty Williams Wr: Danny Wells, Gene Nelson
Pub: Irving Music. Inc. (BMI; 360 Music/Emella Music (SESAC)
COLLIN RAYE She's All That (Epic) Prod: Dann Huff, Collin Raye Wr: Collin Raye. Scott Wray Pub: EMI
Blackwood Music Inc. (BMI) /Britstar Music Publishing, Inc. (BMI)
Controlled and Administered by EMI Blackwood Music Inc. (BMI)
JOHN RICH I Pray For You (BNA) Prod: John Rich. Sharon Vaughn Wr: JOhn Rich. Kenny Alphin Pub:
Sony /AN Tunes LLC, That's Rich Music. All rights on behalf of Sony/
AN Songs LLC, That's Rich Music administered by Sorry/AN Music
Publishing. Famous Music Corperation. ASCAP
RICOCHET She's Gone (Columbia) Prod: David Malloy Wr: Jeffrey Steele. John Hobbs. Michael Dulaney
Pub: Songs of Windswept Pacific (BMl). `allow Desert Music (BMI).
My Life's Work Music (BMI), Little Blue Box Music, (BMI), Airstream Dreams Music (ASCAP). Coyote House Music. (ASCAP), Famous Music Corporation (ASCAP)
TIM RUSHLOW She Misses Him (Atlantic) Prod: David Malloy Wr: Tim Johnson Pub: EMI Blackwood (BMI)
s
SHEDAISY Lucky 4 You (Tonight I'm Just Me) (Lyric Street) Prod: Dann Huff Wr: Kristyn Osborn, Jason Deere. Coley McCabe Pub: Without Anna Music (ASCAP). Lehsem Music, LLC (ASCAP) admin. by Music & Media International. Inc.. WB Music Corp. /Big
TRactor Music (ASCAP)
DARYLE SINGLETARY I Knew I Loved You (Audium) Prod: Greg Cole Wr: Darren Hayes. Daniel Jones Pub: Rough Cut Music/WB Music Corp.(ASCAP)
T
CHALEE TENNISON Makin' Up With You (Asylum/WB) Prod: Jerry Taylor Wr: Phil O'Donnell, Jeremy Cambell Pub: Tanasi
Music, a div. of Tanasi Group /Mike Curb Music (BMI)
TRICK PONY Pour Me (H2E/WB) Prod: Chuck Howard Wr: Heidi Newfield, Keith Burns. Ira Dean, Rory
Beighley, Sammy Wedlock Pub: Warner/Tamerlane Pub. Corp.. BMI/
Warner Bros, Music Corp.. ASCAP
SHANIA TWAIN I'm Holdin' On To Love (To Save My Lite)(Mercury) Prod: Robert John "Mutt" Lange Wr: Shama Twain, Robert Lange Pub: BMI /ASCAP
U
KEITH URBAN But For The Grace Of God (Capitol) Prod: Matt Rollings, KU Wr: Charlotte Caffrey, Jane Weidlin. Keith
Urban Pub: BMG Songs InciWeedWadkers/Coburn Music Inc. (Adm.
by Ten Ten Music Group. Inc.) BMI
W
CLAY WALKER Once In A Lifetime Love (Giant) Prod: Doug Johnson, Clay Walker Wr: Clay Walker. M. Jason Greene
Pub: Lori Jayne Music/ Sondaddy Songs Adm. by (Muy Bueno Music
Group) BMI
WARREN BROTHERS Move On (BNA) Prod: Brett Warren. Brad Warren. Chris Fatten Wr: Brett Warren. Brad
Warren, Danny Wilde Pub: Warner -Tamerlane Publishing Corp. /One Hundred Billion Dollar Music (BMI)
MARK WILLS I Want To Know... (Mercury) Prod: Carson Chamberlain Wr: Lewis Anderson, Bob Regan Pub:
Sony /AN Songs LLC DBA Tree Publishing Co. (BMI); BMG Songs. Inc. (ASCAP)
DARRYL WORLEY A Good Day To Run (Dream Works) Prod: Frank Rogers. James Stroud Wr: Darryl Worley, BobbyTomberlin
Pub: EMI Blackwood Music Inc.Matley Creek Music (BMI)/Mike Curb Music (BMI).
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ZOO RBA November 10, 2000
MIKE KINOSIAN mkinosox@rronline. com
Adult Contemporary
Islands In The Stream Infinity and Clear Channel face the future
pccording to Edison Media Research's "Internet V" study, about one of every five Americans - has, at one time or another this year, listened to a radio station online. In terms of actual num- bers. it's believed that 14 million people listened in 1998, compared to 45 million this year.
Alternative. Rock. CHR. Urban and Newsrfalk have proven to he
the most popular online format choices. The study also indicated that nearly two of every three re- spondents 164%) are in favor of hav- ing their favorite station stream its audio. Srnne radio groups encourage their stations to do so. while others have been more reticent.
To Stream Or Not To Stream The decision on whether or not to
stream comes down to the indi- vidual companies' game plans. "At this point we at Infinity have not found a model that matches the company's goals in regard to streaming of audio;' explains Sr. V P /co-000 David Pearlman. "IIn- finity Chairman /CEOI Mel Karmazin has been very clear that if a workable and achievable busi- ness model is ,constructed. he will listen and act. He's proven that over and over again in his many endeav- ors and in the companies he's run."
Thus far. Pearlman hasn't seen a
business model that would hack up a company giving away its program- ming. To the best of our knowl- edge. there isn't one in existence that we perceive will work," he
says. At the same time. I applaud the pioneers who arc out mining for gold along the Internet trail."
Protective of what he calls his stations' No. I asset. Pearlman stresses. "We're not prepared to give up our intellectual property without a plan that makes sense to us. Whether its a Boston morning personality. unique New York sports programming or a hybrid Seattle music format. at the end of the day all we have is our own product."
He believes that some other broadcasters feel that having their
David Pearlman John Martin
product on the Internet is "sexy and
provides a lot of ego gratification.**
The Right Business Model
Noting that New York Yankees flagship WABC /New York was re- cently listed as a fairly significant webcasting performer. Pearlman wonders how much of that could be
attributed to the world champions. "It probably played a role, but its important to point out that the total number of users was still a very small number compared to the num- ber of people using radio across the country;" he says.
'There are some very smart pro- grammers who will eventually focus on this topic and decide how best
to attack it. We've seen people take many stabs at it. and any one of them could potentially work.'
Think of the impact. possibilities and implications. for example, of having Howard Stern's syndicated daily morning show available only on the web. "It would be a very in- teresting proposition. given the type of show he has and Howard's demo- graphic appeal;' Pearlman says.
'To make that work. though. you'd need the right business model. You'd also have to have some measurement
capacity that would translate to the
advertising community that would
"There is an infinitesimal amount of online
listening going on nationwide. The No. 1- aiming station on the Internet would not be a major player
in almost any singular market in the country. ".
David Pearlman
make people want to spend the right amount of their advertising budget in that medium"
Attractive Elements Right now. Pearlman emphasizes.
"There is an infinitesimal amount of online listening going on nation- wide. The No. 1- cuming station on the Internet would not be a major player in almost any singular mar- ket in the country."
Nevertheless. he acknowledges that the Internet has some attractive elements. "There are so many issues
we have to face as broadcasters. There's clearly a tremendous oppor- tunity in the future for some form of audio service on the Internet. It's just another distribution source. and it has the potential to reach an en- tire nation and - ultimately - the world with our product."
Likening the Internet to cable's early days. when it was referred to as Community Antenna TV (CATV), Pearlman recalls. "People couldn't receive the signal in their home market well enough to watch their home stations and needed help from an antenna. If you have a 6.000 -watt radio station in a metro that spans
30 or 40 miles, you'll probably have
signal and coverage problems. The Internet might be able to fill
that hole. but you'd need unique programming. More importantly. you'd need a measuring system that would find out what impact Internet listening is having in the market- place. That's the $64.000 question."
Three Minutes After Midnight
To illustrate how early we are in this whole process, Clear Channel Radio Online President John Mar- tin offers this analogy: 'in terms of a 24 -hour day. it's about three min- utes after midnight. The streamers
are an extremely attractive market- place. There's no question that. as
bandwidth costs go down and usage
increases. it will be a wonderful op- portunity for marketers to tap into."
While acknowledging that today's online -listening audience isn't very sizable. Martin remarks. "It gets more exciting when we start
getting 25 or 30 million American households connected with DSLs and cable and broadband connec- tions. The early adopters are
SLEEPWALKING IN NYC
Hot AC WPU /New York recently welcomed The Wallflowers to Goth-
am. AU smiles are (l -r) WPU Research Director Marc Hilsenrath and
MD Tony Mascaro, Wallflower member Jacob Dylan, WPU VP /Program- ming Tom Cuddy and bandmember Rami Jaffee.
streamers. and income levels are
great with streamers. There's no question that Clear Channel is clearly in favor of all activities that we can monetize. We think stream- ing will be an opportunity that we'll be able to monetize."
Those Clear Channel stations wanting to stream will be sup- ported. Martin says. provided that they "have a plan on how to mon- etize. We've found that many radio stations want to stream because the
other guys are doing it." Some radio stations go into
streaming without ever putting to- gether a business plan. "We want our people to think it through. as
"The biggest opportunity for radio stations with websites is to create
integrated multimedia
packages and campaigns
for their marketing
partners."
John Martin
they would with any other business activity," Martin emphasizes. "With a little thought and ingenu- ity. people come up with all sorts of creative ideas on how to make
money with their streaming activi- ties.
"There are many technology companies out there that have in- vested a great deal of money in streaming, and they also want to see this be successful. As a result. they will support streaming initia- tives too. The biggest opportunity for radio stations with websites is
to create integrated multimedia packages and campaigns for their marketing partners."
Understand The Cost
Make no mistake though: Stream -ing isnt an inexpensive proposition. "There's a hard cost
associated with it," notes Martin. "It's very important that people un-
derstand the cost associated with any initiative they want to propose
for their radio station or website.
Before you go into it. he very mind-
ful of the business components. "You also don't want to give away
half your inventory. The radio indus-
try has seen that game played before.
Stations give away inventory for some simple technology that could easily have been developed or that
could be purchased by a sizable com- pany like Clear Channel."
Focus and concentration are rea-
sons Martin cites for station that are
thus far reluctant to stream. "Some
managers I've talked with arc work- ing for their fifth owner in six years."
he explains. "Very few have focused on any new initiatives that wouldn't have an immediate return because
they were trying to make the quar-
ter look good." The last six weeks have been
crammed with activity for Martin. "lust last week we migrated our technical platform to a brand -new
data center in San Antonio with state -of- the -art technology, equip- ment, resources and staffing." he
says. "Now that we have a robust level of technical infrastructure and
support system in place. the good times can begin.
"Before moving ahead with mean-
ingful content, the technical integra- tion had to happen first. We can now
begin bringing on -board hundreds of
additional sites under a centralized hosting environment. Once that's in
place. it makes it much easier to take
advantage of this network- distrib- uted environment."
While the widespread perception is that Infinity has yet to catch streaming fever. Martin suggests otherwise: "I don't know if that's necessarily the case. They have re-
lationships and equity interests in
probably a dozen different Internet companies. They might be going about it a different way as they are
figuring out their Internet strategies.
I wouldn't say they've been inactive with Internet acquisitions and part-
nerships."
TALK BACK TO R &R!
Do you have questions, comments
or feedback regarding this column
or other issues?
Call me at 310-788-1664 or e-mail:
mkinotsox@nonlinecom
www.americanradiohistory.com
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102
WEEK WEEK MUST TITLE LABELS)
AC Top 30 ® November f 1 2000
,
2 2
4 © 3 4
5 5
e
6
1 p 10 o 12
11 ® 13 13
15
14 15
16 16
20
17 18
19 19
21 e zz
23
24 ® 16
26
27
® m
(Debut> ® /Debut
29
25 37
BBMAK Back Here (Hollywood)
DON HENLEY Takgng You Home (Warner Bros.)
HUEY LEWIS & GWYNETH PALTROW Cruisin' (Hollywood)
MARC ANTHONY You Sang To Me (Columbia)
FAITH HILL Breathe (Warner Bros.)
'N SYNC This I Promise You (Jive)
LEANN RIMES I Need You (SparrolvCurb /Capitol)
FAITH HILL The Way You Love Me (Warner Bros.)
LONESTAR Amazed (BNA)
MARC ANTHONY My Baby You (Columbia)
SAVAGE GARDEN I Knew I Loved You (Columbia)
CHRISTINA AGUILERA I Turn To You (RCA)
CELINE DION That's The Way It Is (550 Music /Epic)
BACKSTREET BOYS Shape Of My Heart (Jive)
BACKSTREET BOYS Show Me The Meaning Of... (Jive)
BRIAN MCKNIGHT Back At One (Motown/Universal)
LEANN RIMES Can't Fight The Moonlight (London Sire/Curb)
PHIL COLLINS You'll Be In My Heart (Hollywood)
MARTINA MCBRIDE There You Are (RCA)
CORRS Breathless (143 /Lava/Atlantic)
STING Desert Rose (A &M/lnterscope)
OSCAR DE LA HOYA Run To Me (EMI Latin/Capitol)
LEIGH NASH Need To Be Next To You (Engine/Arista)
JIM BRICKMAN The Love I Found In You (Windham Hill)
RICHARD MARX Days In Avalon (Signal 21)
SADE By Your Side (Epic)
TONI BRAXTON Spanish Guitar (LaFace /Arista)
NATALIE COLE Angel On My Shoulder ( Elektra/EEG)
LARA FABIAN Love By Grace (Columbia)
ELTON JOHN Friends Never Say Goodbye (Dream Works)
ALMS PLAYS
2453
2189
2147
1981
1903
1899
1857
1837
1657
1575
1554
1514
1298
1280
1024
865
854
853
731
549
481
465
458
416
333
320
288
280
277
271
+23
-52
+127
-140
-78
+219
-52
+65
+133
+107
-2
+28
-153
+234
-95
-99
+74
-62
-61
+4
-59
+55
+90
-379
+39
+27
+149
+170
+50
-76
Hair" 277045
224243
247786
249830
259273
232602
206855
206171
188242
205082
188822
170273
158893
169694
128162
114101
100146
118823
65234
42364
56506
42073
50641
39616
42698
34573
22669
45522
49633
34397
CfLARTO" A005 TOTALSTATIONSi
13 111,1
28 108/1
8 103/2
38 113/0
43 107/1
7 111/1
33 104/0
12 108/1
60 107/1
10 104/1
56 104/0
28 99/1
53 104/0
5 95/5
42 95/0
47 86/0
7 89/2
82 92/0
15 80/0
10 58/2
15 30/9
5 62/4
3 62/7
15 56/0
3 45/6
2 56/8
1 47/7
1 51 /17
2 44/6
11 38/0
115 AC reporters. Monitored airplay data supplied by Mediabase Research, a division of Premiere Radio Networks. Songs ranked by total plays for the airplay week of Sunday 10/29- Saturday 11/4. Bullets appear on songs gaining plays or remaining flat from previous week. ll two songs are tied in total plays, the song being played on more stations is placed first. Breaker status is assigned to songs reaching 875 plays or more for the first time. Songs below No. 20 are moved to recurrent after 20 weeks. Gross Impressions equals Average Quarter Hour Persons times number of plays (times 100). Average Quarter Hour Persons used herein with permission from The Arbitron Company (Copyright 2000, The Arbitren Company). ® 2000. R&R Inc.
New & Active EVAN AND JARON Crazy For This Girl (Columbia) Total Plays 215. Total Stations 19. Adds 2
JIM BRICKMAN I/OLIVIA NEWTON -JOHN Change Of Heart (Windham Hill) Total Plays 194 Total Stations- 35. Adds 4
LEE ANN WOMACK I Hope You Dance (MCA) Total flays : 188. Total Stations 31. Adds 9
STING My Funny Friend And Me (Hollywood) 'titan Plays. 184. Total Stations 38. Adds 8
MICHAEL *DONALD The Meaning Of Love (Ramp) Total Plays 151. Tod Stators. 30. Adds 0
KATHIE LEE Love Never Fails (Universal) To Plays. 141, NO Slams. 28. Adds 4
BARENAKED LADIES Pinch Me (Reprise) Total Plays 122. Total Statam: 12. Adds: 1
JENNIFER DAY Completely (BNA) Total Plays. 77. Total Stations. 14. Adds 3
BRIAN McKNIGHT Win (Motown/Universal) Total Plays. 76. Total Stations. 13 Adds. 2
SARAH BRIGHTMAN A Whiter Shade Of Pale (Angel) Total Plays 50 Total Stations: 11. Adds 1
BABYFACE Reason For Breathing (Arista/Epic) Total Plays. 37. Total Stators: 17 Adds. 5
Seed mere MteW Fteyt
Most Added® ARTIST Nil L4OELS AOt
NATALIE COLE Angel On My Shoulder (Elektra/EEG) 1
BON JOVI Thank You For Loving Me (lsland/IDJMG) 1
LEE ANN WOMACK I Hope You Dance (MCA/Universal)
SADE By Your Side (Epic)
STING My Funny Friend And Me (Hollywood)
LEIGH NASH Need To Be Next To You (Engine /Arista)
TONI BRAXTON Spanish Guitar ( LaFace/Arista)
RICHARD MARX Days In Avalon (Signal21)
LARA FABIAN Love By Grace (Columbia)
BACKSTREET BOYS Shape Of My Heart (Jive)
BABYFACE Reason For Breathing (Arista/Epic)
DON HENLEY Everything Is Different Now (Warner Bros.)
Most Increased Plays
ARTIST "'L E
TOTAL
PLAY
INCREA
BACKSTREET BOYS Shape Of My Heart (Jive) +2E
'N SYNC This I Promise You (Jive) +21
NATALIE COLE Angel On My Shoulder ( Elektra/EEG) +11
TONI BRAXTON Spanish Guitar (LaFace/Arista) +11
LONESTAR Amazed (BNA) +1;
H. LEWIS & G. PALTROW Cruisin' (Hollywood) +1é
SHANIA TWAIN You've Got A Way (Mercury /IDJMG) +11
MARC ANTHONY My Baby You (Columbia) +1(
J. BRICKMAN F/0. NEWTON -JOHN Change... (Windham Hill) +1(
ENRIQUE IGLESIAS Bailamos (Overbrook/lnterscope) +I
Breakers No Songs Qualified For Breaker Statu.
This Week
Most Added Is the total number of new adds officially reported to RA
by each reporting station. Songs unreported as adds do not count toward overall total stations playing a song. Most Increased Plays lists
the songs with the greatest week -to -week increases in total plays.
Weighted chart spears on RAR ONLINE MUSIC TRACKING.
My Funny Friend and Me performed by STING New & Active with 38 stations already aboard!
This Week: WSHH - Pittsburgh KOSI - Denver KGBY - Sacramento KQXT - San Antonio WWLI - Providence KKMJ - Austin KRBB - Wichita KXLY - Spokane
"The Emperors New Groove" in Theatres December 15
Album in stores November 14!
Lyrics by nag Mele by gtig Ji Daed NrMey ©MO woadlrYN Music CamgeM, Inc. llgMAN
All Riges Rapreed. Preened aid ArraLped by Jimmy Jara A Terry Lewis ter Flyd Tyros PrelasYSy. Me. Ce-trednid M "Ng J. MbgM M HyM 11th t'tNnben. Ms. Mg wars nerMM AAM Resents
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1OÓ RaR November 10. 2000 Reporters Stations and their adds listed alahabetically by market
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108
ßçJHot AC November 10, 2000
TUNED -IN R&R/MEDIABASE 24/7
SANTANA f/ROB THOMAS Smooth (Arista)
BBMAK Back Here (Hollywood) .
THIRD EYE BLIND Never Let You Go (EIektra/EEG)
MACY GRAY I Try (Epic)
SMASH MOUTH Then The Morning Comes (Interscope)
GOO GOO DOLLS Slide (Warner Bros.)
DON HENLEY Taking You Home (Warner Bros.)
TRAIN Meet Virginia (Aware /Columbia)
G00 GOO DOLLS Black Balloon (Warner Bros.)
SUGAR RAY Someday ( Lava/Atlantic)
SMASH MOUTH M Star (Interscope)
GOO GOO DOLLS Broadway (Warner Bros.)
SAVAGE GARDEN Crash And Burn (Columbia)
SIXPENCE NONE THE RICHER Kiss Me (Squint/Columbia)
DIDO Here With Me (Arista)
SUGAR RAY Every Morning (Lava/Atlantic)
MARC ANTHONY I Need To Know (Columbia)
TAL BACHMAN She's So High (Columbia)
FAITH HILL Breathe (Warner Bros.)
FASTBALL Out Of My Head (Hollywood)
Going For Adds 11/13/00
LEE ANN WOMACK I Hope You Dance (MCA/Universal)
NOTHING ELSE TO WANT
WBMX /Boston wakeup host John Lander and morning show producer Wendy Filosi wel-
comed Vertical Horizon to the Pop /Alternative. Seen (l -r) are Filosi, gioup members Ed
Toth and Matt Scannell, Lander and Vertical Horizon's Keith Kane and Sean Hurley. Landers
exceptional taste in sporting a Red Sox cap had (virtually) no impact in getting this picture in print.
WKTI/Milwaukee rrr.rrw..r. 3am
CREED With Arms Wide Open
SMASH MOUTH Walkin' On The Sun
BRYAN ADAMS Thought Id Died And Gone To...
SAVAGE GARDEN! Knew I Loved You
TUBES She's A Beauty
GOO GOO DOLLS Black Balloon
SHERYL CROW Strong Enough
MATCHBOX TWENTYBent
COLLECTIVE SOUL Shine
BARENAKED LADIES Ifs All Been Done
FAITH HILL The Way You Love Me
MADONNACherish
DUNCAN SHEIK Barely Breathing
11am
MATCHBOX TWENTYBent
FOUR SEASONS December 1963...
GOO GOO DOLLS Slide PATTY SMYTH & DONHENLEYSometimes Love...
CELINE DION That's The Way It Is
PHIL COLLINS In The Air Tonight
SMASH MOUTH Then The Morning Comes
CHUMBAWUMBA Tubthumping
THIRD EYE BLIND Never Let You Go
FIREHOUSE Love of A Lifetime JOHN MELLENCAMPI'm Not Running Anymore NINE DAYS Absolutely (Story 01A Girl)
AEROSMITH I Don't Want To Miss A Thing
4pm
SISTER HAZEL All For You
MATCHBOX TWENTYBent
SHANIA TWAIN That Don't Impress Me Much
SPIN DOCTORS Little Miss Can't Be Wrong
SHAWN MULLINSLullaby STEVE WINWOOD Back In The High Life Again
MARC ANTHONY You Sang To Me
HOOTIE & THE BLOWFISH Time
THIRD EYE BLIND Never Let You Go
ROD STEWART Have I Told You...
SANTANA IAROB THOMASSmooth NINE DAYS Absolutely (Story OM Girl)
8pm
BBMAKBack Here
CHUMBAWUMBA Tubthumping
BARENAKED LADIES Pinch Me
NATALIE IMBRUGLIA Torn
BODEANS Closer To Free
GOO GOO DOLLS Slide
EVERCLEAR Wonderful FAITH HILL Breathe
HOOTIE & THE BLOWFISH Only Wanna Be...
CREED With Arms Wide Open
BLIND MELON No Rain
CHER Believe
VERTICAL HORIZON Everything You Want
TALKING HEADS And She Was
99 WMYX/Milwaukee WMrX
3am
BONNIE MITT I Can't Make You Love Me
CREED Higher
U2 Sweetest Thing
DIXIE CHICKS Ready To Run
COLLECTIVE SOUL December
GOO GOO DOLLS Black Balloon
TOAD THE WET SPROCKETAII I Want
FAITH HILL The Way You Love Me
TOM PETTY Free Fallin'
DIONNE FERRIS I Know VERTICAL HORIZON You're A God
SPLENDER I Think God Can Explain
NATALIE IMBRUGLIA Wonder
SHANIA TWAIN From This Moment On
11am
CRANBERRIES Dreams
SPLENDER I Think God Can Explain
ACE OF BASE Don't Turn Around FASTBALL Out Of My Head
LEANN RIMES I Need You
MATCHBOX 20 Back To Good
HARRYCONNICKJR. I Could Only...
BON JOVI It's My Lile DES'REE You Gotta Be
NINA GORDON Tonight And The Rest Of My Life
NO DOUBT Don't Speak
HOOTIE & THE BLOWFISH Tucker's Town
INDIGO GIRLS Shame On You
4pm
SPLENDER I Think God Can Explain
MELISSA ETHERIDGE I'm The Or h. One
EVERCLEAR Wonderful SHANIA TWAIN You're Still The One
GOO GOO DOLLS Name
'N SYNC I Want You Back
BON JOVI It's My Life
ERIC CLAPTON Change The World TAL BACHMAN She's So High
BONNIE RAITT Something To Talk About NINA GORDON Tonight And The Rest Of My Lile
BLESSIO UNION OF SOULS Light In Your Eyes
FIXX One Thing Leads To Another
CREED Higher
BRITNEY SPEARS Oops!...1 Did It Again
TONIC II You Could Only See
COLLECTIVE SOUL The World I Know
MADONNA Into The Groove
SISTER HAZEL Change Your Mind CRANBERRIES Linger MATCHBOX TWENTY II You're Gone
ENIGMA Return To Innocence
SOULDECISIONFaded
EVE 6 Inside Out
G00 GOO DOLLS Black Balloon
Monitored airplay data supplied by Mediabase Research. a division of Premiere Radio Networks. Tuned -In is based on sample hours taken from Monday 10/30 © 2000. R &R Inc.
www.americanradiohistory.com
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110
1L:f Pop /Alternative NbutrlrBBtttter 10, MOO
R3R/MEDlABASE 24/7
ARTIST I- TOTAL PLATS -1
1W LW
Q CREED With Arms Wide Open (Wind -up) 1641 1630
TOTAL STATIONS!
ADDS
33/0
Q 3 DOORS DOWN Kryptonite (Republic /Universal) 1569 1564 33/0
Q BARENAKED LADIES Pinch Me (Reprise) 1524 1519 33/0
Q MATCHBOX TWENTY If You're Gone (Lava/Atlantic)1353 1174 33/0
4 5 VERTICAL HORIZON You're A God (RCA) 1239 1295 32/0
5 6 EVERCLEAR Wonderful (Capitol) 1227 1295 32/0
0 EVAN AND JARON Crazy For This Girl (Columbia)1087 1037 31/1
8 MATCHBOX TWENTY Bent (Lava/Atlantic) 925 1066 33/0
12 0 U2 Beautiful Day ( Interscope) 841 737 30/1
9 10 NINE DAYS Absolutely (Story Of A Girt) (550 Music) 743 834 32/0
13 (ID STING Desert Rose (A &M /Interscope) 742 736 31/0
® WALLFLOWERS Sleepwalker (Interscope) 712 712 31/0
19 ® DAVID GRAY Babylon (ATO /RCA) 695 608 29/0
14 THIRD EYE BLIND Deep Inside Of You (ElektraEG) 691 739 26/0
10 15 CREED Higher (Wind -up) 687 765 33/0
20 0 LENNY KRAVITZ Again (Virgin) 685 600 28/0
14 17 NINA GORDON Tonight And For... (Warner Bros.) 675 713 27/0
SHAWN MULLINS Everywhere I Go (Columbia) 630 552 31/0
17 19 SISTER HAZEL Change Your Mind (Universal) 612 638 27/0
13 20 BON JOVI It's My Life (Island /IOJMG) 581 619 24/0
32 Pop /Alternative reporters. Songs ranked by total plays for the airplay week of Sunday 10/29- Saturday 11/4. ® 2000, R &R Inc.
No CORKS Breathless (143 /Lava/Atlantic) Total Plays 570. Total Stations 26. Adds 1
MADONNA Music (Maverick/WEI) Total Plays 468 Total Stations' 15. Adds. 1
NINE DAYS If I Am (550 Musicpic) Total Plays 465. Total Stations. 24, Adds. 0
DEXTER FREEBISH Leaving Town (Capitol) Total Plays 396 Total Stations 22. Adds. 0
EVERCLEAR AM Radio (Capitol) Total Plays. 330 Total Stations. 26. Adds. 5
SISTER HAZEL Champagne High (Universal) Total Plays 320. Total Stations 24. Adds. 2
MACY GRAY Still (Epic) Total Plays. 293. Total Stations. 24. Adds: 2
DIDO Thankyou (Arista) Total Plays: 264. Total Stations: 22. Adds: 13
LEIGH NASH Need To Be Next To You (Engine/Arista) Total Plays. 260, Total Stat,on 15. Adds: 1
NELLY FURTADO I'm Like A Bird (Dream Works) Total Plays. 248 Total Stations 19. Adds. 2
bop rMkM b tall BhVe
WVTI /Grand Rapids Sam
FAITH HILL This Kiss MADONNA Vogue MACY GRAY Still ROBERT PALMER Bad Case Of Loving You...
MEREDITH BROOKS Bitch SANTANA l/PRODUCT G &B Maria Maria VERTICAL HORIZON Everything You Want DONNA LEWIS I Love You Always Forever SHAWN MULLINS Everywhere I Go GOO 000 DOLLS Black Balloon RICK SPRINGFIELD I've Done Everything For You
SMASH MOUTH All Star 3 DOORS DOWN Kryptonite U2 One
EDDIE MONEY Take Me Home Tonight TONIC If You Could Only See
11am EAGLE-EYE CHERRY Save Tonight DEEP BLUE SOMETHING Breakfast At Tiffany's COO G00 DOLLS Broadway SQUEEZE Tempted BARENAKED LADIES One Week DIONNE FARRIS I Know STING Brand New Day ENE B R I LL&11* NEW BOII1ANSWhatlAm SHANIA TWAIN That Don't Impress Me Much ROMANTICS What I Like About You
EVAN AND JARON Crazy For This Girl LIT My Own Worst Enemy TRACY CHAPMAN Give Me One Reason DAVE MATTHEWS BAND Crush WHAM! Everything She Wants NINE DAYS Absolutely (Story Of A Girl)
4pm
EVAN AND JARON Crazy For This Girl STING Desert Rose TALKING HEADS And She Was
COUNTING CROWS Hanginaround HOOTIE & THE BLOWFISH Only Wanna Be...
SMASH MOUTH All Star VERTICAL HORIZON You're A God T'PAU Heart And Soul JOHN MELLENCAMP I'm Not Running Anymore CREED With Arms Wide Open ALAN'S MORISSETTE You Learn TRAIN Meet Virginia TONIC If You Could Only See
8pm
WHITESNAKE Here I Go Again VAN HALEN Love Walks In
CARS Good Times Roll EDDY GRANT Electric Avenue NAKED EYES Always Something There To...
GEORGE MICHAEL Faith BLACK CROWES Hard To Handle NICK GILDER Hot Child In The City KC & THE SUNSHINE BAND That's The Way...
THELMA HOUSTON Don't Leave Me This Way CARS Shake It Up PRINCE Raspberry Beret TIFFANY I Think Were Alone Now II-52'S Love Shack NEW ORDER True Faith
Monitored airplay data supplied by Mediabase Research, a division of Premiere Radio Networks. Tuned -In is based on sample hours taken from Monday 10/30. C 2000. R &R Inc.
Contributing Stations KPEK/Albuquerque. NM
KAMX/Austin. TX
KLLYBakerslield. CA
WBMXBoston, MA
WLNK/Charlotte, NC
WTMX/Chicago, IL
KVUU/Colorado Springs, CO
KKPNICorpus Christi, TX
KVSR/Fresno, CA
WVTI/Grand Rapids. MI
WKSI/Greensboro, NC
KUCD/Honolulu, HI
KMXB/Las Vegas, NV
KYSR/Los Angeles. CA
WXPT/Minneapolis, MN
KOSO/Modesto, CA
KCOU/MontereySalinas,
WPTE/NOrlalk, VA
KYIS/Oklahoma City, OK
KZON/Phoenix, AZ
KLCA/Reno, NV
WZNE/Rochester, NY
CA
KZZO/Sacramento, CA
WVRV/St. Louis, MO
KOMB/Salt Lake City, UT
KFMB/San Diego. CA
KLLC/San Francisco, CA
KMHX/Santa Rosa, CA
WSSR/rampa, FL
KZPT/Tucson, AZ
WMBX/West Palm Beach, FL
WXLO/Worcester, MA
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112
N.4 C/Smooth Jazz Top 30 November 10, 20010
THIS EEK ARTIST TITLE LABELS/
TOTAL PLAYS
O JEFF KASHIWA Hyde Park ( "Ah. Oooh" Song) (Native Language) 833
2 STEVE COLE Got It Goin' On (Atlantic) 792
O CRAIG CHAQUICO Cafe Carnival (Higher Octave) 777
3 0 MICHAEL LINGTON Twice In A Lifetime (Samson) 756
5 0 WALTER BEASLEY Comin' At Cha (Shanachie) 741
o SADE By Your Side (Epic) 648
DAVE KOZ Can't Let You Go (The Sha...) (Capitol) 563
VARIOUS ARTISTS Manenberg (Heads Up) 502
Q CHIELI MINUCCI My Girl Sunday (Shanachie) 494
AL JARREAU Last Night (GRPNMG) 452
m BRIAN BROMBERG Relentless (Native Language) 396
GROVER WASHINGTON JR. Chameleon (Telarc) 374
® BONEY JAMES All Night Long (Warner Bros.) 372
o MICHAEL MCDONALD The Meaning Of Love (Ramp) 365
15 DAVID BENOIT Red Baron (GRPNMG) 360
16 JEFF GOLUB F/PETER WHITE No Two Ways About It (GRPNMG) 352
G CHUCK LOEB Blue Kiss (Shanachie) 345
EUGE GROOVE Vinyl (Warner Bros.) 331
BONEY JAMES & RICK BRAUN R.S.V.P. (Warner Bros.) 327
e STING She Walks This Earth (Telarc) 322
BETTE MIDLER Love T.K.O. (Warner Bros.) 313
® WARREN HILL Mambo 2000 (Narada) 296
e JOE MCBRIDE Texas Rhythm Club (Heads Up) 293
m RONNIE LAWS Old Days /Old Ways (HUH) 275
e ERIC ESSIX Rainy Night In Georgia (Zebra) 241
RIPPINGTONS Cruisin' Down Ocean Drive (Peak/Concord) 216
JAllMASTERS London Chimes (Hardcaslle/Trippin 'N Rhythm) 177
28 FOURPLAY Robo Bop (Warner Bros.) 164
79 RONNY JORDAN F/ROY AYERS Mystic Voyage (Blue Note) 141
m BONA FIDE X -Ray Hip (N- Coded) 129
6
8
to
9
15
16
18
1t
12
17
13
25
19
23
20
22
21
24
27
26
28
7'1
¡Debut>
PLAYS
+16
-6
+51
+5
+65
+9
-79
-40
+33
-23
+49
+37
+51
+14
-64
-62
+21
-42
+121
+20
+88
+12
+48
+14
+23
+29
-22
-23
-4
+42
GROSS IYPRESSINS
1001
123592
109878
98792
104644
107101
82876
75022
59512
59590
50669
55915
46069
44532
40274
45579
40824
43435
45421
43123
22718
43348
53259
58241
31055
30246
14952
17608
9723
12458
19883
WEEKS ON CHART ADOS
12 40/1
17 39/0
18 37/0
17 38/0
16 38/0
6 41/0
21 35/0
18 31/0
10 34/1
15 33/0
8 31/0
7 32/1
15 28/0
20 26/0
15 28/0
26 27/0
5 29/0
27 27/0
2 32/3
6 25/4
2 28/4
5 27/1
7 28/4
6 25/1
4 24/1
4 20/1
19 14/0
11 16/0
6 12/0
1 18/5
TOTALSTATpNS
41 NAC /Smooth Jazz reporters. Songs ranked by total plays for the airplay week of Sunday 10/29- Saturday 11/4. Bullets appear on songs gaining plays or remaining flat from previous week. If two songs are tied in total plays. the song being played on more stations is placed first. Breaker status is assigned to songs reaching 400 plays or more for the first time. Songs below No. 20 are moved to recurrent after 20 weeks. Gross Impressions equals Average Quarter Hour Persons times number of plays (times 100). Average Quarter Hour Persons used herein with permission from The Arbitron Company (Copyrght 2000, The Arbitron Company). ® 2000. R &R Inc.
New& Active KIRK WHALUM Now Til Forever (Warner Bros.) Total Plays 123. Total Stations 14. Adds 3
BRENDA RUSSELL You Can't Hide Your Heart... (Hidden Beach/Epic) 'otal Plays. 105. Total Stations: 8. Adds 1
DAN SIEGEL From The Heart (Legacy/Epic) Total Plays. 103. Total Stations: 10. Adds: 2
GREGG KARUKAS Chasing The Wind (N- Coded) Total Plays 98. Total Stations. 10. Adds: 2
YULARA Flyin' High (Higher Octave) Total Plays: 96, Total Stations. 11. Adds: 1
ACOUSTIC ALCHEMY Angel Of The South (Higher Octave) Total Plays 81. Total Stations: 10, Adds: 1
RONAN HARDIMAN That Place In Your Heart (Decca) Total Plays 74. Total Stations: 6. Adds: 0
EAST WEST CONNECTION Surgical Spirit (Internal Bass) Total Plays: 73. Total Stations: 7. Adds: 0
TIM BOWMAN Smile (lnsync) Total Plays: 60. Total Stations: 8. Adds: 0
NATALIE COLE Angel On My Shoulder (Elektra/EEG) Total Plays: 59. Total Stations: 8. Adds 4
Songs ranked by total plays
Most Added, ARTIST .__. ADD'.
GEORGE BENSON Medicine Man (GRP VMG) 16
BONA FIDE X -Ray Hip (N- Coded) 5
JOE MCBRIDE Texas Rhythm Club (Heads Up) 4
BETTE MIDLER Love T.K.O. (Warner Bros.) 4
STING She Walks This Earth (Telarc) 4
KIM WATERS In The Groove (Shanachie) 4
NATALIE COLE Angel On My Shoulder (Elektra/EEG) 4
BONEY JAMES & RICK BRAUN R.S.V.P. (Warner Bros.) 3
KIRK WHALUM Now Til Forever (Warner Bros.) 3
BRIAN CULBERTSON Its Only You (Atlantic) 3
DOWN TO THE BONE Urban Jazz (Internal Bass) 3
Most Increased Plays
TOTAL PLAY
ARTIST INCREASE
BONEY JAMES & RICK BRAUN R.S.V.P. (Warner Bros.) +121
BETTE MIDLER Love T.K.O. (Warner Bros.) +88
WALTER BEASLEY Comm' At Cha (Shanachie) +65
CRAIG CHAOUICO Cafe Carnival (Higher Octave) +51
BONEY JAMES All Night Long (Warner Bros.) +51
BRIAN BROMBERG Relentless (Native Language) +49
JOE MCBRIDE Texas Rhythm Club (Heads Up) +48
BONA ADE X -Ray Hip (N- Coded) +42
GROVER WASHINGTON JR. Chameleon (Telarc) +37
Breakers® No Songs Qualified For Breaker Status
This Week
Most Added b eta - number Of new adds officially reported to RIR by each rspotkq stilton. Songs unmated Is adds do not count toward oval IoW sWioro pining a song. Most kiausrd Plays lists
Mrs sags wilt Ihs grwYSt wrsk wssk imams In total plays. %VOW dlart appsrs on RIP ONLa4E MUSIC TRACKING.
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114 R &R November 10, 2000 NAC /Smooth Jazz Reporters
WZMR /Albany, NY
PD: Patrick Ryan JCE NICBRIDF'Tem' GF1441sF BNSON 'MMpe-
KNIK/Anchorage,AK OM: Aaron Wallender PD: Dallas Scott MD: Jennifer Summers
BRIAN MCIWIGHT w, GEORGE BENSON -Meaae NAiA IE COI F -AngV
WNUA/Chicago. IL
PD: Bob Kaake APD /MD: Carl Anderson
WNWV /Cleveland, OH
PD /M0: Bernie Kimble GEORGE BENSON'Modane- STING -Wie
K161 WATERS Tibwe- EL1GF GROOVE Ranee"
WJZA/Columbus, OH
OM/PD/MD: Bill Harman APD: Gary Wolter
ACOUSTIC ALCHEMY Angel' KIRK WINLLRA -forever BRIAN cuBERTSON -11n6-
KOAI/DaIlas -Ft. Worth, TX
PO/MO: Maxine Todd 1 ERIC ESSIx'Ram1
JOE MCBiIDE -kr.
KJCD/Denver- Boulder, CO
PD: John St. John b Adds
WVMV/Detroit, MI PD: Tom Sleeker MD: Sandy Kovach
6 JOE MCBRIDE "leas GEORGE BENSON Modoe
KEZLJFresno, CA PD: J. Weidenheimer
3 BEIUMN FP. I^... 2 Par,SUN
2 'NI ;K r µ,l,
WYJZ/Indianapolis, IN
PD/MD: Carl Frye KIRK WHALUM -Foreser
KCIY/Kansas City, MO
PD: Steve Wiersman MD: Michelle Chase
STING -Walt
WSMJ/Knoxville, TN
PD/MD: Tom Miller No AM,
KTWV/Los Angeles, CA
PD: Chris Brodie APD/MD: Ralph Stewart
GEORGE ORISON 'Meaux '
Stations and their adds listed alphabetically by market
WLVE/Miami, FL
PD: Bret Michael MD: Shirlitta Colon
No kW
WJZI/Milwaukee, WI OM/PD/MD: Chris Moreau
GFURGE BENSON "M deve BONA POE -x Ra,. DARVI SILARMFR -KUn
KSBR/Mission Viejo, CA
OM/PD: Terry Wedel MD: Logan Parris
ROBERTS BAOS -5446 BRLAN CULBERTSON 'Orey-
GEORGE BENSON XMcee
KRVR/Modesto. CA
PD: Jim Bryan MD: Doug Wulff
GF URGE BES@N Medcno DOWN TO THE BON "Urbar, GREGG KAPUKAS -Chasing"
WOCD/New York, NY
OM: John Mullen PO/MD: Charley Connolly
JOYCE COMM Toast IN KAMMAS Chavp-
WSJZ/New Orleans, LA OM/PD/MD: Mark Edwards
GEORGE BENSON'MeNu e- Dow, TO NF O4 Ujbn
WJCD/Norfolk, VA
MD: Larry Hollowell 4 NATA IE COIF ANN
SCRUM WWONDER -En"'
WLOO/Orlando, FL
PD: Dave Kosh MD: Patricia James
3 BRIAN CULBERTSON -OW KIM WATERS -Grows- GEORGE BENSON -Mehare- E UGE GROOVE -Romeo'
WJPL/Peoria, IL
PD/MD: Rick Hirschmann JAKS & BRAUN -R S'JP STING wales J OE MCBRGi
WJJZ/Philadelphia, PA
OM: Anne Gress MD: Michael Tozzi AMO: Joe Proke
13 JEFF GOLUB'Drop K IM WATERS Groom
BILW M KJ IGHT w ,
KYOT/Phoenix, AZ
PD: Shaun Holly APD/MD: Greg Morgan
NO Abos
KKJZ/Portland, OR
P0: Chris Miller MD: David Shult APO: Heather Baldwin I GEORGE BENSON Ihacoe
Most Played Recurrents RICHARD ELLIOT Moomba (Blue Note)
ACOUSTIC ALCHEMY Beautiful Game (Higher Octave)
GEORGE BENSON Deeper Than You Think (GRPNMG)
DOWN TO THE BONE The Zodiac (Internal Bass)
CHRIS STANDRING Hip Sway (Instinct)
BONEY JAMES & RICK BRAUN Grazin' In The Grass (Warner Bros.)
MARC ANTOINE Palm Strings (GRPNMG)
PAUL TAYLOR Avenue (Peak/Unity/N-Coded)
TONI BRAXTON Spanish Guitar (LaFace /Arista)
BOB JAMES Raise The Roof (Warner Bros.)
BRIAN CULBERTSON Do You Really Love Me (Atlantic)
URBAN KNIGHTS Sweet Home Chicago (Narada)
BOND' JAMES Boneyizm (Warner Bros.)
LARRY CARLTON Fingerprints (Warner Bros.)
JOYCE COOLING Before Dawn (Heads Up)
NORMAN BROWN Paradise (Warner Bros.)
CLUB 1600 Stay (N- Coded)
BRENDA RUSSELL Catch On (Hidden Beach /Epic)
KIM WATERS Secrets Told (Shanachie)
RONNY JORDAN London Lowdown (Blue Note)
WWND/Raleigh- Durham, NC
PD/MD: Scott St. John 6 KIM WATERS Groove
8 DOWN TO rN BON 'Urban"
KJZS/Reno, NV PD/MD: Jay Davis 16 STING Veen' II JAMS S. BRAUN 'ASVP 11 DAN SIEGEL'HAW-
WJZV/Richmond, VA
OM/PD: Tommy Fleming BONA ROE -x4iry- RIPPINGTDNS -Crush BETTE MIDLER -Lore GEORGE BENSON -Medone
KSSJ/Sacramento, CA
PD: Steve Williams APD/MD: Ken Jones
NAHE COLE -Aper DAY SEGEL 'rAart-
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e JFFf KASIINIA -1.466"
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No Ados
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CHIFII AIINUCCI Sutlay- 6 GROAR WASIHNGTCW -Cl, on
3 BETTE MUTER Tort
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24 BRENDA RUSSELL -Hore'
BETTE MID; E R :ove
KJIY/Santa Rosa, CA
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REISON rdnl ,e
,AMESA RRA, RS'JP r ylilAHA Il, it
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KIRK WHALUM'fnre,a
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PD/MD: Erik Foss BONA FIDE -x Ray -
GEORGE BENSON Medane
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PD/MD: Kenny King MUREX "X Ray
KOZ F =JORDAN -Mvsoer' WARREN HILL -Unto
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PD: Ron Allen MD: Patrick Murphy
Ieri Abt
JRN /(Jones NAC)/National PD: Steve Hibbard MD: Cheri Marquart
2 JAY BCKFNSTE'.N 061,4
, MAYSA -Mmes ENNA YAM, GEORGE BENSON -Medme-
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116 RAR November 10, 2000 Rock
PART ONE OF A TWO -PART SERIES
Field 01 Streams If you build it, they will listen
The speed of Internet life is more like the speed of light, requiring constant vigilance to keep somewhat in touch with all the latest doohickeys, zingers and gadgets. At this year's conven- - tions broadcasters were told they should already be streaming their audio online and not con-
gratulating themselves for it.
BRS Media CEO George Bundy tends to agree. and he generously agreed to provide a crash course on
streaming and share what he tells ra-
dio managers about streaming their stations. He recommends the NAB book Internet Age Broadcaster to help managers get up to speed. He says its a good primer on the basics
of streaming and wcbcasting. but cau-
tions that once anything about the Internet is printed in a book. it's al- ready outdated. 'The Internet changes and redevelops itself every six months or so." he says. Additionally. the November issue of Spin includes
a feature on Internet -only radio sta-
tions that is a worthwhile read.
I Stream. You Stream, We All Stream
Bundy's crash course begins with a question for broadcasters: "What do you want to use your stream for? There are different reasons for streaming online. Many times people
answer. 'Because our competitor is
doing it.' But, realistically. there needs to be a specific reason. For the
most part. streaming costs more than
just putting up a website, although streaming costs have gone down slightly and some free streaming ser- vices exist."
Additional advertising and e-com- merce opportunities can offset the
cost. But you have to go into stream-
ing with a good idea of what you want to use it for.' Bundy warns. "One sta-
tion we work with. for example, is an
AM Business News/Talk in San Francisco. A large portion of its lis- teners are at -work daytime listeners.
"On the AM band you can't pen- etrate office buildings in downtown San Francisco. but online we've got a captive audience sitting in front of their desks. on the Internet, who will listen for long periods of time and
who wouldn't otherwise be able to listen. That's one of the benefits"
Bundy is still bullish on localism. 'The idea with the San Francisco sta-
tion is that you continue to grab your local audience. which is important. because radio is a local medium.' he
says. "1t should continue to do well locally even with the advance of the
Internet. "Just because the technology
"Nothingface `Bleeder' is right along the line with the style of music that tests, sells and is worth taking the chance on..." - Kevin Vargas, Program Director KISS /San Antonio
Billboard Heatseekers
3rd Week in a row!
changes doesn't mean that the entire aspect of the radio industry should be
altered. The idea of extending your reach into the weak areas of your own local marketplace is important. One of the Country stations in Missouri we work with gets 60% of its online listening from within its market or the
fringe of its market. That's a good use
of the Internet.
A Big 'Net Stretch
Once localism is mastered. Bundy advises extending your reach. This has a different meaning outside of your market. Generally. if you're on
the West Coast and have a high per- centage of local advertisers. you don't worry too much about penetrating lis- teners on the East Coast. At the same
time, you must look forward as far as
streaming goes. because eventually it wont require a wire or a telephone connection. Wireless appliances are
on their way.
"If you want to stake your claim on the Internet, now is the perfect time
to at least begin to take advantage of streaming. Then. when the appliances go in the car and become portable like a radio. you'll already be in a good position to compete against potential Internet -only competitors. which hate been coming on somewhat strongly in
the past year." Bundy should know, because BRS
has been tracking the streams of ter-
restrial and Internet-only stations since
1996. 'There were only some 56 sta-
tions hack then.' he says. "Now its something like 4.300 worldwide. The
interesting pan about this is that the
Internet-only companies represented
2%-3% of the whole figure a year or two ago. Now it's nearing 10%. That's not to take away from the fact that ter-
restrial stations are still jumpingon the
Internet in record numbers. but their Internet -only counterparts are coming on much stronger."
And typical consumers will have
no concept of - and. indeed. won't care - whether they're listening to a traditional station or an Internet - only státion. a fact Bundy points to as
an imposant part of making a plan for how to maintain market share in the
future.
"Just because the technology changes doesn't
mean the entire aspect of the radio industry should
be altered. The idea of extending your reach into
the weak areas of your own local marketplace is
important." George Bundy
Recycling Is Key
He continues. "Stations must real- ize that their end users aren't neces-
sarily always near a radio. but many of them spend a lot of time at work in
front of a PC. You can grab your local
audience at the PC. then do your nor- mal recycling efforts to get them back
in the car and at home. then back to
the PC the next day. For these users.
it's almost second nature to e-mail the
station from the website too. These are
major components of the overall web
presence of a radio station." Once a station decides why it
wants to stream. Bundy offers advice
on what to consider when choosing among the companies that handle streaming. You tend to give up one
thing or another. and if the service is
totally free. one has to question how long it will be in business." he says.
"It's a generalization of the Internet industry to say that they give away product. It's now become reality to sell your services or product. Other- wise. you eventually go out of busi- ness. And while the streaming service
may be free and may seem like a
great opportunity. there can be other drawbacks. such as not having total
control of your stream. You might have to send your users to another website. taking them away from your own web presence. Many people want control of their stream because
their product is at stake." If there is a cost. Bundy notes. you
have to decide how to offset the cost
"either with commercials. banner ads.
e- commerce opportunities or a corn -
hination of all three. Then. beyond paying for it. you have to determine
how to turn it into a profitable ven-
ture. which again is probably best
done with a combination of those things and other e- commerce with merchant potential."
The Next Big Thing
Bundy believes that banner ads
have had their day and that the new
thing is audio insertion, especially be-
cause "a traditional radio station makes its revenue with audio commer-
cials. One of the stations we work with - KROK.fm in Leesville, LA -does ad insertions. We work with a com- pany that does the work of breaking away from the station's stream during a stopset and inserting audio ads tar-
geted to the Internet listener. There- fore. we double the station's ability to
generate income. The Internet stopset
is the same length as the on -air stopset:
it's jnist different spots. And because
it's targeted, we get a higher CPM.
Therefore. there are more opportun
ties for the station to generate incon off the stream.
The company he is alluding to
Ibeam Broadcasting. and a deal wit BRS Media includes Ibeam techno ogy to give customers what Bund calls high -end streaming abilit: "That means there are fewer techn
cal issues of streaming that have to t dealt with. such as rebuffing. 'Ni congestion and the things that mai streaming media very frustrating." t explains. "Because they have satellii
distribution across the Internet soli Lion. it's less likely that the end um
will have those problems." Previously. stations that used a loci
Internet service provider - frequenti
on trade - found that the ISP wr great for hosting websites but enema
tered problems with streaming due t
insufficient bandwidth. Bundy illte trates: 'The more listeners you hat online. the more bandwidth and sen
en you require to accommodate then
'That's because everyone listenin
to Internet audio has to be sent an it dividual stream. The local ISP tar
out after a certain period of time an
can't scale up accordingly. One aspen
we bring is the ability to have a hig
percentage of listeners with very fe'
technical issues.
"We provide the station with a b:
sic tolerant encoder - that's the sof ware and hardware that encodes th
station's signal at the station leve Doing that provides a quality inpt signal because we get the audio at th
source. That's better than the sign:
first going through a local radio the
getting plugged into an encoder at
local Internet provider." Its true: The audio quality c
i'ww krnkfm on my TI connection :
noon on a Friday was great.
On the user end. when one select
the station's "Listen" button. BRS sur
plies a customized pop-up player it stead of the typical Real Audio playe
It has the station's own look and fen
and is interactive. with such feature
as a button for online requests. Pre.
the button. and a form pops up. Aft( it's been submitted. another winds replaces it. thanking you by name fr listening and containing the messag
"We have submitted your request f(
¡artist and song title] to the DJ." A e -mail message is also sent.
While the ad insertions help stn
tions offset the cost of streaming an
generate revenue from their Intern(
broadcast. BRS generates its incom
Continued on Page 11!
www.americanradiohistory.com
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.101 diii u !M www.americanradiohistory.com
118
LAST THIS WEEK WEEK
a.... r. -r°.T-=i '.:5.
November 1/0,1101010 ARTIST TITLE LABEL(S)
TOTAL
PLAYS GROSS
PLAYS IMPRESSIONS WEEKS ON
CHART ADDS TOTAL STAT1ONS Most Added®
1001
3 DOORS DOWN Loser (Republic /Universal) 1534 -40 105306 23 69/0 ARTIST LILE :49E1 S, ADOS
2 © COLLECTIVE SOUL Why Pt. 2 (Atlantic) 1458 +20 94502 9 69/0 ISLE OF 0 Bag Of Tricks (Universal) 28
4 0 FUEL Hemorrhage (In My Hands) (550 Music /Epic) 1290 +24 80830 13 62/0 EVERCLEAR When It All Goes Wrong Again (Capitol) 12
3
5
Q 0
AEROSMITH Angel's Eye (Columbia)
CREED Are You Ready (Wind-up)
1283
1272
+13
+71
82767
74606
4
10
69/1
61/1
DAVID COVERDALE Slave (Dragonshead) 10
STONE TEMPLE PILOTS Break On Through (Elektra/EEG) 8
FASTBALL This Is Not My Life (Hollywood) 7
6 PRIMUS W /OZZY N.I.B. (Divine /Priority) 1161 -22 89542 19 56/1 LINKIN PARK One Step Closer (Warner Bros.) 6
7 0 SAMMY HAGAR Serious Juju (Cabo Wabo /Beyond) 1029 +22 62143 8 62/0 CREED Riders On The Storm (Elektra/EEG) 6
9 Q GODSMACK Awake (Republic /Universal) 894 +83 61128 6 62/2 COC Congratulations Song (Sanctuary /SRG) 5
8 Q 3 DOORS DOWN Kryptonite (Republic /Universal) 838 +16 74390 43 62/0 LIFEHOUSE Hanging By A Moment (Dream Works) 5
JOSH JOPLIN GROUP Camera One (Artemis) 5
lo 112 Beautiful Day (Interscope) 811 +19 63910 9 43/1
12 METALLICA I Disappear (Hollywood) 764 +27 68439 29 57/0
14 GEDDY LEE My Favorite Headache (Anthem /Atlantic) 731 +92 43092 4 55/2
13 e IOMMI Goodbye Lament (Divine /Priority) 721 +70 41418 8 57/1
11 CREED With Arms Wide Open (Wind -up) 646 -96 55112 31 56/0
16 e NICKELBACK Breathe (Roadrunner) 616 +6 35497 16 44/1
15 WALLFLOWERS Sleepwalker (lnterscope) 611 -27 40089 9 40/1
19 STONE TEMPLE PILOTS No Way Out (Atlantic) 540 +29 31544 6 49/0
20 o A PERFECT CIRCLE 3 Libras (Virgin) 535 +28 31980 9 40/1
18 19 PAPA ROACH Last Resort (Dream Works) 533 -7 46074 23 35/1
25 OFFSPRING Original Prankster (Columbia) 513 +79 37818 5 41/1
MEGADETH Kill The King (Capitol) 450 -15 26711 8 44/0
Breaker ® DUST FOR LIFE Step Into The Light (Wind -up) 412 +47 21177 6 41/2 Most Increased 21 23 AC/DC Meltdown (EastWest/EEG) 410 -95 25339 11 35/0 Plays 22 24 GREEN DAY Minority (Reprise) 402 -101 22918 10 30/0
TOTAL PLAY
ARTIST -1 -LE ?.E- ì. INCREASE
23 25 VAST Free (Elektra/EEG) 400 -94 28689 13 40/0 EVERCLEAR When It All Goes Wrong Again (Capitol) +249
31 0 LINKIN PARK One Step Closer (Warner Bros.) 351 +27 19911 9 39/6 GEDDY LEE My Favorite Headache (Anthem /Atlantic) +92
27 27 LENNY KRAVITZ Again (Virgin) 345 -25 21026 7 27/1 U.P.O. Feel Alive (Epic) +90
37 U.P.O. Feel Alive (Epic) 341 +90 14830 3 35/1 GODSMACK Awake (Republic/Universal) +83
32 29 EVERLAST Black Jesus (Tommy Boy) 309 -11 22110 8 22/0 OFFSPRING Original Prankster (Columbia) +79
CREED Are You Ready (Wind -up) +71
33 t PAPA ROACH Broken Home (Dream Works) 304 +24 14366 6 28/0 STONE TEMPLE PILOTS Break On... (Elektra/EEG) +71
29 31 JIMMY PAGE & BLACK CROWES Hey Hey... (Musicmaker.com/T1/1-1 288 -51 13670 7 25/2 IOMMI Goodbye Lament (Divine /Priority) +70
26 32 FULL DEVIL JACKET Where Did You Go? (Island /IDJMG) 285 -109 17762 13 33/0 CREED Riders On The Storm (Elektra/EEG) +63
® EVERCLEAR When It All Goes Wrong Again (Capitol) 277 +249 20276 1 45/12 DIFFUSER Karma (Hollywood) +59 /Debut>
a, COC Congratulations Song (Sanctuary /SRG) ' 264 +3 10828 5 36/5
39 EVE 6 On The Roof Again (RCA) ' 261 +26 13327 3 27/1
35 UNION UNDERGROUND Turn Me On... (Portrait/Columbia) 248 -7 18304 20 27/0
41 e B.B. KING/ERIC CLAPTON I Wanna Be (Duck/Reprise) 248 +54 14402 4 23/2
30 38 KENNY WAYNE SHEPHERD BAND Last Goodbye (Giant/Reprise) 242 -84 16723 18 24/0
36 34 COLD Just Got Wicked (Flip /Geffen /lnterscope) 220 -21 14446 12 22/0
44 STRAIT UP F/LAJON OF SEVENDUST Angel's Son (lmmortaWirgin) 219 +48 11140 3 22/4
42 e LIFEHOUSE Hanging By A Moment (Dream Works) 210 +34 11714 3 29/5
40 MATCHBOX TWENTY Crutch (Lava/Atlantic) 197 -20 11720 7 14/0
43 MARILYN MANSON Disposable Teens (Nothing /lnterscope) 185 +9 10603 3 19/1
5 m TIDEWATER GRAIN Here On The Outside (Warner Bros.) 179 +15 7094 4 19/0
m STONE TEMPLE PILOTS Break On Through (Elektra/EEG) 156 +71 12079 1 18/8 Breakers. ¡Debut>
m TAPROOT Again And Again (Velvet Hammer /Atlantic) 156 +12 8150 3 18/1
/Debut> m CREED Riders On The Storm (Elektra/EEG) 152 +63 7944 1 16/6 DUST FOR LIFE
/Debut> JOE BONAMASSA Cradle Rock (Okeh /550 Music/Epic) 143 +42 6543 1 16/2 Step Into The Light (Wind -up)
/Debut> DIFFUSER Karma (Hollywood)
LIMP BIZKIT Rollin' (Flip /lnterscope)
132
126
+59
+17
7740
11145
1
1
22/1
11/0
TOTAL PLAYS /INCREASE TOTAL STATIONS/ADDS CHART
412/47 41/2 /Debut>
72 Rock reporters. Monitored airplay data supplied by Mediabase Research. a division of Premiere Radio Networks. Songs ranked by total plays for the airplay week of Sunday 10 /29- Saturday 11/4. Bullets appear on songs gaining plays or remaining flat from previous week. If two songs are tied in total plays, the song being played on more stations Is placed first. Breaker status is assigned to songs reaching 400 plays or more for the first time. Songs below No. 20 are moved to recurrent after 20 weeks. Gross Impressions equals Average Quarter Hour Persons times number of plays (times 100). Average Quarter Hour Persons used herein with permission from The Arbitren Company (Copyright 2000. The Arbitron Company). © 2000. RAR Inc.
Most Added is the total number of new adds officially reponed to RAR
by each reporting station. Songs unreported as adds do not count toward overall total stations playing a song. Most Increased Plays lists the songs with the greatest week -to-week increases in total plays. Weighted chart appears on RAR ONLINE MUSIC TRACKING.
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122
WEEK WEEK ARTIST TITLE LABEL(S) THIS
Active Rock Top 50 November 10, 2000
Q
Q
o m ,3 Q 14 ® 17 ® 15 Q 16 o 11
19 m 21
20 19
12 20
25 ® 23 22
18 23
26 D 22
27 m 24
29
II) 30
¡Debut> ® 34 ®
e 3'
® m ®
so m 42 m ze 47
3B 42
46 ® 41 m 45 m 44
3e 47
¡Debut>
rDebut>
¡Debut> ®i
TOTAL PLAYS
GROSS PLAYS IMPRESSIONS
WEEKS ON CHART ADOS
TOTAL STATIONS
3 DOORS DOWN Loser (Republic/Universal)
GODSMACK Awake (Republic /Universal)
FUEL Hemorrhage (In My Hands) (550 Music/Epic)
CREED Are You Ready (Wind -up)
PRIMUS W/OZZY N.I.B. (Divine/Priority)
PAPA ROACH Last Resort (Dream Works)
COLLECTIVE SOUL Why Pt. 2 (Atlantic)
OFFSPRING Original Prankster (Columbia)
DISTURBED Stupify (Giant/Reprise)
AEROSMITH Angel's Eye (Columbia)
IOMMI Goodbye Lament (Divine /Priority)
A PERFECT CIRCLE 3 Libras (Virgin)
LIMP BIZKIT Rollin' (Flip /Interscope)
PAPA ROACH Broken Home (Dream Works)
STONE TEMPLE PILOTS No Way Out (Atlantic)
UNION UNDERGROUND Turn Me On... (Portrait/Columbia)
LINKIN PARK One Step Closer (Warner Bros.)
(HED) PLANET EARTH Bartender (Volcano /Jive)
A PERFECT CIRCLE Judith (Virgin)
GREEN DAY Minority (Reprise)
MARILYN MANSON Disposable Teens (Nothing /Interscope)
MEGADETH Kill The King (Capitol)
FULL DEVIL JACKET Where Did You Go? (Island /IDJMG)
EVERLAST Black Jesus (Tommy Boy)
NICKELBACK Breathe (Roadrunner)
DUST FOR LIFE Step Into The Light (Wind -up)
COLD Just Got Wicked (flip /Geffen/Interscope)
DEFTONES Back To School (Mini Maggit) (Maverick)
CDC Congratulations Song (Sanctuary/SRO)
SAMMY HAGAR Serious Juju (Cabo Wabo /Beyond)
EVERCLEAR When It All Goes Wrong Again (Capitol)
U.P.O. Feel Alive (Epic)
TAPROOT Again And Again (Velvet Hammer /Atlantic)
ORGY Fiction (Dreams In Digital) (Elementree /Reprise)
U2 Beautiful Day (Interscope)
P.O.D. School Of Hard Knocks (Maverick)
STRAIT UP F/LAJON OF SEVENDUST Angel's Son (ImmortaWirgin)
RAGE AGAINST THE MACHINE Testify (Epic)
DIFFUSER Karma (Hollywood)
SPINESHANK Synthetic (Roadrunner)
VAST Free (Elektra/EEG)
GEDDY LEE My Favorite Headache (Anthem/Atlantic)
LIFEHOUSE Hanging By A Moment (Dream Works)
KITTIE Paperdoll (NG/Artemis)
ONE MINUTE SILENCE Fish Out Of Water (V2)
SEVENDUST Going Back To Cali (Republic/Universal)
LIMP BIZKIT My Generation (Flip /Interscope)
AARON LEWIS AND FRED DURST Outside (Flawless/Geffen/Interscope)
6GIG Hit The Ground (Ultimatum)
EVE 6 On The Roof Again (RCA)
1911
1906
1846
1745
1643
1537
1482
1331
1315
1134
1114
1096
1061
1055
1046
1034
986
783
778
774
773
769
761
716
645
632
597
576
514
506
463
453
413
378
331
324
319
271
258
246
236
233
230
224
198
180
174
174
165
156
1001
-155 154406
+129 150895
-41 131283
-23 120844
-60 126689
-25 130040
+7 93207
+107 98320
-57 108167
+46 84576
+95 77452
+78 77399
+112 83496
+41 74864
+38 74878
-29 82226
+120 77910
-79 59685
-85 71763
-258 46971
+94 65164
-43 63597
-138 53174
+54 52573
-197 42407
+25 46649
-107 49311
+38 46528
+55 40769
-13 31274
+366 27460
+75 28014
+12 33589
-96 20775
+8 27020
+177 23253
+96 20662
-18 19652
+125 16649
+39 17954
-345 18011
-11 18617
+69 19003
+8 14459
+10 14053
-19 14927
-81 19110
+69 23507
+54 10835
+26 6475
26
6
13
11
19
35
8
5
33
4
8
10
9
9
6
22
11
17
31
11
5
10
13
9
16
7
13
6
6
8
1
3
15
11
9
2
4
15
2
4
13
3
3
4
5
5
10
1
1
1
69/0
71/0
67/0
68/0
65/0
64/0
61/0
69/0
60/0
60/0
63/1
62/0
63/1
67/0
65/2
60/0
68/1
61/0
54/0
47/0
61/0
56/0
52/0
46/2
38/0
60/3
53/0
60/3
52/2
35/0
54/10
48/9
45/1
30/0
20/0
43/8
39/8
11/0
41/2
36/2
31/0
21/3
24/3
27/1
22/5
25/0
21/0
13/7
21/5
16/1
71 Active Rock reporters. Monitored airplay data supplied by Mediabase Research, a division of Premiere Radio Networks. Songs ranked by total plays for the airplay week of Sunday 10/29- Saturday 11/4. Bullets appear on songs gaining plays or remaining flat from previous week. If two songs are tied in total plays, the song being played on more stations is placed first. Breaker status is assigned to songs reaching 600 plays or more for the first time. Songs below No. 20 are moved to recurrent after 20 weeks. Gross Impressions equals Average Quarter Hour Persons times number of plays (times 100). Average Quarter Hour Persons used herein with permission from The Arbitren Company (Copyright 2000. The Arbitron Company). © 2000. R&R Inc.
Most Added. ARTIST TITLE LABELISI ADDS
ISLE OF O Bag Of Tricks (Universal) 26
RAGE AGAINST THE MACHINE Renegades Of Funk (Epic) 18
POWERMAN 5000 Ultra Mega (Columbia) 15
EVERCLEAR When It All Goes Wrong Again (Capitol) 10
U.P.O. Feel Alive (Epic) 9
P.O.D. School Of Hard Knocks (Maverick) 8
STRAIT UP FILAION OF SEVENDUST Angel's... (Immorhal'Wrgin) 8
A. LEWIS AND F. DURST Outside (RawlessGefferVlnterscope) 7
ONE MINUTE SILENCE Fish Out Of Water (V2) 5
6GIG Hit The Ground (Ultimatum) 5
INSANE CLOWN POSSE Let's Go All... (Island/IDJMG) 5
EVERCLEAR "When It All Goes Wrong Again"
Most Added Again! Active Rock Debut ED
Rock Debut ED
This Week: WZTA, WRIF, WJRR, WMMS
Most Increased Plays
ARTIST TITLE LASELr
TOTAL
PLAY INCREASE
EVERCLEAR When It All Goes Wrong Again (Capitol) +366
P.O.D. School Of Hard Knocks (Maverick) +177
GODSMACK Awake ( Republic/Universal) +129
DIFFUSER Karma (Hollywood) +125
LINKIN PARK One Step Closer (Warner Bros.) +120
LIMP BIZKIT Rollin' (Flip / lnterscope) +112
OFFSPRING Original Prankster (Columbia) +107
STRAIT UP FitANIN OF SEVENDUST Angel's... (ImmortalVirgim +96
IOMMI Goodbye Lament (Divine /Priority) +95
MARILYN MANSON Disposable... (Nothing/Interscope) +94
Breakers. No Songs Qualified For Breaker Status
This Week
Most Added is the total number of new adds officially reported to RAR by each reporting station. Songs unreported u adds do not count toward overall total stations playing a song. Most Increased Plays lists the songs with the greatest week-lo-week increases in total plays. Weighted chart appears on RAR ONUNE MUSIC TRACKING.
RMRs Year -End Chart Pack...
PF 11/1, /XIV Only
Includes year -end charts for all R &R formats from 1974 through 1999!
Call (310) 788 -1672, or email "johne @rronline.com"
www.americanradiohistory.com
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MARKET 821
124 R8R November 10, 2000 Active Rock Playlists WYSP/PMIM211M9 Inhnrry 12t51 625-9160 610ean171+s9yPtldDo
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FIND COMPLETE PLAYLISTS FOR ALL ACTIVE ROCK REPORTERS ON R &R ONLINE MUSIC TRACKING
KEGL/D61167Ft. Worth Clear Channel (9721 9311029 Stevens MCCayScull
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www.americanradiohistory.com
.
128 no November 10, 2000 Alternative
Making Order From Chaos Two format veterans discuss the new world
of Internet radio programming
While deciding on a column topic for this year's Internet theme issue, I realized that several people from this format have made the jump from traditional radio to Internet radio. I decided to talk
with a couple of them to see how their experiences in the two closely related media compare.
More Alternative I spoke first to Clickradio Alterna-
tive PD Max Tolkoff. Clickradio is
an innovative radio service that is run
off of a computer's hard drive and gives the listener a choice of numer- ous music channels. When I asked
Tolkoff abut his expectations when
he joined Clickradio, he answered that he didn't think the process would be much different from normal radio. Once he got immersed in the service.
however. he realized just how differ- ent the two approaches are.
"What I've discovered is that you
can have so many channels that you don't have to he as locked into tight formatics in terms of the music like you have to be in terrestrial radio." he explained. "In other words. the
Alternative station can actually he
more alternative than what terrestrial radio is doing "
While having five Alternative channels present a somewhat sur- prising difference in focus for Tolkoff, he feels that what really makes the two industries dramati- cally different has little to do with nuts- and -bolts programming and more to do with how they are judged. "My expectation at the beginning was that we would basically be run- ning radio stations that would re- semble the way radio stations are run in terrestrial radio." he said. "That was blown up immediately.
"It just doesn't have to operate that
way for a couple of reasons. includ- ing the one I mentioned earlier. How- ever. one of the biggest reasons we
operate differently is that we aren't rated the way terrestrial stations are
rated. at least not yet" Not having an
Max Tolkoff Jeanette Grgurevic
advertiser -listener scorecard changes
the game for a PD who is used to hav-
ing specific listening levels as a goal.
Creating Connections Former KOME/San Jose Asst. PD/
MD and R &R Assistant Alternative Editor Jeanette Grgurevic is now Asst. PD/MD at Grooveradio.com. Her experience is significantly differ- ent from Tolkoff's, since she is over- seeing a full -time Net radio station - complete with talent and a firm playlist - and Tolkoff oversees a
more customized and channel -ori- ented approach.
"I got hired on to program a radio station with Selector. just like any normal programmer would if they were hired on to a terrestrial radio station." Grgurevic said. "It's pretty much the same as radio. If you take
away the Internet. and you take away
the stick, it still comes down to chang-
ing rotations. testing songs and figur- ing out which new songs to add."
What surprised Grgurevic about the new world of Internet radio was
that old -world connections needed to be created. specifically with record companies. "The biggcstsurprisc for
"It's pretty much the same as radio. If you take
away the Internet, and you take away the stick, it still comes down to changing rotations, testing
songs and figuring out which new songs to add."
Jeanette Grgurevic
me was that labels haven't embraced
us more." she said. "I don't know if they really care. All of the dance di- visions of the bigger labels care, and
all the people I knew from when I was
in terrestrial radio care. but it is al- most impossible to get a callback when cold -calling someone at a label
for one of their new dance records." One of the more challenging as-
pects of Internet radio is that it is truly global in reach. As a result, some stan-
dard programming techniques, such
as dayparting, become meaningless.
As Grgurevic describes it: "We have
to always keep in mind that we're not
just entertaining L.A. or New York or even the United States. Were also en-
tertaining Australia. England. Portu- gal and whatnot.
"The perfect example is Crazy Town's 'Butterfly.' We added that song about two months ago. Normally. you would think. 'OK, we're a dance
station, and this song is a little more
hip -hop and harder- edged, so we
should play it at night.' But we can't think that way. because were global.
We have to just put a song on and see
what it sounds like in the other dayparts, since it is playing in another daypart somewhere else in the world."
A flexible Approach As with anything different. a flex-
ible approach is the key to success.
To me. dealing with the lack of dayparts was easy to handle. because
I had experience moving from differ- ent situation to different situation when I moved from XTRA (9I X )/Sam
Diego to WFNX /Boston," said Tolkoff. "When I went to Boston. I
didn't try to program WFNX like it
was 91X. It's the same thing with going to Clickradio.
"Now I am in another market. which is a national radio format, and
it is going to be heard by millions of people. I just had to realize that couldn't do what I did there. there and
there. I had to adapt my thinking to this national square with different rotations. If you arc open to that to
begin with, it's easy. If you try to hold
tow tightly mentally to the old ways
of doing things. there are going to be
problems. You have to be nonrigid
Breaking Molly's Yes: Coda A radio and record diary
Howard Leon VP /Promotion, Universal Records
November 6: Commercial culture can be seen as two grids: the
America of 200 million people and the America of you and me. De
Tocqueville wrote back in the 1840s that in the absence of a definite sense
of the reality of the social world. Americans tended to be preoccupied with
their own identities. in democratic communities," he wrote, each citizen
is habitually engaged in the contemplation of a very puny object himself.
If he ever raises his looks higher, he perceives only the immense form of
society at large or the still more imposing aspect of mankind. His ideas
are either extremely minute and clear or extremely general and vague: what
lies between is a void." At its best, a good radio station, like WNNX (99X).
links the clear. minute details to the "big picture" of culture and community for its listeners, thus filling the void De Tocqueville described. Molly's Yes
was one of those details. In the absence of a larger. more imposing (i.e..
national) story, 99X took it upon itself to create its own intimate buzz be-
tween itself, its listeners and this band. There was no MTV, VH1. Farmclub.com, Letterman, Lene, Conan or Rolling Stone or Spin articles.
This was one -on -one. There was no reinforcement other than the listen-
ers' relationship with the station. This was between it and its listeners, the attempt to bre ̂ ,k down the
barrier between the small grid and the big grid, connect tha mainstream with the underground, the mass with the cult, and create that uncreatable buzz. The station has certainly done it before, like the Flyi ig Wallendas.
swinging without a net, that net being research, sales, phones - some
kind of proof. That's why every seemingly minor movement u. sales way
watched with such drama. If sales went up, the common belief was that it
would react the same way on the big grid.
99X, as well as every radio station willing to make the kind of commit-
ment it did. can create a microcosm of the big picture and start a genuine
buzz. Every add on a new band or track is a strange act of heroism. Ev-
ery add date is like a "bat signal," and sometimes radio comes to our res-
cue right away. OK. maybe not often enough. but, like a genuine buzz, if
it's real. radio usually comes around. Everyone wants to be part of a buzz.
And after all these years the buzz still resonates around 99X. Unfortu- nately, it didn't seem to coalesce around this track. But, as Jack Nicholson
said in One Flew Over the Cuckoo's Nest, At least we tried, dammit. At
least we tried."
and willing to think outside the box." Dealing with a station that is in-
herently global also affects music decisions and the attitudes of the tal-
ent. "We can't be local, and that de-
manded a new approach." said Grgurevic. "Every time someone opens the mike and says. 'Here in L.A..' you have to go into the studio and knock them over the head"
Even with the lack of dayparts or Iocalness, the goal is to be as close to traditional radio as possible. "The challenge is trying to make it as
smooth an experience and as trans-
parent an experience as radio is," stated Tolkoff. "That's the challenge for all the people doing this on the
computer or the Internet. How much
can you make this like a real radio station ?"
The Corporate Culture If you change jobs in the radio busi-
ness. odds are you have a pretty good
idea what the culture of your new
company is going to he like - whether it is Susquehanna or Clear Channel or someone else. But what
about Internet radio? We've all heard
stories of a Wild West mentality. but what is it really like for a radio pro-
fessional fessional who joins an Internet corn-
Pally? "Every company is different."
Tolkoff said. 'The personality of each
company is dependent on who owns
the company. It just depends on the
environment. For example. in our company we have someone whose
position is 'Minister of Excellence.
which should tell you somethin;
about Clickradio. "On the other hand. the people wh
have started these companies don'
come from radio; they're mostl;
techies. You have more creative free
dom, since they don't know your sid
of the business. That's why you as
finding that the smart Internet radi
companies are getting traditional pea
grammers, so there is some ordo
Otherwise, you just have chaos.
"If you go to a company without* traditional radio sensibility in an;
way, shape or form. it's a challenge
because you have to bring order to tln
chaos. You basically have a lot o
techies who are totally into music
That's all very well- meaning. but yo
have to shape them and make then
understand that being into music isn'
goad enough. You have to structure i
so that you can bring in listeners an
have the listeners be willing to stir:
around long enough." As Grgurevic described above
Internet radio, at its most basic levee
is just radio without the tower. Bu
when you dig deeper. you start to se
the Dali -esque aspects of the 'Ne
radio business: a station with m
dayparts, no "seven dirty word" limi
talions. no localness and no quarterl;
Arbitron ratings scorecard. While i
is radio at its core. it appears to b
different enough that it demands a
open, creative mind and someon
who's not afraid to jump into the tin
known to make order out of the chars
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130
F1,71 LAST
WEEK
3 0 4 e
0
7
9 Q 11 e lo
'3 12
'4 ® +2 14
21 ® '6 e
9 1e
'ó 15
'S 19
Breaker ® 9
Breaker ® Breaker f
® 33 e 24 21
38
28 29
32 30
37 ® 22 32
29 33
35 34
36 35
sD e 30 37
46
40 39
41 40
31 41
34 42
4s e 39 4:
07 0 49 e 43 4,
(Debut> e ¡Debut> e ¡Debut>
TH WEEK AMR TITLE LABELS)
Alternative Top 50 ® November 10, 2000
FUEL Hemorrhage (In My Hands) (550 Music/Epic)
OFFSPRING Original Prankster (Columbia)
BUNK -182 Man Overboard (MCA)
3 DOORS DOWN Loser (Republic/Universal)
GREEN DAY Minority (Reprise)
INCUBUS Stellar (ImmortalEpic)
U2 Beautiful Day (Interscope)
ORGY Fiction (Dreams In Digital) (Elementree/Reprise)
LIMP BIZKIT Rollin' (Flip /lnterscope)
RADIOHEAD Optimistic (Capitol)
PAPA ROACH Last Resort (DreamWorks)
A PERFECT CIRCLE 3 Libras (Virgin)
PAPA ROACH Broken Home (DreamWorks)
DISTURBED Stupify (Giant/Reprise)
LIFEHOUSE Hanging By A Moment (DreamWorks)
GODSMACK Awake (Republic/Universal)
LINKIN PARK One Step Closer (Warner Bros.)
EVERLAST Black Jesus (Tommy Boy)
SR -71 Right Now (RCA)
COLLECTIVE SOUL Why Pt. 2 (Atlantic)
GOOD CHARLOTTE Little Things (Epic)
STONE TEMPLE PILOTS No Way Out (Atlantic)
EVE 6 On The Roof Again (RCA)
EVERCLEAR When It All Goes Wrong Again (Capitol)
MARILYN MANSON Disposable Teens (Nothing/Interscope)
MOBY F /GWEN STEFANI Southside (V2)
(HED) PLANET EARTH Bartender (Volcano, /Jive)
DUST FOR LIFE Step Into The Light (Wind -up)
RAGE AGAINST THE MACHINE Testify (Epic)
DEFTONES Back To School (Mini Maggit) (Maverick)
LENNY KRAVITZ Again (Virgin)
VAST Free (Elektra/EEG)
WHEATUS Teenage Dirtbag (Columbia)
BARENAKED LADIES Pinch Me (Reprise)
WALLFLOWERS Sleepwalker (Interscope)
CRAZY TOWN Butterfly (Columbia)
LIMP BIZKIT My Generation (Flip /Interscope)
NICKELBACK Breathe (Roadrunner)
CREED Are You Ready (Wind -up)
DEXTER FREEBISH Leaving Town (Capitol)
FOU FIGHTERS Next Year (RosweIURCA)
CAVIAR Tangerine Speedo (Island/IDJMG)
TAPROOT Again And Again (Velvet Hammer /Atlantic)
EVERCLEAR AM Radio (Capitol)
COLD Just Got Wicked (Flip/Gel%n/Interscope)
EMINEM Stan (Aftermath/Interscope)
TOTAL
PUYS
2993
2699
2634
2538
2281
2131
2124
2089
2089
1839
1718
1638
1629
1590
1564
1529
1388
1345
1266
1231
1073
1071
1025
1002
947
903
872
832
802
795
795
791
707
668
657
626
623
591
560
559
548
519
506
466
423
397
UNION UNDERGROUND Turn Me On... (Portrait/Columbia) 393
DAVID GRAY Babylon (ATO /RCA) 382
STRAIT UP FA-AJON OF SEVENDUST Angel's Son (ImmortaWirgin) 357
P.O.D. School Of Hard Knocks (Maverick) 356
PLAYS
-34
+168
+106
+15
-315
-188
+110
IMPRESSIONS
(00)
258561
268694
228879
223060
209965
197111
193556
-6 176921
241261
192829
208748
124520
160656
184109
142402
124895
153451
-94 105325
112837
74171
101011
83029
50986
87516
93945
91398
73068
86984
117123
73419
53566
41935
59249
44921
42888
93271
68036
25940
58333
35664
57050
41889
57202
20084
18720
50091
-63 21861
+72 28817
+38 18191
+107 25191
+205
+30
-153
-3
+131
-168
+338
+127
+40
-88
-26
+141
+53
+106
+617
+45
+118
-110
+103
-72
-28
+47
-299
-157
-89
-92
+302
-224
+179
-89
-2
-286
-242
+80
-246
+11
+33
.vEEKS ON
CHART TOTAL S7C170'
ADDS
13 82/1
5 81/0
8 81/1
18 79/0
11 78/0
21 75/0
9 73/0
11 80/1
10 71/0
7 76/1
33 72/0
10 68/0
8 73/1
25 60/0
5 74/1
6 69/1
9 69/1
9 65/0
27 62/1
8 55/0
13 63/2
6 65/0
4 57/0
2 75/7
5 60/2
4 57/2
12 52/0
6 58/0
15 49/0
6 63/0
7 40/0
13 60/0
19 44/0
13 26/0
9 32/0
2 52/10
10 46/0
2 43/3
8 32/0
14
12
12
6
11
4
3
13
1
1
1
28/1
34/0
34/0
40/5
34/0
3512
33/5
26/0
29/4
28/3
35/4
83 Alternative reporters. Monitored airplay data supplied by Mediabase Research, a division of Premiere Radio Networks. Songs ranked by total plays for the airplay week of Sunday 10 /29- Saturday 11/4. Bullets appear on songs gaining plays or remaining flat from previous week. If two songs are tied in total plays, the song being played on more stations is placed first. Breaker status is assigned to songs reaching 1000 plays or more for the first time. Songs below No. 20 are moved to recurrent after 20 weeks. Gross Impressions equals Average Quarter Hour Persons times number of plays (times 100). Average Quarter Hour Persons used herein with permission from The Arbitron Company (Copyright 2000, The Arbitron Company). 02000, R&R Inc.
Most Added ARPST
- -''-6 .43E. - ADOS
RAGE AGAINST THE MACHINE Renegades Of Funk (Epic) 50
SR -71 Politically Correct (RCA) 33
GRAND THEFT AUDIO Stoopid Ass (London Sire) 12
CRAZY TOWN Butterfly (Columbia) 10
ISLE OF 0 Bag Of Tricks (Universal) 10
INSANE CLOWN POSSE Lets Go ALL... (Island /IDJMG) 9
EVERCLEAR When It AH Goes Wrong Again (Capitol) 7
OPM Better Daze (Atlantic) 7
ELWOOD Bush (Palm /London Sire) 6
COLDPLAY Yellow (Nettwerk-Capitol) 6
I NSANt CLOWN POSSt "Let's Go All The Way"
IT ADD! .uvc ,nrow -
Det rJam
Most Increased Plays "CTAL
FLAY
ARTIST TITLE LASEL(S) )CREASE
EVERCLEAR When It All Goes Wrong Again (Capitol) +617
LIFEHOUSE Hanging By A Moment ( OreamWorks) +338
CRAZY TOWN Butterfly (Columbia) +302
LIMP BIZKIT Rollin' (Rip/lnterscope) +205
NICKELBACK Breathe (Roadrunner) +179
INSANE CLOWN POSSE Let's Go All... (Island/IDJMG) +175
OFFSPRING Original Prankster (Columbia)
GOOD CHARLOTTE Little Things (Epic) PAPA ROACH Broken Home (DreamWorks)
GODSMACK Awake (Republic/Universal)
Breakers e
GOOD CHARLOTTE
Little Things (Epic) TOTAL PLAYSMICREASE TOTAL STATIONS/ADDS
1073/141 63/2
+168
+141
+131
+127
CHART
EVE 6 On The Roof Again (RCA)
TOTAL PIAYSANCREASE TOTAL STATIONS/ADOS
1025/106 57/0 CHART
EVERCLEAR
When It All Goes Wrong Again (Capitol) TOTAL PLAYS/INCREASE TOTAL STATIONS/ADOS
1002A617 75/7 CHART
Mop Added is the -pd number d new adds deck* reportedto RLR by such reporting pion Songs unreported as adds do not count bwardow,Y INN Pitons pteykgs song. Mop Doxososd Ploys Is Ors apps WM Me greatest waakbwink Mamie M -sW Mori Weighted chid wpm% an MR ONLINE MUSIC TRACKING.
COLDPLAY Massive with early leaders! KR00 37x(41) Top 5 Phones KNRK 34x (45) Top 10 Phones WMRO 18x (#12) Top 10 Phones 91X 24x(48) First Week Spins New at CFNY WARD WEOX, WEND, WJSE, KWOD, MAX & more.
i
2
New at
91X & WPLA! . Already detonated at: WFNX WEDG KWOD
s rri -ir- tbrttri WLIR WBTZ WEOX KMBY WCDW & more! Over 100,000 copies of Movement in Still Life Scanned.
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132 RaR November 10, 2000 Alternative Action
ßreakhrough ELWOOD
Track: "BUSH" LP: THE PARLANCE OF
OUR TIME Label: PALM/LONDON SIRE
ssentials: With studio experi- ence as an engineer at Greene
' Street Recordings in New York's Soho, Elwood (whose given name is Prince Elwood Strickland Ill) was primed and skilled to start making some music of his own. He not only built up IO years of im- pressive resume material at the studio (work- ing with artists like Tricky. Mos Def. De La
Soul, Jungle Brothers and Black Eyed Peas),
he also developed a sense of musical indi- viduality. Something special set him apart from the rest. As his bio describes it. his music resembles "Everlast and the roots -ori- ented Beck crossed with The Beastie Boys of Paul :s Boutique, Steely Dan and British groups like The Chemical Brothers and
Propellerheads." Sounds strange, I know. but that is pretty much on the mark. And this
i
By
Dayna Talley Asst. Alternative Editor
bizarre hybrid is actually extremely pleas- ing to the ear.
The first single from The Parlance of OurTime was the instantly recognizable tune
"Sundown." a modern take on Gordon Lightfoot's 1974 hit. "Sundown." along with two other tracks on the record. were pro- duced by U.K. megaproducer, the legendary Steve Lillywhite. With such artists as The Rolling Stones. U2. XTC and The Dave Matthews Band under his musical belt. working with an eclectic young artist like Elwood was a snap for Lillywhite. In fact. he even plays bass on a couple of the tracks.
The latest single from the album is "Bush." The video for the track is causing quite a controversy on the Internet because
it is said to contain "adult content. 'Bush" is proving to be able to hold its own on the radio. however. as it is already popping up
on stations across the country. Artist POV: (Elwood on how the title
of the album came about) The Parlance of Our Time is a phrase snatched from the Coen
Brothers' movie The Big Lebowski. The more I said it to myself, the more perfect it sounded. It fits the whole record. It encom- passes everything - the language, commu- nication and the hook in a song. It's just the
greatest thing to work on music that you're excited about, then to have the right lyrics to go with it that make you feel something emotionally. And then when people tell me
that it makes them feel something. too, it's just the icing on the cake."
Elwood
1 Buddy Rizer, MD WWDC/Washington, DC
The new Lifehouse song,
"Hanging by a Moment." has
been our most -requested over
the last week. "Rollin "' from
Limp Bizkit, "One Step Closer"
from Linkin Park and "Original
Prankster" from Offspring have
also been doing well for us. Linkin Park is off to a great start.There has
also been a good response to the Crazy Town and SR -7I tracks after one
week. On a personal level, Lifehouse, Linkin Park, Limp Bizkit and
Godsmack have been put into heavy rotation in my car. I'm curious about
what the new Rage Against The Machine is going to sound like. Also, I am
looking forward to hearing the rest of The Offspring's album, as well as the
rest of Everclear's new album.
Buddy Rizer
[eIkÍfl
RECORD.
There ent many bands around that can release hit song after tit song, but
Rage Against The Machine is certainly one of them The 50 adds pulled in
on "Renegades of Funk.' is the latest indication of how radio feels about what
this band can deliver You dont get more topical than going for adds on a
song like "Politically Correct" on Election Day. and 33 adds are a testament
that SR -7I put together another great song for the format Rounding out
the double -digit portion of the Most Added list is a great new tune from
Grand Theft Audio. "Stooped Ass "(1 3 adds). Isle of Q's "Bag of Tricks" (10
adds) and Crazy Town f I O adds and a nice chart move from 50 to 36) ..
Another nice chart hove goes to Nickelback for "Breathe which enters the
top 40 at 38. up from 46 Strait Up, featuring Sevendust's Lejon, debuts
on the chart at 48 and receives three new adds, in ludin FWXRo S
off the
ew U2 album are being played on at â
..ast 20 stations .. Finally. check out
he story on Coldplay. which is in
,)ower rotation at KROQ'Los Angeles
not an easy feat. mind you), as well as
netting strong airplay at XTRA (91 X)/
ían Diego and KNRK1Pordand.
RECORD OF THE WEEK:
Incubus' "Drive"
AN THE RADIO
by Jim Kerr
Great research at Q101, KROX and KKND
#19 in Seattle SoundScan off of KNDD airplay!
David Letterman performance Nov. 29
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136 RaR November 10, 2000 Alternative New Music Specialty Shows Wit Exclusive Look Al Ms Cutting Edge SI Alternative
By
Dayna Talley Asst. Alternative Editor Rock The Vote'
It is that time of the year. Hope you rocked
the vote and voiced your opinion by bal- lot. It is also time to listen to some great new
music. Grand Royal was kind enough to send over a package that contained the full -length Russell Simins (which totally rocks) and Ad Rock from The Beastie Boys' side project. BS2000, which is very offbeat. hut very in-
teresting. To check out either of these hot new records, catch up with Tick from Gr.uld Roy- al at 310-526 -1950.
Returning to the specialty scene limelight after some time away is a band by the name of Samiam. Hailing from San Francisco. these boys have worked hard, paid their dues and put together a great new album titled Astray. Tracks to definitely check out are "Sunshine;" "Mud Hill" and "How Long." For band info. contact Brian Foyster from Hopeless Records at 8I8- 997 -0444.
Another wonderful record that merits one more (or maybe 100 more) mention is Para-
chutes by alterna- wonder band Coldplay. I
cannot tell you how much 1 absolutely love
this record. If you don't want to take my word for it, ask any of the many stations that played it, making it debut at No. 3 this week.
Or ask music connoisseur Aaron Axelson at KITS (Live 105)/San Francisco - he has had it in his top five for what seems like forever.
If the single, "Yellow." does not strike your fancy (1 can't imagine why it wouldn't, but
to each his own). there are many other beau- tiful tracks on the record that might. Check it out!
Moving onto this week's chart. Pi Har- vey sits comfortably at No.1 for the sec- ond week in a row. Blur jump up two spots to No. 2. while Godsmack jump back onto the chart with "Awake" at No. 10. There's a whole basketful of debuts this week be- side the aforementioned Samiam and Cold - play: U2 in at No. 4, Crazy Town. Ever - clear. Diffuser. Blue Meanies. Blank Theory, David Gray. the Blair Witch 2
soundtrack and The Meat Puppets. Records of the Week: Submarine and Tabloid Nation.
VW Top 20 Artists ® /1IIIIN RINN 10,
1 PJ HARVEY (Island/IOJMG) "Good Fortune," "This Is Love"
2 BLUR (Virgin) "Music Is My Radar"
3 COLDPLAY (Nettwerk/Capitol) "Yellow"
4 U2 (Interscope) "Elevation," "Walk On"
5 CRAZY TOWN (Columbia) "Butterfly"
6 SAMNA (Hopeless) "Mud Hill"
7 EVERCLEAR (Capitol) "When It All Goes Wrong Again"
8 RONI SIZEIREPRAZENT ( Talkin Loud/IDJMG) "Who Told You"
9 BT (Nettwerk/Capitol) "Smartbomb"
10 GODSMACK (Republic./Universal) "Awake"
11 BADLY DRAWN BOY (Beggars Banquet) "Everybody's Stalking"
12 DIFFUSER (Hollywood) "Karma"
13 BLUE MEANIES (MCA) "Chemicals"
14 J MASCIS b THE FOG (Ultimatum/Artemis) "Where'd You Go"
15 PRIMITIVE RADIO GODS (Kramden) "Fading Out"
16 BLANK THEORY (Four Alarm) "Recluse," "Corporation"
17 DAVID GRAY (ATO /RCA) "Babylon"
18 BLAIR WITCH 2 SDTK. (Posthuman /Priority) "Various"
19 INSANE CLOWN POSSE (Island /IDJMG) "Let's Go All The Way"
20 MEAT PUPPETS (Breaking /Atlantic) "Armed And Stupid Ranked by total number of shows reporting artist.
Specialty Show Reporters Shows and their Top 5 songs listed alphabetically by market
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MATCHBOX TWENTY Bent(Lava/A((antic)
STING Desert Rose(ABM/Interscope)
JONNY LANG Breakin' Me (A &M /lnterscope)
BEN HARPER Steal My Klsses(Virgm)
PHISH Heavy Thin gs(Elektra/EEG)
COUNTING CROWS Hanginaround (DGC'Getten /Interscope)
TRACY CHAPMAN Telling Stories(There Is...) (ElektraEEG)
TRAIN Meet Virginia (Aware /Columbia)
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THIRD EYE BLIND Never Let You Go(Elektra/EEG)
SANTANA F/ROB THOMAS Smooth (Arista)
STING Brand New Day(A &M /Interscope)
FILTER Take A Picture(Reprise)
SANTANA F/EVERLAST Put Your Lights On(Arista)
F00 FIGHTERS Learn To Fly (Roswell /RCA)
GOO GOO DOLLS Black Balloon(Warner Bros.)
COLLECTIVE SOUL Run(Hollywood/AtlantiC) 13
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KGSR /Austin, TX' KBCO,'Denver- Boulder, CO ' KTHXBeno. NV
PD. Jody Denberg PO. Scott Arbough PD: Harry Reynolds
MD: Susan Castle MD Keefer MD: Dave Harold . . .. FE TER SAF..L. I
SONNY LANDRETH -Rmr' DANIEL CAGE "S41-
WRNR/Baltimore. MD WTTS/Indianapolis.IN PD. Ales Cortright MAD: Jim Ziegler APO: Michael Buckley 3 U2 VHS-
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KENZ/Salt Lake City, UT' OM/PO: Bruce Jones
9 MOLT DRAWN BOY "Around" GREEN DAY 92904051( APDMD: Andrea Gappmayer
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NO MISSISSIPPI Drop PO/MD: Dona Shaieb JOSH IOPI IN GROUP "Camera
KRVB /Boise. ID' PDMD' Brandon Dawson
KTCZ/Minneapolis. MN PD- Lauren MacLeash KFOG/San Francisco. CA' APDMD: Mike Wog P0: Dave Benson
APR: Bill Evans
WBOSBostonMA :-. P.EEBISH"Leanne'
3 DOORS DOVM-KlyOroorl M0: Haley Jones e Y
PD. Shirley Maldonado "-' MD: Amy Brooks
WZEW!Mobile, AL
PD. Can Sines MD: Linda Woodworth
KRSH/Santa Rosa. CA'
WXRV /Boston. MA' ,.. PD: Benji McPhail
PO: Joanne Doody MD: Bill Bowker
MD: Keith Andrews
WRLT/Nashville. TN
OM/PD: David Hall
APO/AID: Keith Coes
CKEYButlalo, NY' KMTT/Seattle- Tacoma.WA
PO/MO: Rob White PD: Chris Mays
WKOC /Norfolk, VA' MD: Shawn Stewart
PD. Paul Shugrue MD: Kristen Groot
WDOD/Chattanooga, TN' WRNX/Springtield, MA OM/PO/MD: Danny Hewed KCTY /Omaha, NE' OM/PDMD: Tom Davis
1 OFFSPRING 0woe PD Max McCartney .. .
JOSH JORINGROUP'ûmeti MD: Cliff Borer
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WXRT /Chicago. IL = M0.140.50 241 monitored
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PD: Bruce Warren .
MD: Helen Leicht JOHNNY CASH -Dowñ PJ HARWY"PIaC 27Total Reporters SHANNON MCANNLY"Nard" 27 Current Reporters RAUL MATO "trañ 26 Current Playlists
KKMR /Dallas -Ft. Worth. TX' Po' Scott Strong Did Not Report. Playlist
MD: Jell K KINK /Portland. OR' Frozen (1):
.. PD- Dennis Constantine KPIG/Monterey- Salinas, CA
MD. Kevin Welch
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POSITIONS SOUGHT
Male AT with voice women love, I'm a natural with a
love of radio. Call DON: (250) 498 -0343. (11/10)
I'm searching for a fulltime job in radio that pays a
decent salary.Three years on -air experience.TONY: (765) 456.3209. tonyridlen @yahoo.com. (11/10)
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Energy from the California Quakes. Country, AC,
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142
The Back Pages. ® National Airplay Overview November 10, 200010
CNR /POP LW TW
1 1 CREED With Arms Wide Open (Wind -up) 3 0 PINK Most Girls ( LaFace/Arista)
2 3 3 DOORS DOWN Kryptonite ( Republic/Universal) 5 0 'N SYNC This I Promise You (Jive) 4 5 MADONNA Music (Maverick/WB) 7 0 SAMANTHA MUMBAGotta Tell You (Wikcard'Po 'dor /lnterscope)
6 7 SOULDECISION Faded (MCA)
8 BACKSTREET BOYS Shape Of My Heart (Jive)
12 MYA Case Of The Ex ( Whatcha...) (University/lnterscope)
9 i RICKY MARTIN She Bangs (Columbia) 15 DEBELAH MORGAN Dance With Me (DAS/Atlantic) 10 12 VERTICAL HORIZON You're A God (RCA)
20 DESTINY'S CHILD Independent Women Pt. 1 (Columbia) 16 KANDI Dont Think I'm Not (So So Del /Columbia) 17 BARENAKED LADIES Pinch Me (Reprise) 18 MATCHBOX TWENTY It You're Gone (Lava/Atlantic) 11 17 CHRISTINA AGUILERA Come On Over (All I Want...) (RCA)
14 18 NELLY Country Grammar (Fo' Reel/Universal)
13 19 DESTINY'S CHILD Jumpin' Jumpin' (Columbia) 21 r DREAM He Loves U Not (Bad Boy /Arista) 19 RUFF ENDZ No More (Epic)
23 EVAN AND JARON Crazy For This Girl (Columbia)
25 FAITH HILL The Way You Love Me (Warner Bros.) 22 24 BAHA MEN Who Let The Dogs Out (Artemis) 27 NINE DAYS If I Am (550 Music/Epic)
34 SHAGGY It Wasn't Me (MCA)
30 VITAMIN C The Itch (Elektra/EEG)
26 28 EVERCLEAR Wonderful (Capitol)
24 29 98 DEGREES Give Me Just One Night... (Universal)
29 0 SR -71 Right Now (RCA)
#1 MOST ADDED 98 DEGREES My Everything (Universal)
#1 MOST INCREASED PLAYS DESTINY'S CHILD IrdepenupofWomen Part 1 (Co/limhial
TOP 5 NEW & ACTIVE SISTER HAZEL Champagne High iUniver,..,,
NELLY E.I. ifo'Reeb'Universal)
FISHER I Will Love You (Farmclub.convinterscope)
DAVID GRAY Babylon (A70'RCA)
JA RULE f/C. MILIAN ROWPArl Me (Murder Inc/Def Jam//DJMG)
CHR M61as an Pap 56.
LW TW
1 Q BBMAK Back Here (Hollywood) 2 2 DON HENLEY Taking You Home (Warner Bros.) 4 0 HUEY LEWIS & GWYNETH PALTROW Cruisin' (Hollywood)
3 4 MARC ANTHONY You Sang To Me (Columbia)
5 5 FAITH HILL Breathe (Warner Bros.) 8 0 'N SYNC Tors I Promise You (Jive)
6 7 LEANN RIMES I Need You (Sparrow /Curb/Capitol)
7 FAITH HILL The Way You Love Me (Warner Bros.) 10 LONESTAR Amazed (BNA)
12 i MARC ANTHONY My Baby You (Columbia) 9 11 SAVAGE GARDEN I Knew I Loved You (Columbia) 11 ® CHRISTINA AGUILERA I Turn To You (RCA)
13 13 CELINE DION That's The Way It Is (550 Music/Epic) 15 Q BACKSTREET BOYS Shape Of My Heart (Jive)
14 15 BACKSTREET BOYS Show Me The Meaning Of... (Jive)
16 16 BRIAN MCKNIGHT Back At One (Motown/Universal) 20 0 LEANN RIMES Can't Fight The Moonlight (London Sire/Curb)
17 18 PHIL COLLINS You'll Be In My Heart (Hollywood) 19 19 MARTINA MCBRIDE There You Are (RCA)
21 m CORRS Breathless (143/Lava/Atlantic) 22 21 STING Desert Rose (A &M/Interscope) 23 ® OSCAR DE LA HOYA Run To Me (EMI Latin/Capitol) 24 ® LEIGH NASH Need To Be Next To You (Engine/Arista) 18 24 JIM BRICKMAN The Love I Found In You (Windham Hill) 26 RICHARD MARX Days In Avalon (Signal21) 27 . SADE By Your Side (Epic)
TONI BRAXTON Spanish Guitar ( LaFace/Arista)
NATALIE COLE Angel On My Shoulder (Elektra/EEG)
29 ' LARA FABIAN Love By Grace (Columbia) 25 30 ELTON JOHN Friends Never Say Goodbye (Dream Works)
41 MOST AubeiJ NATALIE COLE Angel On My Shoulder (Elektra/EEG)
#1 MOST INCREASED PLAYS BACKSTREET BOYS Shape Of My Heart (Jive)
TOP 5 NEW & ACTIVL,t EVAN AND JARON Crazy For This Got ./Columbia)
JIM BRICKMAN F /0. NEWTON -JOHN Change Ot Heart (Windham ln:..
LEE ANN WOMACK I Hope You Dance (MCA/Unive-:
STING M/ Funny Friend And Me (Hollywood)
MICHAEL MCDONALD The Meaning Of Love (Ran?,
aCilyieoPlprM.
LW TW
1 JA RULE FIC. MIUAN Between Me... (Murderinc/DefJam4ûJMG)
3 DESTINY'S CHILD Independent Women Pt. 1 (Columbia)
2 NELLY E.I. (Fo' Reel/Universal)
5 SHAGGY It Wasn't Me (MCA)
4 5 MYA Case Of The Ex (Whatcha...) (University/lnterscope)
6 6 MYSTIKAL Shake Ya Ass (Jive)
ì Q LUDACRIS What's Your Fantasy (Del Jam South/IDJMG)
9 8 PINK Most Girls ( LaFace/Arista) 8 9 LIL BOW WOW Bounce With Me (So So Del /Columbia)
13 i EMINEM Stan (Altermath/tnterscope) 11 R. KELLY I Wish (Jive)
12 3LW No More (Baby l'ma Do Right) (Epic)
I4 LIL' KIM F/51500 How Many Licks (Queen Bee/Undeas/Atlantic)
24 JAY -Z I Just Wanna Love U... (Roc- A- Fella/IDJMG)
26 OUTKAST Ms. Jackson (LaFace/Arista) 10 16 KANDI Don't Think I'm Not (So So Del /Columbia)
21 Q K -CI & JOJO Crary (MCA) 17 18 NELLY Country Grammar (Fo' Reel/Universal)
20 'N SYNC This I Promise You (Jive)
23 i USHER Pop Ya Collar ( LaFace/Arista)
19 21 MADONNA Music (Maverick/WB)
22 22 CHANGING FACES That Other Woman (Atlantic)
25 ® SHADE SHEIST Where I Wanna Be (Baby ReeiLondon Sire)
29 ® PROFYLE Liar (Motown/Universal) 28 25 BEENIE MAN F/MYA Girls Dem Sugar (Virgin)
34 0 WYCLEF JEAN F/MARY J. BUGE 911 (Rufhouse/Columbia) 31 27 RICKY MARTIN She Bangs (Columbia)
33 Q SAMANTHA MUMBAGotta Tell You (Wiäcard/Polydodlnterscope)
30 29 BACKSTREET BOYS Shape Of My Heart (Jive)
27 30 CHRISTINA AGUILERA Come On Over (All I Want...) (RCA)
#1 MOST ADDED JAY -Z I Just Warina Love U... (Roc- A- Fella/IDJMG)
#1 MOST INCREASED PLAYS OUTKAST Ms. Jackson ( LaFace/Arista)
TOP 5 NEW & ACTIVE AVANT My f irst Love (Magic Johnson/MCA)
E -40 F,NATE DOGG Nah, Nah... (Sick Wid' It/jive)
DOGGY'S ANGELS Baby It You're Ready (Doggy Style/TVT)
FUNKMASTER r' " ^ '"11 (Loud)
YOLANDA ADAK'.. 'eklraiEEG)
CHAbegins on Page 56.
LW
1
2
4
3
5
7
6
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19
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16
15
22
24 21
25
26
23
29
30
TW
4
5
0
9
10
11 e 13
16
17
18
24
CREED With Arms Wide Open (Wind -up)
BARENAKED LADIES Pinch Me (Reprise)
3 DOORS DOWN Kryptonite ( Republic/Universal)
MATCHBOX TWENTY Bent (Lava/Atlantic) VERTICAL HORIZON You're A God (RCA)
MATCHBOX TWENTY It You're Gone (Lava/Atlantic) EVERCLEAR Wonderful (Capitol) EVAN AND JARON Crazy For This Girl (Columbia)
STING Desert Rose (A &M/Interscope) NINE DAYS Absolutely (Story Of A Girl) (550 Music/Epic)
VERTICAL HORIZON Everything You Want (RCA)
FAITH HILL The Way You Love Me (Warner Bros.)
BON JOVI Its My Life (Island/IDJMG) MADONNA Music (Maverick/WB)
CORRS Breathless (143 / Lava/Atlantic) SISTER HAZEL Change Your Mind (Universal)
NINA GORDON Tonight And The Rest Of My... (Warner Bros.)
CREED Higher (Wind-up) SHAWN MULLINS Everywhere I Go (Columbia)
U2 Beautiful Day (lnterscope) WALLFLOWERS Sleepwalker (lnterscope) DAVID GRAY Babylon (ATO/RCA)
LENNY KRAVITZ Again (Virgin) THIRD EYE BLIND Deep Inside Of You (Elektra/EEG)
RICKY MARTIN She Bangs (Columbia) NINE DAYS It I Am (550 Music/Epic) BACKSTREET BOYS Shape Of My Heart (Jive)
DEXTER FREEBISH Leaving Town (Capitol)
SOULDECISION Faded (MCA)
LEIGH NASH Need To Be Ned To You (Engine/Arista)
: -,,,ST ADDED DIDO Thankyou (Arista)
#1 MOST INCREASED PLAYS MATCHBOX TWENTY If You're Gone (Lava/Atlanr
TOP 5 NEW & ACTIVE
RED HOT CHILI PEPPERS Californication (Warner Bra,
SISTER HAZEL Champagne High (Universal)
N SYNC,ThiS I Promise You (Jive)
MAY GRAY Still (Epic)
EVI ,^itol)
AC Meta rPap*
URBAN LW TW
1 1 R. KELLY I Wish (Jive)
6 © DESTINY'S CHILD Independent Women Pt. 1 (Columbia)
4 WYCLEF JEAN F/MARY J. BLIGE 911 (RuflhousejColumbia)
5 JA RULE Fit. MILUW Between Me... (Murder lnciDelJarn/IDJMG)
2 5 MYSTIKAL Shake Ya Ass (Jive)
3 6 PROFYLE Liar (Motown) 7 O AVANT My First Love (Magic Johnson/MCA)
8 O MUSIO Just Friends (Del SouUIDJMG)
9 9 LUDACRIS What's Your Fantasy (Del Jam South/IDJMG)
11 Q BEENIE MAN FIMYA Girls Dem Sugar (Virgin)
10 11 ERYKAH BADU Bag Lady (Motown) 18 JAY -Z I Just Wanna Love U... (Roc- A- Fella/IDJMG)
21 OUTKAST Ms. Jackson (LaFace/Arista)
14 USHER Pop Ya Collar ( LaFace/Arista)
15 NELLY E.I. (Fo' Reel/Universal)
13 16 KELLY PRICE You Should've Told Me (T- Neck/Del Soul/IDJMG)
17 CHANTE' MOORE Straight Up (Silas/MCA)
19 KEITH SWEAT FAIL' MO I'll Trade (A Million Bucks) (EleAVa/EEG)
16 19 SHYNE F/BARRINGTON LEVY Bad Boyz (Bad Boy /Arista)
24 0 DAVE HOLLISTER One Woman Man (Del Squad/DreamWorks) 12 21 CHANGING FACES That Other Woman (Atlantic)
22 3LW No More (Baby l'ma Do Right) (Epic)
29 CARL THOMAS Emotional (Bad Boy /Arista) 23 24 TONI BRAXTON Just Be A Man About It (LaFace/Arista)
20 25 C- MURDER Down For My N's (Tru/No Limit/Priority)
28
-
TIONNE "T -802" WATKINS My Getaway (Maverick)
31 JAHEIM Could It Be (Divine Mill/W13)
30 28 SADE By Your Side (Epic)
27 29 WHITNEY HOUSTON Fine (Arista)
37 0 JAGGED EDGE Promise (So So Del/Columbia)
#1 MOST ADDED AY -Z I Just Wanna Love U... (Roc -A- Fella/IDJMG)
#1 MOST INCREASED PLAYS OUTKAST Ms Jackson iLaFace Anstar
TOP 5 NEW & ACTIVE B.G. I Know (Cash Money /Universal)
OE LA SOUL F /CHAKA KHAN All Good (Tommy Boy)
LIL BOW WOW Bow Wow (That's My Name) (So So DetColumbial
PRU Candles (Capitol)
'(AMIA Stranger In My House (ElektraiEEG)
MAN begloo et Pap RI
LW TW
1 1 3 DOORS DOWN Loser ( Republic/Universal)
2 COLLECTIVE SOUL Why Pt. 2 (Atlantic)
4 FUEL Hemorrhage (ln My Hands) (550 Music/Epic)
3 , AEROSMITH Angel's Eye (Columbia)
5 CREED Are You Ready (Wind -up)
6 6 PRIMUS W/OZZYN.I.B. (Divine/Priority) 7 SAMMY HAGAR Serious Juju (Cabo Wabo/Beyond)
9 : GODSMACK Awake ( Republic/Universal)
8 3 DOORS DOWN Kryptonite (Republic/Universal)
10 I U2 Beautiful Day (lnterscope) 12 METALUCA I Disappear (Hollywood) 14 GEDDY LEE My Favorite Headache (Anthem/Atlantic)
13 IOMMI Goodbye Lament (Divine/Priority)
11 14 CREED With Arms Wide Open (Wind -up) 16 ® NICKELBACK Breathe (Roadrunner)
15 16 WALLFLOWERS Sleepwalker (lnterscope)
19 STONE TEMPLE PILOTS No Way Out (Atlantic)
20 A PERFECT CIRCLE 3 Libras (Virgin) 18 19 PAPA ROACH Last Resort (Dream Works)
25 0 OFFSPRING Original Prankster (Columbia)
24 21 MEGADETH Kill The King (Capitol)
28 a DUST FOR LIFE Step Into The Light (Wind -up)
21 23 AC/DC Meltdown (EastWeSUEEG)
22 24 GREEN DAY Minority (Reprise)
23 25 VAST Free (Elektra/EEG)
31 0 LINKIN PARK One Step Closer (Warner Bros.)
27 27 LENNY KRAVITZ Again (Virgin)
37 0 U.P.O. Feel Alive (Epic)
32 29 EVERLAST Black Jesus (Tommy Boy)
33 e PAPA ROACH Broken Home (Dream Works)
....JED ISLE OF O Bag Of tricks IUmversal)
#1 MOST INCREASED PLAYS EVERCLEAR 'I, '.'cng Again (Capitol)
TOP 5 NEW & ACTIVE
CLARKS Chasm' Girls (Razor & Tie)
DEFTONES e :ck To School (Mini Maggit) (Maverick)
PALOALTO Sonny (AmencarVColumbia)
AEROSMITH Love Me Two Times (Elektra/EEG;
ROCK begin on Pap 116.
www.americanradiohistory.com
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www.americanradiohistory.com
_iJll'IJ(t r'; r
J ext week 1,200 or so entertainment and
music executives will meet in Los Angeles
to learn more about the Internet and
their place on it. This annual event is
produced by Webnoize, an online publication founded to provide informa-
tion related to the digital entertainment industry.
Tom Roli is President and Publisher of
Webnoize. He co- founded the company
with Joanne Marino and is responsible for overseeing its
day -to -day operations. Roli's background is quite unique.
He is an award -winning composer, musician and
producer. An accomplished trumpet player, he has
performed with Miles Davis, Dizzy Gillespie and Clark
Terry, to name a few.
The founding of Webnoize: "We launched Jan. 1,
1997, although we had been working on it from '95 on.
We began as a news service, writing original news and
pointing to other people's news on a daily basis. That was
the true long -term vision for the company, because we
knew that having an original content play was definitely something we wanted to do and that it was eventually
going to be a very good and sustainable source of
revenue for our company.
"Joanne has a background in journalism. She had
been Editor -in -Chief of a number of national publications
and has a degree in journalism, and she's worked in the
record industry for a number of different labels. The two
of us got together and decided that this is what we
wanted to do." Editorial policy: "It is a straight news service. We do
not take sides or write opinions on things. We get a lot
of complaints from both sides of the aisle. We get
complaints from the RIAA and the record industry that
we're too Napster -centric; then we get complaints from
the Napster people and the peer -to -peer communities
that we're too industry- centric." The subscriber base: "A large percentage are
involved in the music community. Thirty percent are
from the investment community. We do a lot of
consulting and research for the investment community.
Because we track the space every day, it's a very good
resource for them. An additional 30%-35% are entertain- ment- industry executives.
"We're feeding the news of the day and a number of
feature articles a week, and we are now starting to add
monthly research components as part of the subscription
fee. We've had a working subscription model on the
Internet for the last 2 1/2 years. Right now we're
delivering our news to 85,000 or 90,000 unique people a
month."
TOM ROLL President & Publisher, Webnoize
State of the Internet: "It's in a lot better place
than it was five or six years ago. I hear complaints that the labels are still moving very slowly, but they have no
reason to move quickly. They're worried about protecting
their content, which is exactly what they should do.
They're also interested in making money, which is what
you're supposed to do with your company.
"It's progressing. I had hoped that we would have
been using digital distribution at this point. It seems as
though it's still three or four years from being really
mainstream. There were many opportunities lost by the
industry to get people more involved in the music
industry again. Napster - for all the bad things
everybody has said about it from the industry side - has done one very positive thing: It's gotten people
interested in music again." The changing relationship between radio and the
Internet: "The traditional model for the radio industry
converts very well to the Internet. I feel the same way
about broadcast and cable TV. They've really developed a
method of paying for content for public use. Because of
the fact that you watch TV or listen to radio, the
conception is that they're free. But that isn't the case;
they're being paid for by advertising. Both of these
segments of the industry convert very well to the
Internet, because it's going to be possible to take the
same feeds they use for their traditional broadcasts and
supplement them with additional streams of information
and still have an advertising- supported revenue model.
"For a company starting on the Internet, it's not
nearly as easy, because advertising revenue won't support
a company. However, if you have a traditional broadcast
model associated with it, it is possible to sustain a
business. The fact that there's an Internet component is
just additional audience, and it gives you the ability to
have global coverage. You're not tied to a specific region
anymore." Biggest challenges: "Licensing, across the board.
The ability for companies to know that they can legally
put up the stream they're broadcasting. Up to this point
it has been somewhat of a gray area as to who's going to
be collecting the 'broadcast fees: A lot of radio people are
saying that when some kind of a rule is established,
they'll either stop or sign up for licensing at that point
and be able to move forward. At this point in time it's
moved past the test phase to something that's maybe a
value -added item for their customers. I don't know if this
is something that's going to be resolved in the short
term." Most exciting thing on the Internet today: "I
have always been thrilled with the concept of on-
demand movies and music. At this moment the most
exciting thing that's going on is that 95% of the
companies that don't have viable models are going out of
business. We've been saying for a number of years that
the valuations these Internet companies are getting are
just atrocious. A mom -and -pop store couldn't have a
5100 million valuation. It's not possible.
"I always thought that companies should have to
prove themselves before they were given hundreds of
millions of dollars. Now the venture capital market has
dried up. They are becoming a little more cautious about
who they write checks to. It is the wonderful beginning
point for the Internet. What you'll see are companies
that spend the time and money to research and put out
business models that are actually viable."
How the Webnoize conference began: "We came
up with the idea in 1998. We put together Webnoize '98,
which happened in Los Angeles. We brought about 650
people together for three days and basically discussed
the issues at hand. We thought that this was a very
144 R &R November 10, 2000
By Erica Farber
intelligent extension of our business model, because we
were already publishing news for tens of thousands of
people a day. and a lot of those people were saying that
it would be nice if we could create some kind of
community to talk about the issues.
"A number of conferences were started at that time
by people who didn't have any actual knowledge of the
industry, but who were were good at putting on
conferences. We thought it would be interesting to create
a series of events based more on executive education and
that would be more of a forum or summit type of event
where people could learn about the actual issues and,
hopefully, come to a way of resolving some of them."
Something about Webnoize that might surprise our readers: "We've been around since 1994. It is strange
to people that there were companies working on the
Internet in '94." Most influential individual: "My father. He made a
wonderful life for my family, and he has always pushed
me to do something that I love doing."
Career highlight: "The day we got our first
subscriber. We launched our subscription service the
same day that Microsoft launched Slate, an online -
publication that they were pushing as a subscription
service. It didn't last very long. They found out quickly
that people weren't going to pay for it. Other days that
pop into my head are the first time I was able to speak
on the phone to a Rob Glaser or a Mark Cuban, people
who have contributed to our space. I love it when I get a
call from somebody in the industry who's looking for
information. Our hope is that we are running a business
that will be around for 20 years."
Career disappointment "We haven't gone after an
outside round of financing yet. In retrospect, we would
have had an easier time if we had gone out looking for
money when the venture capital community was
shoveling it at people. Our business has been profitable
since 1996. I don't know another Internet company that
can say that. It would have been nice to grow faster, but
the things we've done to sustain the business have made
us valuable to people. We're not willing to change our
editorial policy or to bend even a little bit. This is the
information; this is how we think." Favorite radio format: "I'm a Jazz guy, bebop."
Favorite television show: "Pretty much anything.
I'm a fan of entertainment." Favorite Internet site: "I spend a lot of time at
Yahoo!"
Favorite song: "'A Night in Tunisia:"
Favorite book: "Right now it's The Entertainment
Economy by Michael Wolf. The latest book I'm reading is
probably my favorite." Favorite movie: "Butch Cassidy and the Sundance
Kid." Favorite restaurant: "The dining room at the Plaza
Hotel in New York." Beverage of choice: "A nice Italian wine."
Hobbies: "I sail. My other hobby would be writing
music." E -mail address: "troli @webnoize.com."
Advice to broadcasters: "Radio broadcasters need to
stick it out. They should not be scared of what the
Internet can do to their business, but rather understand
what extensions it can provide to their current business.
It's a wonderful way for people to interact with the
station or the DJ or the particular show. That, if utilized
correctly, is probably the most valuable thing that any
business could ever want, because it identifies who your
customers are. It lets them tell you what they like about
you and what they don't like about you. It provides you
with a wonderful marketing channel."
www.americanradiohistory.com
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"Love Don't Cost A T Available on DG Systems Wed.; November 15th beginning at 12:01 NEW ALBUMa JANUARY/2
Written by Damon Sharpe. Greg Lawson. Georgette Franklin, Jeremy Monroe & Amil Harris
Produced by Ric Wake for W &R Group
Additional Production by Richie Jones for W &R Group & Cory Rooney tor Cory Rooney Entertainment
Album Executive Producers: Cory Rooney and Jenniler Lopez
Album Associate Producer: Chris Apostle
Management: Benny Medina. David Guillod and Jeffrey Norskog
Taken from the forthcoming Epic release J.Lo (63786)
www.jenniferlopez.com '
www.americanradiohistory.com
