October 24, 2025 • 46 mins
A Step, but Not a Solution: Why Billboard's New Rules Need to Go Farther to Break Radio's Stranglehold and Records Resistance to Truly Capture America's Musical Pulse.
Billboard's recent adjustment to its Hot 100 "recurrent" rules—a methodological tweak designed to remove older, lingering hits from the chart more quickly—is a necessary but insufficient move.
While this change will correctly clear out entrenched "zombie hits" from superstars, it only addresses a symptom of a larger problem, not the root cause. The current Hot 100 methodology, a blend of sales, streaming, and radio airplay, remains fundamentally flawed, overweighting passive, industry-driven consumption over the active, dynamic "pulse" of American listeners.
To truly force the radio and record industries to innovate and "do better," Billboard must implement a more radical methodological overhaul. Here’s how it could go farther:
* De-Weight Passive Consumption: The core issue is that programmed radio spins and algorithmically-fed streams carry disproportionate weight. This methodology rewards saturation, not genuine, active popularity. A more accurate chart would drastically reduce the point value of radio airplay—which often reflects pay-for-play dynamics and a lagging, older demographic—and instead heavily prioritize active listener engagement. Metrics like user-initiated streams, track purchases, and inclusion in user-curated playlists are a far better representation of the "pulse."
* Introduce Velocity-Based Caps: Instead of just booting songs after they've been on the chart for months, Billboard should implement "velocity caps." Once a song's growth stalls for a set period, its chart points from passive sources (like radio) should be progressively diminished. This would stop radio and labels from propping up a declining hit and force them to shift resources to a new single, creating a more dynamic chart that rewards newness.
* Incentivize New Artist Discovery: The current system forces new artists to fight for scraps of airtime. A revised methodology could actively reward the "first movers" by giving bonus chart points to radio stations and streaming playlists that successfully break a new artist into the ecosystem.
*
By only tweaking its recurrent rules, Billboard is merely pruning the branches. A methodology that de-weights radio, caps saturation, and rewards velocity would be a true systemic fix. It would force record labels to invest in developing new talent rather than just maintaining their superstars, and it would compel radio programmers to become active curators of new music, finally forcing the charts to reflect what America is discovering rather than just what it's being fed.
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Billboard's recent adjustment to its Hot 100 "recurrent" rules—a methodological tweak designed to remove older, lingering hits from the chart more quickly—is a necessary but insufficient move.
While this change will correctly clear out entrenched "zombie hits" from superstars, it only addresses a symptom of a larger problem, not the root cause. The current Hot 100 methodology, a blend of sales, streaming, and radio airplay, remains fundamentally flawed, overweighting passive, industry-driven consumption over the active, dynamic "pulse" of American listeners.
To truly force the radio and record industries to innovate and "do better," Billboard must implement a more radical methodological overhaul. Here’s how it could go farther:
* De-Weight Passive Consumption: The core issue is that programmed radio spins and algorithmically-fed streams carry disproportionate weight. This methodology rewards saturation, not genuine, active popularity. A more accurate chart would drastically reduce the point value of radio airplay—which often reflects pay-for-play dynamics and a lagging, older demographic—and instead heavily prioritize active listener engagement. Metrics like user-initiated streams, track purchases, and inclusion in user-curated playlists are a far better representation of the "pulse."
* Introduce Velocity-Based Caps: Instead of just booting songs after they've been on the chart for months, Billboard should implement "velocity caps." Once a song's growth stalls for a set period, its chart points from passive sources (like radio) should be progressively diminished. This would stop radio and labels from propping up a declining hit and force them to shift resources to a new single, creating a more dynamic chart that rewards newness.
* Incentivize New Artist Discovery: The current system forces new artists to fight for scraps of airtime. A revised methodology could actively reward the "first movers" by giving bonus chart points to radio stations and streaming playlists that successfully break a new artist into the ecosystem.
*
By only tweaking its recurrent rules, Billboard is merely pruning the branches. A methodology that de-weights radio, caps saturation, and rewards velocity would be a true systemic fix. It would force record labels to invest in developing new talent rather than just maintaining their superstars, and it would compel radio programmers to become active curators of new music, finally forcing the charts to reflect what America is discovering rather than just what it's being fed.
Become a supporter of this podcast: https://www.spreaker.com/podcast/the-broadcasters-podcast--3684131/support.
Contact KOP for professional podcast production, imaging, and web design services at http://www.kingofpodcasts.com
Support KOP by subscribing to his YouTube channel and search for King Of Podcasts
Follow KOP on X and TikTok @kingofpodcasts (F Meta!)
Listen to KOP’s other programs, Podcasters Row… and the Wrestling is Real Wrestling Podcast and The Broadcasters Podcast.
Buy KOP a Coffee https://buymeacoffee.com/kingofpodcasts
Drop KOP a PayPal https://www.paypal.com/donate?hosted_button_id=3TAB983ZQPNVL
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Podcasting since two thousand and five. This is the King
of Podcasts Radio Network, King of Podcasts dot Com.
Speaker 2 (00:08):
Billboard finally does it.
Speaker 1 (00:13):
The King of Podcasts Radio Network proudly presents to the
broadcasters podcast Here is the King of Podcasts.
Speaker 2 (00:22):
Welcome to the program. This is King of Podcasts. Here
with you with another broadcasters podcast build the courtesy of
Kingopodcasts dot com. Of course you can find all my
other series. Find out where you can go in and
download the shows and if you want to go possibly
donate to the program. There's a lot of ways to
go and do that. It's a lot of ways going
(00:43):
to help out, a lot of ways to participate, and
I hope you'll go and consider that. So now here's
the deal. Billboard has made changes to the recurrency rules
of the Hot one hundred charts. This has been a
needed change for a long time. So specifically, we now
have some more specific rules when it comes to one
(01:07):
of song that is considered recurrent and removed from the chart,
which means a song even though it's popularity is still
very prominent. We must show that the current charts are
reflecting the pulse of the music industry. With the newest
music now, I already know through streaming. If you look
at the Spotify Global two hundred charts on a regular basis,
(01:30):
or Apple pot or the Apple Music Charts, whatever it is,
you can alwaysly tell. Because of the virality of places
like TikTok and social media in general, there are always
going to be songs that will return to the charts
after a long time of not being up there, or
there are songs that never leave the charts, because there's
(01:54):
going to be still songs that are streamed and still
be up there forever. Why I do a thing where
I look at Billboard Top Songs. There's a YouTube channel
that does a great job on this, and every week
he puts out the Bilboer one hundred and the Bubbling
Songs charts in one video. He does the ones also
(02:16):
for rock, for R and B, hip hop, for pop,
and for Latin, among others. And then he does other
ones where he'll do the Spotify Global two hundred and
the Official Charts one hundred chart every week. And I'm
telling you, the guy is great. It's some nice, good
(02:36):
slick videos and it's just a good way to go
and figure out what the world is listening. To in music,
and in that global two hundred charts, there's always a
number of songs that are up there that are amazingly
staying on the charts because they're just there. The Killer's,
Mister Bright's Side, Sweater Weather's the Neighborhood or the Neighborhood
and the sweater Weather advanced You and Rip Tide or
(03:01):
either Get Fleetwood Back of Dreams or Radioheads Creep. You know,
there's all these songs that have been around, and then
others that will just make their way back up into
the virality of the charts because they're being used in
TikTok videos or whatever else. So Rihanna's breaking dishes. Think
about all the songs that come up during Halloween or
during Christmas time that always come back up and return
to the charts. Those kind of things will continue here.
(03:24):
But there's a change now in this As I said,
the change of the recurrency rule is to make the
Hot one hundred chart more effective of current music assumption
and allow newer songs a chance to climb, because sure
there's gonna be songs in perpetuity and infinity that will
continue to be very popular. Taylor Swift Cool Summer there's
(03:45):
all these different artists that have songs that will continuously
be on the charts for as long as they want.
All of Bad Buddies music from the start of the
year continues to be up there because and there's other
songs that have been in the same vein here that
needed to go and change. So the official changes are now,
if you have a song that's been on the chart
(04:05):
after seventy eight weeks, if it's dropped below number five,
it goes recurrent blow number ten after fifty two weeks,
or one year, blow number twenty five after twenty six weeks,
below number fifty after twenty weeks. So now if you
had a song that dropped below a low position like
(04:26):
number fifty, the new rules now have lower thresholds for
removal at earlier reports in the song's chart life, So
we're not gonna have songs that will go one hundred
weeks and never drop off the chart. Now, some of
the things they've done here have been the cost ongoing
changes of the chart methodology that constantly happens. July twenty twenty,
(04:49):
they got rid of the practice of counting albums or
singles bundle with bunt merchandise or concert tickets on its
charts and the Hot one hundred. So the BTS kind
of deal was stopping that fan packs being a limited
exception to the bundling rule for album charge. But with
new safeguards physical and digital bundles, sales of physical album
or single bundle within instant digital download are no longer
(05:12):
counted as digital sales immediately. This is not all the
changes that are necessary, but this is a good you
know this for them. For Billboard, they have to play
every industry nice, so streaming, radio records, they all have
to play ball with them. So this is a change
that could be mediable, pliable, and makes sense because they're
(05:34):
not going to put priority on streaming yet. Over radio
and records, you're just not going to do that radio,
I mean for radio airplay records for record sales, because
those that's the metrics by which radio records are their livelihood.
You know, the build are going to have airplay and
(05:54):
music for them. Yeah, they think the advertisements are important,
but on the music radio stations may be a little
bit kind of sort of they have to go and
worry about the music they're playing. So it's important because
the methodology still holds up for radio records to be
conceivably important metrics towards the score that has given to
(06:16):
songs every week. Now when I asked about well, I
asked to AI because I was just trying to get
the information to research out after the new strict recurrent rules,
this immediately affected the chart week ending October twenty fifth,
twenty twenty five. So now the songs that dropped off
as a result of this, two songs that went after
(06:40):
seventy eight weeks were lose controlled by Teddy Swims Benson
boone Beautiful Things one hundred and twelve weeks for to
lose control eighty nine weeks for Beautiful Things. Die with
a Smile also drops off because it dropped below number
ten after fifty two weeks Die with a Smile, Lady
Gotta Gober Boom, Mars is Out Luther with Kenrick Martins
(07:03):
Sizza dropped after thirty plus weeks with a number of
new rules implied. Let's put this in play as well.
We have to thank Taylor Swift for this because the
Life of a Showgirl essentially took several songs took them
right off the charts, So lose control. Beautiful Things now
(07:23):
with a smile. Those songs are out because they're not
going to stay up in the top ten anymore thanks
to Taylor Swift and the old recurring rules. Those songs
will still find a way to get back in no
matter what. And that's the stagnation of the music industry.
What used to be not so much of a problem
(07:45):
is because we had new music out there, consistently fresh
and new that would replace these other songs. You'd have
artists that would have new music to come up after that.
And don't get me wrong, Teddy Swims and Vincent Move
have had other songs after that. But the problem is
they are forthcoming singles have not panned out. They have
(08:06):
not been able to go ahead and surpass or even
match the amount of popularity that Lose Control Beautiful Things
respectively had. So Tyler Swift could have her album right now,
and there's still songs that are still now surmounting the
top ten. But when those songs would die out, because
not all those songs are gonna get radio airplay, some
(08:29):
will still get sales, but eventually the sales will die
down after probably somewhere at the end of the year,
and then these other songs will find their way back up,
or also when Christmas music comes around, the same thing
will happen. You'll have certain songs like those will continue
to be up here. So other songs that also dropped off.
Chabouzi's a bar song which needed to be that's well
(08:51):
over a year and it's already droped blow the number
twenty five twenty six weeks out, and Morgan Walla had
various songs that also dropped off from his last album
I'm the Problem. So that's good too. It's important to
see that now in that point, the changes to the
chart ultimately may changes overall to everything on the chart,
(09:15):
because now we have a fresher chart out there. Now
you're still going to see Taylor Swift now occupying seven
of the top ten songs on this particular chart, But
the difference is now is that Okay, Alex Warden Ordinary
is still on the chart thirty six weeks later, not
much you can be done about. It's still going to
be there. And Golden by Hunterricks from the K Pop
(09:39):
Dem hundred sound track continues to be there as well.
But there are other songs outside of the Taylor Swift
album Bomb that are sticking around. So there are some
Daisies and Justin Bieber it's only been around for fourteen weeks.
That's sitting outside. Man I Need by Olivia Dean got
us high as number twelve before the album bomb and
(10:02):
now she's at seventeen right now, but still after Taylor Swift.
Some of these songs will have a chance to go
and move up, and Olivia Dean's man I Need has
been on the chart for eight weeks. Leon Thomas and
Mutt is still sitting outside thirty seven weeks has been
on the chart, lingering around in the bottom half of
the in the top half of the top twenty. Number
(10:23):
eleven is his highest peak so far. Then you have
a few more k Pop dem one hundred songs that
around out the top twenty, and there are other songs
that might make their way up. But now there's room
for other songs to make their way up unlike what
would you would imagine, and bill Board has talked about
what they could have that could be making their way
(10:44):
up the charts overall, and they asked the question, who
are the contenders that could be filling incoming vacancies into
top ten, and they first of all went into Olivia
Dean with man I need because right now her new
album Art the Loving not only debut a top the
(11:06):
Official UK Albums Chart in the top ten and in
the top ten of the Billboard two hundred, but also
just going and continuing to have her songs that are
making your way up. She's already had three songs now
that are singles on the Billboard chart and a bunch
of others other than official chart because of where she's from.
We talked about Leon Thomas and Mutt been just outside
(11:26):
of the top ten for months, but after Taylor Swift's
album Bomb Subsides, this song could break out and still
make its way up. At the moment, it's still holding
up in a radio airplay number three on the Radio
Song's chart and still getting a radio airplay of almost
sixty million spins overall. So if it could stick around
(11:50):
for another month, Leon Thomas and Mutt can make it
into the top ten. In these new rules in a
new age, which is fresh, I mean it's still radio airplay.
That's the segment of radio because they don't have a
lot of new songs that they put up there on
a regular basis, and that's a problem. So we have
to wait Kelowne Unfolded. It has been sitting outside the
(12:12):
top twenty got to number twenty one and got up
to number eighteen, but still radio is starting to pick
up on it and radio airplay is starting to pick up,
so there's a chance for that. And then Tama Paul's
dragging off a new album that they just put out,
that maybe there's something that will happen with that song
to make its way up, because it's now made it
into the top sixty and it's working its way up.
(12:37):
But now the new album is out and the new
album's going to be kicking in that will help the
boost up potential rising of that song on the chart.
So you can see some new artists coming into play,
which would be nice. But now one of the things
that we have to talk about is that when we've
seen stific it changes of the rules of the chart,
(13:00):
the Bilbore Hot one hundred, we have to understand the
significus of how it prioritizes radio and records initially because
that's what's always been considered records initially in nineteen fifty five.
But then you see with radio airplay coming in jukeboxes
and things like that, jukeboxes were actually the other metrics
(13:22):
that we used to have back in the day, which
would give you an idea of what music was popular
that could be considered in the methodology of the charts.
But then juke boxes went past a Streaming has basically
become the new jukebox, but now on a more personalized level.
And because the amount of metrics they can get off
of them, and how songs can be viral and the
(13:44):
accessibility of songs you can get to makes a bigger
difference as well. So now this standard record chart published
weekly by Bill Wog magazine has to play to the
radio industry for whatever reason, because in the process for
(14:05):
the record and radio industries they play with each other.
For the record company, they want to be able to
sell albums in the areas that they might have streaming
or it might have sales for whatever. They have to
go along with the streaming end of YouTube or Spotify
or Pandora or Apple to get whatever kind of revenue
(14:29):
or residuals they can get off of that. But then
the real money they struct trying to get in as
well is that they if they can get radio to
can still be there even though it's such a secondary model.
But radio gives longevity to particular singles that will continue
to push the singles out there to keep streaming and
thus keep the albums to be sold. That's not concept.
(14:51):
It's not a great concept anymore because the change of streaming,
really the digital disruption, changed everything. But what we need
is what kind of happened in nineteen ninety one. We
need a real significate change to how things happened, because
November thirtieth, the nineteen ninety one, we had one of
(15:13):
the most significant changes overall when Billboard magazine revitalized the
chart to accurately track purchase singles and radio airplay. So
getting retail stores to be able to go and send
their sales information of cassettes, CDs, and vinyl, they're able
to get a better idea of the sales to go
(15:37):
along with radio airplay. Now, the original chart did have
airplay sales in jukebox play jukebox play. This continued the
nineteen fifty seven and of course in nineteen ninety one,
they made this change for a number of reasons. One
was the fact that they said the airplay playlists were
(15:57):
not very accurate and songs can be misrepresented in their rankings.
And retail stores could play favorites for certain artists and singles,
sometimes within the scentive a record label. So Piola was
in play across the board. But you know, if a
record company was willing to go and invest money on
the hush to a record store or to a radio station,
then that tells you they had real momentum behind it
(16:21):
and they were willing to go put their money with
their mouth is then they knew they had to hit
on their hands or they were going to do whatever
it takes to make that happen. But yes, airplane sales
might have been inflated and you might have gotten a
little bit of a less interpretation. It was an honor
system and the accuracy of the data might not have
been perfect. But what would be the cream of the
(16:43):
crop that would rise at the top, that would be
determined on that chart. So I didn't have a lot
of trust in that chart and the way it was
set before. Plus in the way that was set, you
had a lot of things to change when it came
to what music goes out there, because the other thing
that also changed on this chart was they were trying
(17:05):
to go ahead and avoid what was happening in the
nineties where we were getting new formats, so pop music
or urban music were now being sing Benson because then,
you know, we didn't have soul music so much anymore.
We just had we had hip hop with R and
B in the nineties, so it was certain to change.
And hip hop just started coming to the forefront, and
radio wasn't completely behind it yet major market stations in
(17:28):
metropolitan area is sure, but it wasn't all the way there,
and it took a while for certain stations to finally
go ahead and let it take off as its own
self sustaining format, and that's what changed. But they wanted
to make sure that there were certain songs that could
not make it onto the chart. And you know, there
(17:48):
was also a change that happened with the America Top
forty countdown. At the same time of this change, they
decided to go ahead and create decided to go to
a different chart and not use it would use the
chart methodology change as the excuse to change the charts altogether.
That's why I listen to the shadow Stevens in his
(18:10):
chart from what was the number ether of was the
number eleventh thineteen ninety one. They went ahead and made
the change that the BILLBERA one hundred was not their
gauge of the chart they would use to count down
the songs and they would forever change. So hip hop
took a backseat. Rock music took a bit more of
(18:31):
a backseat because then alternatives change things. Hip Hop changed things,
so your normal rock and soul, those formats were becoming
significantly different, and the new modernization of those formats changed everything.
When you didn't have just a modern rock station, you
had alternatives, it was a different story, different feel to it.
(18:53):
But then after years they would all be put into
the same spot. You know, they'll still be considered, and
there have been changes that were made all over the
place where you had things that were still needed to
be added. I mean, because the change of the times.
You'd have songs on a movie soundtrack that were not
released as singles and they would never be on the
(19:15):
Bilber Hot one hundred. They would be on an airplay chart,
but they would never be considered on the Hot one hundred.
So those things have all changed around over the last
thirty four years. But now are the point where those
changes were made, and the current list now is at
a better place, but still after everything's done, recurrency rules
(19:39):
will change in the same time November thirtieth, nineteen ninety one,
there would be a new chart, the recurrency singles chart,
so recurrent status would have singles falling off the Hot
one hundred chart and the songs that we put in
the recurrent status, and at that time we had thirty
(20:00):
positions of that chart, and in the rules of that
chart methodology. Back in ninetheen eighty one, it was a
twenty week recurrent rule. Songs that went below the top
twenty after twenty weeks went the recurrent status. Then those
singles removed from the chart and rising songs had a
chance to move up as other older songs were abounded
and spent more time in the top twenty. And then
(20:21):
the rules kept changing, would the signing scal would start
to begin. You'd have then the twenty forty rule, the
top twenty after forty weeks and after fifty, and it
stayed after fifty weeks, so it's still been until now
twenty weeks and it doesn't go below the top fifty.
(20:44):
A song would still stay in the active chart and
not go to recurring. It's a very important thing. But
radio was taking advantage of the fact that with that
twenty fifty rule, there were songs that could stay on
the chart still with radio air play have irrelevance. And
for the music in the street, they didn't have to
(21:05):
go ahead and churn out so much music. They didn't
have to play so many artists or and then also
just the longevity of the music they had out there, albums, singles,
they could go as long as they want. But streaming
changed everything changed it all. The whole point of this
is that no matter what, radio and records are still
(21:32):
not bringing us new music. We have had new music
this year from some really formidable artists. A couple of
weeks ago we talked about it and they all foot
in flat. But that's also because of the fact that
you had also folks that were putting out albums that
waited a long time to do that. I mean, you're
telling me there was no pressure from Cardi B's camp
in Atlantic to wait seven years for her new album
(21:54):
to come out. Was there a reason that Sabrinda Carpenter's
new album had to go and come out you know,
a year later roughly, or for Taylor Sports can have
an album out immediately, you know, after tortures posed department
and come back out after that, like some of the
decisions to go too quickly or to wait so long.
(22:14):
We're just big stories and nobody really talked about that
either and what that meant. But at the moment, radio
doesn't matter because there's not even the people that are
out there that are taste makers, that are out there
to go ahead and talk about the charts. That's all
gone too, because the people that would be in radio
that could be championing music are gone. One of the
(22:37):
folks that was out from iHeartRadio in recent layoffs. Right now,
Katie Summers, and I want to play a clip from
Buffa the Love Sponge and his podcast where he went
pretty extensively about this, And I thought this would be
something to go and bring up here and go through
because I think, you know, I've talked about him before,
(22:58):
and of course he's out of the radio his all together,
but still there's a lot that could be said about this.
Now I'm gonna go play back what he said here
because he's spending facts for the most part on the
radio industry. I think he's absolutely read about it. So
let's go to play some with this bag Summers.
Speaker 3 (23:14):
But when Katie Summers for ninety three to three FLZ,
the first radio station that I worked at in Tampa,
Florida one. It's very dear to my heart the Power
Pick She's been doing mid days for twenty plus years.
She also was towing the corporate line by voice tracking
mid days and what seth maybe fifty markets.
Speaker 2 (23:38):
A ton.
Speaker 3 (23:39):
I mean, if you're again, if you've survived iHeart, you
know over the last however many years of them letting
people go. They've let program directors go, They've let midday shows.
Speaker 2 (23:48):
I mean they've let everybody go.
Speaker 3 (23:50):
They let Hartley Atkins, who was the president of all
radio markets.
Speaker 2 (24:05):
Think about that.
Speaker 3 (24:07):
I mean, you only report to one person, and that
would be Bob. Bob is a Bob Eatman. Bob, I
don't know whoever the CEO is, who, by the way,
just re signed a contract at fifteen point five mil
at twenty nine at let me look at Bob Eatman
from East from Iheart's new deal.
Speaker 2 (24:27):
So Harley Atkins.
Speaker 3 (24:28):
Started as a sales person, just a lonely sales guy,
fresh faced kid out of Gainesville. When I was at
the Power Pig, him and Desiree and Bobby and LT
and Jim Beard. They were all, you know, the sales staff.
Harley Atkins worked his way up the iHeart corporate ladder
(24:51):
to be the present based out of Washington, d C.
He went up after Tampa and ran the DC market
as a market manager, continue you to climb corporately, and
then made his way up to the president.
Speaker 2 (25:06):
Of all markets.
Speaker 3 (25:10):
You can't you're second in charge at that time, third
in charge because they got this little bozo duo named
Bob Eatman. And there's there's two dudes that were Bob Pittman.
Bob Pittman and Rich Bresler. They pretty much have bamboozled
and hoodwinked whoever owns iHeart for however long to continue
(25:35):
to make these cuts and lem me, will you tell
me what now?
Speaker 2 (25:39):
There's more to what he said. But even I have
had to go ahead and kind of take myself back
with Bob Pittman because of the fact that, I mean,
he's a CEO that's done things where on the podcasting side, Yes,
he has made in runs, but he was never going
to fix the radio side. We just need to make
ourselves clear about that. These cuts and these constant changes
(26:01):
down with radio. Even I have to be a little
bit more grounded on the fact that he can't fix this,
Like I heart radio is not supposed to be the
answer for them to go and hold on to all
the radio stations they have and to service the public
with the music that's out there on the radio, because
(26:22):
all these pop stations that would be you know, back
in the day, would be relying on what the Billboard
Hot one hundred said, and all you have to do
is just going to put the songs out that are
on that chart. It will be easy because in those days,
what thirty years ago, the Billber Hot one hundred would
be the gauge of songs that radio stations will be playing.
(26:45):
Their music would be. That would be basically be the
playlist for those radio stations, and that would be the
catalyst of the record sales that were going on and
the airplay of radio. So you would know the pols
of the music industry because radio was part of it.
But they're not anymore because radio is controlled by another
entity that is private equity. Like the real enemy of
(27:06):
radio is private equity. But they are vultures to every business.
That's clear to me now too. I don't know, I
guess with some of these radio folks like Michael Harrison
or Praier, Michael Simon. I guess there's something where I
guess in the radio business that I've been following from
(27:27):
somewhat the outside end because I wasn't really involved or
integral to the actual processes. It's just everything as me
as a spectator enjoying radio as I loved and now
being completely feeling like I'm being isolated in my opinion
about it because no one's talking about radio again. That
(27:52):
video right there, the Bubbla the love Sponge, but out
there it only had six hundred views so far. I
wanted the few people that did because YouTube kept put
it out. There's a regum. I'm glad they did, but
it's signfic because there were certain people. When he's talking
about Tampa, Florida and WFLZ, one of those prominent radio
stations going back thirty six years, because he's talking about
(28:15):
Power Pick that was in nineteen eighty nine, and the
thing was that that station was a trendseitter at a
time when pop radio was a real lull because the
music was stagnant because we had a lot of established
artists that did not resonate right into the nineties. The
nineties were just a big change of music, and WFLZ
(28:35):
was very good as a pop station to follow along
with the trends that are out there. So when freestyle
music or alternative music or hip hop was coming in,
they actually were playing it because they didn't want to
be beholden to the fact that, Okay, we don't have
a lot of songs from Prince or Michael Jackson or whatever.
Like we had albums, we had songs, but like the
(28:57):
amount of pop stars that were out there, we didn't.
The British invasion had kind of subsided a lot more dance
music was coming out and WFLC would play it. But
like there were just certain music genres within pop that
would make the pop charts that a lot of radio
stations didn't want to play. They don't want to play
dance nothing for Europe, none of the house music. They
(29:17):
don't want to be a part of flat and freestyle.
It became into play that was kind of like the
post disco Eerica era. They don't want to play alternative music,
which was not your conventional rock because it's a big
change from hair bands to the alternative grunge sound that
we're getting into and then more into that. It's like
it was all changing because the culture of pop music
(29:37):
was changing. It wasn't it wasn't teeny boppers, it wasn't
boy bands, wasn't idols like that. You know, it's just
no teen idols something like that, but just a different change.
It was a real diverse portfolio of artists in the
late early late eighties early nineties just completely changed. And
(29:59):
radio handle it because you have some of these outlier
stations that were owned by some significant companies. But then
of course the regulation changed everything. When I think of
stations like Q one O two in Philadelphia, Power one
O six in Los Angeles, one oh six came out
and San Francisco, paraety six in Miami, or Hot one
of five in Miami, one of two Jams at Orlando,
(30:22):
Power Pig in Tampa, WLLL in MINNESO in Minneapolis, Minnesota,
Part two in Phoenix, Arizona. These stations were all changing
things up and they were kind of following on that
same idea where they were being enterprise. They identified pop
music popular music as top forty music. They were still
(30:44):
acting as top forty and then it would be considered
top forty rhythmic because they did lean into the music
that was much more rhythmic, with much more dance weri
into music. But then some of those stations also still
played alternative as well, So some of those stations kind
of like played into the whole mix of everything because
they wanted to be the pulse of the younger audience
(31:05):
and they want to be pigeonholed, like making mainstream music
just be homogenized, which it is today because now we
have so many different formats and stations that are just
the same anymore. The radio stations are not catering to
younger listeners. They're just not streaming is. But radio could
(31:28):
still be a consideration. There's something to be said about
streaming is a first line of exposure for artists. But again,
that longevity of having an artist that has a song
with us so well and then's only the mainstream gets
caught up on it. So radio could be that catalyst.
But then radio could also break new artists like it's
done for years, But that's not happening either because there's
(31:52):
nobody there allowed to go ahead and do that. Now
on radio that's a lost cause. There are some stations
on public radio. But that's not enough. Plus they also
have their own interest if there would be something where
the music industry would actually be involved, like remember you
know stations like KRCW and others like that in like Austin,
(32:12):
Texas or Seattle, Washington. Their thing is they don't have
these big major record companies that are putting out artists
that might be interestry plans might be these artists that
will be big major stars. They're not putting those upcoming
artists over there. These are all independent record labels that
are getting involved to get their artists anywhere, or an
artist that just try to get out there to themselves.
But it's not meant for a mainstream consumption. That's not
(32:35):
their intent. But radio that's supposed to be what they are,
but they're not. Something's changed about that. There's a number
of things that came out of the National Association of
Broadcasters radio show that's going on right now, and we
should talk about that. Their show in New York has
been going on this week, and there are a few
things that have come out of that. Number one, a
(32:58):
story that coming out about data revealing the public concern
of AI and journalism integrity will take it This in
real quickly. There was a panel titled the Future of
News AI, New Revenues and Risks the Policy Response, and
there was research conducted by on Message Incorporated that showed
that seventy six percent of Americans are concerned about AI
(33:19):
reproducing journalism and local news stories without permission, fifty one
percent very concerned, and a strong majority wanting supporting government action,
seventy seven percent favoring a law prohibiting AI from copying
news content without compensation, and fifty nine percent strongly supporting
such legislation. That's one story that came out of that.
(33:44):
The AI audio use How AI is being used in
audio now also talked about at the NAB show. So
broadcasters and podcasters are expecting a fast track at a
rapid pace using AI for a variety of use cases,
from streamlining operations, doing show prep to analyzing the listener
data and optimizing ad performance in real time. I know
(34:04):
for myself, I do quite a bit of show prep
with AI where I'm gathering all my materials that I'm
going to talk about and instead of me putting on
an outline count like you used to and writing out
an outline or actually just running out the whole description
of the show and kind of like where talking points
are that I'm going to go and bring up. AI
(34:24):
can help me organize it, so it's like an assistant.
But I don't want to use it more than anything
that than that right now. Bonago Internationals Vice president of Podcasting,
Cheryl Worsley says the technology is to improved by leaps
and bounds. The rate at which it gets great is
going to accelerate even more and means we will use
it more. She says that AI can help them get
(34:45):
the most out of their hosts. Quote, if your talent
is wanted to do something like a podcast, look for
the efficiencies in their day that you can glean from
AI so they can produce more original content. I also
talk about the news reporters can free themselves up to
do more original port using tools like opus clip to
create social media posts for their stories, and folks a
(35:08):
sound stack. Their VP of Sales and Business Development, Matt Kellogg,
says that AI will allow radio stations to save as
much as forty percent on production costs, which takes away talent,
which takes away staff. But that's not a good thing.
But that's like every other business. If you want to
keep working and not let AI take over your jobs.
(35:30):
You need to be part of the human input. Journalists
need to go and change who they are and who
they're going to be. Things like that, And another story
that was coming out of the NAB Show. There was
an NAB Show New York panel devoted to mergers' acquisitions
and Kalil and Company executive vice president Todd Hartman discussed
(35:54):
what he sees ahead for the radio industry over the
next twelve to eighteen months. Now keep this in mind.
What he's saying is that there's gonna be a big
fire sell for radio stations coming up. A radio deal
market is gonna heat up next year. And that is
all because of the relaxing of decades old station ownership limits.
Remember I've been talking about this for over six months
back in March, and now we're coming to fruition. This
(36:16):
is what's gonna happen. More stations are gonna get bought up.
That's not gonna be good for the sake of pump
of radio for the general public. Just I say it
like that. So Todd Hartman says, I think we're gonna
seek continued announcements where you see the recent acquisition of
Alpha Media and a subsequent purchase of Bontaville, San Francisco cluster.
(36:40):
But you're going to see some more activity through the
remainder of this year and then obviously twenty twenty six.
It could be a big year. It's depending on when
thowse changes are gonna happen. The SEC in late September
voted to consider relaxing, so they're gonna go into the
process looking at it, and relaxed ownership rules would likely
spur some rearranging of the chess board in local markets.
(37:00):
Owners would book up their assets or divest and devest
the one market to expanding one another. They're going to
just add more to it. If they can get away
with it, they will. This is not going to make
more stations go everybody else, But that's what's gonna happen.
When you talk about some people hoping that the regulation
would provide private equity or regionally go ahead and facility.
(37:23):
Coming back to radio, Parma says he's not so sure.
He thinks that buyers will lean on relationships built over
the years with the local regional banks to get access
to capital for acquisitions.
Speaker 1 (37:32):
Quote.
Speaker 2 (37:32):
Radio still a great business. If you buy it right,
you layer the proper amount of debt on it. Radio
can be a great cash on cash and no any business.
And when it comes to local television, he thinks the
local TV business will surpass eight billion dollars in transactions
next year to maybe eight and a half to ten
billion dollars. Ought to cau Dacy. I hate the name
(37:59):
of that company. They released the State of Audio the
Creator Effect Report, saying that radio is very important to
hoping to grow the creator economy. So they're in the
study that was connected earlier this year. A third of
music format listeners feel more connected to their community because
of their local radio hosts. Eight and ten are tuning
in specifically to hear their favorite hosts, and seven to
(38:21):
ten agree that they value radio stations for a local
hosts to share local experiences. Well, I guess maybe that's
happening on Odyssey, but not on iHeart Radio. But again,
Odyssey's the same ones that had national hosts for their
content until that kind of failed and they had to
do a little revisiting that subject. Let's just say it
like that in their report that they are important to
(38:43):
highlight the importance of authenticity over everything when it comes
to content quote, audiences aren't looking for polished anymore. They're
craving real. Not only does it generally feel good to connect,
also makes it become make or break for creators. Your
listeners can stuff out of the dupes, and hosts will
pay a price for the ultimate crime, fake and phony.
By the way, on my Podcaster's Row series, I'm gonna
(39:05):
be doing some work where I won't have any other
guests on this silly for a little bit. I'm gonna
table that for a little while. I'm gonna a little
more education on that channel because I'm gonna start giving
out some real secrets and all that I'm doing right
now in the field as I produce an edit and
host content over on the radio networks that I work on,
which is WMR, dot FM and Cannabis Radio. I'm gonna
(39:27):
give away some secrets that I've been using that will
help apply also to the clients I'm talking to. But
it's not like, can we give away the whole secret recipe.
It's the fact of the matter is that there are
certain things you should know in rules when it comes
to podcasting to make yourself a better podcaster. And so
there are a number of tenants that you should do
to be a professional podcaster, and I'm gonna start sharing
(39:49):
those detail fundamentals on the program and forthcoming episodes. So
if you have not subscribed to Podcasters, so please do so,
and I to helpe you'll go and look at it
because I all start doing those coming very soon. A
lot of great information I've been putting together because I've
been doing a lot of work with new clients, and
some of the work we do, some of our clients
(40:11):
have been much more asking for input, asking for more information,
more on their content so they could really do something
with what they're doing. And so I get it. It's
a little bit overkilled, but it has made me work harder.
And the input that I have and to help AI.
Let let's make that very clear as well, has helped
(40:32):
me to go ahead and become a better podcaster, to
learn that I need to go and do some more
things with the hosts to make them better hosts. And
it's one thing for how I need to sound and
how I need to go and project myself and present
a show in monologue form or interview format, but it's
also the same thing I have to do when I
have to go and coach and train hundreds of clients
(40:56):
every year, and I've done it for twenty years plus.
It's a lot of work. Two other stories want to
bring up for tonight, Tech Crunch putting out a story
about YouTube and the fact that they've paid on eight
billion dollars in the music industry in twelve months. So, well,
now we know how much I think we'll say four
(41:17):
billion dollars and Spotify is spent in the last year
or so to the music industry. Well, YouTube could surpass that.
Between twenty twenty four and twenty twenty five July, eight
billion dollars been paid to the music industry. Now that's
a big payout compared to the fact that it was
(41:37):
six billion dollars in twenty twenty two and a year
before that, YouTube had paid out four billion dollars to
the industry in the last twelve months. Oh excuse me.
Spotify paid out ten billion dollars to the music industry
in twenty twenty four and the year before nine million dollars.
It's a lot of money coming out for these companies.
So that's why streaming and YouTube is so important. Integral
(42:02):
YouTube has it says, according to their platform one hundred
and twenty five million music and premium subscribers globally, including
users on trials, and two billion logged in viewers who
watch music videos each month. That's a big deal right there.
YouTube is filled more than one hundred countries and supports
eighty languages. We've heard this story before, but I figured
(42:28):
to go and bring this up once again. Gen Z
making it clear the kind of content that they're more
interested in. The Teens and Screens survey, Well, I guess
they went back and do this again and UCLA's Center
for Scholars and Storytellers putting out this report once again.
(42:49):
Fifteen hundred Americans between the ages of ten to twenty
four asked about their media consistent habits and preferences, and
they were reflecting more of the gen Z population. Between
August thirteenth and August twenty fifth, they were reflective of
the population in terms of racial, ethnic, gender, sexual ability, economic,
and geographic diversity. According to the study, fifty three percent
(43:14):
of young America's discussed movies and TV shows with friends
more than they discussed content they watch on social media. Interesting,
so it's still very important gen Z prefers more animation.
Matter of Fact'm going to go see Chinese saw Man
this weekend. Still getting too that anime bit bug, because
I mean, I see the interests of the younger audience
out there going to anime movies. Like I said when
(43:34):
I saw Demonslayer. Wow, what a crowd they got for that,
You know? What can I say?
Speaker 3 (43:43):
So?
Speaker 2 (43:43):
Animated content over live action rose from last year forty
two percent now to forty eight point five percent. And
that's not just the younger teens nineteen to twenty four
year olds nearly forty eight percent for animation over live action.
And when it came to the preferred kind of content
and responders we would chose to watch with their friends
(44:04):
movies had of video games and concerts, teens said they
would rather go see a new movie in theaters. And
that's the second time in the road they've actually gotten
that kind of response. And also the same demographic looked
about things about stories with friendships that they want to
see more content with the central relationships or friendships, and
(44:25):
more portrayals of characters who aren't interested in romantic relationships
at that point in time, so they don't want sexual
or romantic relationships, they just want situationships or friendships, want
anything else, healthy conflict resolution, They want to see more
of romance ranked third to last, and a list of
topics use want to see sport on screen. Sixty percent
(44:48):
plus say they wanted to see romantic relationships depicted more
as about the friendship between the couple than sex. Forty
percent said that there's too much sex and sexual content
and TVR movies. I disagree with that, there's nothing, not
enough toxic relationships with these triangles are among the most
tiresome or uninteresting tropes for young viewers. So the kind
(45:10):
of movies that we would have seen you could ever
remake again or ever try to put that back out
there where the boys are in nineteen sixties, Porky's in
the eighties, America Pie in nineteen ninet nine, or Super
Ben in two thousand and seven. Raunchy sex comedies. No,
they don't want that, nothing like that. So the kids
are a little bit neutral on things. They don't want
(45:31):
anything that's overly crazy and all. That's fine. I guess
you know that's what they want to do, But it
also would be considering the fact that if there was
better movies that were sex related or more raunchy films
or more of those movies that just had a little
more the Private in the Batchery to go with the
name of one of my shows. They could do more
(45:52):
of that, but they're not. Better content would get kids
into movies anyways. But the movie theaters well, I mean
the movie studios just got to do better stuff.
Speaker 1 (46:03):
It quit.
Speaker 2 (46:03):
MOE retreads and rehashes come back next week with the
Broadcasters Podcast. Remote content is king and the curl of
control your content is in your hands.
Podcasting since two thousand and five. This is the King
of Podcasts Radio Network, King of Podcasts dot Com.
Speaker 2 (00:08):
Billboard finally does it.
Speaker 1 (00:13):
The King of Podcasts Radio Network proudly presents to the
broadcasters podcast Here is the King of Podcasts.
Speaker 2 (00:22):
Welcome to the program. This is King of Podcasts. Here
with you with another broadcasters podcast build the courtesy of
Kingopodcasts dot com. Of course you can find all my
other series. Find out where you can go in and
download the shows and if you want to go possibly
donate to the program. There's a lot of ways to
go and do that. It's a lot of ways going
(00:43):
to help out, a lot of ways to participate, and
I hope you'll go and consider that. So now here's
the deal. Billboard has made changes to the recurrency rules
of the Hot one hundred charts. This has been a
needed change for a long time. So specifically, we now
have some more specific rules when it comes to one
(01:07):
of song that is considered recurrent and removed from the chart,
which means a song even though it's popularity is still
very prominent. We must show that the current charts are
reflecting the pulse of the music industry. With the newest
music now, I already know through streaming. If you look
at the Spotify Global two hundred charts on a regular basis,
(01:30):
or Apple pot or the Apple Music Charts, whatever it is,
you can alwaysly tell. Because of the virality of places
like TikTok and social media in general, there are always
going to be songs that will return to the charts
after a long time of not being up there, or
there are songs that never leave the charts, because there's
(01:54):
going to be still songs that are streamed and still
be up there forever. Why I do a thing where
I look at Billboard Top Songs. There's a YouTube channel
that does a great job on this, and every week
he puts out the Bilboer one hundred and the Bubbling
Songs charts in one video. He does the ones also
(02:16):
for rock, for R and B, hip hop, for pop,
and for Latin, among others. And then he does other
ones where he'll do the Spotify Global two hundred and
the Official Charts one hundred chart every week. And I'm
telling you, the guy is great. It's some nice, good
(02:36):
slick videos and it's just a good way to go
and figure out what the world is listening. To in music,
and in that global two hundred charts, there's always a
number of songs that are up there that are amazingly
staying on the charts because they're just there. The Killer's,
Mister Bright's Side, Sweater Weather's the Neighborhood or the Neighborhood
and the sweater Weather advanced You and Rip Tide or
(03:01):
either Get Fleetwood Back of Dreams or Radioheads Creep. You know,
there's all these songs that have been around, and then
others that will just make their way back up into
the virality of the charts because they're being used in
TikTok videos or whatever else. So Rihanna's breaking dishes. Think
about all the songs that come up during Halloween or
during Christmas time that always come back up and return
to the charts. Those kind of things will continue here.
(03:24):
But there's a change now in this As I said,
the change of the recurrency rule is to make the
Hot one hundred chart more effective of current music assumption
and allow newer songs a chance to climb, because sure
there's gonna be songs in perpetuity and infinity that will
continue to be very popular. Taylor Swift Cool Summer there's
(03:45):
all these different artists that have songs that will continuously
be on the charts for as long as they want.
All of Bad Buddies music from the start of the
year continues to be up there because and there's other
songs that have been in the same vein here that
needed to go and change. So the official changes are now,
if you have a song that's been on the chart
(04:05):
after seventy eight weeks, if it's dropped below number five,
it goes recurrent blow number ten after fifty two weeks,
or one year, blow number twenty five after twenty six weeks,
below number fifty after twenty weeks. So now if you
had a song that dropped below a low position like
(04:26):
number fifty, the new rules now have lower thresholds for
removal at earlier reports in the song's chart life, So
we're not gonna have songs that will go one hundred
weeks and never drop off the chart. Now, some of
the things they've done here have been the cost ongoing
changes of the chart methodology that constantly happens. July twenty twenty,
(04:49):
they got rid of the practice of counting albums or
singles bundle with bunt merchandise or concert tickets on its
charts and the Hot one hundred. So the BTS kind
of deal was stopping that fan packs being a limited
exception to the bundling rule for album charge. But with
new safeguards physical and digital bundles, sales of physical album
or single bundle within instant digital download are no longer
(05:12):
counted as digital sales immediately. This is not all the
changes that are necessary, but this is a good you
know this for them. For Billboard, they have to play
every industry nice, so streaming, radio records, they all have
to play ball with them. So this is a change
that could be mediable, pliable, and makes sense because they're
(05:34):
not going to put priority on streaming yet. Over radio
and records, you're just not going to do that radio,
I mean for radio airplay records for record sales, because
those that's the metrics by which radio records are their livelihood.
You know, the build are going to have airplay and
(05:54):
music for them. Yeah, they think the advertisements are important,
but on the music radio stations may be a little
bit kind of sort of they have to go and
worry about the music they're playing. So it's important because
the methodology still holds up for radio records to be
conceivably important metrics towards the score that has given to
(06:16):
songs every week. Now when I asked about well, I
asked to AI because I was just trying to get
the information to research out after the new strict recurrent rules,
this immediately affected the chart week ending October twenty fifth,
twenty twenty five. So now the songs that dropped off
as a result of this, two songs that went after
(06:40):
seventy eight weeks were lose controlled by Teddy Swims Benson
boone Beautiful Things one hundred and twelve weeks for to
lose control eighty nine weeks for Beautiful Things. Die with
a Smile also drops off because it dropped below number
ten after fifty two weeks Die with a Smile, Lady
Gotta Gober Boom, Mars is Out Luther with Kenrick Martins
(07:03):
Sizza dropped after thirty plus weeks with a number of
new rules implied. Let's put this in play as well.
We have to thank Taylor Swift for this because the
Life of a Showgirl essentially took several songs took them
right off the charts, So lose control. Beautiful Things now
(07:23):
with a smile. Those songs are out because they're not
going to stay up in the top ten anymore thanks
to Taylor Swift and the old recurring rules. Those songs
will still find a way to get back in no
matter what. And that's the stagnation of the music industry.
What used to be not so much of a problem
(07:45):
is because we had new music out there, consistently fresh
and new that would replace these other songs. You'd have
artists that would have new music to come up after that.
And don't get me wrong, Teddy Swims and Vincent Move
have had other songs after that. But the problem is
they are forthcoming singles have not panned out. They have
(08:06):
not been able to go ahead and surpass or even
match the amount of popularity that Lose Control Beautiful Things
respectively had. So Tyler Swift could have her album right now,
and there's still songs that are still now surmounting the
top ten. But when those songs would die out, because
not all those songs are gonna get radio airplay, some
(08:29):
will still get sales, but eventually the sales will die
down after probably somewhere at the end of the year,
and then these other songs will find their way back up,
or also when Christmas music comes around, the same thing
will happen. You'll have certain songs like those will continue
to be up here. So other songs that also dropped off.
Chabouzi's a bar song which needed to be that's well
(08:51):
over a year and it's already droped blow the number
twenty five twenty six weeks out, and Morgan Walla had
various songs that also dropped off from his last album
I'm the Problem. So that's good too. It's important to
see that now in that point, the changes to the
chart ultimately may changes overall to everything on the chart,
(09:15):
because now we have a fresher chart out there. Now
you're still going to see Taylor Swift now occupying seven
of the top ten songs on this particular chart, But
the difference is now is that Okay, Alex Warden Ordinary
is still on the chart thirty six weeks later, not
much you can be done about. It's still going to
be there. And Golden by Hunterricks from the K Pop
(09:39):
Dem hundred sound track continues to be there as well.
But there are other songs outside of the Taylor Swift
album Bomb that are sticking around. So there are some
Daisies and Justin Bieber it's only been around for fourteen weeks.
That's sitting outside. Man I Need by Olivia Dean got
us high as number twelve before the album bomb and
(10:02):
now she's at seventeen right now, but still after Taylor Swift.
Some of these songs will have a chance to go
and move up, and Olivia Dean's man I Need has
been on the chart for eight weeks. Leon Thomas and
Mutt is still sitting outside thirty seven weeks has been
on the chart, lingering around in the bottom half of
the in the top half of the top twenty. Number
(10:23):
eleven is his highest peak so far. Then you have
a few more k Pop dem one hundred songs that
around out the top twenty, and there are other songs
that might make their way up. But now there's room
for other songs to make their way up unlike what
would you would imagine, and bill Board has talked about
what they could have that could be making their way
(10:44):
up the charts overall, and they asked the question, who
are the contenders that could be filling incoming vacancies into
top ten, and they first of all went into Olivia
Dean with man I need because right now her new
album Art the Loving not only debut a top the
(11:06):
Official UK Albums Chart in the top ten and in
the top ten of the Billboard two hundred, but also
just going and continuing to have her songs that are
making your way up. She's already had three songs now
that are singles on the Billboard chart and a bunch
of others other than official chart because of where she's from.
We talked about Leon Thomas and Mutt been just outside
(11:26):
of the top ten for months, but after Taylor Swift's
album Bomb Subsides, this song could break out and still
make its way up. At the moment, it's still holding
up in a radio airplay number three on the Radio
Song's chart and still getting a radio airplay of almost
sixty million spins overall. So if it could stick around
(11:50):
for another month, Leon Thomas and Mutt can make it
into the top ten. In these new rules in a
new age, which is fresh, I mean it's still radio airplay.
That's the segment of radio because they don't have a
lot of new songs that they put up there on
a regular basis, and that's a problem. So we have
to wait Kelowne Unfolded. It has been sitting outside the
(12:12):
top twenty got to number twenty one and got up
to number eighteen, but still radio is starting to pick
up on it and radio airplay is starting to pick up,
so there's a chance for that. And then Tama Paul's
dragging off a new album that they just put out,
that maybe there's something that will happen with that song
to make its way up, because it's now made it
into the top sixty and it's working its way up.
(12:37):
But now the new album is out and the new
album's going to be kicking in that will help the
boost up potential rising of that song on the chart.
So you can see some new artists coming into play,
which would be nice. But now one of the things
that we have to talk about is that when we've
seen stific it changes of the rules of the chart,
(13:00):
the Bilbore Hot one hundred, we have to understand the
significus of how it prioritizes radio and records initially because
that's what's always been considered records initially in nineteen fifty five.
But then you see with radio airplay coming in jukeboxes
and things like that, jukeboxes were actually the other metrics
(13:22):
that we used to have back in the day, which
would give you an idea of what music was popular
that could be considered in the methodology of the charts.
But then juke boxes went past a Streaming has basically
become the new jukebox, but now on a more personalized level.
And because the amount of metrics they can get off
of them, and how songs can be viral and the
(13:44):
accessibility of songs you can get to makes a bigger
difference as well. So now this standard record chart published
weekly by Bill Wog magazine has to play to the
radio industry for whatever reason, because in the process for
(14:05):
the record and radio industries they play with each other.
For the record company, they want to be able to
sell albums in the areas that they might have streaming
or it might have sales for whatever. They have to
go along with the streaming end of YouTube or Spotify
or Pandora or Apple to get whatever kind of revenue
(14:29):
or residuals they can get off of that. But then
the real money they struct trying to get in as
well is that they if they can get radio to
can still be there even though it's such a secondary model.
But radio gives longevity to particular singles that will continue
to push the singles out there to keep streaming and
thus keep the albums to be sold. That's not concept.
(14:51):
It's not a great concept anymore because the change of streaming,
really the digital disruption, changed everything. But what we need
is what kind of happened in nineteen ninety one. We
need a real significate change to how things happened, because
November thirtieth, the nineteen ninety one, we had one of
(15:13):
the most significant changes overall when Billboard magazine revitalized the
chart to accurately track purchase singles and radio airplay. So
getting retail stores to be able to go and send
their sales information of cassettes, CDs, and vinyl, they're able
to get a better idea of the sales to go
(15:37):
along with radio airplay. Now, the original chart did have
airplay sales in jukebox play jukebox play. This continued the
nineteen fifty seven and of course in nineteen ninety one,
they made this change for a number of reasons. One
was the fact that they said the airplay playlists were
(15:57):
not very accurate and songs can be misrepresented in their rankings.
And retail stores could play favorites for certain artists and singles,
sometimes within the scentive a record label. So Piola was
in play across the board. But you know, if a
record company was willing to go and invest money on
the hush to a record store or to a radio station,
then that tells you they had real momentum behind it
(16:21):
and they were willing to go put their money with
their mouth is then they knew they had to hit
on their hands or they were going to do whatever
it takes to make that happen. But yes, airplane sales
might have been inflated and you might have gotten a
little bit of a less interpretation. It was an honor
system and the accuracy of the data might not have
been perfect. But what would be the cream of the
(16:43):
crop that would rise at the top, that would be
determined on that chart. So I didn't have a lot
of trust in that chart and the way it was
set before. Plus in the way that was set, you
had a lot of things to change when it came
to what music goes out there, because the other thing
that also changed on this chart was they were trying
(17:05):
to go ahead and avoid what was happening in the
nineties where we were getting new formats, so pop music
or urban music were now being sing Benson because then,
you know, we didn't have soul music so much anymore.
We just had we had hip hop with R and
B in the nineties, so it was certain to change.
And hip hop just started coming to the forefront, and
radio wasn't completely behind it yet major market stations in
(17:28):
metropolitan area is sure, but it wasn't all the way there,
and it took a while for certain stations to finally
go ahead and let it take off as its own
self sustaining format, and that's what changed. But they wanted
to make sure that there were certain songs that could
not make it onto the chart. And you know, there
(17:48):
was also a change that happened with the America Top
forty countdown. At the same time of this change, they
decided to go ahead and create decided to go to
a different chart and not use it would use the
chart methodology change as the excuse to change the charts altogether.
That's why I listen to the shadow Stevens in his
(18:10):
chart from what was the number ether of was the
number eleventh thineteen ninety one. They went ahead and made
the change that the BILLBERA one hundred was not their
gauge of the chart they would use to count down
the songs and they would forever change. So hip hop
took a backseat. Rock music took a bit more of
(18:31):
a backseat because then alternatives change things. Hip Hop changed things,
so your normal rock and soul, those formats were becoming
significantly different, and the new modernization of those formats changed everything.
When you didn't have just a modern rock station, you
had alternatives, it was a different story, different feel to it.
(18:53):
But then after years they would all be put into
the same spot. You know, they'll still be considered, and
there have been changes that were made all over the
place where you had things that were still needed to
be added. I mean, because the change of the times.
You'd have songs on a movie soundtrack that were not
released as singles and they would never be on the
(19:15):
Bilber Hot one hundred. They would be on an airplay chart,
but they would never be considered on the Hot one hundred.
So those things have all changed around over the last
thirty four years. But now are the point where those
changes were made, and the current list now is at
a better place, but still after everything's done, recurrency rules
(19:39):
will change in the same time November thirtieth, nineteen ninety one,
there would be a new chart, the recurrency singles chart,
so recurrent status would have singles falling off the Hot
one hundred chart and the songs that we put in
the recurrent status, and at that time we had thirty
(20:00):
positions of that chart, and in the rules of that
chart methodology. Back in ninetheen eighty one, it was a
twenty week recurrent rule. Songs that went below the top
twenty after twenty weeks went the recurrent status. Then those
singles removed from the chart and rising songs had a
chance to move up as other older songs were abounded
and spent more time in the top twenty. And then
(20:21):
the rules kept changing, would the signing scal would start
to begin. You'd have then the twenty forty rule, the
top twenty after forty weeks and after fifty, and it
stayed after fifty weeks, so it's still been until now
twenty weeks and it doesn't go below the top fifty.
(20:44):
A song would still stay in the active chart and
not go to recurring. It's a very important thing. But
radio was taking advantage of the fact that with that
twenty fifty rule, there were songs that could stay on
the chart still with radio air play have irrelevance. And
for the music in the street, they didn't have to
(21:05):
go ahead and churn out so much music. They didn't
have to play so many artists or and then also
just the longevity of the music they had out there, albums, singles,
they could go as long as they want. But streaming
changed everything changed it all. The whole point of this
is that no matter what, radio and records are still
(21:32):
not bringing us new music. We have had new music
this year from some really formidable artists. A couple of
weeks ago we talked about it and they all foot
in flat. But that's also because of the fact that
you had also folks that were putting out albums that
waited a long time to do that. I mean, you're
telling me there was no pressure from Cardi B's camp
in Atlantic to wait seven years for her new album
(21:54):
to come out. Was there a reason that Sabrinda Carpenter's
new album had to go and come out you know,
a year later roughly, or for Taylor Sports can have
an album out immediately, you know, after tortures posed department
and come back out after that, like some of the
decisions to go too quickly or to wait so long.
(22:14):
We're just big stories and nobody really talked about that
either and what that meant. But at the moment, radio
doesn't matter because there's not even the people that are
out there that are taste makers, that are out there
to go ahead and talk about the charts. That's all
gone too, because the people that would be in radio
that could be championing music are gone. One of the
(22:37):
folks that was out from iHeartRadio in recent layoffs. Right now,
Katie Summers, and I want to play a clip from
Buffa the Love Sponge and his podcast where he went
pretty extensively about this, And I thought this would be
something to go and bring up here and go through
because I think, you know, I've talked about him before,
(22:58):
and of course he's out of the radio his all together,
but still there's a lot that could be said about this.
Now I'm gonna go play back what he said here
because he's spending facts for the most part on the
radio industry. I think he's absolutely read about it. So
let's go to play some with this bag Summers.
Speaker 3 (23:14):
But when Katie Summers for ninety three to three FLZ,
the first radio station that I worked at in Tampa,
Florida one. It's very dear to my heart the Power
Pick She's been doing mid days for twenty plus years.
She also was towing the corporate line by voice tracking
mid days and what seth maybe fifty markets.
Speaker 2 (23:38):
A ton.
Speaker 3 (23:39):
I mean, if you're again, if you've survived iHeart, you
know over the last however many years of them letting
people go. They've let program directors go, They've let midday shows.
Speaker 2 (23:48):
I mean they've let everybody go.
Speaker 3 (23:50):
They let Hartley Atkins, who was the president of all
radio markets.
Speaker 2 (24:05):
Think about that.
Speaker 3 (24:07):
I mean, you only report to one person, and that
would be Bob. Bob is a Bob Eatman. Bob, I
don't know whoever the CEO is, who, by the way,
just re signed a contract at fifteen point five mil
at twenty nine at let me look at Bob Eatman
from East from Iheart's new deal.
Speaker 2 (24:27):
So Harley Atkins.
Speaker 3 (24:28):
Started as a sales person, just a lonely sales guy,
fresh faced kid out of Gainesville. When I was at
the Power Pig, him and Desiree and Bobby and LT
and Jim Beard. They were all, you know, the sales staff.
Harley Atkins worked his way up the iHeart corporate ladder
(24:51):
to be the present based out of Washington, d C.
He went up after Tampa and ran the DC market
as a market manager, continue you to climb corporately, and
then made his way up to the president.
Speaker 2 (25:06):
Of all markets.
Speaker 3 (25:10):
You can't you're second in charge at that time, third
in charge because they got this little bozo duo named
Bob Eatman. And there's there's two dudes that were Bob Pittman.
Bob Pittman and Rich Bresler. They pretty much have bamboozled
and hoodwinked whoever owns iHeart for however long to continue
(25:35):
to make these cuts and lem me, will you tell
me what now?
Speaker 2 (25:39):
There's more to what he said. But even I have
had to go ahead and kind of take myself back
with Bob Pittman because of the fact that, I mean,
he's a CEO that's done things where on the podcasting side, Yes,
he has made in runs, but he was never going
to fix the radio side. We just need to make
ourselves clear about that. These cuts and these constant changes
(26:01):
down with radio. Even I have to be a little
bit more grounded on the fact that he can't fix this,
Like I heart radio is not supposed to be the
answer for them to go and hold on to all
the radio stations they have and to service the public
with the music that's out there on the radio, because
(26:22):
all these pop stations that would be you know, back
in the day, would be relying on what the Billboard
Hot one hundred said, and all you have to do
is just going to put the songs out that are
on that chart. It will be easy because in those days,
what thirty years ago, the Billber Hot one hundred would
be the gauge of songs that radio stations will be playing.
(26:45):
Their music would be. That would be basically be the
playlist for those radio stations, and that would be the
catalyst of the record sales that were going on and
the airplay of radio. So you would know the pols
of the music industry because radio was part of it.
But they're not anymore because radio is controlled by another
entity that is private equity. Like the real enemy of
(27:06):
radio is private equity. But they are vultures to every business.
That's clear to me now too. I don't know, I
guess with some of these radio folks like Michael Harrison
or Praier, Michael Simon. I guess there's something where I
guess in the radio business that I've been following from
(27:27):
somewhat the outside end because I wasn't really involved or
integral to the actual processes. It's just everything as me
as a spectator enjoying radio as I loved and now
being completely feeling like I'm being isolated in my opinion
about it because no one's talking about radio again. That
(27:52):
video right there, the Bubbla the love Sponge, but out
there it only had six hundred views so far. I
wanted the few people that did because YouTube kept put
it out. There's a regum. I'm glad they did, but
it's signfic because there were certain people. When he's talking
about Tampa, Florida and WFLZ, one of those prominent radio
stations going back thirty six years, because he's talking about
(28:15):
Power Pick that was in nineteen eighty nine, and the
thing was that that station was a trendseitter at a
time when pop radio was a real lull because the
music was stagnant because we had a lot of established
artists that did not resonate right into the nineties. The
nineties were just a big change of music, and WFLZ
(28:35):
was very good as a pop station to follow along
with the trends that are out there. So when freestyle
music or alternative music or hip hop was coming in,
they actually were playing it because they didn't want to
be beholden to the fact that, Okay, we don't have
a lot of songs from Prince or Michael Jackson or whatever.
Like we had albums, we had songs, but like the
(28:57):
amount of pop stars that were out there, we didn't.
The British invasion had kind of subsided a lot more dance
music was coming out and WFLC would play it. But
like there were just certain music genres within pop that
would make the pop charts that a lot of radio
stations didn't want to play. They don't want to play
dance nothing for Europe, none of the house music. They
(29:17):
don't want to be a part of flat and freestyle.
It became into play that was kind of like the
post disco Eerica era. They don't want to play alternative music,
which was not your conventional rock because it's a big
change from hair bands to the alternative grunge sound that
we're getting into and then more into that. It's like
it was all changing because the culture of pop music
(29:37):
was changing. It wasn't it wasn't teeny boppers, it wasn't
boy bands, wasn't idols like that. You know, it's just
no teen idols something like that, but just a different change.
It was a real diverse portfolio of artists in the
late early late eighties early nineties just completely changed. And
(29:59):
radio handle it because you have some of these outlier
stations that were owned by some significant companies. But then
of course the regulation changed everything. When I think of
stations like Q one O two in Philadelphia, Power one
O six in Los Angeles, one oh six came out
and San Francisco, paraety six in Miami, or Hot one
of five in Miami, one of two Jams at Orlando,
(30:22):
Power Pig in Tampa, WLLL in MINNESO in Minneapolis, Minnesota,
Part two in Phoenix, Arizona. These stations were all changing
things up and they were kind of following on that
same idea where they were being enterprise. They identified pop
music popular music as top forty music. They were still
(30:44):
acting as top forty and then it would be considered
top forty rhythmic because they did lean into the music
that was much more rhythmic, with much more dance weri
into music. But then some of those stations also still
played alternative as well, So some of those stations kind
of like played into the whole mix of everything because
they wanted to be the pulse of the younger audience
(31:05):
and they want to be pigeonholed, like making mainstream music
just be homogenized, which it is today because now we
have so many different formats and stations that are just
the same anymore. The radio stations are not catering to
younger listeners. They're just not streaming is. But radio could
(31:28):
still be a consideration. There's something to be said about
streaming is a first line of exposure for artists. But again,
that longevity of having an artist that has a song
with us so well and then's only the mainstream gets
caught up on it. So radio could be that catalyst.
But then radio could also break new artists like it's
done for years, But that's not happening either because there's
(31:52):
nobody there allowed to go ahead and do that. Now
on radio that's a lost cause. There are some stations
on public radio. But that's not enough. Plus they also
have their own interest if there would be something where
the music industry would actually be involved, like remember you
know stations like KRCW and others like that in like Austin,
(32:12):
Texas or Seattle, Washington. Their thing is they don't have
these big major record companies that are putting out artists
that might be interestry plans might be these artists that
will be big major stars. They're not putting those upcoming
artists over there. These are all independent record labels that
are getting involved to get their artists anywhere, or an
artist that just try to get out there to themselves.
But it's not meant for a mainstream consumption. That's not
(32:35):
their intent. But radio that's supposed to be what they are,
but they're not. Something's changed about that. There's a number
of things that came out of the National Association of
Broadcasters radio show that's going on right now, and we
should talk about that. Their show in New York has
been going on this week, and there are a few
things that have come out of that. Number one, a
(32:58):
story that coming out about data revealing the public concern
of AI and journalism integrity will take it This in
real quickly. There was a panel titled the Future of
News AI, New Revenues and Risks the Policy Response, and
there was research conducted by on Message Incorporated that showed
that seventy six percent of Americans are concerned about AI
(33:19):
reproducing journalism and local news stories without permission, fifty one
percent very concerned, and a strong majority wanting supporting government action,
seventy seven percent favoring a law prohibiting AI from copying
news content without compensation, and fifty nine percent strongly supporting
such legislation. That's one story that came out of that.
(33:44):
The AI audio use How AI is being used in
audio now also talked about at the NAB show. So
broadcasters and podcasters are expecting a fast track at a
rapid pace using AI for a variety of use cases,
from streamlining operations, doing show prep to analyzing the listener
data and optimizing ad performance in real time. I know
(34:04):
for myself, I do quite a bit of show prep
with AI where I'm gathering all my materials that I'm
going to talk about and instead of me putting on
an outline count like you used to and writing out
an outline or actually just running out the whole description
of the show and kind of like where talking points
are that I'm going to go and bring up. AI
(34:24):
can help me organize it, so it's like an assistant.
But I don't want to use it more than anything
that than that right now. Bonago Internationals Vice president of Podcasting,
Cheryl Worsley says the technology is to improved by leaps
and bounds. The rate at which it gets great is
going to accelerate even more and means we will use
it more. She says that AI can help them get
(34:45):
the most out of their hosts. Quote, if your talent
is wanted to do something like a podcast, look for
the efficiencies in their day that you can glean from
AI so they can produce more original content. I also
talk about the news reporters can free themselves up to
do more original port using tools like opus clip to
create social media posts for their stories, and folks a
(35:08):
sound stack. Their VP of Sales and Business Development, Matt Kellogg,
says that AI will allow radio stations to save as
much as forty percent on production costs, which takes away talent,
which takes away staff. But that's not a good thing.
But that's like every other business. If you want to
keep working and not let AI take over your jobs.
(35:30):
You need to be part of the human input. Journalists
need to go and change who they are and who
they're going to be. Things like that, And another story
that was coming out of the NAB Show. There was
an NAB Show New York panel devoted to mergers' acquisitions
and Kalil and Company executive vice president Todd Hartman discussed
(35:54):
what he sees ahead for the radio industry over the
next twelve to eighteen months. Now keep this in mind.
What he's saying is that there's gonna be a big
fire sell for radio stations coming up. A radio deal
market is gonna heat up next year. And that is
all because of the relaxing of decades old station ownership limits.
Remember I've been talking about this for over six months
back in March, and now we're coming to fruition. This
(36:16):
is what's gonna happen. More stations are gonna get bought up.
That's not gonna be good for the sake of pump
of radio for the general public. Just I say it
like that. So Todd Hartman says, I think we're gonna
seek continued announcements where you see the recent acquisition of
Alpha Media and a subsequent purchase of Bontaville, San Francisco cluster.
(36:40):
But you're going to see some more activity through the
remainder of this year and then obviously twenty twenty six.
It could be a big year. It's depending on when
thowse changes are gonna happen. The SEC in late September
voted to consider relaxing, so they're gonna go into the
process looking at it, and relaxed ownership rules would likely
spur some rearranging of the chess board in local markets.
(37:00):
Owners would book up their assets or divest and devest
the one market to expanding one another. They're going to
just add more to it. If they can get away
with it, they will. This is not going to make
more stations go everybody else, But that's what's gonna happen.
When you talk about some people hoping that the regulation
would provide private equity or regionally go ahead and facility.
(37:23):
Coming back to radio, Parma says he's not so sure.
He thinks that buyers will lean on relationships built over
the years with the local regional banks to get access
to capital for acquisitions.
Speaker 1 (37:32):
Quote.
Speaker 2 (37:32):
Radio still a great business. If you buy it right,
you layer the proper amount of debt on it. Radio
can be a great cash on cash and no any business.
And when it comes to local television, he thinks the
local TV business will surpass eight billion dollars in transactions
next year to maybe eight and a half to ten
billion dollars. Ought to cau Dacy. I hate the name
(37:59):
of that company. They released the State of Audio the
Creator Effect Report, saying that radio is very important to
hoping to grow the creator economy. So they're in the
study that was connected earlier this year. A third of
music format listeners feel more connected to their community because
of their local radio hosts. Eight and ten are tuning
in specifically to hear their favorite hosts, and seven to
(38:21):
ten agree that they value radio stations for a local
hosts to share local experiences. Well, I guess maybe that's
happening on Odyssey, but not on iHeart Radio. But again,
Odyssey's the same ones that had national hosts for their
content until that kind of failed and they had to
do a little revisiting that subject. Let's just say it
like that in their report that they are important to
(38:43):
highlight the importance of authenticity over everything when it comes
to content quote, audiences aren't looking for polished anymore. They're
craving real. Not only does it generally feel good to connect,
also makes it become make or break for creators. Your
listeners can stuff out of the dupes, and hosts will
pay a price for the ultimate crime, fake and phony.
By the way, on my Podcaster's Row series, I'm gonna
(39:05):
be doing some work where I won't have any other
guests on this silly for a little bit. I'm gonna
table that for a little while. I'm gonna a little
more education on that channel because I'm gonna start giving
out some real secrets and all that I'm doing right
now in the field as I produce an edit and
host content over on the radio networks that I work on,
which is WMR, dot FM and Cannabis Radio. I'm gonna
(39:27):
give away some secrets that I've been using that will
help apply also to the clients I'm talking to. But
it's not like, can we give away the whole secret recipe.
It's the fact of the matter is that there are
certain things you should know in rules when it comes
to podcasting to make yourself a better podcaster. And so
there are a number of tenants that you should do
to be a professional podcaster, and I'm gonna start sharing
(39:49):
those detail fundamentals on the program and forthcoming episodes. So
if you have not subscribed to Podcasters, so please do so,
and I to helpe you'll go and look at it
because I all start doing those coming very soon. A
lot of great information I've been putting together because I've
been doing a lot of work with new clients, and
some of the work we do, some of our clients
(40:11):
have been much more asking for input, asking for more information,
more on their content so they could really do something
with what they're doing. And so I get it. It's
a little bit overkilled, but it has made me work harder.
And the input that I have and to help AI.
Let let's make that very clear as well, has helped
(40:32):
me to go ahead and become a better podcaster, to
learn that I need to go and do some more
things with the hosts to make them better hosts. And
it's one thing for how I need to sound and
how I need to go and project myself and present
a show in monologue form or interview format, but it's
also the same thing I have to do when I
have to go and coach and train hundreds of clients
(40:56):
every year, and I've done it for twenty years plus.
It's a lot of work. Two other stories want to
bring up for tonight, Tech Crunch putting out a story
about YouTube and the fact that they've paid on eight
billion dollars in the music industry in twelve months. So, well,
now we know how much I think we'll say four
(41:17):
billion dollars and Spotify is spent in the last year
or so to the music industry. Well, YouTube could surpass that.
Between twenty twenty four and twenty twenty five July, eight
billion dollars been paid to the music industry. Now that's
a big payout compared to the fact that it was
(41:37):
six billion dollars in twenty twenty two and a year
before that, YouTube had paid out four billion dollars to
the industry in the last twelve months. Oh excuse me.
Spotify paid out ten billion dollars to the music industry
in twenty twenty four and the year before nine million dollars.
It's a lot of money coming out for these companies.
So that's why streaming and YouTube is so important. Integral
(42:02):
YouTube has it says, according to their platform one hundred
and twenty five million music and premium subscribers globally, including
users on trials, and two billion logged in viewers who
watch music videos each month. That's a big deal right there.
YouTube is filled more than one hundred countries and supports
eighty languages. We've heard this story before, but I figured
(42:28):
to go and bring this up once again. Gen Z
making it clear the kind of content that they're more
interested in. The Teens and Screens survey, Well, I guess
they went back and do this again and UCLA's Center
for Scholars and Storytellers putting out this report once again.
(42:49):
Fifteen hundred Americans between the ages of ten to twenty
four asked about their media consistent habits and preferences, and
they were reflecting more of the gen Z population. Between
August thirteenth and August twenty fifth, they were reflective of
the population in terms of racial, ethnic, gender, sexual ability, economic,
and geographic diversity. According to the study, fifty three percent
(43:14):
of young America's discussed movies and TV shows with friends
more than they discussed content they watch on social media. Interesting,
so it's still very important gen Z prefers more animation.
Matter of Fact'm going to go see Chinese saw Man
this weekend. Still getting too that anime bit bug, because
I mean, I see the interests of the younger audience
out there going to anime movies. Like I said when
(43:34):
I saw Demonslayer. Wow, what a crowd they got for that,
You know? What can I say?
Speaker 3 (43:43):
So?
Speaker 2 (43:43):
Animated content over live action rose from last year forty
two percent now to forty eight point five percent. And
that's not just the younger teens nineteen to twenty four
year olds nearly forty eight percent for animation over live action.
And when it came to the preferred kind of content
and responders we would chose to watch with their friends
(44:04):
movies had of video games and concerts, teens said they
would rather go see a new movie in theaters. And
that's the second time in the road they've actually gotten
that kind of response. And also the same demographic looked
about things about stories with friendships that they want to
see more content with the central relationships or friendships, and
(44:25):
more portrayals of characters who aren't interested in romantic relationships
at that point in time, so they don't want sexual
or romantic relationships, they just want situationships or friendships, want
anything else, healthy conflict resolution, They want to see more
of romance ranked third to last, and a list of
topics use want to see sport on screen. Sixty percent
(44:48):
plus say they wanted to see romantic relationships depicted more
as about the friendship between the couple than sex. Forty
percent said that there's too much sex and sexual content
and TVR movies. I disagree with that, there's nothing, not
enough toxic relationships with these triangles are among the most
tiresome or uninteresting tropes for young viewers. So the kind
(45:10):
of movies that we would have seen you could ever
remake again or ever try to put that back out
there where the boys are in nineteen sixties, Porky's in
the eighties, America Pie in nineteen ninet nine, or Super
Ben in two thousand and seven. Raunchy sex comedies. No,
they don't want that, nothing like that. So the kids
are a little bit neutral on things. They don't want
(45:31):
anything that's overly crazy and all. That's fine. I guess
you know that's what they want to do, But it
also would be considering the fact that if there was
better movies that were sex related or more raunchy films
or more of those movies that just had a little
more the Private in the Batchery to go with the
name of one of my shows. They could do more
(45:52):
of that, but they're not. Better content would get kids
into movies anyways. But the movie theaters well, I mean
the movie studios just got to do better stuff.
Speaker 1 (46:03):
It quit.
Speaker 2 (46:03):
MOE retreads and rehashes come back next week with the
Broadcasters Podcast. Remote content is king and the curl of
control your content is in your hands.
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