August 29, 2025 • 35 mins
The animated action musical "KPop Demon Hunters" has become a global phenomenon, breaking Netflix viewership records with 236 million views in two months, outpacing films like "Red Notice." Its steady viewership, with only a 2% weekly drop, mirrors the staying power of family-friendly content, bolstered by a No. 1 box office run, sing-along screenings, and a sequel announcement.
The soundtrack has made history, placing four songs—"Golden" at No. 1, "Your Idol" at No. 4, "Soda Pop" at No. 5, and "How It’s Done" at No. 10—in the Billboard Hot 100’s top 10, a first for any soundtrack. "Golden" has topped streaming charts for five weeks, with the album hitting No. 2 on the Billboard 200. This success is partly due to a lack of new pop music releases, allowing the film’s KPop-inspired tracks to dominate.
The cultural impact extends to a new Funko merchandise line, including light sticks, cementing the film’s influence across streaming, music, and fan engagement.
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The soundtrack has made history, placing four songs—"Golden" at No. 1, "Your Idol" at No. 4, "Soda Pop" at No. 5, and "How It’s Done" at No. 10—in the Billboard Hot 100’s top 10, a first for any soundtrack. "Golden" has topped streaming charts for five weeks, with the album hitting No. 2 on the Billboard 200. This success is partly due to a lack of new pop music releases, allowing the film’s KPop-inspired tracks to dominate.
The cultural impact extends to a new Funko merchandise line, including light sticks, cementing the film’s influence across streaming, music, and fan engagement.
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
Drop KOP a Venmo https://account.venmo.com/u/kingofpodcasts
Drop KOP a CashApp https://cash.app/$kingofallpodcasts
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Podcasting since two thousand and five. This is the King
of Podcasts Radio Network, King of Podcasts dot com.
Speaker 2 (00:07):
Move over Begs, you're not having your chart domination contended
by k pop demon hunters.
Speaker 1 (00:18):
The King of Podcasts Radio Network proudly presents to the
Broadcasters Podcast. Here is the King of podcasts.
Speaker 2 (00:28):
We can we get busy this week here on the
Broadcasters Podcast, episode four hundred just dropped if you haven't
had a chance to listen to it. I am talking
to my fellow broadcast colleague Lou Pate, who you might
have heard me on his programming a few times, and
I've played it back here on the Broadcasters Podcast, and
I had a nice long interview with him about radio
(00:51):
podcasting and the evolution from one to the other, because
we have both been embedded in both of those fields
in audio for a long time, more podcasting for me
than he has, but still we talk about all the time.
And I thought it was just good to good and
having like good discutchion like we would normally have on
the phone, and it came out really well. Which it's
(01:12):
not just all radio and podcasting. I did want to
do one of the things that we normally do when
we do talk on the phone, which is we talk
about you know, I mean, when I have to go
and bring up a topic on his show, it's always
about entertainment. So we went a little entertainment debate tonight
on episode four hundred about the genes debate. So when
(01:34):
it comes to Sydney Sweeny versus cats I versus a
Addison Ray versus Beyonce versus whoever else, lots and lots
and lots of Jeens campaigns. So I talked about that
with him to start off the interview, just to kind
of break the ice, and then we go right into
a good, long, healthy discussion about radio and podcasting in
general and where things are and where things could be.
(01:56):
So look for that. You can now find it on
all the platforms. YouTube channel of course, Kingopodcasts dot com,
and they go right right to the page for the
broadcasters podcast you'll find that past episode. And of course
we're all podcasts are made available Apple Podcasts, Spotify, iHeartRadio, YouTube,
YouTube music and all the others. So I could have
(02:18):
taken the night off and not do an extra show,
but there's too much to talk about because when I
started going through my normal research I said to myself, well,
there's just too much to not cover. Now, that might
not be a long show. We'll see how it goes.
But one of the particular stories how they going to
bring up right now, which was very dominant and came
(02:39):
up at the start of the week and I couldn't
help myself, is Kpop Demon Hunters. I've brought it up
a little bit here and there. We now hear about
them having a sing along and movie theaters where the
movie is spread out outside of the Netflix room where
it comes from where it aired, and it's been watched
hundreds of millions of time so far. Now, the music
(03:01):
on the soundtrack for this said anime movie has ruled
the Billboard Hot one hundred now. The song Golden hit
number one several weeks ago, knocking Alex Warden's Ordinary off
the top of the charts, and then it did it again.
It's just where they are. So the dominance right now
(03:21):
we're gonna talk about from the rap. It's been called
by the rap a Netflix viewership unicorn. So two months
ago K Pop Demon Hunter's debut on Netflix. It's the
animated action musical remaining the Steamer's biggest title to become
(03:42):
the most watched English language movie of all time two
hundred and thirty six million total views. The climb that
a top has been slow but steady, but also reflex
what's uniqua with the title in a week in a
way that in any case, why there's no sign that the
phenomenon is going anywhere over de one, Hunters is already
delivered point two million views on Netflix it's first week
(04:02):
before more than doubling his viewership to twenty four point
two million and staying over twenty million viewers ever since,
including this past week. Now, viewership is a small erosion,
but people are still into the movie. It's been called
the viewership unicorn relative to the titles that opened to a
(04:23):
bigger audience has subsequently faded. Are you looking at what
this compares to the other feature films that Netflix has
held and put out there? Red Notice is one, and
that's the one. Isn't that the one with John Cena,
(04:46):
Ryan Reynolds and Galgado? Isn't that the right one?
Speaker 1 (04:50):
Right?
Speaker 2 (04:50):
Red Notice? I think that's the one. And then Millie
Bobby Brown's damsel would also come into a pretty high
run for her herself as well. In the movies that
she did, where those two movies, along with K Pop
Deep Hunters also increased in viewership from the debut. That's
the part that's always kind of weird, is that you
(05:10):
know when you have that kind of spin off like that,
the fact that the movie couldn't be in the movie
theaters to get that initial pop, because then everybody's kind
of catching on to this after the fact, and so
the full brunt of the success for this show. But
this movie, excuse me, resonates now two months later. But
(05:32):
what's really more important is that it tells you the
power of Netflix. It is ability to make things go
viral like the music. Now we've already seen this before
where they've had several shows they've put out there that
have caused soundtracks to go ahead and pick up, and
(05:54):
it's just like usually previous songs that have been out there.
So this is one thing that I think about, going
back to Stranger Things, what Netflix has been able to
do to take songs and move them up to the
bio word hot one hundred, which is the funny. It
was really just fascinating of all. So one of the
(06:17):
stories we already talked about before that really was the
big change was Running Up That Hill by Kate Bush.
The fact that that song made it back up and
got back it made it. I think it was in
the top forty in nineteen eighty five and then it
reached number three on the Hot one hundred and twenty
(06:38):
twenty two, a massive little hit number one in its
nate of UK, which made Kate Bush the longest had
the longest spam of number one songs from her first
to her last, which is forty plus years because Wuthering
Heights nineteen seventy eight was her number one song, her
debut single, and then she has this single return once
(07:01):
again and to the same now straight things. Because of
season four you had Running Up the Hill deal with
God Master Puppets by Metallica, which also made it into
the Metal charts of the Billboard Hot one Hunter but
also got back into the one hundred charts as well
and in the UK and separate ways World of Parts
(07:21):
were remissed by Journey also would make a chart appearance.
Squid Game also had one song that did make themselves
up towards the chart, and that was the Mingle Game
Squid song Merry Go Round that also charted on the
World Digital Song Sales Chart for Billboard, but very specifically
(07:42):
it was up there nevertheless, but currently there are four
songs that I've now made it into the top ten.
So it's how it's done by Hunters. Saja Boys have
two songs with Soda Pop and Your Idol at number
five and number four respectively, and Golden by Hunters number
one of the board. How one hundred songs are not
(08:03):
that bad produced? I don't think they're I'm not missed
at all by these songs. I think they're pretty well
done and K pop in this kind of realm and
the way that people are kind of responding to it
is fascinating, So I can I can appreciate what they're
doing so far, but this is all new music. That's
the thing that's got to be understood is that Netflix
(08:26):
and the power of Netflix with this movie, was able
to go ahead and get four songs to the soundtrack
to simultaneously entered the top ten of the B one
hundred and the last group to do something like that
with a movie soundtrack was The Beg's with Saturday Night
Fever in nineteen seventy eight. That's a quite an amazing feat,
(08:49):
you know, And also just different times. But it's a
phenomenon nevertheless. And one of the things they also talk
about the fact is that this is also a movie
that people have been catching over and over. A lot
of young children have been watching this movie over and over,
so it's giving the high school musical kind of vibe.
(09:10):
Except when Disney would have those those features films, right,
and they would have the sequels to go after them.
Sure they would have CDs at all, they would have
other content out there to go and pick up. So
people are gonna pick up the album, But streaming was
not as much of a factor with high school musical
like it is now because I mean, that's what we're
seeing right now, is it's kind of like the high
(09:31):
school musical effect, but in a streaming age, and that's
where we're seeing everything coming from all together. And so,
you know, you got to ask yourself when it comes
to what's been going on with the Hot one hundred
(09:53):
and how I was able to go get these songs
up as high as they did. Well, part of it
has to be considered with the fact that it's all street.
For the most part, streaming has really contributed to why
the album was only to do so well by looking
at the chart predictions that were made up by Talk
of the Charts over on X. I want to make
(10:14):
sure they get the credit on it if you look
at what their algorithm has done. What the scoring system
of Billboards Hot one hundred is is based of course
on sales, streams and airplay in a particular mix, and
of the songs that made it in here from K
pop demon Hunters, How It's Done, which made it to
number ten, seventeen point two million streams, radio airplay, not
(10:41):
there sales two point five two thousand found sales of
the single for that on digital streaming, then you've got
a Soda Pop which again, same thing goes. It's a
little bit of a sales, but it's mostly streaming. Twenty
million streams for your idol and then thirty four million
(11:02):
streams for Golden across the board, higher than everybody else. Meanwhile,
it was held a good I'll match Ordinary, which doesn't
have so much in streaming, but the airplay is ridiculous.
It is the most played song on radio right now.
But Golden was so powerful and because of sales getting
up to eight thousand units along with thirty four million
(11:26):
streams and there's some radio airplay now, sixteen million airplay
spins so far on radio, so radio speaking about it
a little bit, just enough to go and get it
over the top and make it back up there again. Now,
as for the soundtrack chart history, we have this. There
(11:47):
are four previous examples of a soundtrack in reading four
top ten songs into the hot one hundred, but none
of them had four of the songs landing that high. Concurrently,
the last time that even happened, according to Billboard was
three decades ago when winning the Hex sale had five
and nineteen ninety five to ten eighty six, but those
five tunes were not all in the top ten. Concurrently,
(12:09):
the way the current hits from Demon Hunters are right,
the wedding decks would have songs that would make it
up there. Now as for the Beg's record hits, to
make sure to go and make this point at the
last time a soundtrack had three songs in the top
five at once was Saturday Night Fever pulled it off
in nineteen seventy eight, and most interesty reservers would say
(12:31):
that by most meacious Golden has been the most popular
song in the country more than just two weeks. It
was held back because the success was due to streaming
and it was getting very little air radio airplay, which
when we don't care about Bruno from the Disney movie
or forget the name of that movie. Now, that's the
other one that also kind of came all of across
(12:53):
and was able to go and hit at the very top.
But Golden is down airplay, and that's where radio has
to kind of finally pay attention and say, oh, you know,
you got to start playing this song because they have to.
And just to keep in mind, these songs have only
been on the charts for nine weeks. But as we
(13:16):
always talk about, radio is always behind the times. There's
the algorithm we've talked about before where eight to twelve
weeks is as soon as you're going to catch certain
songs making it onto radio. Just how late they run
to the game unless they see if it's an absolutely
bonafide song. So radio and our program directors there were
obviously not feeling it thinking that they could go ahead
(13:38):
and take a chance on Golden being on the radio
on a radio station playing it as part of the rotation.
They didn't think it was possible. They didn't trust it.
Nine weeks later. They have no choice now whether to
start putting it in. They have to start inserting it
into the mix. No choice. But now the fact that
all these songs were able to make it into the
(14:00):
top ten as it did tells you a lot about
the segnation that we've talked about constantly on this program. Daisies,
which has been up there for six weeks on the charts,
is currently number nine on the current Billboard Hot one hundred.
Morgan Wall has been up there for twenty two weeks
because of his album On the Problem. Loose Control. Teddy
Swims continues to be on the charts as it reaches
(14:22):
this one hundred and fifth week. Ray Lena Love Me
Not got to size number five last week is down
number six. It's there for twenty six weeks. Actually, I'm
the Problem album was out fourteen weeks ago, but Just
in Case came out as a single twenty two weeks ago,
and Ordinary is a twenty eight week old song. So
(14:44):
we're starting to see certain songs that are making the
drop off that Heaven around Forever, which is including Good News,
Chaboozi Bar Song Shaboozie, which were thirty nine and seventy
one weeks respectively on the chart. I have been on
there that with a spot fifty three weeks just last year,
among others. So it's not gonna be enough because there
(15:05):
will only be so much time unless the radio decides
to go and pick up a K pop dew Hunters
altogether and its decides to start playing their songs extensively.
But a Netflix phenomenon will not make that possible. It's
not enough for it. I don't think it's anyway. What's
happening is there are certain enterprise radio stations, are some
(15:25):
large market radio stations that realize they just can't sit
on this song. They have to play it. They have
no choice. But there's still a big imbounce between streaming
and radio airplay. Cornea variety here they're writing about this.
Billboard reports of Smash is number one of the Streaming
Songs chart for the fifth straight week, but radio only
(15:45):
has given another nine percent increase in spins across the board.
It's still on the radio songs chart, it lands at
number forty two. But there are things that are happening
right now to make the song possible. We get a
little bit stronger and continue to have his nomination on
the charts because there's additional interest that was generated by
(16:09):
theatrical sing along screenings of K Pop Demon Hunters, taking
the Netflix movie to number one at the box office
this past weekend. Did you hear that k Pop Demon Hunters?
It made it to be the number one movie at
the box office. Netflix. I say it over and over,
why do you not let these movies be made available
(16:29):
first in theaters? The K Pop Demon Hunters sing a
long event last week at the box office gross nineteen
point two million dollars nineteen point two this it easily
beats Weapons FFT million, Freak Your Friday, The Fantastic Four,
and Bad Guess. I mean, really, it's a bad time
(16:51):
for movies right now because there's nothing really coming up
even now for the Labrity weekend. It's kind of light.
But when you look at this, all the summer movies
have been out there intensively, you're telling me didn't there
wasn't enough time to go ahead and put this movie
out here and let it be caught. I mean, I
guess you couldn't do it in the summer, But it's
just the timing. I don't know. But still people all
(17:14):
into it now. It's also a special thing too because
of a sing along event, which is pretty cool. I
can give them that credit nineteen point two million dollars
for Netflix's K pop demo Hunters. Does they're making money
in the box office now, it's it's a machine, so
pretty obvious we're gonna see more of this particular franchise
(17:34):
going along, because of course even Netflix can't help a
good new intellectual property go to waste. Can't do that.
On the daily US Spotify chart, it occupies seven the
top seven slots. And of course, not just do you
(17:56):
have the three the streaming out there on of the
music of the soundtrack of the movie on Netflix and
now at the box office for the sing along events,
now you also have fun Co coming in creating new
merch after the film has taken over all these places.
So now Funkko Pops are not coming in with the
k pop demon Hunters as well. Find new vinyl figurines
(18:20):
inspired by the Sonny Pictures produce an animated film and
available for pre order for delivery between Christmas time this
year and January twenty twenty six, so there'll be five
different ones. Incredible, And I haven't watched this movie yet,
and I have to go and catch it because this
(18:40):
phenomenon has to be viewed, has to be studied. So
I am most absolutely go and do that. Now, I
was still trying to find a time to go and
catch the movie where I can actually watch it, but
you know, I also want to catch it, maybe not
during the single long Unfortunately, I'm gonna have to watch
it and find it on Netflix somewhere, and I don't
have Netflix. It's not the fine way to go and
watch it, you know, bum off of subscription or a
(19:04):
you know somebody that kind of helped me out with that.
I don't know, I'll figure it out, but I'll catch
it and when I get a chance, I'll probably go
in comment about it. What can I say? So, there
are a few more stories that are going to bring
up here that I want to go and get into
that I thought were very important to bring into the ether.
And Howard Stern, Long Island's news Day newspaper actually commented
(19:31):
about that. What we know so far about if Howard
is staying or leaving serious exam So he's going to
be coming back this coming Tuesday after nearly a month
long vacation, and the immediate team is indicating he will
just everything then, but people want to want to find
out what that's going to be, so they're really just
(19:56):
speculating in the story. But they have tried to go
track down anything they can about all this. Stern's contract
is up in the fall, and while Serious is planning
to make him an offer, they don't intend for him
to take it. A Serious XM spokesperson declined to comment.
(20:19):
Julia Buckwall, the daughter of Don Buckwall, the longtime agent
of Howard Stern who handles his contracts and runs press interference,
did not return a call. Now we know as well
that Howard has also given us the bait and switch
about maybe taking retirement but then finding a way to
(20:42):
go and sign another five year deal. That's all sa
happened before they asked the question, can Serious exem afford
Howard Stern? Because right now Serious SIXM with thirty three
million subscribers, they just recently paid Alex Cooper one hundred
and twenty five million dollars for a three year deal
one hundred million dollars for spartless. That was all both
(21:02):
last year and Serious it's plead to have paid Stern
between three hundred and fifty and five hundred million dollars
each five year contract cycle. And if Stern were to
come back, well, what do you want on this contract?
In a twenty nineteen interview with The New York Times,
(21:24):
Stern did say, quote, I can say to you with
almost one hundred percent certainty that A will retired at
the end of this contract. But I say that about
the end of every contract. I'm afraid to walk away
now since the last contract. His longtime agent Don Buckwall
did pass away in twenty twenty four, his close friend
and stylist Ralph Cirella in twenty twenty three, and his
(21:45):
father Ben Stern at twenty twenty two at the age
of ninety nine years old. Could any of this have
an impact? And the word is that supposedly Stern has
been in this long enough to have pride and the
value of his work. But he cares very much about
his legacy. He's a radio guy. A radio guys care
about their legacy. And by the way, to ask about
(22:11):
the Howard Stern Show and everything that's going on with it,
they did talk to Talkers magazine founder Michael Harrison, who
I interviewed on the program about a month ago, and
he says quote, I've always been distressful with numbers in
the radio business, including those that related to Stern in particular.
That's because Stern fans tend to inflate that audience, while
it's detractors that angered by his political left turn and
(22:32):
anti Trump rhetoric and insist this listenership is evaporator. Excuse me,
will No one disputes Stern's ratings are less than they
were back in two thousand and six when you moved
from trustural radio to satellite. The ratings for so many
others on radio and TV are down as well, So
there's still not much more to say. But if we
go back in time, you think about the parameters of
(22:55):
what serious SYSIMB is already invested in the other podcasters.
Why is it going to take on? Why are they
going to take on another five years of the host
that's going to be seventy six years old by the
end of his next contract. I just don't see it happening.
I think the library will stay. That I do believe
will stay in some way, shape or form. Spotify and
(23:16):
Apple have also gotten themselves very aggressively moving on in
the streaming wars themselves, So one of the areas that
we'll talk about, and I dont guess you have to
talk about this before, but Spotify pushing musicians to become
content creators. There's a reason book that was published called
(23:36):
Mood Machine, The Rise of Spotify and the Cost of
the Perfect Playlist, The Costs of the Perfect Playlist. It
sheds the lights in the you know, workings of Spotify
and the highly consolidated record business being becoming increasingly difficult
for working musicians to earn a living. And in this
they talked to a York based writer, Liz Pelly about
(23:59):
this to get her area, and she says she's always
been interested in asking bigger questions of independent music. What
does it mean to be independent when we are seemingly
beholden to all these platforms at odds with our values?
(24:20):
And so she put the story of the Spotify playlists
and when asked about her focus on Spotify, but meanwhile
other such practices are being employed by other streaming services
and other tech companies, you know, was the idea about
using Spotify as the major picture? She says that the
(24:40):
book that she wrote uses the story of Spotify as
an entryway into a bigger story, but they stated of
the consultia music industry today and the impacts and influence
of corporate consolidation more broadly on music. But Spotify isn't
even the only entryway. In that story, she goes home
to say that there are lots of different economic arrangements
within music right now that I require criticism. We just
(25:03):
need to imagine beyond streaming. Even the band camp model
where artists get to set their own price and get
most of their money, is still a market based model.
But streaming in particular has this really complicated system that
warps the way we think about musical value. Artists are
paid per stream they're not paid directly. Their payments go
from the streaming services. The rights holders based on this
(25:23):
really complicated revenutionare model called pareda, where rights holders can
are paid based on paid based on market share on
what streaming services called stream share. Not as simple as
it was when you had the physical units you were selling,
and you know that you're not going to get a
full cut of the streaming royalties that you're getting off
(25:46):
of there either. And when it comes to Spotify, the
way to make money is largely through selling subscriptions and
selling advertisements. They make a lot of money doing that,
but then have to pay seventy percent of it out.
And they started implementing certain strategies to reduce the amount
of money that they had to pass along to the
rights holders, one being building out these really popular playlists
(26:07):
for what they call functional purposes. Then there's strategies in
greens into the business model, like discovery mode, where they're
asking artists to accept the lower royals you rate in
exchange for algorithmic promotion. And that's a lot of people
are saying in the music world where quick to liken
(26:29):
it to a form of modern day Paolo or a
Piolo like practice. She also goes something to say that
artists quote are confronted with so much data from the
extreaming services, and that data can still more insidiously have
an influence on you, even for musicians who aren't necessarily
in pursuit of relentless growth. I'm going to find that
(26:52):
book that sounds very interesting. Hopefully they put a audiobook
out of that at some point. Spotify now has on
their platform in app messaging to the boost content sharing,
so the new feature is now available on multiple devices.
Is like markets to both free im premium users only
to those age sixteen years and older. So Spotify users
(27:18):
has told Spotify that they want to dedicated space within
the app to share songs, podcasts, or audiobooks are excited
about with friends and family, and an easy way to
keep track of recommendation is that's not a bad idea.
So Spotify users can tap the share icon while listening
to the new content and then now playing view bringing
up a list of people that the user has interacted
(27:38):
with before and through Spotify, and then you hit send
and that we'll share the content with a selected friend.
They will have option to accept or reject their contrough request.
And Apple Music has also been making their own inroads
with streaming. One of the things they did right now
is they created a way for you to go ahead
and import your Spotify playlists over to Apple Music if
(28:00):
you want to do that. So that's the way to
get people to go ahead and subscribe to Apple Music
more possibly. And also they've tied in with tune in
to distribute all the Apples radio stations to introduce the
company's music service to more people. So those curative radio
stations are now gonna be made available on tune In.
(28:23):
They started on Wednesday. I listened to it, and they're
gonna have a chance for tune in to go and
bring out those seventy five million monthly active users to
tap into the content. So six stations being a part
of this. And the one thing for me was that
I always wanted to go and hear those stations because
it was so hard to go and go to the
Apple platform to go and listen to it. I'm not
(28:44):
gonna go and download iTunes to go and listen to
or the Apple Store because that was the biggest one
we had. Apple Music wasn't possible for anyone, and Android
now you just made it Android be possible to go
ahead and catch the stations. So I'm gonna try to
get more. We listen to it and see how it
goes and how it turned out. A couple of the
(29:05):
stories wanted to take care before I wrap things up.
Hubbard Broadcasting, they're now bridging radio podcasts with a cross
promotional push. I thought this would be interesting, so they're
creating a new trademark campaign built around the that's what
we call radio positioning, promoting the benefits of radio on podcasts.
(29:25):
It started last month and it's now airing on Hubbard's
local radio markets on the Gamut podcast network. The story
from inside Radio talks about the deepening of the ties
between broadcasts and podcasts, comes after Hubbard may be clear
that the spring they see a future in digital audio,
and the company has been around since nineteen twenty three.
They're seeing podcasting as a third foundational pillar of the
(29:48):
Hubbard strategy alongside its broadcast stations. In his digital marketing arm,
twenty sixty Digital and the Hubbard folks are saying that
we are embracing the future of media and ensuring Hubbard's
relevance for the next century. Digital Alredy accounts for thirty
percent of revenue at Hubbard, which owns fifty four stations
(30:09):
nine markets, as well as twenty sixty digital and fourteen
TV stations. This is a fascinating study. I want to
go and go in with. When I listen to radio
stations at all now these days, if you happen to
catch a station that says are sponsored on the top
(30:31):
of the hour, ID you'll catch um say, you know,
they'll say okay from the blank blank studios. So in
my market, it might be fre Freeman injury law. It
might be the Mesmen and Dover. It might be Morgan
and Morgan, it might be you know, all these others,
Dan Newlan, all these other ads. But they're all jury
(30:53):
law firms. And somebody actually gave us a chance to
go and find how injury law firms benefit from radio ads?
Why are they always on those? Why do they always
go to billboards? Interesting? So he took a story about
injury attorneys Bradshaw and Bryant, based in Saint Cloud, Minnesota.
The ads dominate unaided brand awareness among all injury firms,
(31:15):
statistically greater among amf and radio listeners versus the overall market,
according to the results of a Quantulope study of one
hundred and twenty consumers in May of twenty twenty five.
So Bradshaw and Bryant, they say, practice every day what
Madison ever has forgotten. To generate substantial sales and profit,
a business or even a law firm needs to create
future demand rather than just obsessing over converting existing demand.
(31:40):
That they are mastering on building a brand being the
main driver of long term growth and profit. Bradshaw and
Bryant would initially start with one radio station to market,
then added three more. They said that after the first
year they troubled the practice. Then they bought more ads
and more radio stations and soon became one of the
largest advertisers on the Saint Cloud, Minnesota radio buying only
(32:01):
year long contracts and currently bradsh On Bryant seventy percent
of their budget goes to radio, fifteen percent digitally and
five percent on cable. So the firm's radio ads feature
managing partner Michael Bryant telling a story about a client,
followed by it is Justice for the Injured bradsh On
Bryant jingle quote. Making my business top of mind has
(32:22):
made a big, big difference. It's not just something that
happens right away. It's not something that happens fast, but
you start seeing results when you hear people quoting your
commercial word for word, singing your jingle. They know who
you are. When they trust you, they tend to like
you and do business with you. And just for the
heck of it, we're going to play one of the
commercials that they have out there on television, which will
most likely feature the jingle singing Justice falding injured brats
(32:48):
on Ryan Well, it's one of those who used to
go in here you know. And that's something you said
about jingles, and that they go really good and people
get into it. See, there's one we have over here,
Freeman Injury Law. It's kind of quirky, but it's eight
hundred five six one seven seven seven seven Freeman Injury Law.
(33:09):
And that's one I've heard forever, and jingles still work.
Always did feel like that way. I mean, there was
a lot of Jingles that can think of right now,
not at the moment, but I can just think of
a lot that from injury attorneys. I've also worked really
well in the past, believe it or not. And the
Quantolope study also shows Bradshaw Bryan's dominance when it comes
to unaided awareness, total ad recall, favorability, and purchase it intent.
(33:32):
And when the consumers are asked when you think of
personal injury lawyers and criminal defense attorneys, which ones come
to mind and to write in all the brand names
they could think of without being shown a list of firms,
Bradshaw Bryant would lead at twenty eight percent, which is
one hundred and thirty three percent more than the next brand.
(33:53):
The other way we have over here in my market
is Steiner is going finer AE hundred and five, and
I shouldn't know that, I shouldn't be able to recall it.
But it's true. Radio ads still work and if you
do it the right way look at it. It doesn't
have to just be injury law firms, but they do
(34:15):
really good at it. What can I say? Anyway, that's
the show for tonight. Thanks listening in finding the shows
you always do, and I've done a lot of work
for you tonight. Listen roughly forty minutes of the regular episode,
give you an hour fifteen minutes with Lupey talking about
radio podcasting. Go enjoy that as well. You have a
put through of the Broadcasters podcast to enjoy, consume, and
(34:35):
them ye until next week. Anyway, this week I'm going
to go see the Little Movies and then I'll come back
here another do another Broadcasters podcast. Because remember content is king,
and the control of 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 (00:07):
Move over Begs, you're not having your chart domination contended
by k pop demon hunters.
Speaker 1 (00:18):
The King of Podcasts Radio Network proudly presents to the
Broadcasters Podcast. Here is the King of podcasts.
Speaker 2 (00:28):
We can we get busy this week here on the
Broadcasters Podcast, episode four hundred just dropped if you haven't
had a chance to listen to it. I am talking
to my fellow broadcast colleague Lou Pate, who you might
have heard me on his programming a few times, and
I've played it back here on the Broadcasters Podcast, and
I had a nice long interview with him about radio
(00:51):
podcasting and the evolution from one to the other, because
we have both been embedded in both of those fields
in audio for a long time, more podcasting for me
than he has, but still we talk about all the time.
And I thought it was just good to good and
having like good discutchion like we would normally have on
the phone, and it came out really well. Which it's
(01:12):
not just all radio and podcasting. I did want to
do one of the things that we normally do when
we do talk on the phone, which is we talk
about you know, I mean, when I have to go
and bring up a topic on his show, it's always
about entertainment. So we went a little entertainment debate tonight
on episode four hundred about the genes debate. So when
(01:34):
it comes to Sydney Sweeny versus cats I versus a
Addison Ray versus Beyonce versus whoever else, lots and lots
and lots of Jeens campaigns. So I talked about that
with him to start off the interview, just to kind
of break the ice, and then we go right into
a good, long, healthy discussion about radio and podcasting in
general and where things are and where things could be.
(01:56):
So look for that. You can now find it on
all the platforms. YouTube channel of course, Kingopodcasts dot com,
and they go right right to the page for the
broadcasters podcast you'll find that past episode. And of course
we're all podcasts are made available Apple Podcasts, Spotify, iHeartRadio, YouTube,
YouTube music and all the others. So I could have
(02:18):
taken the night off and not do an extra show,
but there's too much to talk about because when I
started going through my normal research I said to myself, well,
there's just too much to not cover. Now, that might
not be a long show. We'll see how it goes.
But one of the particular stories how they going to
bring up right now, which was very dominant and came
(02:39):
up at the start of the week and I couldn't
help myself, is Kpop Demon Hunters. I've brought it up
a little bit here and there. We now hear about
them having a sing along and movie theaters where the
movie is spread out outside of the Netflix room where
it comes from where it aired, and it's been watched
hundreds of millions of time so far. Now, the music
(03:01):
on the soundtrack for this said anime movie has ruled
the Billboard Hot one hundred now. The song Golden hit
number one several weeks ago, knocking Alex Warden's Ordinary off
the top of the charts, and then it did it again.
It's just where they are. So the dominance right now
(03:21):
we're gonna talk about from the rap. It's been called
by the rap a Netflix viewership unicorn. So two months
ago K Pop Demon Hunter's debut on Netflix. It's the
animated action musical remaining the Steamer's biggest title to become
(03:42):
the most watched English language movie of all time two
hundred and thirty six million total views. The climb that
a top has been slow but steady, but also reflex
what's uniqua with the title in a week in a
way that in any case, why there's no sign that the
phenomenon is going anywhere over de one, Hunters is already
delivered point two million views on Netflix it's first week
(04:02):
before more than doubling his viewership to twenty four point
two million and staying over twenty million viewers ever since,
including this past week. Now, viewership is a small erosion,
but people are still into the movie. It's been called
the viewership unicorn relative to the titles that opened to a
(04:23):
bigger audience has subsequently faded. Are you looking at what
this compares to the other feature films that Netflix has
held and put out there? Red Notice is one, and
that's the one. Isn't that the one with John Cena,
(04:46):
Ryan Reynolds and Galgado? Isn't that the right one?
Speaker 1 (04:50):
Right?
Speaker 2 (04:50):
Red Notice? I think that's the one. And then Millie
Bobby Brown's damsel would also come into a pretty high
run for her herself as well. In the movies that
she did, where those two movies, along with K Pop
Deep Hunters also increased in viewership from the debut. That's
the part that's always kind of weird, is that you
(05:10):
know when you have that kind of spin off like that,
the fact that the movie couldn't be in the movie
theaters to get that initial pop, because then everybody's kind
of catching on to this after the fact, and so
the full brunt of the success for this show. But
this movie, excuse me, resonates now two months later. But
(05:32):
what's really more important is that it tells you the
power of Netflix. It is ability to make things go
viral like the music. Now we've already seen this before
where they've had several shows they've put out there that
have caused soundtracks to go ahead and pick up, and
(05:54):
it's just like usually previous songs that have been out there.
So this is one thing that I think about, going
back to Stranger Things, what Netflix has been able to
do to take songs and move them up to the
bio word hot one hundred, which is the funny. It
was really just fascinating of all. So one of the
(06:17):
stories we already talked about before that really was the
big change was Running Up That Hill by Kate Bush.
The fact that that song made it back up and
got back it made it. I think it was in
the top forty in nineteen eighty five and then it
reached number three on the Hot one hundred and twenty
(06:38):
twenty two, a massive little hit number one in its
nate of UK, which made Kate Bush the longest had
the longest spam of number one songs from her first
to her last, which is forty plus years because Wuthering
Heights nineteen seventy eight was her number one song, her
debut single, and then she has this single return once
(07:01):
again and to the same now straight things. Because of
season four you had Running Up the Hill deal with
God Master Puppets by Metallica, which also made it into
the Metal charts of the Billboard Hot one Hunter but
also got back into the one hundred charts as well
and in the UK and separate ways World of Parts
(07:21):
were remissed by Journey also would make a chart appearance.
Squid Game also had one song that did make themselves
up towards the chart, and that was the Mingle Game
Squid song Merry Go Round that also charted on the
World Digital Song Sales Chart for Billboard, but very specifically
(07:42):
it was up there nevertheless, but currently there are four
songs that I've now made it into the top ten.
So it's how it's done by Hunters. Saja Boys have
two songs with Soda Pop and Your Idol at number
five and number four respectively, and Golden by Hunters number
one of the board. How one hundred songs are not
(08:03):
that bad produced? I don't think they're I'm not missed
at all by these songs. I think they're pretty well
done and K pop in this kind of realm and
the way that people are kind of responding to it
is fascinating, So I can I can appreciate what they're
doing so far, but this is all new music. That's
the thing that's got to be understood is that Netflix
(08:26):
and the power of Netflix with this movie, was able
to go ahead and get four songs to the soundtrack
to simultaneously entered the top ten of the B one
hundred and the last group to do something like that
with a movie soundtrack was The Beg's with Saturday Night
Fever in nineteen seventy eight. That's a quite an amazing feat,
(08:49):
you know, And also just different times. But it's a
phenomenon nevertheless. And one of the things they also talk
about the fact is that this is also a movie
that people have been catching over and over. A lot
of young children have been watching this movie over and over,
so it's giving the high school musical kind of vibe.
(09:10):
Except when Disney would have those those features films, right,
and they would have the sequels to go after them.
Sure they would have CDs at all, they would have
other content out there to go and pick up. So
people are gonna pick up the album, But streaming was
not as much of a factor with high school musical
like it is now because I mean, that's what we're
seeing right now, is it's kind of like the high
(09:31):
school musical effect, but in a streaming age, and that's
where we're seeing everything coming from all together. And so,
you know, you got to ask yourself when it comes
to what's been going on with the Hot one hundred
(09:53):
and how I was able to go get these songs
up as high as they did. Well, part of it
has to be considered with the fact that it's all street.
For the most part, streaming has really contributed to why
the album was only to do so well by looking
at the chart predictions that were made up by Talk
of the Charts over on X. I want to make
(10:14):
sure they get the credit on it if you look
at what their algorithm has done. What the scoring system
of Billboards Hot one hundred is is based of course
on sales, streams and airplay in a particular mix, and
of the songs that made it in here from K
pop demon Hunters, How It's Done, which made it to
number ten, seventeen point two million streams, radio airplay, not
(10:41):
there sales two point five two thousand found sales of
the single for that on digital streaming, then you've got
a Soda Pop which again, same thing goes. It's a
little bit of a sales, but it's mostly streaming. Twenty
million streams for your idol and then thirty four million
(11:02):
streams for Golden across the board, higher than everybody else. Meanwhile,
it was held a good I'll match Ordinary, which doesn't
have so much in streaming, but the airplay is ridiculous.
It is the most played song on radio right now.
But Golden was so powerful and because of sales getting
up to eight thousand units along with thirty four million
(11:26):
streams and there's some radio airplay now, sixteen million airplay
spins so far on radio, so radio speaking about it
a little bit, just enough to go and get it
over the top and make it back up there again. Now,
as for the soundtrack chart history, we have this. There
(11:47):
are four previous examples of a soundtrack in reading four
top ten songs into the hot one hundred, but none
of them had four of the songs landing that high. Concurrently,
the last time that even happened, according to Billboard was
three decades ago when winning the Hex sale had five
and nineteen ninety five to ten eighty six, but those
five tunes were not all in the top ten. Concurrently,
(12:09):
the way the current hits from Demon Hunters are right,
the wedding decks would have songs that would make it
up there. Now as for the Beg's record hits, to
make sure to go and make this point at the
last time a soundtrack had three songs in the top
five at once was Saturday Night Fever pulled it off
in nineteen seventy eight, and most interesty reservers would say
(12:31):
that by most meacious Golden has been the most popular
song in the country more than just two weeks. It
was held back because the success was due to streaming
and it was getting very little air radio airplay, which
when we don't care about Bruno from the Disney movie
or forget the name of that movie. Now, that's the
other one that also kind of came all of across
(12:53):
and was able to go and hit at the very top.
But Golden is down airplay, and that's where radio has
to kind of finally pay attention and say, oh, you know,
you got to start playing this song because they have to.
And just to keep in mind, these songs have only
been on the charts for nine weeks. But as we
(13:16):
always talk about, radio is always behind the times. There's
the algorithm we've talked about before where eight to twelve
weeks is as soon as you're going to catch certain
songs making it onto radio. Just how late they run
to the game unless they see if it's an absolutely
bonafide song. So radio and our program directors there were
obviously not feeling it thinking that they could go ahead
(13:38):
and take a chance on Golden being on the radio
on a radio station playing it as part of the rotation.
They didn't think it was possible. They didn't trust it.
Nine weeks later. They have no choice now whether to
start putting it in. They have to start inserting it
into the mix. No choice. But now the fact that
all these songs were able to make it into the
(14:00):
top ten as it did tells you a lot about
the segnation that we've talked about constantly on this program. Daisies,
which has been up there for six weeks on the charts,
is currently number nine on the current Billboard Hot one hundred.
Morgan Wall has been up there for twenty two weeks
because of his album On the Problem. Loose Control. Teddy
Swims continues to be on the charts as it reaches
(14:22):
this one hundred and fifth week. Ray Lena Love Me
Not got to size number five last week is down
number six. It's there for twenty six weeks. Actually, I'm
the Problem album was out fourteen weeks ago, but Just
in Case came out as a single twenty two weeks ago,
and Ordinary is a twenty eight week old song. So
(14:44):
we're starting to see certain songs that are making the
drop off that Heaven around Forever, which is including Good News,
Chaboozi Bar Song Shaboozie, which were thirty nine and seventy
one weeks respectively on the chart. I have been on
there that with a spot fifty three weeks just last year,
among others. So it's not gonna be enough because there
(15:05):
will only be so much time unless the radio decides
to go and pick up a K pop dew Hunters
altogether and its decides to start playing their songs extensively.
But a Netflix phenomenon will not make that possible. It's
not enough for it. I don't think it's anyway. What's
happening is there are certain enterprise radio stations, are some
(15:25):
large market radio stations that realize they just can't sit
on this song. They have to play it. They have
no choice. But there's still a big imbounce between streaming
and radio airplay. Cornea variety here they're writing about this.
Billboard reports of Smash is number one of the Streaming
Songs chart for the fifth straight week, but radio only
(15:45):
has given another nine percent increase in spins across the board.
It's still on the radio songs chart, it lands at
number forty two. But there are things that are happening
right now to make the song possible. We get a
little bit stronger and continue to have his nomination on
the charts because there's additional interest that was generated by
(16:09):
theatrical sing along screenings of K Pop Demon Hunters, taking
the Netflix movie to number one at the box office
this past weekend. Did you hear that k Pop Demon Hunters?
It made it to be the number one movie at
the box office. Netflix. I say it over and over,
why do you not let these movies be made available
(16:29):
first in theaters? The K Pop Demon Hunters sing a
long event last week at the box office gross nineteen
point two million dollars nineteen point two this it easily
beats Weapons FFT million, Freak Your Friday, The Fantastic Four,
and Bad Guess. I mean, really, it's a bad time
(16:51):
for movies right now because there's nothing really coming up
even now for the Labrity weekend. It's kind of light.
But when you look at this, all the summer movies
have been out there intensively, you're telling me didn't there
wasn't enough time to go ahead and put this movie
out here and let it be caught. I mean, I
guess you couldn't do it in the summer, But it's
just the timing. I don't know. But still people all
(17:14):
into it now. It's also a special thing too because
of a sing along event, which is pretty cool. I
can give them that credit nineteen point two million dollars
for Netflix's K pop demo Hunters. Does they're making money
in the box office now, it's it's a machine, so
pretty obvious we're gonna see more of this particular franchise
(17:34):
going along, because of course even Netflix can't help a
good new intellectual property go to waste. Can't do that.
On the daily US Spotify chart, it occupies seven the
top seven slots. And of course, not just do you
(17:56):
have the three the streaming out there on of the
music of the soundtrack of the movie on Netflix and
now at the box office for the sing along events,
now you also have fun Co coming in creating new
merch after the film has taken over all these places.
So now Funkko Pops are not coming in with the
k pop demon Hunters as well. Find new vinyl figurines
(18:20):
inspired by the Sonny Pictures produce an animated film and
available for pre order for delivery between Christmas time this
year and January twenty twenty six, so there'll be five
different ones. Incredible, And I haven't watched this movie yet,
and I have to go and catch it because this
(18:40):
phenomenon has to be viewed, has to be studied. So
I am most absolutely go and do that. Now, I
was still trying to find a time to go and
catch the movie where I can actually watch it, but
you know, I also want to catch it, maybe not
during the single long Unfortunately, I'm gonna have to watch
it and find it on Netflix somewhere, and I don't
have Netflix. It's not the fine way to go and
watch it, you know, bum off of subscription or a
(19:04):
you know somebody that kind of helped me out with that.
I don't know, I'll figure it out, but I'll catch
it and when I get a chance, I'll probably go
in comment about it. What can I say? So, there
are a few more stories that are going to bring
up here that I want to go and get into
that I thought were very important to bring into the ether.
And Howard Stern, Long Island's news Day newspaper actually commented
(19:31):
about that. What we know so far about if Howard
is staying or leaving serious exam So he's going to
be coming back this coming Tuesday after nearly a month
long vacation, and the immediate team is indicating he will
just everything then, but people want to want to find
out what that's going to be, so they're really just
(19:56):
speculating in the story. But they have tried to go
track down anything they can about all this. Stern's contract
is up in the fall, and while Serious is planning
to make him an offer, they don't intend for him
to take it. A Serious XM spokesperson declined to comment.
(20:19):
Julia Buckwall, the daughter of Don Buckwall, the longtime agent
of Howard Stern who handles his contracts and runs press interference,
did not return a call. Now we know as well
that Howard has also given us the bait and switch
about maybe taking retirement but then finding a way to
(20:42):
go and sign another five year deal. That's all sa
happened before they asked the question, can Serious exem afford
Howard Stern? Because right now Serious SIXM with thirty three
million subscribers, they just recently paid Alex Cooper one hundred
and twenty five million dollars for a three year deal
one hundred million dollars for spartless. That was all both
(21:02):
last year and Serious it's plead to have paid Stern
between three hundred and fifty and five hundred million dollars
each five year contract cycle. And if Stern were to
come back, well, what do you want on this contract?
In a twenty nineteen interview with The New York Times,
(21:24):
Stern did say, quote, I can say to you with
almost one hundred percent certainty that A will retired at
the end of this contract. But I say that about
the end of every contract. I'm afraid to walk away
now since the last contract. His longtime agent Don Buckwall
did pass away in twenty twenty four, his close friend
and stylist Ralph Cirella in twenty twenty three, and his
(21:45):
father Ben Stern at twenty twenty two at the age
of ninety nine years old. Could any of this have
an impact? And the word is that supposedly Stern has
been in this long enough to have pride and the
value of his work. But he cares very much about
his legacy. He's a radio guy. A radio guys care
about their legacy. And by the way, to ask about
(22:11):
the Howard Stern Show and everything that's going on with it,
they did talk to Talkers magazine founder Michael Harrison, who
I interviewed on the program about a month ago, and
he says quote, I've always been distressful with numbers in
the radio business, including those that related to Stern in particular.
That's because Stern fans tend to inflate that audience, while
it's detractors that angered by his political left turn and
(22:32):
anti Trump rhetoric and insist this listenership is evaporator. Excuse me,
will No one disputes Stern's ratings are less than they
were back in two thousand and six when you moved
from trustural radio to satellite. The ratings for so many
others on radio and TV are down as well, So
there's still not much more to say. But if we
go back in time, you think about the parameters of
(22:55):
what serious SYSIMB is already invested in the other podcasters.
Why is it going to take on? Why are they
going to take on another five years of the host
that's going to be seventy six years old by the
end of his next contract. I just don't see it happening.
I think the library will stay. That I do believe
will stay in some way, shape or form. Spotify and
(23:16):
Apple have also gotten themselves very aggressively moving on in
the streaming wars themselves, So one of the areas that
we'll talk about, and I dont guess you have to
talk about this before, but Spotify pushing musicians to become
content creators. There's a reason book that was published called
(23:36):
Mood Machine, The Rise of Spotify and the Cost of
the Perfect Playlist, The Costs of the Perfect Playlist. It
sheds the lights in the you know, workings of Spotify
and the highly consolidated record business being becoming increasingly difficult
for working musicians to earn a living. And in this
they talked to a York based writer, Liz Pelly about
(23:59):
this to get her area, and she says she's always
been interested in asking bigger questions of independent music. What
does it mean to be independent when we are seemingly
beholden to all these platforms at odds with our values?
(24:20):
And so she put the story of the Spotify playlists
and when asked about her focus on Spotify, but meanwhile
other such practices are being employed by other streaming services
and other tech companies, you know, was the idea about
using Spotify as the major picture? She says that the
(24:40):
book that she wrote uses the story of Spotify as
an entryway into a bigger story, but they stated of
the consultia music industry today and the impacts and influence
of corporate consolidation more broadly on music. But Spotify isn't
even the only entryway. In that story, she goes home
to say that there are lots of different economic arrangements
within music right now that I require criticism. We just
(25:03):
need to imagine beyond streaming. Even the band camp model
where artists get to set their own price and get
most of their money, is still a market based model.
But streaming in particular has this really complicated system that
warps the way we think about musical value. Artists are
paid per stream they're not paid directly. Their payments go
from the streaming services. The rights holders based on this
(25:23):
really complicated revenutionare model called pareda, where rights holders can
are paid based on paid based on market share on
what streaming services called stream share. Not as simple as
it was when you had the physical units you were selling,
and you know that you're not going to get a
full cut of the streaming royalties that you're getting off
(25:46):
of there either. And when it comes to Spotify, the
way to make money is largely through selling subscriptions and
selling advertisements. They make a lot of money doing that,
but then have to pay seventy percent of it out.
And they started implementing certain strategies to reduce the amount
of money that they had to pass along to the
rights holders, one being building out these really popular playlists
(26:07):
for what they call functional purposes. Then there's strategies in
greens into the business model, like discovery mode, where they're
asking artists to accept the lower royals you rate in
exchange for algorithmic promotion. And that's a lot of people
are saying in the music world where quick to liken
(26:29):
it to a form of modern day Paolo or a
Piolo like practice. She also goes something to say that
artists quote are confronted with so much data from the
extreaming services, and that data can still more insidiously have
an influence on you, even for musicians who aren't necessarily
in pursuit of relentless growth. I'm going to find that
(26:52):
book that sounds very interesting. Hopefully they put a audiobook
out of that at some point. Spotify now has on
their platform in app messaging to the boost content sharing,
so the new feature is now available on multiple devices.
Is like markets to both free im premium users only
to those age sixteen years and older. So Spotify users
(27:18):
has told Spotify that they want to dedicated space within
the app to share songs, podcasts, or audiobooks are excited
about with friends and family, and an easy way to
keep track of recommendation is that's not a bad idea.
So Spotify users can tap the share icon while listening
to the new content and then now playing view bringing
up a list of people that the user has interacted
(27:38):
with before and through Spotify, and then you hit send
and that we'll share the content with a selected friend.
They will have option to accept or reject their contrough request.
And Apple Music has also been making their own inroads
with streaming. One of the things they did right now
is they created a way for you to go ahead
and import your Spotify playlists over to Apple Music if
(28:00):
you want to do that. So that's the way to
get people to go ahead and subscribe to Apple Music
more possibly. And also they've tied in with tune in
to distribute all the Apples radio stations to introduce the
company's music service to more people. So those curative radio
stations are now gonna be made available on tune In.
(28:23):
They started on Wednesday. I listened to it, and they're
gonna have a chance for tune in to go and
bring out those seventy five million monthly active users to
tap into the content. So six stations being a part
of this. And the one thing for me was that
I always wanted to go and hear those stations because
it was so hard to go and go to the
Apple platform to go and listen to it. I'm not
(28:44):
gonna go and download iTunes to go and listen to
or the Apple Store because that was the biggest one
we had. Apple Music wasn't possible for anyone, and Android
now you just made it Android be possible to go
ahead and catch the stations. So I'm gonna try to
get more. We listen to it and see how it
goes and how it turned out. A couple of the
(29:05):
stories wanted to take care before I wrap things up.
Hubbard Broadcasting, they're now bridging radio podcasts with a cross
promotional push. I thought this would be interesting, so they're
creating a new trademark campaign built around the that's what
we call radio positioning, promoting the benefits of radio on podcasts.
(29:25):
It started last month and it's now airing on Hubbard's
local radio markets on the Gamut podcast network. The story
from inside Radio talks about the deepening of the ties
between broadcasts and podcasts, comes after Hubbard may be clear
that the spring they see a future in digital audio,
and the company has been around since nineteen twenty three.
They're seeing podcasting as a third foundational pillar of the
(29:48):
Hubbard strategy alongside its broadcast stations. In his digital marketing arm,
twenty sixty Digital and the Hubbard folks are saying that
we are embracing the future of media and ensuring Hubbard's
relevance for the next century. Digital Alredy accounts for thirty
percent of revenue at Hubbard, which owns fifty four stations
(30:09):
nine markets, as well as twenty sixty digital and fourteen
TV stations. This is a fascinating study. I want to
go and go in with. When I listen to radio
stations at all now these days, if you happen to
catch a station that says are sponsored on the top
(30:31):
of the hour, ID you'll catch um say, you know,
they'll say okay from the blank blank studios. So in
my market, it might be fre Freeman injury law. It
might be the Mesmen and Dover. It might be Morgan
and Morgan, it might be you know, all these others,
Dan Newlan, all these other ads. But they're all jury
(30:53):
law firms. And somebody actually gave us a chance to
go and find how injury law firms benefit from radio ads?
Why are they always on those? Why do they always
go to billboards? Interesting? So he took a story about
injury attorneys Bradshaw and Bryant, based in Saint Cloud, Minnesota.
The ads dominate unaided brand awareness among all injury firms,
(31:15):
statistically greater among amf and radio listeners versus the overall market,
according to the results of a Quantulope study of one
hundred and twenty consumers in May of twenty twenty five.
So Bradshaw and Bryant, they say, practice every day what
Madison ever has forgotten. To generate substantial sales and profit,
a business or even a law firm needs to create
future demand rather than just obsessing over converting existing demand.
(31:40):
That they are mastering on building a brand being the
main driver of long term growth and profit. Bradshaw and
Bryant would initially start with one radio station to market,
then added three more. They said that after the first
year they troubled the practice. Then they bought more ads
and more radio stations and soon became one of the
largest advertisers on the Saint Cloud, Minnesota radio buying only
(32:01):
year long contracts and currently bradsh On Bryant seventy percent
of their budget goes to radio, fifteen percent digitally and
five percent on cable. So the firm's radio ads feature
managing partner Michael Bryant telling a story about a client,
followed by it is Justice for the Injured bradsh On
Bryant jingle quote. Making my business top of mind has
(32:22):
made a big, big difference. It's not just something that
happens right away. It's not something that happens fast, but
you start seeing results when you hear people quoting your
commercial word for word, singing your jingle. They know who
you are. When they trust you, they tend to like
you and do business with you. And just for the
heck of it, we're going to play one of the
commercials that they have out there on television, which will
most likely feature the jingle singing Justice falding injured brats
(32:48):
on Ryan Well, it's one of those who used to
go in here you know. And that's something you said
about jingles, and that they go really good and people
get into it. See, there's one we have over here,
Freeman Injury Law. It's kind of quirky, but it's eight
hundred five six one seven seven seven seven Freeman Injury Law.
(33:09):
And that's one I've heard forever, and jingles still work.
Always did feel like that way. I mean, there was
a lot of Jingles that can think of right now,
not at the moment, but I can just think of
a lot that from injury attorneys. I've also worked really
well in the past, believe it or not. And the
Quantolope study also shows Bradshaw Bryan's dominance when it comes
to unaided awareness, total ad recall, favorability, and purchase it intent.
(33:32):
And when the consumers are asked when you think of
personal injury lawyers and criminal defense attorneys, which ones come
to mind and to write in all the brand names
they could think of without being shown a list of firms,
Bradshaw Bryant would lead at twenty eight percent, which is
one hundred and thirty three percent more than the next brand.
(33:53):
The other way we have over here in my market
is Steiner is going finer AE hundred and five, and
I shouldn't know that, I shouldn't be able to recall it.
But it's true. Radio ads still work and if you
do it the right way look at it. It doesn't
have to just be injury law firms, but they do
(34:15):
really good at it. What can I say? Anyway, that's
the show for tonight. Thanks listening in finding the shows
you always do, and I've done a lot of work
for you tonight. Listen roughly forty minutes of the regular episode,
give you an hour fifteen minutes with Lupey talking about
radio podcasting. Go enjoy that as well. You have a
put through of the Broadcasters podcast to enjoy, consume, and
(34:35):
them ye until next week. Anyway, this week I'm going
to go see the Little Movies and then I'll come back
here another do another Broadcasters podcast. Because remember content is king,
and the control of your content is in your hands.
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