Salary Survey 2014
Transcription
Salary Survey 2014
THE MOST TRUSTED NEWS IN RADIO FALL 2014 @INSIDERADIO RADIO SHOW EDITION — INDIANAPOLIS NEWS & UPDATES @ INSIDERADIO.COM Mobilizing Radio Salary Survey 2014 BUD WALTERS National Radio Award Winner A Portal To Digital Dollars DARREN DAVIS InsideRadio Q&A You Are So Radio, If… Drive-time Dominators Format Scorecard FALL 2014 INSIDE RADIO | 1 2 | INSIDE RADIO FALL 2014 INSIDE THIS EDITION Mobilizing Radio p.4 Mobilizing Radio What radio’s doing to grab its share of mobile dollars Salary Survey 2014 Who makes what and who is earning more A Portal to Digital Dollars Local groups find online success by thinking big Cromwell’s Bud Walters National Radio Award Winner p.8 p.13 PAGE 4 Broadcasters are harnessing apps to make richer listening experiences, to strengthen radio’s immediacy and interactivity, and to make ads more relevant. With a sometimes deafening roar from marketers to include mobile elements in ad solutions, mobile has become more than just a buzzword. 8 p.16 2014 INSIDE RADIO Salary Survey Clear Channel’s Darren Davis The Inside Radio Q&A p.18 Drive-time Dominators p.23 You Are So Radio, If… p.24 Format Scorecard p.26 WELCOME TO INDY! PAGE 8 How much rank and file broadcasters are paid across all industry segments is akin to a connect-the-dots drawing. The end game reveals a picture of how the radio business is doing in 2014. This year, a solid majority of broadcasters say their salary either grew compared to the prior year, or held steady. 8 Indianapolis and the state of Indiana are known as the Crossroads of America, connecting Hoosiers with the rest of the country. This week, they serve as the crossroads for the radio industry, linking broadcasters of all sizes and shapes with the shared goal of moving forward in a media world where consumers are clearly in charge. In that spirit, this special magazine edition of Inside Radio reflects the industry at its own crossroads. We explore how some broadcasters are doubling down on digital, with mobile apps that deepen listener engagement, and community web portals that help scale online investments. We talk to one of radio’s rising young stars about the fast-changing world of network radio. We tell the unusual story of this year’s National Radio Award Winner and his FM translator quest. And, we reveal the results of Inside Radio’s latest Salary Survey, opening a window into who makes what and how you stack up. So, welcome to the Crossroads. Enjoy the Radio Show! And thanks for relying on Inside Radio to deliver the most trusted news in radio. — The Inside Radio Team GET YOUR NEWS EVERY DAY FROM THE MOST TRUSTED NEWS IN RADIO, INSIDERADIO.COM FALL 2014 INSIDE RADIO | 3 MOBILIZING RADIO MOBILIZING RADIO by Paul Heine 2014 has been called ‘the year of mobile advertising.’ Here’s what radio is doing to grab its share A n inherently mobile medium since cars became equipped with radios in the early 1930s, radio lost some of its mobile mojo once the transistor radio and the Walkman became museum pieces. Now that the smartphone is man’s unofficial fifth appendage, apps and streaming are re-mobilizing radio and helping redefine the medium. Broadcasters are harnessing apps to make richer listening experiences, to strengthen radio’s immediacy and interactivity, and to make ads more relevant. With a sometimes deafening roar from marketers to include mobile elements in ad solutions, mobile has become more than just a buzzword. “Mobile is a big part of the conversation from our advertisers,” Hubbard Radio regional SVP Joel Oxley says. Emmis Digital president Angie May Cook says marketers are starting to see “real value” in radio’s mobile assets and are willing to pay a premium for them. “It’s more than just an add-on to a radio buy,” she says. Marketron VP of mobile solutions, Martin Kristiseter, says mobile demand from advertisers is “forcing stations to step it up.” easy to consume and effective on mobile, because that will, in turn, make the advertising more effective.” For instance, Hubbard’s WTOP-FM, Washington (103.5) is converting its website to responsive design, which automatically resizes the content for optimum viewability based on the screen size of the device being used. The all-news giant is also upgrading its home-made content management system to Word Press and developing a dedicated traffic app. In a first, mobile is poised to blow past print, radio and out-ofhome advertising by year’s end to rank as the third biggest ad medium with revenue of $17.73 billion, according to eMarketer. While that’s extraordinary for a relatively new medium, mobile ad spending still lags mobile consumption. It accounts for onefourth of American media time but only 9.8% of ad share, per eMarketer. But, that could change. More than 90% of advertisers expect to increase their mobile ad spending this year, according to a survey by data company Jivox. WTOP isn’t the only station working to up its mobile game. Cox Media Group this year, launched new interactive, stationbranded apps for each of its news/talk radio brands, following the introduction of individual apps for its music stations last year. To date, Cox has over 600,000 app downloads and time spent using them per visitor continues to grow every month. Though marketers understand they need to be on mobile, best practices for exploiting the channel are still being written. Due to its relative youth, there’s confusion over how best to engage in mobile advertising, Nielsen concluded in a recent report. “We’re still experimenting with the advertisers to find the most effective way to deliver their advertising message on mobile, ” Oxley says. “We’re doing a lot of things to make our content 4 | INSIDE RADIO FALL 2014 Cox radio director of digital audience, Tim Clarke says the apps go well beyond just offering another way to listen to station streams. The news/talk apps offer on-demand traffic and weather, news in text format, weather and traffic maps, a Twitter stream, alarm clock, click-to-call functionality, and an Open Mic feature that lets users record a brief report to share breaking news, severe weather and traffic tips directly with the station, or to chime in on talk show topics. Cox stations position their apps as a listener necessity for MOBILIZING RADIO getting the complete station experience. That involves making them part of almost everything that happens on the air and educating the audience about the deeper engagement they can get from mobile. “The apps are just big shells of code if we don’t fill them with content on a daily basis,” Clarke says. “They’re nothing without the core radio product.” air megaphone bounces people into the station app, where they can use a feature to record their opinion on a topic being discussed on the air, request a song or enter a contest. The trampoline bounces them back to the station to hear the outcome of their in-app activity. Client opportunities are only limited by the imagination of the buyer and seller. Integrating App and Station Because it marries audio and video in the element first seen when a station stream is launched, pre-roll video is mobile’s hottest ad unit. Pre-roll is so in demand that some audio publishers now offer mid-roll ad units that launch after the user has unlocked their device screen during a listening session. In their rush to mobile, broadcasters sometimes think they need an app strategy. But, Clarke contends they need to integrate mobile into their overall product strategy, linking the app’s features to the core radio product, from contesting and requests to texting and providing feedback. “Mobile makes it so much easier to take those actions,” Simon Moy, chief operating officer at mobile tech company Airkast, says. “They hit one button on their phone and they can do it right from the app.” Radio is in a strong position to leverage m o b i l e , digital experts say. With experienced local sales teams, it already has trusted relationships with clients looking to make their mobile move. Radio can offer the best of both worlds: the big reach of a mass media and the hyper-targeted efficiency and transparency of digital. Mobile campaigns tied to an exclusive piece of artist content are said to produce the highest engagement rates. Click rates for basic banner ads are below 1% but jump to 10%-30% when exclusive content, promotion or a contest tied to a hot recording artist is integrated into the campaign. “MOBILE IS KEEPING RADIO SEXY AND RELEVANT AND HELPING DELIVER A MORE ENGAGING PRODUCT.” — TIM CLARKE Mobile also gives radio another way to surround the consumer, adding a visual element to an audio medium. For example, a streaming audio ad tells would-be car buyers to click on a banner ad, which whisks them to a landing page where they can view and search dealer inventory or click to call. “It’s two great mediums that really play well together,” Kristiseter says. Brands increasingly use mobile as part of integrated, crossplatform campaigns that run in tandem with other online and offline media. A recent survey of advertisers and agencies from Nielsen and the online publication Digiday, drilled down into what media marketers are using mobile with. When it comes to offline media, nearly a third of brands (31%) prefer to run mobile ads alongside radio, compared with 41% for TV and 28% for print. Agencies are a bit more pro-radio: 43% most often use radio in combination with mobile, compared to 50% for print and 45% for TV. What’s Working Like a trampoline tipped on its side, station apps function like a springboard for integrating radio with mobile. The on- Banner ads alone may not move product for say, a beer distributor. But, a station’s mobile app can be used to increase engagement with a beer brand on-site at an event, by tying in with the station’s loyalty rewards program, which awards prizes based on activity within the app. In one instance, listeners to a Cox station were told they could earn a loyalty badge by scanning the beer’s code into their mobile device at the event, using the station app. “We can create an interactive program that activates the customer through different touch points of their experience with the brand,” Clarke says. “The idea is to give brands a 360-degree access to that consumer.” | p.7 8 FALL 2014 INSIDE RADIO | 5 6 | INSIDE RADIO FALL 2014 MOBILIZING RADIO With year-over-year mobile listening up a massive 39.7% in May, per Triton Digital, radio’s ace in the hole may be the streaming audio ad unit. “Radio is unique in that it delivers an audio ad unit that is interruptive,” Triton Digital president of market development John Rosso says. “It stops the content so you get the user’s full attention, but not in a way that they change the channel and tune away.” Digitally-aggressive stations are weaving couponing, store locators and landing pages into banner ads, synched to audio ads. The arrival of geotargeting is allowing ads to be served that are more meaningful to the consumer based on their location or the activity they’re engaging in at the moment. But, old standbys like email marketing remain a hot item. Around three-fourths of internet users check email via mobile, according to eMarketer. So it’s no surprise that 86% of U.S. digital marketers use email regularly, according to research by Gigaom, which called email “the digital marketing warhorse.” ROI and Training Hurdles Though consumer engagement can be measured and shared with the client, accountability in mobile advertising still has a long way to go. “Mobile marketers and media owners say their inability to measure the effectiveness of their mobile efforts consistently with other media is one of their biggest pain points, and a significant barrier to mobile growth,” Nielsen concludes in a recent report. Schooling programmers, sellers and promotion directors on mobile is also lacking, broadcasters say. “The biggest issue we’ve seen is the training,” Marketron’s Kristiseter says, noting how sellers are sometimes overwhelmed with station products to sell. Daily one-on-one conversations and putting digital experts on the road are seen as more effective training methods than formalized webinar and PowerPoint presentations. Broadcasters say mobile is bringing sexy back to radio. “Mobile is keeping us sexy and relevant,” Clarke says. “We have a screen now and can serve content visually, which makes radio a more engaging product.” Airkast’s Moy maintains mobile is satisfying consumer desire for instant gratification, the ability to immediately text or call the station, access content on demand and share it on social media. “Those are all the sexy communication vehicles and having them built into radio apps is an effective way to modernize the medium,” he says. Broadcasters agree radio is still in the early innings of a mobile game that will likely go into overtime. For most, mobile “STATIONS THAT ARE AGGRESSIVELY GOING AFTER IT WILL SEE 15-20% MOBILE GROWTH THIS YEAR.” – SIMON MOY contributes a small but growing piece of the digital revenue pie. Cox doesn’t break out mobile revenue separately in its radio division but says that its digital revenue growth is up 30% year over year. Broadcasters that have been in the game for a while will see double-digit mobile revenue gains, according to Moy. “Those that have a lot of experience and dedicated sales forces that are aggressively going after mobile will see 15-20% mobile growth this year,” he forecasts. But, mobile can pay radio dividends beyond revenue directly attributable to it by helping lure dormant advertisers back to the medium. “Mobile will grow radio revenue in two ways: direct revenue from the app and the impact on core broadcast sales,” Clip Interactive EVP/chief revenue officer Bill Freund says. “The real growth opportunity is how do you get somebody back who left for digital media or how do you get somebody who was only doing search or display or video to come on board.” Triton’s Rosso agrees that digital capabilities like geo-targeting will bring new clients on board. “There’s a huge opportunity,” he says. “If you start dividing up the audience into geographic buckets, that makes radio efficient and affordable for even the very small advertisers.” n FALL 2014 INSIDE RADIO | 7 SALARY SURVEY 2014 RADIO INDUSTRY SALARY SURVEY Who makes what and who is earning more... »»Presented by About the Survey We asked and many answered. The Radio Industry Salary Survey, sponsored by Strategic Radio Solutions, is based on responses from 4,086 broadcasters. Their honest and anonymous disclosures can help industry professionals compare their pay with their peers and determine future earnings potential. »» The sample size for the salary survey is up over 20% compared to last year. »» A majority of broadcasters say their total compensation either grew or held steady compared to the prior year. »» As expected, market managers who supervise a cluster have the highest average salary at $208,600. But the pay range for the position is also extremely broad. »» The top-paid market manager taking part in the survey reports earning $950,000 compared to $38,500 earned by the lowest-paid. »» Radio’s second-highest paid position is director of sales, »» The top-paid personality taking part in our survey reports a $1.2 million salary. »» Some respondents say they’re earning less, primarily those working in the sales department. The average pay for a salesperson with five or more years of experience is $112,200, with 39% earning less than the prior year. The average for a salesperson with fewer than 5 years experience is $59,000 and includes many first-year sellers. »» Only one third of all national sales managers who responded saw their pay increase last year. But many markets and companies no longer have an NSM. »» There were a few positions that didn’t meet Inside Radio’s established minimum reporting requirements to ensure statistical validity for average pay, but the data still allows us to share sample salary levels. For example, a typical payroll manager earns $87,500, but most of the responses are from the top 25 markets, where that title is most likely to exist. earning an average of $176,700. »» Regardless of whether compensation was up, »» On the programming side, it pays to be an early riser. down or stayed the same, 77% of those who took the survey answered ‘yes’ to this question: If you 'had to do it all over again', would you choose a career in radio? Only 23% said ‘no’. Morning hosts earn an average $163,000, the most of any on-air position. 8 | INSIDE RADIO FALL 2014 SALARY SURVEY Survey Respondents Say…... Survey Tidbit: If you ‘had to do it all over again’, would you choose a career in radio? 77% said ‘YES’ — 23% said ‘NO’. | continued p.11 8 »» Disclaimer: Many of the above titles are unique, were reported by the respondent, and did not meet minimum reporting targets; Compare carefully! FALL 2014 INSIDE RADIO | 9 10 | INSIDE RADIO FALL 2014 RADIO SHOW 2013 SALARY SURVEY INSIDERADIO.COM TALENT SPOTLIGHT Survey Tidbit: The average Imaging Director earns $71,600 Dana moved from local to national radio when The Dana Show was syndicated by Radio America. She recently talked about her career: You used to be a liberal, didn’t you? That’s a generous way to put it. I was a flaming bed-wetting liberal who was a member of college Democrats and campaigned for Clinton before I could vote. I didn’t share every progressive viewpoint, particularly on guns and life, but I was raised a Democrat and had not a single conservative political influence in my life. Rage against the machine was the status quo on my campus which made the whole thing seems homogenized and pretentious. I had a mid-life crisis when I was 20. When I became a mom at 21 I realized that everything I ever stood for as a single feminist was everything from which I now wanted to protect my son. Then 9-11 did the rest. What’s the one moment in your show that you really look forward to each day? I think my favorite moment is when I get a call from someone on the left who says that they opened their mind and considered the possibilities and see things differently now. As a former liberal, I can’t tell you how much pride you have to swallow to admit that maybe you were wrong about some things. It takes a very open mind. These people need encouragement. Even if it’s just one person every now and then, to me that one person feels like a hundred people. There is a lot of buzz right now about the talk format losing audience and I hear you have a book coming out yet this is the time that you’ve chosen this Fall? to go into syndication. Why? It’s called “Hands Off My Gun”. Mark Levin It’s because the manner in which people said that it “obliterates every baseless want their news and politics delivered argument made against the Second is changing. When “The Daily Show” Amendment.” I delve into the history winds up on a list of top five news of the Second Amendment, the racist sources beating out MSNBC in the latest roots of gun control, how firearms are Brookings study, that says something. the ultimate feminist equalizer, and I’m a Gen Y-Xer and a hallmark of my debunk every gun control myth that’s generation’s personality is to be cynical been made. I’m going to send a signed and irreverent in a fun way. I’m a mom copy to Michael Bloomberg because if it with two young kids so I know all about weren’t for him, I don’t know that I would enjoying the absurdity in life. have been able to write this book. n »» Special Thanks to those who responded to this year’s salary survey. For copies of the survey results, visit www.insideradio.com. Learn more about The Dana Show @ radioamerica.org/PRG_danashow.htm FALL 2014 INSIDE RADIO | 11 Triton creates... A better listener experience Research shows that more than ever, listeners hear audio on digital devices, smartphones and computers, not on a traditional radio, even if it’s an AM/FM station. A pioneer in the space, Triton Digital, has just launched a new ad platform to serve traditional radio, digital radio and pureplays alike, but most of all, it helps deliver. Triton Digital gets high marks for its new ad platform for live and on-demand broadcasters... A: We took our time, listened to our customers, and Benjamin Masse Tell me about the new ad platform... For more information on Tap or Triton Digital, contact: Benjamin Masse [email protected] Online@ www.tritondigital.com and twitter: @tritondigital developed a great product for not only the publishers but also the listeners. A: The Triton Advertising Platform, known as Tap, is designed to help radio and digital broadcasters monetize live and ondemand streaming. It’s an easy-to-use, solution-oriented product that provides many benefits to both traditional and digital audio publishers. Tap is not a new generation of the old system, but rather a brand new product developed after an exhaustive study of what stations need and how advertising affects listeners. How do broadcasters use it? better targeting and listener data. Tap is a game-changer for advertisers looking to target by platform, making it possible to target listeners by device (i.e. iPhone) or people listening on their desktops only. I hear so many commercials repeated on older systems... A: Tap Live is for broadcasters who want to replace the A: Frequency caps built into the system mean a listener commercials that air on their stream. Tap OnDemand is for digital broadcasters who want to fill a stop set. These two versions combined, form a new generation platform that allows a station to sell inventory more intelligently by location, demo and listener interests. It’s a forward-thinking solution for the advertiser and at the same time, will improve the listener experience. won’t have to hear two or three PSAs in a row. Also, if a station has a long spot set to replace, Tap can program music to fit the format instead of 6-8 minutes of commercials in a row. If a listener tunes into a station that is out of market, there is no benefit to hearing local commercials, so Tap enables that inventory to be converted to national spots so it’s more relevant to the listener. n It looks like Tap does a better job with commercial inventory... TAP INTO 400+ STATIONS A: A station’s inventory, including any spot break, can be sold locally or nationally, so out-of-market listeners will hear a different spot. If your stations have listeners outside of your trading area (outside of the broadcast area for local sales or international), that listener will be of value to another advertiser. The placement of spots is more precise. So it can help create a better listener experience... A: With Tap, everybody wins. Audio publishers benefit with accurate forecasting and pacing reports, while advertisers get 12 | INSIDE RADIO FALL 2014 Tap is currently being used at 400+ radio stations, and will be installed at 7,000+ worldwide in the coming months. Benefits of the platform include: »» »» »» »» »» More precise audience targeting by geo and demo Easy management of audio, video and banner ads Improved management of inventory including local, national, & international Delivery of spot- or impression-based ads Built-in competitive separation A RADIO PORTAL TO DIGITAL DOLLARS by Frank Saxe Beyond the major markets, local radio groups are finding success by thinking big with their web presence A s radio works to turn their station websites into a revenue generator, one hurdle to overcome is the reality that most sites just don’t have enough traffic on their own to grab advertisers’ attention or make a difference for local clients – especially outside major markets. That’s why a growing number of groups have turned to standalone local portals as their digital play. In terms of content, most of the portals are driven by local news, weather and listings of community events. Horizon Broadcasting recently revived the MyCentralOregon.com site for Bend, OR, incorporating lessons learned from its old site. President Keith Shipman says 91% of people went to the portal for local news, 7% wanted the weather, and 1% wanted to listen to the police scanner. There’s a growing urgency to build a more robust digital property says Shipman, who points out that Ford and other automakers are requiring local dealers to allocate half of their co-op dollars to the web. “When a local dealer calls, we have to create a vehicle for us to be in play for those dollars,” Shipman says. “And they’re not the only client that’s thinking about that in today’s world.” Nestled in the Sierra Nevada foothills, Clark Broadcasting created myMotherLode.com for the Sonora, CA region. Clark president H. Randolph Holder says the portal draws a mix of on-air clients who want to extend their buy to digital, like a local hospital that sponsors the health section on the website. “It has allowed us to provide an advertising vehicle for smaller mom and pop businesses,” Holder says. Ten months after launching ColaDaily.com for Columbia, SC, Hometown Columbia Media president Kirk Litton says growth has been “fantastic” as the local online portal has “taken on a life of its own.” The site, which brings together radio and digital newspapers assets for Virginia and North Carolina, broke even after six months, and now is generating some profit without the “shell game” Litton sees many radio companies playing with digital revenue. “These sites are real dollars,” he says. “Clients are buying a radio schedule along with a fully-funded digital advertising plan. It’s not bastardizing one at the expense of the other.” Portals and other new ways to go after digital revenue could help narrow the revenue gap among stations in market No. 200 and beyond, which a Borrell Associates survey found averaged less than $30,000 in digital revenue last year. That’s well below the $166,490 for the average station across all markets in 2013. MyMotherLode.com went live more than a decade ago and today Clark Broadcasting gets 15% of its total revenue from digital. The website averages about 135,000 unique visitors per month, who rack up roughly 2.2 million pageviews. To put those figures into perspective, Holder points out the two-county area where it operates has about 100,000 residents. “There are people who we sell to that we’ve never been able to get on the radio, but they’ll buy the internet,” Holder says, many of whom are pulling dollars from their newspaper budget. “They can afford that one-by-two inch print ad, but they could never afford a radio schedule that would have done them any good. This allows us to serve them with a large number of gross impressions each month for a reasonable fee.” While digital sales are growing, Holder doubts MyMotherLode.com will never | p.14 8 bring in enough to out-bill one of his radio stations. FALL 2014 INSIDE RADIO | 13 Clark Broadcasting doesn’t sell MyMotherLode.com ads based on click rates. Instead, pricing is tied to guaranteed impressions. For Hometown Columbia Media, reps offer clients a combination of internal metrics and Google Analytics, Litton says. “It’s a lot more real data than what’s coming from Nielsen diaries based on 1% of the population,” he says, adding, “It’s helped us get beyond the ratings.” Companies that have created digital standalone websites say those web properties are remarkably resistant to bonusing. “There isn’t one free ad on that site, there hasn’t been since day one,” Litton says, referring to the Columbia, SC-focused ColaDaily.com. Horizon Broadcasting says MyCentralOregon.com is a “cash-only” site as well. “We have individual station websites,” Shipman says, “and if added-value exists, it will be on those sites.” There’s no dedicated sales team for MyCentralOregon — Horizon reps pitch the portal. “Every call they go on, we’re asking them to make a pitch for digital so we can identify what kind of budget is available from the advertiser and then hopefully be a good competitor for those digital dollars,” Shipman says. Litton says his sales reps don’t even bother selling ads for their two Columbia stations’ websites, seeing them as more of a promotional tool. He believes digitally native brands are also more resistant to freebies. “These sites can stand on their own, whereas a radio station’s website can’t, because the larger piece of that is the actual broadcast signal,” he says. 24/7 Commitment After attempting to syndicate a portal product to other small market operators didn’t get far, Holder says he’s learned that many broadcasters worry that a robust portal will draw away on-air listeners. But he thinks that’s the wrong way to view things. “You’re not going to cannibalize your listenership,” he says. “You exploit it to run traffic to the portal and that enables you to sell the advertising to make it a standalone asset.” Community portals and digital news sites require more time, effort and expense than station websites to get off the ground and maintain. But having sister radio stations brings lots of built-in assistance on all three counts. While Horizon Broadcasting has hired a digital media director — a rare position in Bend, OR — Shipman says his company is “cross pollinating news” from news/talk KBNW (1340, 104.5) and ABC News Radio for MyCentralOregon.com. “I don’t dedicate manpower to just the local site, but there will be a day when we have to do that in order to remain competitive,” he predicts. Holder says he’s also leveraging a radio news staff. The biggest startup expense for MyMotherLode.com was creating the evergreen content about local parks, for instance. It ran into the low five-figures. It also takes as much commitment to manage the website as another radio station, he says. With a digital newspaper, Litton says ColaDaily.com required an even larger commitment, hiring five reporters and an editor. “We’re 14 | INSIDE RADIO FALL 2014 ANOTHER PORTAL PERSPECTIVE Growing digital revenue is among the ways that many broadcasters believe the industry will continue to grow its bottom line, so there’s good reason to think beyond just inserting audio ads into webcasts as the primary digital play. Borrell Associates calculates just 1% of all locally spent digital dollars are allocated to in-stream ads. Yet, in a survey the firm conducted for the Radio Advertising Bureau earlier this year, nearly one-in-four stations reported streaming ads are their largest single source of revenue. Digital media spending trends make a strong case for radio to diversify its interactive revenue streams. Borrell projects radio’s local online ad revenue will grow 22% to $520.1 million in 2014. That’s half of the GORDON BORRELL growth rate of local online adverting overall, which is projected to jump 43% to $35.2 billion this year. But before every station makes the plunge and launches their own local web portal, media ad consultant Gordon Borrell has some words of caution. “Community portals are rapidly becoming a thing of the past, born at a time when media companies still thought the internet was a website where they’d put content and people would come,” he says. “Today’s reality is that information is far more likely to reach people than people actually come to content.” n reporting local news, so it’s stuff people want 24/7,” he explains. Yet Litton sees a big potential upside. “Maybe someone isn’t a listener to one of our stations, but in some way we are touching them in the community that we’re in,” he says. Holder agrees. “We can only charge for people who listen to the station,” he adds. “So if I can expand our reach across three radio stations and then extend that with a portal that cuts across all listener preferences, it’s a win-win. It’s like having another radio station, one with a ubiquitous appeal to the entire market.” n FALL 2014 INSIDE RADIO | 15 NATIONAL RADIO AWARD His first FCC license came as a lark. Now the DIY group owner becomes a pioneer in using FM translators B U D T W A L T E R S he radio industry nearly lost Bayard “Bud” Walters to a life of a “Mad Men” era advertising honcho. But 45 years later, Walters is owner and president of The Cromwell Group. At September’s Radio Show in Indianapolis, Walters is being honored for his years of service to the industry as he’s presented the National Radio Award by the National Association of Broadcasters. “I worked at the college radio station as an extracurricular activity and I just really loved it,” Walters says, looking back on what launched his more than four decades in the business. It came with an early lesson in community service for the communications undergraduate at Indiana’s DePauw University. “My first year I did the farm news because I’m southern boy and I had an accent and so they thought it fit the job,” he says. While he didn’t know much about hog futures, a few years later Walters says radio was even more appealing. “A light bulb went off during my junior year and I said I want to do this as a career,” he remembers. But Uncle Sam put that plan on hold for four years as Walters went into the Air Force. Because of his communications degree he spent most of his time in Atlanta doing public relations work. Once back in civilian clothing, Walters returned to academic life at Indiana University pursuing his M.B.A. During a class in 1969, the assignment was to fill out an FCC application. “Everyone else did a dummy application, but I filled out a real one,” says Walters, in what turned out to be a turning point in his life. He applied for the construction permit for a new AM station in the Owensboro, KY market. When it came time to award the license, Walters beat a bid by an also young-and-upcoming Ed Atsinger, who today heads Salem Communications, and former Kentucky Governor Edward Breathitt. His winning strategy was choosing to locate the station in Hawesville, KY, giving the community its first radio service. But that’s also where radio almost lost Walters to the advertising business. As his application crawled through the FCC, he graduated Indiana University and was in need of a job. The ad agency Leo Burnett snatched up the fresh graduate for its Chicago office and Walters began working as a media buyer, later transitioning to account services. 16 || INSIDE 16 INSIDE RADIO RADIO FALL FALL 2014 2014 by Frank Saxe “After three years I finally got the CP to build this little daytimer in Kentucky,” he says. “I had to make a decision because I would have to go there and run it – but Burnett gave me a two year leave of absence to go build the station.” So he packed his bags in 1972 and headed to the small town of 1,500 residents. “We started the station and it was a success – even as a daytimer,” Walter says. “But after two years I had to make a decision again, and this time I decided I didn’t want to go back to Chicago to spend the rest of my life.” With WKCM (1160) now on its feet, he headed to Nashville in 1974 for a job at the ad agency, Noble Dury Agency. But by 1977, radio became his full-time career for good. Today, The Cromwell Group owns 22 stations across five markets. The DIY Radio Group Some companies and executives are known as the consummate deal-makers, buying and selling signals. But Walters has taken more of a DIY approach. Over the years, Cromwell has owned and operated 32 radio stations, 20 of which were startups or upgraded from their original license. “We couldn’t get FMs at the time, so we went through the CP process, often times buying licenses from people who didn’t realize what a big job it is to start a radio station,” Walters says. Sometimes it also meant taking some chances with programming, such as in 1988 when he embraced Lexington, KY’s breeding heritage by signing-on the talk station WHRS which talked about the horse industry 24 hours a day. Other times Walters thanked friends in novel ways, such as when he honored former DePauw professor Elizabeth J. Turnell for her post-retirement help at his first station, WKCM. When it came time to give new call letters to an FM he purchased in her hometown of Decatur, IL, Walters picked WEJT. They remain in use today on adult hits “105.1 Jack FM.” “I’ve always worked under the premise of being important where you are,” Walters says. “We’re never going to be a large company, but the idea is that if in central Illinois there is an opportunity for us to add a station or a translator that would help Bud Walters us be more competitive, then that’s what I did. That’s how we ended up with as many stations as we have. Going forward, we would add another station only if it fit within that concept.” Translators, however, are a different story. “We do want all the translators we can get,” Walters says. His company sought 20 signals during the 2003 filing window and has already signed-on some of the translators it won. Leveraging his years of building and upgrading stations and skills at navigating the FCC process, Walters has championed using FM translators for AM stations more than just about anyone. “I hope everyone who has an AM can have a translator,” he says from his Nashville home. “All of our AMs now have an FM translator. It gives them new life and new hope. Our heritage station in Owensboro, ‘Greatest Hits 1420’ WVJS (1420, 100.5), had almost fallen off the map and now with the FM it’s a real radio station again.” That’s why, in November 2012, he and attorney John Garziglia filed what’s become known as the Tell City waiver request. Walters says it was borne out of a situation that developed with oldies WTCJ (1230) in Tell City, IN. “I couldn’t find a translator that I could do anything with,” he recalls. “But Way FM had one they were willing to sell me. But it didn’t meet FCC criteria and that was the genesis of this waiver case.” In a nutshell, Walters asked the FCC to help struggling AMs by permitting them to move a translator larger distances than is normally permitted. Nearly two years later, the agency hasn’t acted on Cromwell’s waiver request but instead has included its suggestions in the current AM revitalization rulemaking. While anxious to get a decision, Walters says he understands the FCC’s methodological approach. “If they approve it, then everyone will try to do it everywhere in the country, so they really have to decide if it serves the public and if they can handle it,” he says. Yet as the Commission searches for ways to grow women and minority ownership levels, Walters also sees the slow pace of decision-making as a deterrent to entrepreneurs. “The process is so onerous that most people don’t have the money to wait it out,” he says, remembering it took three years for his first AM license back in the sixties. “That sets up a situation for investor types, because they’re the ones who have the money to wait,” Walters adds. A Shift of Generations, and Platforms While Walters has no plans to sell his privately-held company anytime soon, several other longtime family-owned broadcast groups have announced their exits this year, including the Engelbrecht family’s deal with Midwest Communications and Rolland and Paula Johnson’s sale of Three Eagles Communications to Digity Media. “We are in a generational transition of ownership,” Walters says. “The last generation turned over in the 1960s and ‘70s, and now we have another generation turning over.” He points out familyrun operators like Duke Wright-led Midwest Communications, Steel City Media, and Hubbard Radio are growing through some of the biggest deals of the past few years. Undoubtedly the biggest shift in radio is one toward digital, which is something Walters says impacts even his smallest markets. “We have to add digital as part of what we do because our clients are seeing it and asking about it, and so we have to be in a position to be their expert,” he explains. NATIONAL RADIO AWARD “The real question is how we make money with it, because right now we can’t make money on streaming, which is actually a new expense.” Even so, Cromwell has created the iGoRadio app which streams all of its stations. Walters believes NextRadio will be part of the solution as more people download the Emmis Communications-created app that enables over-the-air FM listening on smartphones. “We can look down the road to the time when everyone in America has a radio in their pocket and that has never existed before,” he says. Walters says the challenge for broadcasters operating outside the large metros will be to offer a NextRadio product that’s just as compelling as someone using the app in a major market. New 925 foot tower being build in Tennessee, 2006 Looking Forward Walters says he’s encouraged to see broadcasters coming together on the NextRadio rollout and several other industry initiatives, believing membership in trade groups like the National Association of Broadcasters and the Radio Advertising Bureau is more critical than ever so the industry can present a united front in Washington and to marketers. In terms of radio dealmaking, the sale of stations by many investors may be flooding the market at the moment but he thinks that’s also part of the economic recovery. When they’re gone, Walters predicts, station values will start to stabilize. “Once that inventory clears out, then there’s the possibility of values going up,” he says. And even though financial firms and their analysts don’t always speak kindly of the medium’s prospects, Walters thinks radio’s outlook is much better than the industry gets credit for. “We’ve always had competition from cassette tapes, CD players and for more than ten years satellite radio, and they are all expanding the use of audio,” he says. “For radio stations, we are competing for time spent listening – but as long as we give people the things they want to listen to in their communities, we have got a bright future.” n FALL FALL 2014 2014 INSIDE INSIDE RADIO RADIO || 17 17 INSIDE RADIO Q&A DARREN DAVIS by Paul Heine I n a little over 20 years, Darren Davis has risen from an intern at Washington AC WASH (97.1) to one of the highest ranking executives at radio’s largest company. As a programmer, Davis was typically first to raise his hand at the invitation to accompany an AE on a sales call, helping prepare him for his current role where one foot is planted in programming, the other in sales. Likewise, his work on Clear Channel’s Premium Choice air talent program helped pave the way for making Clear Channel a more nimble platform for advertisers. As president of Clear Channel Networks Group, Davis, 41, oversees Premiere Networks, the Total Traffic and Weather Network, the 24/7 News Network and iHeartRadio. What results have you seen from bundling local and network radio together for advertisers as the iHeartRadio Networks? We’ve heard both internally and externally that it’s made things a lot easier. If nothing else, it makes it easier for our sellers to succinctly tell the story about what we have to offer a brand. If you go back six months, when a retailer came to us and wanted to reach country fans, it just wasn’t easily packaged together. Now we can sell somebody on the idea of the iHeartRadio Country Network, which gives you coverage across 120 of America’s best country stations, plus our syndicated country shows and digital country channels and websites in a nice, easy package. And as with all the things we offer, it’s totally customizable. Is it making radio easier to buy? It seems to be. Now it takes 10 seconds to plant the idea in someone of all that we can do to reach a country fan as opposed to showing a whole bunch of pages of stats and charts and graphs and station lists. It gives us a much cleaner elevator pitch to tell the story and that’s been helpful. Radio is relying more on endorsements, DJ chatter and social media add-ons to differentiate itself for advertisers. How is that changing the role of air talent? 18 | INSIDE RADIO FALL 2014 It makes them even more important than ever, doesn’t it? And that will only continue to grow. It’s the word of mouth recommendations from your friends, in this case, the DJs, that make radio so powerful. You need look no further than iHeartRadio to see what a powerhouse radio can be with DJ recommendations. We turned that into something huge and we didn’t buy TV spots, didn’t place an ad in the newspaper, didn’t even use outdoor very much. We just talked about it on the radio. Our DJs made that happen. More and more, the DJ’s job doesn’t stop with just talking into the microphone in the studio. Their voice on social media is becoming equally important. It helps when the personality has an affinity for the product they’re endorsing. There was no one better than Paul Harvey at it. He was just so passionate. The Bose Corporation didn’t have to send Paul Harvey a list of talking points about their product. They sent a box with the radio in it and said, “Here, try it out.” And he fell in love with it and talked about it on the radio. That’s the best way for it to come together. How can the industry retain its competitive advantage as a local medium when much of the content is national in origin? A lot of the content has always been national in origin. The secret is the mix. I always talk about the secret sauce that comes from the seamless weaving of the national elements with the best local content. The very best stations, starting with Z100 [CHR WHTZ, New York] have that combination. The program directors positioned to be the stars of tomorrow are the ones who do a fabulous, expert job at taking all those parts, regardless of where they’re coming from, and make them sound like they’re part of one cohesive product. When you hear a station where they’ve taken a national show and they don’t give it any TLC, it can sound disconnected. That’s not good for the station or for the show. You rose through the ranks through the programming department. How did you school yourself on what advertisers are looking for? I got into radio at just the right time, in the early ‘90s. Competition was taking off and radio was very clearly a business. I knew from the day that I started as an intern at WASH that revenue was king. We weren’t there to get ratings, we were there to make money. Great ratings are often the way you make money but we were there to run a business and that was made clear from the day I walked in the door. That was a very different upbringing in radio than a lot of programmers had back in the ‘80s. Because of that, I’ve never looked at myself 100% as a programmer. I’ve always described myself as a business person who happened to know more than the average bear about programming. What attracted you to radio? Going back to our Paul Harvey conversation, that’s what made me want to get into radio. The absolute magic and power of hearing someone at the other end of that microphone, sitting in a mystery room somewhere, conveying a message and capturing my imagination. I always gravitated to going off with the clients and figuring out ways to make their messages work because that’s why we’re here. How is the company’s extensive national infrastructure making it a more agile solution for advertisers? It works completely seamlessly so that we can have a message spread across all our stations in just minutes, whether it’s something we need the DJs to mention or actual recorded commercials. Those things literally take days to change in TV. It’s a huge competitive advantage. That’s something we talk a lot about with advertisers, especially ones who want triggerbased advertising based on a snowstorm or some sort of local event that they can’t predict ahead of time. ‘I ALWAYS GRAVITATED TO GOING OFF WITH THE CLIENTS AND FIGURING OUT WAYS TO MAKE THEIR MESSAGES WORK BECAUSE THAT’S WHY WE’RE HERE.’ – DARREN DAVIS 3Pictured Left: Darren Davis at WASH-FM in 1973 Can you give some examples of how marketers are leveraging technology to use radio in new and innovative ways? Our partnership with AdsWizz is one. It’s exciting because it will give our advertisers the ability to very specifically target their messaging across iHeartRadio. They’ll have targeting options that will expand from contextual criteria, things like the format or radio station, to the type of device the listener is using and demographic info that we get from our registered users. It will be a game changer for advertisers and listeners. It’s a better listening experience when the ads are things you care about. It’s not just about advertisers getting their messages out more effectively, it’s about making a better listening experience too. What progress are you making in convincing buyers to adjust their media mix to include radio more equitably? We sure are having a lot of eye-opening conversations with a lot of big advertisers and agencies and causing them to have that ah-ha moment, which is all you can expect in the very first conversation. I don’t think it’s realistic to think that we’re going to walk out after an initial 30-minute conversation and have people shoveling over suitcases full of cash that they weren’t previously. It’s going to take more and more conversations. | p.21 8 FALL 2014 INSIDE RADIO | 19 20 | INSIDE RADIO FALL 2014 Darren Davis with country artist, Luke Bryan, at the iHeartRadio Theater And it certainly has opened a lot of doors for the next discussion, which, in a lot of respects, is all I can hope for. Right. We could do that. Right now, if you listen to an AC station like Lite-FM in New York [WLTW], we’re going to assume that you enjoy Elton John. We might learn from your behavior in iHeartRadio you personally don’t enjoy Elton John but you do enjoy Bruno Mars. We could serve up different kinds of content to you specifically. You’re a short time into adding ove r s i g h t of iHeartRadio. What do you see ahead for it in terms of growth? What’s a typical working day like for you? This is an exciting time for iHeartRadio. I look at it as halftime in a football game. It’s a good chance for us to step back, catch our breath and take a look maybe through a different lens at what’s worked well and what we can do better and what we’re really trying to achieve and decide how we want to come out of the locker room and play the game in the second half. No one should look at this as a huge change or a revolution of iHeartRadio. Quite the contrary, we’re just trying to build on what’s been put in place by Brian Lakamp and his team. Hitting 50 million registered users was a huge feat. Now, the challenge is where do those next 50 million come from. Clear Channel station streams insert a lot of original content when the broadcast station is in a spot break. With the AdsWiz partnership, do you envision hiking online spotloads? There is definitely some headroom there. We could add some without it becoming anything even approaching a bad listening experience. The custom product has always been commercialfree and that is still the plan going forward. The content you’re referring to – whether it’s an Elton John artist profile or Madonna’s top 10 songs of all time – that’s all created by the iHeartRadio Networks team. We create that material for 14 different radio formats. With the AdsWiz technology, we’ll be able to target that stuff even more specifically to just the right people, which ought to make it an even better experience. So, I might hear an Elton John profile and you might hear Madonna? At any given moment I’m probably sitting with someone, talking about things and I’m also emailing and hopping on a phone call and sending a text message and there’s a good bit of travel in between. My day consists of me with a smartphone in my hand 18 hours a day. If I’m awake, I’m working but I have more fun than anyone I know. Even though I’m always working, I feel like I’ve never worked a day in my life because I’ve always wanted to work in radio. It was a dream come true. ‘THE STAR PROGRAM DIRECTORS OF TOMORROW ARE THE ONES WHO DO A FABULOUS JOB AT TAKING ALL THOSE PARTS, REGARDLESS OF WHERE THEY COME FROM, AND MAKE THEM SOUND LIKE THEY’RE PART OF ONE COHESIVE PRODUCT.’ – DARREN DAVIS What’s your advice to companies on how to groom the next Darren Davis? I think you’ve got to tolerate the eager pups coming in the door, even though they may ruffle some feathers. Sometimes they need to be ruffled. You have to encourage the up and comers from the very early stages that it’s okay to make mistakes and try new things. Ultimately they’re going to become a far better employee. You want to encourage them from the very beginning that it’s okay to break a little glass, because we’re all working for the same goal, which is making stations sound great and making the product work for our advertisers. n FALL 2014 INSIDE RADIO | 21 22 | INSIDE RADIO FALL 2014 TOP15 DRIVE TIME LEADERS AM 6+ CUME PPM Cume Avg., Jan-July 2014 6-10am Station Market Format Talent/Title # Listeners WHTZ FM NY CHR Elvis Duran & the Z100 Morning Show 1,332,600 WLTW-FM NY AC Bronson & Christine 1,160,600 WINS AM NY News 1010 WINS News Team 1,102,200 WCBS FM NY Classic Hits Scott Shannon in the Morning 1,076,500 KIIS FM LA CHR Ryan Seacrest 1,069,000 WCBS AM NY News Newsradio 880 News Team 1,034,800 WKTU FM NY Rhythmic AC KTU Mornings with Cubby & Cindy 936,800 KAMP FM LA CHR Carson Daly 905,100 KBIG FM LA Hot AC Valentine in the Morning 897,200 WAXQ FM NY Classic Rock Jim Kerr Rock & Roll Morning Show 876,700 KPWR FM LA Rhythmic CHR Big Boy’s Neighborhood 828,200 WWFS FM NY Hot AC Jim & Kim 808,000 KOST FM LA AC Mark Wallengren 804,400 WBBM AM Chicago News Pat Cassidy & Felicia Middlebrooks 770,300 WBLS FM NY Urban AC The Steve Harvey Morning Show 762,300 PM 6+ CUME PPM Cume Avg., Jan-July 2014 3-7pm Station Market Format Talent/Title # Listeners WHTZ FM NY CHR JJ 1,997,000 WLTW FM NY AC Rich Kaminski 1,898,700 KIIS FM LA CHR Boy Toy Jesse Lozano 1,754,100 WKTU FM NY Rhythmic AC Sean ‘Hollywood’ Hamilton 1,706,800 KBIG FM LA Hot AC Dave Styles 1,549,000 KAMP FM LA CHR Booker 1,461,400 WCBS FM NY Classic Hits ‘Broadway’ Bill Lee 1,445,100 KPWR FM LA Rhythmic CHR Felli Fel 1,315,600 KOST FM LA AC Bruce Scott 1,315,000 WWFS FM NY Hot AC Dylan 1,228,800 WAXQ FM NY Classic Rock Ken Dashow 1,148,100 WQHT FM NY Rhythmic CHR DJ Enuff 1,142,600 WWPR FM NY Hot AC Angie Martinez 1,140,700 WBMP FM NY CHR All Music 1,080,500 WSKQ FM NY Tropical Raymond, El Vacilón de la Manana 1,028,700 Source: Nielsen Audio. Jan-July 2014, 6+ cume average using standard dayparts, which may not match host/show times. Number of listeners rounded to nearest hundred. FALL 2014 INSIDE RADIO | 23 ... your wardrobe consists mostly of station t-shirts. ... at least half of your wardrobe needs to be replaced every time you take a new job. ... you remember your wedding anniversary by what year THE song hit #1. Find More online @ insideradio.com. ... you put Z100 stickers all over your toddlers tricycle. ... each of your kids was born in a different town - even the twins. Thanks to all who contributed! ... you don’t listen to a competitor in your car for fear that someone in the next car has a PPM device. ... when watching MLB, College Football or the NFL... you turn down the TV play by play audio and Turn up the Radio play by play audio. ... you actually turn on the Clock/Radio in your hotel room. Bonus points if you set it to the AM dial. ... you quit a radio station as a sales executive, then missED it so much that you learnED how to produce your own radio show and BOUGHT air from another station. ... the the act of talking to yourself outloud does not seem strange. ... when riding in the car, you turn the music down and turn the commercials up. ... you’re STILL trying to FInd a decent alarm clock that plays AM at Radio Shack. 24 || INSIDE 24 INSIDE RADIO RADIO ... your home has (at least) ONE radio in each room. FALL FALL 2014 2014 ... you have a notebook in your car with all the notes from billboards you saw ON your way home. ... there is always a radio on somewhere in your house. ... you judge someone based on their presets. ... your kids think you can get them into any concert just because you work in radio. ... you have nightmares about not being able to FInd the next record to play. ... you’ve worked with the same people at 3 or more different companies. Special FALL 2014 Edition News & Updates @ www.insideradio.com STAFF ... your kids are named after Call Letters!!! KARL, WALT... EDITORIAL FRANK SAXE [email protected] PAUL HEINE [email protected] ... you have ever answered your home phone with: ‘Good Morning, WXYZ radio request line.’ ... you have permanent ‘headphone hair.’ ART DIRECTION/ PRODUCTION KELLI GRISEZ [email protected] ... you see towers along the highway and wonder what stations they are for. ... you match your headphones and mic to the color of your hair! (Pink, in my case!) ... you met anD married your husband who is also in radio and all of your children can set up and execute a live broadcast like a pro! PUBLISHER/ GENERAL MANAGER GENE McKAY 800-248-4242 x711 [email protected] ... you get a rush when your competitor has dead air. SALES MANAGER KARYN BAK 800-248-4242 x705 [email protected] ... you use 1/4 tape as a hair tie ... when YOU drop off a rental car YOU pre-set all the buttons to YOUR radio station. ... the EAS tone is your ringtone. ... you FInd the idea of actually paying for a concert ticket almost unthinkable. ... you have more gold records on your walls than family pictures! DATA/RESEARCH CATHY DEVINE [email protected] LIZ NALDRETT [email protected] DREW SIMPSON Sales/Precisiontrak.com 800-248-4242 x707 [email protected] ... you’ve made friends after complimenting each other’s segues. ... you can reFIll your coffee and go pee all in the time it takes to play a :60 and a :30. SUBSCRIPTIONS KATHRYN LAMBIS 800-248-4242 [email protected] ... you’re sitting in the Dr’s oFFIce talking Yanni up to the post. INSIDE RADIO P.O. Box 567925 Atlanta, GA 31156 800-248-4242 TEL 877-270-3998 FAX www.InsideRadio.com Copyright 2014. All rights reserved. No portion of this issue of INSIDE RADIO may not be copied, faxed, retransmitted, or reproduced in any form without the written permission of the publishers. All efforts are made to keep the data as accurate as possible. However, errors and omissions are unavoidable. Formats of stations listed reflect the analysis and groupings of the M Street Database /Precisiontrak.com and may differ from the station’s opinion or interpretation. INSIDE RADIO is published weekdays and available on the website, via email distribution as PDF and HTML and on our mobile app. Follow us on twitter: @insideradio. ... some of your fondest memories are of sitting in front of a radio trying to tune in distant stations at night. FALL FALL 2014 2014 INSIDE INSIDE RADIO RADIO || 25 25 FORMAT SCOREBOARD COUNTRY HITS 10-YEAR HIGH »» Fueled by a new wave of hot country artists and record-high ratings, the number of country-formatted stations has reached its highest level in more than a decade. There are 2,053 radio stations airing the best that Nashville has to offer, the most since 2003. »» Country makes up 19% of commercial radio stations on the air, a six-point advantage over news-talk’s share. »» Despite a mid-term election year, the »» There are now more hot AC stations on number of news-talk stations has fallen the air than at any point in history. to a five-year low as the format faces »» As a result, the number of classic hits, AC ratings challenges. and oldies stations ticked lower during »» Radio’s other big spoken word format the past year. continues to post record gains. »» Also setting yet another new record »» During the past decade the number of is Spanish-language radio, with all sports stations has jumped 68%. the formats under that umbrella now »» Pop music’s vitality (and variety) has also representing 8% of commercial radio led to a record-setting year. stations. Format 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 Country News/Talk Spanish Sports Classic Hits Adult Contemporary Top 40 Oldies Classic Rock Hot AC Religion* Rock Adult Standards Black Gospel Contemporary Christian Southern Gospel Urban AC Ethnic Soft AC R&B Alternative Rock Modern Rock R&B Adult/Oldies Variety Pre-Teen Jazz Rhythmic AC Gospel Easy Listening Classical Modern AC Format Not Available TOTAL STATIONS Stations off the air 2022 1326 696 508 271 683 503 762 461 374 319 269 404 286 172 206 156 115 324 150 103 151 53 37 60 84 n/a 36 19 28 23 1 10602 72 2038 1338 706 535 429 660 484 725 456 378 311 276 368 267 150 208 167 116 302 136 108 134 47 35 58 78 n/a 32 21 29 20 11 10623 88 2027 1368 786 564 477 665 472 709 456 373 287 281 369 253 153 204 161 115 242 134 120 125 41 37 57 73 27 26 19 23 19 5 10668 92 2018 1365 799 595 524 670 472 708 474 373 299 287 358 244 136 211 161 118 223 135 121 122 36 37 56 60 24 26 16 22 21 7 10718 135 1995 1416 803 634 582 626 484 649 477 409 324 298 327 242 162 209 162 121 204 127 107 114 40 42 52 40 18 25 18 23 20 4 10754 223 1997 1437 806 665 637 634 495 637 481 417 322 294 265 235 166 197 159 127 173 128 99 111 48 43 44 38 18 26 19 19 18 16 10771 253 1987 1455 818 670 657 607 523 628 477 435 332 301 251 225 166 188 155 131 161 134 101 101 50 45 39 24 16 25 17 22 20 12 10773 261 2020 1503 816 692 657 597 559 597 477 420 342 295 240 214 171 170 152 132 156 132 102 93 51 49 35 36 17 23 19 20 15 12 10814 264 2042 1453 835 740 678 605 573 566 486 428 336 299 227 212 172 172 158 142 141 131 101 96 46 46 33 28 21 19 18 16 14 36 10870 237 2053 1409 844 788 754 597 577 476 486 465 324 302 221 211 157 169 167 152 131 131 105 100 48 44 25 27 20 13 16 14 16 41 10883 216 Construction Permits 238 358 435 377 329 341 321 356 295 287 Source: M Street Database, July 2014. Format Counts for All Commercial U.S. Stations (does not include HD stations) produced every July. *Teaching, Variety. All data provided by PrecisionTrak.com. 26 || INSIDE 26 INSIDE RADIO RADIO FALL FALL 2014 2014 FALL 2014 INSIDE RADIO | 27 28 | INSIDE RADIO FALL 2014