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The Stuph File Program – Episode #0418


Welcome to the latest edition of the Stuph File Program.

For a program list of the items included and all their accompanying links in this one hour show, you can find the information on my website in the Stuph File Program section, or just follow this link to #0418.

To download the podcast, right click here and select “Save Link As”

Featured in this episode:

Click logo for iTunes podcast subscription If you have any comments or suggestions, or items for the mailbag, feel free to click on the “Comments” link below to add your thoughts.

London: Global Radio Using Video For Revenue Stream



LONDON: Radio may be an audio medium but Global is successfully using video to increase both reach and revenue opportunities.

The owner of commerical radio stations like Capital, Heart and Classic FM is understandably focused on things like audio branding and why advertisers should be developing a distinctive brand sound or voice – what Jo McCrostie, Global’s creative director, has described as “unmuting”.

That emphasis has not precluded the increased use of video, however, with a 25-strong team tasked with creating up to 600 videos a month, Digiday reported, ranging from short clips for distribution via social to longer concerts and interviews hosted on individual station sites.

One particular area that has seen growth over the past year has been two-minute videos of radio hosts’ interactions with the public or guests at current-affairs talk station LBC.

Less than 1% of 160 hours of talk radio every week makes it into these clips which hit a peak of 18.3m video views on Facebook in May, compared to an average weekly audience of 1.4m.

These are more about reach than revenue, according to Ollie Deane, Global’s commercial digital director, who pointed out he wasn’t about to build a commercial strategy that depended on revenue delivered by other platforms.

“It’s about defining what social plays in your business,” he said. “Large amounts of views on social platforms, while there’s no direct significant monetization opportunity as there is on your own platform, [are] still growing the brand.”

Some of those viewers will come to Global’s own sites, where, he said, videos generate around 40m monthly 30-second non-skippable pre-roll impressions, figures which are proving increasingly attractive to advertisers: in 2016, Global ran around 200 video campaigns that brands had paid for, up from just 30 two years earlier.

Deane added that regular radio users were also more likely to be listening to video campaigns than many people who view them in social feeds with the sound off.

“If someone is loading the Capital FM app, they are going to be listening to music, so [they will] have the sound on,” he said. “That pre-roll delivers a sound-on experience, so we’re seeing a big uptake in advertisers buying that inventory.”

7 Keys To Your Original Podcast


7 Keys to Your Original Podcast

Podcasting is an excellent vehicle to expand and deepen your brand. More than 67 million people are listening to podcasts monthly. Commercial radio accounts for only about 1 percent of this total.

The good news is that radio shows have the advantage of driving their large cume to their podcasts. It’s post time to get your show on board. Jeff McHugh unlocks the 7 keys to creating your podcast.


Podcasting will be bigger than you think, sooner than you think. Just follow the money.

Advertisers like measurement. A broadcast ad reaches a large audience, but advertisers today track who their ad reached, their demographic information, where they live, if they reacted to it and more.

Digital advertising can do that. That is why Emarketer.com predicts that digital will surpass television advertising this year, and why it will consume 45% of all ad revenue by 2020. Terrestrial radio, which does not have that capability, will shrink to 6%.

But new services on the way from Nielsen and Apple will provide better data on podcasts, like whether ads were skipped and who heard the ad.

Certain advertisers also like reaching niche audiences instead of mass ones. Plus, voice-controlled devices are bringing on-demand listening into the home and millennials (tomorrow’s big money demo) love podcasts.

Money will tsunami into podcasting, and it will become your sales manager’s favorite subject. Creating a podcast is easy. Starting a successful podcast is hard.

Radio show podcasts can go in one of two directions. Best-of content and original content. Some do a mixture of both.

If your show is well known in your market and if it regularly outperforms your station’s ratings, a best-of podcast is a great way to start.

The data we have seen suggests that a daily 15-20 minute podcast of your show’s highlights is the best way to gain subscribers quickly. Be sure to promote it on-air.

You could also consider a podcast of original, niche content. One example is KISW Seattle’s BJ and Migs where BJ does a “Geek Nation” podcast and Migs hosts “Migs Versus The World Of Wrestling.”

To create a successful original podcast, consider this checklist to determine if you are choosing a worthy show premise or following a dead-end.

  1. You know it. Choose a topic that you are an expert in.
  2. You love it. Something that you rarely tire of discussing.
  3. You have connections. People who can give you content, information on that subject or who can be guests.
  4. Good stories. A podcast about dating or sex (human behavior) will be more compelling than one about earthquakes or seltzer water (physical things.)
  5. Ready-made audio. A good topic lends itself to a studio audience, on-the-street comments, movie or song clips or actualities.
  6. Sustainability. Historical topics about the past do not offer as many new topics as current topics that bring new stories.
  7. Exclusivity. Search who is already plowing that topic ground and change your idea to offer a new angle.

Remember, the topic you choose is simply the stage that you dance on. Listeners will choose the podcast based partially on your personality, chemistry and passion, but the more checks you have on this list, the better chance your podcast has of surviving and thriving.

TSN 1040 Announces New Weekday Lineup


Vancouver sports radio is heating up with Sportsnet 650 expected to debut soon and challenge TSN 1040 for local bragging rights. To make sure they’re prepared for the increased local competition, TSN is making adjustments to its weekday lineup, with the changes scheduled to go into effect on Monday, August 21st.

The new weekday schedule includes The Bro Jake Show earning an extra half hour in morning drive. The show will now air M-F from 5:30a-9a PT and continue to feature Bro Jake joined by Dave Pratt and the best sports insiders and analysts in the business.

The mid-morning show from 9a-12p PT will belong to Halford and Brough, featuring Mike Halford and Jason Brough. The former Kurtenblog radio guys make the move to hosting a daily sports radio show, and will be counted on to add their unique insight, analysis, and humour to the day’s biggest sports stories.

The early part of the afternoon is occupied by Donnie and The Moj in the 12p-3p PT timeslot. The former afternoon show will continue to supply top notch sports insiders, while keeping listeners up-to-date and entertained during the work day. The show plans to include two full hours of Canucks analysis, opinions, and the latest breaking news on and off the ice as part of The Nux at Noon, a programming strategy implemented for the 12p-2p PT hours.

Taking listeners home each day from 3p-7p PT will be the new drive time duo of Sekeres and Price, featuring Matt Sekeres and Blake Price. The Vancouver sports radio duo previously enjoyed a lengthy successful run in middays. They’re the only show on the station to be given four hours of air time each day.

“With more than 12 consecutive hours of live, original programming available over the air and on the go, our refreshed all-star roster of hosts and shows will continue to provide fans with the premium sports content they’re seeking throughout the day,” said Robert Gray, National Program Director, TSN Radio. “We’re also thrilled to welcome Mike and Jason to TSN 1040’s weekday lineup, and look forward to the duo sharing what they’ve done so well on their weekend show with their new audience.”

TSN 1040’s New Weekday Lineup

·         5:30 a.m. – 9 a.m. PT: THE BRO JAKE SHOW

·         9 a.m. – 12 p.m. PT: HALFORD & BROUGH

·         12 p.m. – 3 p.m. PT: DONNIE & ‘THE MOJ’

·         3 p.m. – 7 p.m. PT: SEKERES AND PRICE

Along with listening on AM 1040 and AM 1410 in the Greater Vancouver Area, fans can tune in live at TSN1040.ca and via the TSN GO and iHeartRadio apps. The station’s podcasts are available on demand at TSN1040.ca.

David Letterman And Howard Stern Together Again


How To Make Voice-Tracking Sound Live


How to Make Voice-Tracking Sound Live

It’s hard to duplicate the authenticity and the energy of a live mike.

We talked to syndicated host Zach Sang, KUPL Portland Program Director/Afternoon Host, MoJoe Roberts, and drew from our own voice-tracking experience. The same principles that serve you live, apply to voice-tracking.

The perfect recipe for sounding mechanical and canned is to use this line we’ve often heard in workshops, “Hey, I’ve got to take a fifteen-minute break to knock out a show.” You can’t make a track show sound live and authentic in fifteen minutes.

Planning is crucial. Trying to come up with something compelling on the fly as you come to each segment will not only take forever, the content will not be very good. Plan the setup, exit, your point of view, and tease for every segment. Line up the audio, callers, and scribble down some notes for each segment.

Best Practices for Making Voice-Tracking Sound Live

Bank phone calls…just because you’re tracked, doesn’t mean you can’t inject listener calls to enhance and localize your breaks. Staging calls with other air staff members creates dynamics and the sense of camaraderie for the station.

Leave in the little mistakes. Tracked shows sound antiseptic when you record breaks over and over for perfection. Mistakes help you to sound like a human being, and they give you an opportunity for self-deprecation. Limit editing, and just re-cut massive mistakes. To sound live, avoid going in with the mindset that you have that safety net.

Recycle great content from the first and second hours to later hours in the show. Even NPR stations, with their eternally long time spent listening, repeat segments every two hours.

Bring another person in the studio when you can. Grab an intern (appropriately!), the receptionist, or your producer. Interacting with someone a few times will give your show energy and dynamics. Just having someone there to make eye contact with helps to make you sound more lively and authentic.

If you are tracking in advance, be careful about things that can change, like the weather. Weather can be unpredictable, and the most obvious sign that a show is recorded is hearing a talent say it’s sunny during a rain storm.

Contesting via text, web or social media is a great way to connect and offer incentives on tracked shows. Be sure to respond to social media, emails and text messages.

Crank up the music going into and out of songs. It’ll feel more live, and help you to maintain energy.

Recall the adrenaline and feeling of your highlight live performances. After all, you’re a performer and entertainer, and a big part of that is mindset. Then press record and go for it.

If you are a VT vet, we would love to hear any additional tips you have to make pre-recorded audio sound live.


Sportsnet Launching September 04, 5:30AM


Sportsnet 650 launching from Ash St. Vancouver at 5:30am Monday September 04, 2017.

The newest member of the Sportsnet line up is coming.

SN650 is the new home of the Vancouver Canucks, the NHL and MLB Post Season, plus top tiered live sports and informed opinions.

It’s a whole new game.


Instagram: @Sportsnet650
Twitter: @Sportsnet650

Cartt: CRTC Ponders New Radio Station For Lloydminster


OTTAWA – The Alberta/Saskatchewan city of Lloydminster may soon have a new radio station after the CRTC issued a call for comments on the market capacity and on the appropriateness of issuing a call for radio applications in that market.

The Commission said Wednesday that it issued the call after receiving an application from Vista Radio for a commercial radio station to serve the area.

Interventions are due by September 15 and the deadline to file replies is September 25, 2017.  Following receipt of comments, the CRTC said that it will conduct an assessment of the market’s capacity to support an additional station, taking into account economic and financial data as well as the comments received in the public consultation.  Given the limited number of stations operating in Lloydminster, financial statistics will not be released in order to preserve the confidentiality of station-level information.

All persons interested in serving that radio market should express their interest during the intervention period, continued the Commission.  Should little or no interest be expressed, the CRTC said that it may publish the application for consideration during the non-appearing phase of a public hearing rather than issue a call for applications.


Essential Steps To VoiceOver Success


Being Heard

Once you’ve determined that voiceover success and the exciting, creative and sometimes challenging world of voiceover is for you and you’ve worked with a coach to find out:

  • What skills you have
  • What skills you need to refine
  • What type of voice or voices you have
  • What kind of work that voice/those voices would be suited to, and
  • How to approach the scripts you’d be cast for

…then you’re ready for the next step to voiceover success!

Marketing your talents to the industry

No matter how good your voice is, or how amazing your work on either your demo or your samples is, you must find a way to let everyone know what you have and how to reach you.

I’m amazing at how many people start out hoping for a career, or work, in voiceover unready for the reality of how you get the work.

So let’s look at how you need to prepare yourself.

First up

Voice Demos

If you’ve been working with a coach, then the likelihood is they’ve been able to source the right kind of scripts for you, help you put together a great demo or create sample tracks that represent work you do best and that you would be cast for.

It’s essential that your samples or your demo sounds professional, which is why a great coach or a voiceover producer is invaluable.

Don‘t make the mistake of thinking that you can just throw something together yourself or even with a friend who has a studio.

Unless your friend is a professional voiceover sound engineer, then this could sound unprofessional, positioning you as an amateur.

That’s probably not the best route to voiceover success and potentially, a wasted effort.

Demos or samples don’t need to have all the bells and whistles that professional production (that’s music, sound bed or sound effects) can sometimes give them. In fact doing too much production can sometimes detract from the read.

It’s quite acceptable to have a ‘cold read’ (that’s something without any production) but it still needs to be a quality, broadcast-standard sample.

Don’t forget, even if you’re just starting out, you want to give the upfront impression that you know what you’re doing. Getting the read style spot-on needs to be matched with the right sound quality.

Here are some ways we creating demos:

  1. Make a compilation demo that presents a variety of different reads (that you’re brilliant at of course)
  2. Make a specifically targeted demo for character voices, narration, or promo for instance
  3. Create single tracks that can feature on your website
  4. Utilise single tracks to send to studios, production houses, or companies who may be looking for your talents as a marketing exercise.



Okay, so you know who you are as a v/o and what it is about your voice that someone will want, or be looking for. You have a great little demo (or targeted demos) and now you need to get it in front of the people who will hire you.

Well get ready for this piece of news. This is where most voiceover artists fail completely, fall down miserably or throw it all in as too hard. Why?

Mostly they:

  • don’t do their research and build a list of contacts
  • hate cold calling, so they don’t, won’t or are really bad at it
  • lack confidence in their abilities, even when they have them in spades
  • can’t bear the possibility that it’s a ‘no thanks’

Well guys, this won’t be the first or last time you hear this.

 It’s not easy to get into voiceover!

 So, you’re just going to have to build a bridge and get skilled up at how to do those things.  They are essential to your success.

Even though for a while it may feel as though you are trawling through mud, not getting much attention or response, let alone jobs, you need to make a commitment to to your own voiceover success and decide to be in it for the long haul.

I’ve coached people whose marketing skills were actually better than their talent. They took on the marketing and they are now getting regular work as voiceover artists and have worked hard to improve their skills.

They were prepared to do the hard yards and it’s paid off.

Here are some things that you might like to consider as you prepare yourself to jump.

Create a personal website.

It really doesn’t need to be more than one page, as long as it presents your best work and is Search Engine Optimised in the right way.

Unless you understand how to do SEO, find a professional who can do some key-word research with you. For this you need to know the key words or phrases that potential searchers are putting into Google when they’re looking for a voice actor who has your talents.

A couple of examples are ‘Australian female voiceover for medical reads’. It may be ‘mature US male for promo voiceover’. If you have a talent that’s more niche’, like mimicking (and it better be good) speaking in, or translating, another language or any other quirks, then make sure that’s included.

Create a LinkedIn account.

If your skills are in the non-broadcast area, this can be a great way to make contact with companies who may be looking for voice talent. It’ll mean cold calling online.

Create a great, but short, in-mail about your abilities, include a link or links to your work and make sure your subject line has the word ‘voiceover’ in it. Such as ‘Need a professional male voiceover for your next project?’

Create a list of contacts.

Call sound studios, radio stations and video production houses. Tell them who you are and what kind of voice actor you are. Ask them for a person’s name and an email address to send a demo. Keep notes. Good notes!

Building relationships

Whenever you speak to someone about your talents and availability, or you get booked for a job, it’s an opportunity to begin building a relationship.

Do this carefully and with a strategy in place:

  • Be authentic. Never pushy! As in, never all up a studio and ask if there’s any work. 🙁
  • Avoid contacting people too often.
  • Find a legitimate reason for contact, such as, ‘I did a job recently that I thought you might like to hear’.
  • Remind those who seemed the most interested that you’re still available. Once a month to six weeks is probably about right.

Agent or Not?

This is a very reasonable question, because you don’t actually need an agent to have voiceover success. You just need that excellent demo and be able to really put time into the marketing aspects we discussed before.

When you’re established, have a good body of work, and have a few clients or studio producers to vouch for you, then you could approach an agent.

Agents rarely take someone on based on a voice demo alone.

They want to know that you’re good in the booth. That is, you know how to collaborate in the studio to create great work.

Or they’ll want to know that your sound equipment is broadcast quality and that you know enough about what you’re doing to self-produce.


Your Personal Check List

How are you? This can be a rather adrenalin fuelled experience and you need to be on top of your health game, so make sure you’re in good health, feeling on top of the world. If not, you need to do some work on that

Before a job, are you well and truly hydrated and is your energy good? Pull back on the drinking the night before and get to bed early. (Oh god, now I sound like your mother)

Do an emotional check. Am I solid enough to spend all week at this and get no work…only to bounce back the week after and do it again…without flagging?

Or am I feeling a bit fragile this week and perhaps need to work on building resolve…and reserves.

In this business we need to become very good at reading our own energy levels, general health and emotional wellbeing.

Really Lastly

Keep learning; keep researching, training and adding to your repertoire.  Voiceover success will likely follow!

If you’re in it, then you must be in it for the long haul.


Happy Voiceovering!


Scott Shannon and WCBS-FM: Is It Possible Youth Isn’t Always All That Matters?


New York’s July radio ratings include a number that is wonderfully satisfying for everyone who ever got discarded from a job because the bosses wanted to go young.

Widely respected radio veteran Scott Shannon, who left the morning show at WPLJ (95.5 FM) in early 2014 amidst an unspoken sense that management felt he’d aged beyond the audience, just hit number one in the mornings at WCBS-FM (101.1), the station that had quickly scarfed him up.

Scott Shannon.


Purely as a radio story, this is impressive because in New York, the 6-10 a.m. period for years has been owned by all-news WINS (1010 AM) – a solid, reliable one-stop for headlines, weather and traffic/transit.

So it’s rare for any music station to reach No. 1, which was also true back when Howard Stern was consistently the leader.


WCBS-FM is a music station that plays “classic hits,” focusing on the ‘80s and ‘90s. It also subscribes to a classic philosophy about DJs. It wants them to have personalities.

DJs used to be your friend, talking to you and even referencing the music they played. More often these days, DJs chime in only long enough to say, “And now, 12 in a row.”


Radio programmers will tell you that’s what today’s listener wants. It’s frustrating for those of us who always heard radio as more than a jukebox. Not that there are a lot of jukeboxes any more, either.

Happily, morning shows have remained a last haven for conversation, and Shannon is among those who will even talk about the music, which he knows back to Elvis and Buddy Holly.

His New York career started in 1983, when he revived the dormant top-40 format at WHTZ (100.3 FM, Z-100), taking the new stationi “from worst to first” in his initial ratings quarter.

After a brief trip to L.A., he returned to New York in 1991 and settled in at WPLJ for almost 23 years, which in radio is the equivalent of four or five centuries.


So it was puzzling to listeners when, in February 2014, he left rather abruptly. There were no official statements on either side, but it was clear WPLJ’s owners, Cumulus, made no real effort to keep him.

Let’s just say we all know people who could still do their jobs, but maybe made a little too much money for the corporate budget and were seen more as a part of yesterday than tomorrow.

However it went down, Shannon was not ready to switch off his microphone, and weeks later he was hired for mornings at WCBS-FM.


Since then, WCBS-FM has consolidated its position as a market powerhouse – a tribute to Program Director Jim Ryan and veteran city DJs like Dan Taylor, Broadway Bill Lee and Joe Causi.

And to Shannon, who rehired his long-time WPLJ sidekick Patty Steele and has clearly reconnected with a lot of folks who grew up hearing him on Z-100.


As for his show reaching No. 1, it should be noted that radio ratings are more fragmented than a smashed watermelon. Station execs will tell you the overall ratings are a “beauty contest,” because what sells advertising is a station’s performance in a specific demographic – 18 to 34 or 25 to 54 or whatever.

Strictly in a business sense, that’s true, and radio is a business.


But it’s not meaningless that Shannon’s Big Show is the most popular morning program in New York among all the people who listen to the radio, which is a huge number. WCBS-FM alone is heard by upwards of four million people a week.

So demos, schmemos. If you’ve ever been told you’re old and in the way, this is a moment to savor.

Tommy Rose, The Longtime Morning Personality On WZOE-AM, Recently Wrapped Up His Stint At The Station



Admittedly, I never used to be a local radio listener as my radio time is relegated to time in the car. But as many of us are, my Lori is a creature of habit and having Tommy on in the morning, as she got ready for work was her habit. It was a ritual.

I get that as I remember my grandparents would have the radio blaring when they got up at 5 a.m. every morning. They just had to know who had passed in the last 24 hours. So, I became a listener, and no matter what the topic, it always seemed to spark a conversation between us. That’s what “good” radio is about, and nobody was better than Tommy.

Being a local radio personality is hard work as it’s not your typical 8 to 5 job. You never knew when you would hear Tommy, as he seemed to have always been there. It’s not like he had a lot of spare time, as Tommy stays busy with his countless musical gigs.

My point is Tommy was part of our day and him not being there leaves a big void, and only time will tell if that gets filled by someone else.

Thanks, Tommy!

Sam Fisher

I’ve known Tommy Rose for as many years as I’ve been a part of this business. I’ve always admired his work, and the professional way he does his business. While it’s completely obvious Rose feels comfortable behind the microphone, he’s always had an uncanny way of making others also embrace the ability to speak into the microphone without being nervous or intimidated. That’s a sure sign of a good radio man.

There was a place in time when the competitive spirit between newspapers and radios was alive and well on Planet Bureau County. But even when that competition was at its highest, Tommy and I were always able to kick that competitive nature to the curb, while just enjoying and appreciating each other’s talents. Our respect for each other has lasted a long time — and still continues today.

I don’t know if a lot of people know this or not, but Tommy has volunteered his talents throughout the years, helping with sound and other professional endeavors. He’s done so quietly without asking for any recognition for any of it.

I’m happy Tommy is able to retire, but the listeners of WZOE will clearly miss him on that morning radio show. When you listen to the same person every morning for many years, you become friends with that person, and I’m sure his talent and professionalism will be difficult to replace. Best of luck to you, Tommy! I’m happy for you.

Terri Simon

The music has died when it comes to local radio with Tommy Rose’s departure at WZOE.

Tommy Rose was “The Voice” many of us woke up to each morning. Even amidst the daily routine of getting ready to start another day at the office, listening to Tommy’s voice brought a calming influence.

Tommy was a special talent, utilizing his wit and humor to make our days start off right. I’d often find myself listening just a little longer just to see what Tommy was going to come up or say next.

To know Tommy Rose was to know he enjoyed sharing his love for music with others, often volunteering his time as sound man at school functions.

All he ever wanted to do was work in radio, and he made the most of his time. We are all the better for it.

Tommy is going to be deeply missed on the air waves. Sometimes you don’t know what you’re got on until it’s gone.

Rock on Tommy Rose.

Kevin Hieronymus

Radio Caroline: Golden Age Of British Pirate Radio Remembered, 50 years on


They were the pirates of the open seas — bringing rock and pop music to a new generation.

And the British government was furious.

Back in the 1960s, when pop and rock were taking over the music scene, British teenagers had to turn to pirate radio stations to hear bands like the Beatles and the Rolling Stones.

Barred from broadcasting from land, stations such as Radio Caroline and Radio London had taken to the water, using rusty old ships moored in international waters to broadcast to millions of eager listeners across the UK.

The government wasn’t happy and 50 years ago, on August 14 1967, the Marine Offences Act made it illegal to support the ships or broadcast from them.

He is one of the original DJs taking part in commemorations in Essex where the last remaining ship, the MV Ross Revenge, sits just a few kilometres offshore.

He is one of the original DJs taking part in commemorations in Essex where the last remaining ship, the MV Ross Revenge, sits just a few kilometres offshore.

Read On.

Matt Cundill: Peter Anthony Holder’s Great Conversations


Peter Anthony Holder has interviewed a lot of people. From the famous to the quirky, his weekly show “The Stuph File” is syndicated on radio stations around the world and delivered in podcast form every Sunday night. Peter has a new book out now called “Great Conversations: My Interviews with Two Men on the Moon and a Galaxy of Stars.”

He picked up his interview craft working in radio at Montreal’s CJAD. The show later was simulcast on CFRB Toronto before layoffs pushed the show to further syndication and podcast. Being a multi-platform form at 56-58 minutes, it fits nicely onto a radio station with a talk format late at night.

To buy his book – www.amazon.com/Great-Conversatio…der/dp/1629331791

To inquire about acquiring the show to air on your talk station – email peter@peteranthonyholder.com

This week’s show is powered by Promosuite! Please support our sponsor simply by clicking on the link and seeing if their products would make life at your radio station easier. www.promosuite.com/soundoff

Finally, part of this interview is also a part of his show this week. Which means we are making our terrestrial radio debut on some of the stations that air the Stuph File.

Radio Is Not Dead Nor Kill The Internet


It was the fall of 1999, and I was in a dormitory room on the top floor of Boston University’s French House – the building where I lived during most of university except during a later summer journalism internship in London in 2001.

My friend Jeff and I had an exam the following morning in our beach and shoreline processes class, so naturally we were drinking beer, smoking cigarettes, and strumming our guitars to classic rock on 100.7 WZLX the night before.

Long before everyone’s addictions to Facebook and their smartphones – and even since long before the invention of television – people bonded over the radio. That night, WZLX played Stuck in the Middle With You, a wonderful song from 1972 (that would later become synonymous with the film Reservoir Dogs).

Jeff said: “Great Bob Dylan song,” as he raised his beer for a toast.

“What?” I replied. “It’s by Stealers Wheel.”

We argued and could not agree, so we made a bet. We would call the DJ and ask him. The loser would take a shot of something disgusting. I called the DJ, who declared me the winner. Jeff took the shot and gagged, and I shouted in celebration and took a swig of my Natty Ice beer. We and the DJ laughed.

Three minutes later, we heard the whole thing play out live on the radio. We toasted with our beers and started to review why New England beach sand is rocky while Floridian and Caribbean sand is granular. And we left the radio on.

Radio has always been a top medium

Television is nowhere close to being dead. After examining recent data from the US and UK, I have found that radio is still an important medium as well – but with some caveats.

First, take a look at part of Nielsen’s Total Audience Report for the fourth quarter of 2016:

The average person in the US consumes almost two hours of radio every day – and that amount has barely changed

In the UK, the RAJAR Midas Audio Survey for summer 2017 reported these findings:

76% of consumed audio programming is live radio on a traditional radio player, television set, smartphone application, or computer.

The reach of live radio far exceeds that of newer audio programming models including podcasts and on-demand services such as Spotify.

Live radio is the number-one way to reach any age group with audio programming.

What people listen to on the radio

News and talk radio programs have always dominated US radio. But as might not be surprising, Nielsen’s TAR also found that its popularity surged in 2016 likely due to the presidential election and the rise of Donald Trump.

As far as news consumption sources specifically, radio increased its lead over the alternatives.

In addition to following current events, another top use for radio is to discover new music. Here is part of Nielsen Music’s Year-End Report for 2016.

66% discover music over some combination of AM/FM and radio station websites as well as radio broadcast over television, satellites, and mobile apps.

47% of those use regular, old-fashioned AM/FM radio.

How people listen to the radio

These three RAJAR charts piqued my interest.

Red Robinson Last Show CISL 650 August 27th


Thanks for the memories Red from Airchecker

My friend and entertainment industry legend Bruce Allen has accepted my invitation to join Pat O’Day and me on the Red Rock Diner finale Sunday, August 27 from 12-4pm on 650 CISL!

Bruce and I go way back: he was an 11-year old kid in the audience when I presented Bill Haley and The Comets at Vancouver’s Kerrisdale Arena in 1956! He’s been a true friend over the decades, but he tells me he’s had enough of me retiring!

We recorded these promos in his Vancouver office yesterday. Just for “fun” I’ve included a finger-snapping classic C-FUN jingle from the “Go-Go” era in 1966.

Bruce Allen, Pat O’Day and the music we love… a once-in-a lifetime event you won’t want to miss. Sunday, August 27 from 12-4 pm on 650 CISL! Streaming worldwide at player.cisl650.com/CISLAM