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Post by kaybli on Jan 19, 2020 1:23:46 GMT -5
What kind of music do your kids listen to? He told you - formulaic and repetitive! In other words, what’s on the radio. [img alt="  " class="smile" src="//storage.proboards.com/6828121/images/YNYHoCFKqruGiGxicSWF.gif"] "Turn down that Ariana Grande you damn kids!" -GF.  |
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Post by inger on Jan 19, 2020 1:27:16 GMT -5
In the 70’s, classic rock stations played music from the 50’s and 60’s. In the 80’s, classic rock was from the late 50’s, 60’s and early to mid 70’s. In the late 80’s, the 50’s started to drop from the playlists. In the 90’s, the early 60’s appeared to drop from the playlists. Somehow though, the late 60’s and 70’s era is still being played on classic rock stations today in 2020. In the 80’s, I wasn’t listening to music from the 30’s or 40’s. Now, if a song debuts today, it goes on the oldies lists tomorrow... |
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Post by greatfatness on Jan 19, 2020 8:59:39 GMT -5
I have listened to new Americana music for years now but lately my kids have started asking for their own music in the house and the car. It is formulaic and repetitive but it isn’t terrible. What kind of music do your kids listen to? They like current pop music like Imagine Dragons and Panic at the Disco. I’ve started putting on the SiriusXM pop station in the car. It isn’t my favorite music but I think it matters more that they are enjoining music at all. They listen to my music at home and in the car most of the time. We have Miles playing this morning with the fire going and they actually seem to dig it so it’s all good. |
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Post by greatfatness on Jan 19, 2020 9:01:27 GMT -5
In the 70’s, classic rock stations played music from the 50’s and 60’s. In the 80’s, classic rock was from the late 50’s, 60’s and early to mid 70’s. In the late 80’s, the 50’s started to drop from the playlists. In the 90’s, the early 60’s appeared to drop from the playlists. Somehow though, the late 60’s and 70’s era is still being played on classic rock stations today in 2020. In the 80’s, I wasn’t listening to music from the 30’s or 40’s. Interesting and disappointing article on this. There’s a huge marketing machine pumping nostalgia through what’s left of classic rock radio (as well as over the speakers at the grocery store). fivethirtyeight.com/features/why-classic-rock-isnt-what-it-used-to-be/ |
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Post by kaybli on Jan 19, 2020 10:51:46 GMT -5
What kind of music do your kids listen to? They like current pop music like Imagine Dragons and Panic at the Disco. I’ve started putting on the SiriusXM pop station in the car. It isn’t my favorite music but I think it matters more that they are enjoining music at all. They listen to my music at home and in the car most of the time. We have Miles playing this morning with the fire going and they actually seem to dig it so it’s all good. Miles is better than Miley (Cyrus) at least! |
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Post by greatfatness on Jan 19, 2020 12:38:58 GMT -5
They like current pop music like Imagine Dragons and Panic at the Disco. I’ve started putting on the SiriusXM pop station in the car. It isn’t my favorite music but I think it matters more that they are enjoining music at all. They listen to my music at home and in the car most of the time. We have Miles playing this morning with the fire going and they actually seem to dig it so it’s all good. Miles is better than Miley (Cyrus) at least! Definitely agree. Although I am going to say that Party in the USA is a pretty solid pop song. |
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Post by pippsheadache on Jan 19, 2020 13:41:06 GMT -5
In the 70’s, classic rock stations played music from the 50’s and 60’s. In the 80’s, classic rock was from the late 50’s, 60’s and early to mid 70’s. In the late 80’s, the 50’s started to drop from the playlists. In the 90’s, the early 60’s appeared to drop from the playlists. Somehow though, the late 60’s and 70’s era is still being played on classic rock stations today in 2020. In the 80’s, I wasn’t listening to music from the 30’s or 40’s. Interesting and disappointing article on this. There’s a huge marketing machine pumping nostalgia through what’s left of classic rock radio (as well as over the speakers at the grocery store). fivethirtyeight.com/features/why-classic-rock-isnt-what-it-used-to-be/A subject dear to my heart. The industry has been trending this way for about 60 years, when a radio exec out of Dallas named Gordon McClendon came up with the concept of Top 40 radio. He understood early on that the majority of listeners have very limited taste and enjoy hearing the same thing over and over. In the pioneering days of rock and roll radio, DJs had a lot of personal authority over what got played, whether it was their own favorites or in response to payola from record company reps. Either way was preferable to the homogenization of playlists thst came with Top 40, when increasingly program directors and accountants who couldn't tell the Big Bopper from Biggy Smalls starting dictating exactly what could be played and in what order they would be played. Sadly, the lowest common denominator took over. Certainly by the 1970s it was set in concrete, and it has only gotten more stringent other than among a relative handful of college stations and a few quirky independent exceptions who are willing to cater to a more knowledgeable audience (and the low ratings that come with it.) The most fun job I ever had (it wasn't my real job, it was a weekend lark) was hosting an oldies show on a small station in Santa Fe in the mid to late 1980s. The station at that time was playing pretty much conventional oldies that made the top 10 from mostly the mid-60 to the early 70s, with occasional late 50s-early 60s records if they had sold maybe a billion copies (Elvis always being allowed.) We were obscure enough that I was able to get station management to allow me to play my own records (we were still using a lot of vinyl, and my collection was much bigger than the station's) and to play whatever I wanted. I played a lot of early R&B, lesser-known soul and rockabilly artists, a strong dose of doo-wop, and songs that had been fairly large hits but NEVER got played anymore because they didn't meet the no-exceptions allowed criteria of the big corporate-owned powerhouse stations. A program like that will never have a mass audience, but it will have a very loyal one. Fortunately we had the right guys in management who weren't really in it to push for the last dollar, and for a few years we had a lot of fun. |
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Post by greatfatness on Jan 19, 2020 16:07:16 GMT -5
The best equivalent of that kind of free form DJing is now on podcasts and platforms like Mixcloud.
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Post by rizzuto on Jan 19, 2020 17:08:29 GMT -5
A subject dear to my heart. The industry has been trending this way for about 60 years, when a radio exec out of Dallas named Gordon McClendon came up with the concept of Top 40 radio. He understood early on that the majority of listeners have very limited taste and enjoy hearing the same thing over and over. In the pioneering days of rock and roll radio, DJs had a lot of personal authority over what got played, whether it was their own favorites or in response to payola from record company reps. Either way was preferable to the homogenization of playlists thst came with Top 40, when increasingly program directors and accountants who couldn't tell the Big Bopper from Biggy Smalls starting dictating exactly what could be played and in what order they would be played. Sadly, the lowest common denominator took over. Certainly by the 1970s it was set in concrete, and it has only gotten more stringent other than among a relative handful of college stations and a few quirky independent exceptions who are willing to cater to a more knowledgeable audience (and the low ratings that come with it.) The most fun job I ever had (it wasn't my real job, it was a weekend lark) was hosting an oldies show on a small station in Santa Fe in the mid to late 1980s. The station at that time was playing pretty much conventional oldies that made the top 10 from mostly the mid-60 to the early 70s, with occasional late 50s-early 60s records if they had sold maybe a billion copies (Elvis always being allowed.) We were obscure enough that I was able to get station management to allow me to play my own records (we were still using a lot of vinyl, and my collection was much bigger than the station's) and to play whatever I wanted. I played a lot of early R&B, lesser-known soul and rockabilly artists, a strong dose of doo-wop, and songs that had been fairly large hits but NEVER got played anymore because they didn't meet the no-exceptions allowed criteria of the big corporate-owned powerhouse stations. A program like that will never have a mass audience, but it will have a very loyal one. Fortunately we had the right guys in management who weren't really in it to push for the last dollar, and for a few years we had a lot of fun. You really are the most interesting man in the world! Tell me, Pipps, when you do imbibe, what are your libations of choice? |
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Post by rizzuto on Jan 19, 2020 17:26:16 GMT -5
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Post by greatfatness on Jan 19, 2020 18:34:05 GMT -5
Just like the Brill Building but for a new generation. |
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Post by inger on Jan 19, 2020 19:31:27 GMT -5
In the 70’s, classic rock stations played music from the 50’s and 60’s. In the 80’s, classic rock was from the late 50’s, 60’s and early to mid 70’s. In the late 80’s, the 50’s started to drop from the playlists. In the 90’s, the early 60’s appeared to drop from the playlists. Somehow though, the late 60’s and 70’s era is still being played on classic rock stations today in 2020. In the 80’s, I wasn’t listening to music from the 30’s or 40’s. Interesting and disappointing article on this. There’s a huge marketing machine pumping nostalgia through what’s left of classic rock radio (as well as over the speakers at the grocery store). fivethirtyeight.com/features/why-classic-rock-isnt-what-it-used-to-be/It all makes sense, as I find myself trying resist elder thinking like “all these new songs sound alike”. So, they DO sound alike. The entirety of music and sadly much of the world as we know it is being built around algorithms. Algorithms are ordering merchandise in the stores we shop in, choosing the area of the store to place them. To a degree they are also dictating price points. In the short term, this is saving businesses dollars, so it’s easy to see why the algorithm is king. In the long term however the process will change the habits of humanity to the point that we will become algorithmic ourselves. With the patterns ingrained, they will become human habit. In theory, if the radio stations play certain songs and never change, that would become the music of choice. I also have an issue with the amazing amount of censorship in music on I Heart Radio. True, if I know that Kid Rock said the word “cocaine” in a song and they blip that word out, I still know he said it. If they want to change Charlie Daniels lyrics in “ The Devil Went Down To Georgia” from “son of a bitch” to “son of a gun”, the world is not going to suffer. I would imagine they wouldn’t even bother to play Clapton’s classic “Cocaine”, for there would be nothing left to play. I used to snicker at people that were in to numerology, but that is certainly the direction of society. At some point the predictability will become palpable. Subliminal control is already a reality... |
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Post by kaybli on Jan 19, 2020 19:35:39 GMT -5
A subject dear to my heart. The industry has been trending this way for about 60 years, when a radio exec out of Dallas named Gordon McClendon came up with the concept of Top 40 radio. He understood early on that the majority of listeners have very limited taste and enjoy hearing the same thing over and over. In the pioneering days of rock and roll radio, DJs had a lot of personal authority over what got played, whether it was their own favorites or in response to payola from record company reps. Either way was preferable to the homogenization of playlists thst came with Top 40, when increasingly program directors and accountants who couldn't tell the Big Bopper from Biggy Smalls starting dictating exactly what could be played and in what order they would be played. Sadly, the lowest common denominator took over. Certainly by the 1970s it was set in concrete, and it has only gotten more stringent other than among a relative handful of college stations and a few quirky independent exceptions who are willing to cater to a more knowledgeable audience (and the low ratings that come with it.) The most fun job I ever had (it wasn't my real job, it was a weekend lark) was hosting an oldies show on a small station in Santa Fe in the mid to late 1980s. The station at that time was playing pretty much conventional oldies that made the top 10 from mostly the mid-60 to the early 70s, with occasional late 50s-early 60s records if they had sold maybe a billion copies (Elvis always being allowed.) We were obscure enough that I was able to get station management to allow me to play my own records (we were still using a lot of vinyl, and my collection was much bigger than the station's) and to play whatever I wanted. I played a lot of early R&B, lesser-known soul and rockabilly artists, a strong dose of doo-wop, and songs that had been fairly large hits but NEVER got played anymore because they didn't meet the no-exceptions allowed criteria of the big corporate-owned powerhouse stations. A program like that will never have a mass audience, but it will have a very loyal one. Fortunately we had the right guys in management who weren't really in it to push for the last dollar, and for a few years we had a lot of fun. Cool stuff, pipps! Pipps, the radio DJ! I would have listened to your show for sure! |
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Post by inger on Jan 19, 2020 19:43:45 GMT -5
A subject dear to my heart. The industry has been trending this way for about 60 years, when a radio exec out of Dallas named Gordon McClendon came up with the concept of Top 40 radio. He understood early on that the majority of listeners have very limited taste and enjoy hearing the same thing over and over. In the pioneering days of rock and roll radio, DJs had a lot of personal authority over what got played, whether it was their own favorites or in response to payola from record company reps. Either way was preferable to the homogenization of playlists thst came with Top 40, when increasingly program directors and accountants who couldn't tell the Big Bopper from Biggy Smalls starting dictating exactly what could be played and in what order they would be played. Sadly, the lowest common denominator took over. Certainly by the 1970s it was set in concrete, and it has only gotten more stringent other than among a relative handful of college stations and a few quirky independent exceptions who are willing to cater to a more knowledgeable audience (and the low ratings that come with it.) The most fun job I ever had (it wasn't my real job, it was a weekend lark) was hosting an oldies show on a small station in Santa Fe in the mid to late 1980s. The station at that time was playing pretty much conventional oldies that made the top 10 from mostly the mid-60 to the early 70s, with occasional late 50s-early 60s records if they had sold maybe a billion copies (Elvis always being allowed.) We were obscure enough that I was able to get station management to allow me to play my own records (we were still using a lot of vinyl, and my collection was much bigger than the station's) and to play whatever I wanted. I played a lot of early R&B, lesser-known soul and rockabilly artists, a strong dose of doo-wop, and songs that had been fairly large hits but NEVER got played anymore because they didn't meet the no-exceptions allowed criteria of the big corporate-owned powerhouse stations. A program like that will never have a mass audience, but it will have a very loyal one. Fortunately we had the right guys in management who weren't really in it to push for the last dollar, and for a few years we had a lot of fun. You’ve told us a lot of colorful tales through the years, but this one may take the cake. This one was not in the Crayola 8-pack. If it was on the 64-pack, I don’t remember it. This one was a trial color, and the label got ripped off, leaving all helpless to recall the name, so of a “burnt-sienna” off shoot that somehow from it’s brown base can inspire blues, greens, magentas all splaying outward like the Northern Lights. Pipps, THIS is your Litdbit moment... The day you dropped acid. The time you killed. The day you died and came back to life, and the day you met your wife all rolled up into one... |
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Post by pippsheadache on Jan 19, 2020 23:56:05 GMT -5
A subject dear to my heart. The industry has been trending this way for about 60 years, when a radio exec out of Dallas named Gordon McClendon came up with the concept of Top 40 radio. He understood early on that the majority of listeners have very limited taste and enjoy hearing the same thing over and over. In the pioneering days of rock and roll radio, DJs had a lot of personal authority over what got played, whether it was their own favorites or in response to payola from record company reps. Either way was preferable to the homogenization of playlists thst came with Top 40, when increasingly program directors and accountants who couldn't tell the Big Bopper from Biggy Smalls starting dictating exactly what could be played and in what order they would be played. Sadly, the lowest common denominator took over. Certainly by the 1970s it was set in concrete, and it has only gotten more stringent other than among a relative handful of college stations and a few quirky independent exceptions who are willing to cater to a more knowledgeable audience (and the low ratings that come with it.) The most fun job I ever had (it wasn't my real job, it was a weekend lark) was hosting an oldies show on a small station in Santa Fe in the mid to late 1980s. The station at that time was playing pretty much conventional oldies that made the top 10 from mostly the mid-60 to the early 70s, with occasional late 50s-early 60s records if they had sold maybe a billion copies (Elvis always being allowed.) We were obscure enough that I was able to get station management to allow me to play my own records (we were still using a lot of vinyl, and my collection was much bigger than the station's) and to play whatever I wanted. I played a lot of early R&B, lesser-known soul and rockabilly artists, a strong dose of doo-wop, and songs that had been fairly large hits but NEVER got played anymore because they didn't meet the no-exceptions allowed criteria of the big corporate-owned powerhouse stations. A program like that will never have a mass audience, but it will have a very loyal one. Fortunately we had the right guys in management who weren't really in it to push for the last dollar, and for a few years we had a lot of fun. Cool stuff, pipps! Pipps, the radio DJ! I would have listened to your show for sure! You would have been one of the few. But seriously, as some friends who really did work in radio for a living told me, your audience will find you. When satellite radio started up, there were at least attempts to vary the content from the monotony of broadcast stations. But soon it became obvious that they had simply come up with a slightly different formula that was inly marginally less repetitive. I was only on for three hours a week, but I would never repeat a song within a minimum of six months. There are millions of recordings out there. Why not let people hear what you believe are good ones? I used to love it when people would tell me they hadn't heard that song in 25 years, or that they had never heard it before but liked it. |
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