When Scott Shannon's nationally syndicated True Oldies Channel launched a decade ago, it was for listeners who weren't happy with the incursion of the early '70s (or beyond) into their oldies format. TOC is set to sign off at the end of the month, here's a last look and an overview of the oldies/greatest hits format today.
Not even the overwhelming surge of interest in Michael Jackson following his death in 2009 could make "This Is It" a radio hit that year. Only the adult R&B format was interested in an MOR-flavored ballad co-written by Paul Anka more than 25 years earlier. A year later, Jackson's collaborations with a handful of hot producers surfaced, but underwhelmed as well. So why does Jackson finally have a posthumous hit with another Anka song?
While pop, R&B, and rock radio have spun off older skewing formats over the years, the country radio and record community has fiercely resisted any similar fragmentation. But group owner Cumulus has just unveiled a new "Nash Icons" format, in conjunction with the Big Machine Label Group, which it says will play new product by heritage artists, many of whom are starting to struggle at country radio. In doing so, they may finally have provided a wedge for country radio fragmentation.
Until recently, streaming radio aggregator TuneIn had avoided mostly avoided ranking the 100,000 broadcast and pureplay stations it lists. But with a recent redesign and a new social emphasis, TuneIn is now showing "followers" to each station.
On May 8, at Canadian Music Week, veteran Toronto-based programmer Liz Janik will receive an award named for legendary CKLW Detroit music director Rosalie Trombley. The award is actually for female trailblazers in broadcasting, but if you were going to give an award for championing music, you would still name it after Trombley and give it to Janik. Here's how each contributed to the musical legacy of their market. And why music director heroics are in short supply these days.
Two recent articles about the current state of alternative have taken issue with the presence of Daft Punk and Avicii at alternative KROQ Los Angeles, as well as the recent lack of guitars and "danger" at the format. But with alternative rock radio seemingly poised for a breakthrough, how much more rock does it need? And how do you reconcile the rockin' '90s period of the format being both its most successful time, and an aberration? Who says alternative is supposed to rock?