Is Radio in a Coma? Nah, It’s Just Resting.

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Authormarty72x72 Is the country ready for change? Is the radio world ready for change? Some interesting posts this past week (all of which I, a middle-aged woman read online) bear on the future of classical music radio.

First is a post by Todd Feinburg, who despite his inane political blather has made some intelligent observations about the current dilemma radio finds itself in. He says radio is in a coma. In an article titled Is Radio Headed For Extinction? Feinburg writes

The radio industry is in shock. An absolute coma.

Radio sees the enemy bearing down and closing in, but it doesn’t know how to respond. It’s frozen in place, unable to move. No defense is being offered, no counter attack.

The foe that has radio folks terrified is the Internet. New technologies are encroaching on radio’s traditional domain with the same speed that the auto and airline industries once pounded the railroads into near extinction. And radio is mimicking the railroad industry’s response to its death knell — whether from arrogance, fear, or institutional inertia, radio is failing to see that it must embrace the future rather than resist it or run from it…

The radio industry needs to learn that it’s in the audio distribution business…But the fear that radio feels over the encroachment, and the revenues lost to the Internet, are causing radio to pull back rather than to be aggressive. In the short term, this means tighter budgets and fewer jobs. This is exactly the wrong response, of course.

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Younger listeners and classical; new home for CBC Orchestra?

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Authormike72x72_3 A writer in Oklahoma State University’s student newspaper gives a thumbs-up to the format change at KOSU-FM in Stillwater, Okla., which recently cut back on classical and added more news and talk. The author writes, “The new music programming is also exciting. On Friday and Saturday nights, instead of tuning in to hear classical music, listeners may find jazz, blues, bluegrass and Celtic music greeting them.”

Though just one voice, this editorial does point to another concern among station programmers in public radio — appealing to younger listeners. At public radio conferences I’ve attended, getting younger listeners to tune in (and in public radio, “younger” means “under 40”) is generally talked about as a Good Thing. Some argue that if public radio doesn’t start cultivating a younger audience, its current listeners will keep aging with no one lined up to replace them. But no one quite knows how to go about doing it, and there’s no tried-and-true approach. Some shows such as This American Life have succeeded in generating buzz among young folks, but no one’s suggesting that stations switch to host line-ups of Ira Glass clones 24/7.

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Station profile: Classical WETA 90.9 FM, Washington, D.C.

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First of two posts

WETA, the powerful all-classical public radio station serving Washington, D.C., has attained its biggest audience in years by claiming the city’s franchise in classical music radio. Its arrival at this stage in its 38-year history has been hard-won, however. In just four years, WETA has endured great change, from a news/classical mix to all-news to today’s steady stream of classical.

“If you had asked me a few years ago if I would have gone through this — two format changes in a period of three years — I’d have said it would never happen,” says Dan DeVany, WETA’s g.m., when I interviewed him last month in his office at WETA’s headquarters in Arlington, Va. “And here we are.”

The first jolt to WETA’s status quo came in February 2005. Like many stations, WETA was struggling as it tried to attract an audience to its dual format of NPR’s newsmagazines and midday classical music. Its ratings in fall 2004 were the worst in 15 years. Fewer listeners were donating, and while news programming was drawing underwriting income, classical was less successful — a common pattern in public radio. WETA’s position was further complicated by competitors in the D.C. market that shared its formats — WAMU, another well-established NPR affiliate but one that specialized in news/talk, and WGMS, the city’s commercial classical outlet and one of the most successful in the country.

“It was clear that we had an identity problem,” DeVany says. “We didn’t stand for anything in particular.”

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Oklahoma station cuts back on classical; Canadian MP sticks up for CBC Orchestra

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Authormike72x72_3 KOSU in Stillwater, Okla., joins the ranks of stations cutting back on classical in favor of more news and talk programming. My guess is that they dumped the dual format, but I’m not sure (the most recent incarnation of their previous schedule that I could dig up dates to almost a year ago). Their website calls the station “the New KOSU.”

This article in the local Journal Record includes background from the station’s new general manager, who mentions a survey the station conducted that helped inform the decision. (Use Bugmenot.com to skirt the registration prompt.) The survey involved input from 500 listeners. Compare that to the station’s weekly audience of 24,400 listeners as of Fall 2007, according to the Radio Research Consortium. That’s about 2 percent. KOSU also cites other factors such as public forums and an advisory board’s input.

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