Noncommercial
Triple A radio stations have lots of good reasons to avoid Pay-For-Play
relationships with music labels.
First,
unless a sponsor credit is aired, it is illegal to play tunes in exchange for
money or other “consideration.” Second
is that Pay-For-Play violates a core attribute for listener-supported radio:
That the station is a trusted source by listeners. Without trust and integrity,
the noncom dynamic falls apart.
Last week
noncom Triple A consultant and blogger Paul Marszalek wrote on his blog atTheTop22 site
[link]:
Whether it’s money funneled through
indie promoters or the more legal demanding of time buys, a few radio stations
are engaging in the selling of spins…Multiple reports to TheTop22 tell of a few
radio stations engaging in, and there’s no real other way to put it,
pay-for-play arrangements.
I’m talking about cash. We know of
one major-market radio station that is strong-arming time buys related to song
adds.
Marszalek
does not name names and he does not mention noncommercial stations. Since many
Triple A stations are noncoms, the reader should assume that some are doing
what Marszalek is talking about.
Paul
Marszalek is someone who I take seriously. He has held senior management and programming
positions at VH1 Television, KFOG/San Francisco, and WXRT/Chicago. In 2003 he
co-founded Media Mechanics with partners Mike Henry and Ben Manilla. Noncom
Triple A stations and independent music companies have greatly benefited from
Marszalek’s unique perspective.
Marszalek
says Triple A stations are particularly vulnerable to Pay-For-Pay enticements:
The Triple A Format is a loose
collection of stations that lean in different music directions — some lean
alternative, some lean Hot AC, and some lean Americana… the sheer number of
eligible songs from across multiple genres competing for limited airplay slots.
[This] includes a number of mom & pop smaller market stations – and even
spins on small-market stations can impact the chart…songs hit lunar rotation in
exchange for payment via independent promoters.
IT IS ALL ABOUT THE SPINS & THE
CHARTS
Here is the
way the radio and music industries work together:
Music
companies (often referred to as “labels”) provide free copies of tunes to radio
stations. Station programmers consider
the tunes and pick a few for airplay. The tunes go into the “rotation” for a
certain number of “spins” – plays per week.
A noncom PD who asked not to be named in this article said at his
station “heavy rotation” means tunes get between 14 – 16 spins per week. A song in
“light rotation” might get five plays per week.
Music trade
publications use popularity charts based the number of spins specific tunes get by reporting stations. At right is a portion of
the most recent Billborad/Nielsen Triple A chart. Note that the chart is built
on the number of plays/spins stations on “the panel” report in given week. “The
panel” consists of a limited number of stations chosen because of their
trendsetting reputation and size of audience reached.
The total
reach of a tune is determined by multiplying the number of spins by the number
of estimated average-quarter-hour listeners. So, on the chart, Ophelia by The Lumineers received 690 plays during the past week on stations
in the panel. This yields a weekly
audience of 2,101,000 people. Music companies use this information to get other
stations to play a tune of increase the spins.
What if
someone games the system? Maybe a
certain station reports a tune has been played 16 times when it actually has
been played 4 times?
What if a
music company offers an exclusive interview with a well-known artist in
exchange for increased plays?
What if a
company offers a cash-strapped PD a free room at a conference hotel in exchange
for adding a tune?
All of these
situations have happened and are probably happening now with “ a nod and a wink.”
I talked
with several noncom PDs who were glad to talk off the record but did not want
to be identified because of the sensitivity of the issue. One PD told me:
“We don’t
participate in these relationships but we know there are people who do. Every time I add a tune to our rotation I know
I am doing someone a favor. I don’t want anything back but the temptation is
always there.”
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