Rink
2020-11-14 19:49:13 UTC
Hier beschrijft iemand uit de USA een uurtje BBC Radio 1
van ongeveer twee weken geleden.
(komt uit nieuwsgroep rec.radio.broadcasting)
Ik denk dat ik niet meer bij de doelgroep hoor.
De enige platen die mijn aandacht trekken zijn:
1.
Royal Blood - Trouble's Coming
2.
Shawn Mendes - Wonder
3.
London Grammar - Baby It's You
Misschien zit er meer bij voor jou, Dolfy?
Voor in jouw top 30?
Rink
--------------------
van ongeveer twee weken geleden.
(komt uit nieuwsgroep rec.radio.broadcasting)
Ik denk dat ik niet meer bij de doelgroep hoor.
De enige platen die mijn aandacht trekken zijn:
1.
Royal Blood - Trouble's Coming
2.
Shawn Mendes - Wonder
3.
London Grammar - Baby It's You
Misschien zit er meer bij voor jou, Dolfy?
Voor in jouw top 30?
Rink
--------------------
RadioInsight
///////////////////////////////////////////
Fresh Listen: BBC Radio 1
Posted: 03 Nov 2020 09:00 AM PST
https://radioinsight.com/ross/200509/fresh-listen-bbc-radio-1/
Over the last six months, one ongoing theme of Ross On Radio has been
the heritage stations to which I’ve found myself returning. ROR’s Fresh
Listens and other profiles have ranged from CHRs WXKS (Kiss 108) Boston
and WKRZ Wilkes-Barre, Pa., to Australia’s alternative Triple-J; from
Oldies WLNG Long Island, N.Y., to Country KUZZ Bakersfield, Calif.;
Triple-A WXRT Chicago to AC WLTW (Lite FM) New York.
Sometimes I’ve gone back to those stations because so many heritage
stations have been among our recent ratings winners. Often, it’s because
these are the full-service radio stations that COVID-19 coverage
demands. They are the stations that still “do radio”—another ongoing
trope of recent months.
But I listened for the first time in a while to BBC Radio 1 this week
because I wanted to hear Royal Blood. The British rock band’s “Trouble’s
Coming” is my favorite record in months. More than any song in recent
memory, it cracks the code on what a guitar rock hit should sound like
in 2020, if CHR played guitar rock in 2020. “Trouble’s Coming” is the
No. 11 Active rock song this week, but I wanted to hear it on a Top 40
station.
I knew Radio 1 would play “Trouble’s Coming.” I didn’t hear it in my
first attempt; in that hour, they played the new Bring Me The Horizon
song instead. When I did hear them play it, it came after Justin
Bieber’s “Holy” and sounded entirely appropriate in a mix that was
heavily dance/pop, but also included one uptempo pure pop find as well
(the YUNGBLUD song). I didn’t hear “Blinding Lights” or “Watermelon
Sugar.” I did hear two new songs I wanted to own by the time my
listening was done.
When I started streaming overseas radio; there were British commercial
CHRs like Juice FM Liverpool that were aggressive musically but felt
more accessible than Radio 1. There were also state-owned broadcasters
elsewhere that I liked, like Hungary’s MR2 Petofi doing a similarly hip
mix. I didn’t need Radio 1 as much. Then Juice became a Capital FM
affiliate, plus hit music felt like it was increasingly on a single
worldwide timetable. I didn’t feel like I needed to stream overseas
radio quite as much.
But through CHR’s product issues of the last few years, I’ve started to
feel like U.K. Top 40 (and, in fact, CHR almost anywhere else) has held
up better, partially because of dance music. And right now, Radio 1 is
giving me something I can’t get a lot of other places—newish CHR music
curated for me in a produced/hosted radio context with a variety of
styles and textureswhich is to say Top 40.
Perhaps because of that variety of textures, Radio 1 sounds different
from the way that U.S. programmers are reshaping the format now, which
can still feel claustrophobic. It’s not because R1 isn’t conscious of
changes in music consumption. During the 2010s, there was a Guardian
article on a Radio 1 music meeting in which the discussion on
prospective adds was all Soundcloud, YouTube, and social media. I
remembered that article as a few years ago; I went back today and
realized it was from 2014.
RAJAR, the U.K.’s ratings service, hasn’t released public results since
its Q1 report, which had Radio 1 flat at a 5.6, and third behind AC
Radio 2 and N/T Radio 4. The Capital network was off 4.0-3.7. In
Manchester, Radio 1 went 6.2-5.3, leading Capital locally. In London, it
beat Capital in Q3 last year, but in the recent measurement, it has gone
4.1-3.9-3.2-3.3 since that time. Remember that this is in a market with
multiple CHRs; remember also that some U.S. Top 40s are in the threes at
the moment. Heres what I wrote about Capital vs. Radio 1 in 2016.
Here’s Radio 1 just before 5 p.m. on Oct. 26; that hour ended with a
15-minute afternoon news package. The 6 p.m. hour began with London
Grammar. There were also excerpts from an interview with YUNGBLUD who,
because he also hosts a BBC podcast, was one of the first artists
actually allowed in the building since the COVID 19 outbreak.
Disclosure & Kelis, “Watch Your Step”
Camelphat & Cristoph, “Breathe”
Beyoncé, “Déjà vu”
Justin Bieber f/Chance the Rapper, “Holy”
Royal Blood, “Trouble’s Coming”
Becky Hill, “Space”
YUNGBLUD, “Cotton Candy”
Shawn Mendes, “Wonder”
Slowthai, James Blake & Mount Kimbie, “Feel Away”
Bklava, “Back To Then” (“BBC Introducing Tune-Of-The-Week”)
Jax Jones & Au/Ra, “I Miss U”
Fontaines D.C., “A Lucid Dream”
24KGoldn f/Iann Dior, “Mood”
Ashnikko, “Daisy”
London Grammar, “Baby It’s You”
///////////////////////////////////////////
///////////////////////////////////////////
Fresh Listen: BBC Radio 1
Posted: 03 Nov 2020 09:00 AM PST
https://radioinsight.com/ross/200509/fresh-listen-bbc-radio-1/
Over the last six months, one ongoing theme of Ross On Radio has been
the heritage stations to which I’ve found myself returning. ROR’s Fresh
Listens and other profiles have ranged from CHRs WXKS (Kiss 108) Boston
and WKRZ Wilkes-Barre, Pa., to Australia’s alternative Triple-J; from
Oldies WLNG Long Island, N.Y., to Country KUZZ Bakersfield, Calif.;
Triple-A WXRT Chicago to AC WLTW (Lite FM) New York.
Sometimes I’ve gone back to those stations because so many heritage
stations have been among our recent ratings winners. Often, it’s because
these are the full-service radio stations that COVID-19 coverage
demands. They are the stations that still “do radio”—another ongoing
trope of recent months.
But I listened for the first time in a while to BBC Radio 1 this week
because I wanted to hear Royal Blood. The British rock band’s “Trouble’s
Coming” is my favorite record in months. More than any song in recent
memory, it cracks the code on what a guitar rock hit should sound like
in 2020, if CHR played guitar rock in 2020. “Trouble’s Coming” is the
No. 11 Active rock song this week, but I wanted to hear it on a Top 40
station.
I knew Radio 1 would play “Trouble’s Coming.” I didn’t hear it in my
first attempt; in that hour, they played the new Bring Me The Horizon
song instead. When I did hear them play it, it came after Justin
Bieber’s “Holy” and sounded entirely appropriate in a mix that was
heavily dance/pop, but also included one uptempo pure pop find as well
(the YUNGBLUD song). I didn’t hear “Blinding Lights” or “Watermelon
Sugar.” I did hear two new songs I wanted to own by the time my
listening was done.
When I started streaming overseas radio; there were British commercial
CHRs like Juice FM Liverpool that were aggressive musically but felt
more accessible than Radio 1. There were also state-owned broadcasters
elsewhere that I liked, like Hungary’s MR2 Petofi doing a similarly hip
mix. I didn’t need Radio 1 as much. Then Juice became a Capital FM
affiliate, plus hit music felt like it was increasingly on a single
worldwide timetable. I didn’t feel like I needed to stream overseas
radio quite as much.
But through CHR’s product issues of the last few years, I’ve started to
feel like U.K. Top 40 (and, in fact, CHR almost anywhere else) has held
up better, partially because of dance music. And right now, Radio 1 is
giving me something I can’t get a lot of other places—newish CHR music
curated for me in a produced/hosted radio context with a variety of
styles and textureswhich is to say Top 40.
Perhaps because of that variety of textures, Radio 1 sounds different
from the way that U.S. programmers are reshaping the format now, which
can still feel claustrophobic. It’s not because R1 isn’t conscious of
changes in music consumption. During the 2010s, there was a Guardian
article on a Radio 1 music meeting in which the discussion on
prospective adds was all Soundcloud, YouTube, and social media. I
remembered that article as a few years ago; I went back today and
realized it was from 2014.
RAJAR, the U.K.’s ratings service, hasn’t released public results since
its Q1 report, which had Radio 1 flat at a 5.6, and third behind AC
Radio 2 and N/T Radio 4. The Capital network was off 4.0-3.7. In
Manchester, Radio 1 went 6.2-5.3, leading Capital locally. In London, it
beat Capital in Q3 last year, but in the recent measurement, it has gone
4.1-3.9-3.2-3.3 since that time. Remember that this is in a market with
multiple CHRs; remember also that some U.S. Top 40s are in the threes at
the moment. Heres what I wrote about Capital vs. Radio 1 in 2016.
Here’s Radio 1 just before 5 p.m. on Oct. 26; that hour ended with a
15-minute afternoon news package. The 6 p.m. hour began with London
Grammar. There were also excerpts from an interview with YUNGBLUD who,
because he also hosts a BBC podcast, was one of the first artists
actually allowed in the building since the COVID 19 outbreak.
Disclosure & Kelis, “Watch Your Step”
Camelphat & Cristoph, “Breathe”
Beyoncé, “Déjà vu”
Justin Bieber f/Chance the Rapper, “Holy”
Royal Blood, “Trouble’s Coming”
Becky Hill, “Space”
YUNGBLUD, “Cotton Candy”
Shawn Mendes, “Wonder”
Slowthai, James Blake & Mount Kimbie, “Feel Away”
Bklava, “Back To Then” (“BBC Introducing Tune-Of-The-Week”)
Jax Jones & Au/Ra, “I Miss U”
Fontaines D.C., “A Lucid Dream”
24KGoldn f/Iann Dior, “Mood”
Ashnikko, “Daisy”
London Grammar, “Baby It’s You”
///////////////////////////////////////////