April 22, 2006
Radio: WELCOME TO THE BOOM TIME
Hip-Hop Rules Radio's Top 40 Roost But Now Pop Culture's Pendulum Is Swinging Straight Toward Pop
BY CHUCK TAYLOR

No, it's not the fresh fragrance of spring—that's change you smell in the air.

After nearly five years of focusing almost exclusively on hip-hop and rock, top 40 radio is allowing more pop and balladry to seep onto playlists than it has since the glory days of youth pop, the era of 'N Sync, Backstreet Boys and Britney Spears.

The Billboard Hot 100—combining radio airplay and digital track sales to rank the top hits—today showcases more pop titles than at any other point thus far in the new century. In the past two months, Daniel Powter's "Bad Day" and James Blunt's "You're Beautiful" hit No. 1, the first time since Nickelback's "How You Remind Me" in December 2001 that a radio-driven chart-topper was not also on R&B/hip-hop or rhythmic top 40 radio. Currently, Natasha Bedingfield's "Unwritten" and Cascada's "Everytime We Touch" are in the top 10.

Among programmers, opinions vary as to what's causing the shift. Some say rap—an undeniable fixture of the format—is growing stale. Others say record labels are simply releasing better quality music that radio has been searching for all along.

Record companies, not surprisingly, herald the change, saying greater variety benefits radio and consumers. It doesn't hurt their bottom line, either: For all the talk of new digital promotional channels, label executives still acknowledge that the best way—still pretty much the only way—to land an unequivocal smash hit is through the FM dial.



ZAPOLEON'S RETURNS

Top 40 radio consultant Guy Zapoleon has long trumpeted his theory that top 40 radio follows a 10-year cycle: It discovers the riches of variety as ratings surge, obsesses on a specific musical genre until it falters into the "doldrums," then digs itself out and rediscovers variety. Wash. Rinse. Repeat. Rock. Rap . . . Pop?

Zapoleon's trend has been defined by pop acts for the past 50 years: the Beatles and Motown in the 1960s; Fleetwood Mac and Stevie Wonder in the 1970s; Madonna and Michael Jackson in the 1980s; and 'N Sync et al. in the 1990s (see time line, above).

"We've been in the doldrums for the past two years," Zapoleon says. "But we're at the beginning of a rebirth."

Zapoleon's theory is conventional wisdom in the radio world. Tod Tucker, OM/director of programming for Renda Broadcasting's KHTT (K-HITS) Tulsa, Okla., says that top 40 has been in a 10-year cycle for quite some time. "In 1996, the boy bands came on the scene and gave the format the glue that holds the extremes together," he says. "Recently, top 40 has had hip-hop and alternative, but nothing in the middle. Daniel Powter, James Blunt, Natasha Bedingfield, Cascada and Rihanna are now the glue."



THE RISE OF RHYTHMIC

Hip-hop began its steady climb at mainstream and rhythmic top 40 radio in the mid-1990s as a complementary flavor to much of the youth pop that pervaded the airwaves. But when the formats' audience outgrew the Britneys and 'N Syncs and those acts fell out of favor, hip-hop became top 40's dominant genre. Eminem was the centerpiece, along with a sprinkling of harder rock titles.

"When we lost the boy band world in top 40, it seemed like a natural shift to hip-hop because it was there," says Dave Johnson, APD/MD of CBS Radio's KSRC (Star 102) Kansas City and interim PD of sister KMXV (Mix 93.3).

But Johnson acknowledges that hip-hop's dominance creates problems of its own. "Top 40 is most successful when we have many genres all put together," he says. "If we don't have pop songs from Justin Timberlake or dance songs from the likes of DJ Sammy, then it severely limits how well the format does because it puts us in a rut."

Programmers agree that as long as hip-hop continues to step forward in terms of creativity, the genre will remain a staple at top 40. Hip-hop is a definitive genre for a generation of top 40 listeners. "It is their music, so they want a steady dose of hip-hop and R&B in their mix," Zapoleon says. "Also, there is a bigger proportion of black and Hispanic young adults in America, and they prefer rhythmic to pop and certainly rock."

But it's possible that the first signs of hip-hop missing a beat are starting to appear. It appears that hip-hop may be subject to the same fickle taste cycles as other styles of music.

"We tested a lot of the pure pop a few years ago and couldn't pay anyone to like it," says Erik Johnson, assistant OM/PD of Journal Broadcast Group's KQCH Omaha, Neb. "Now, our top 10-testing songs contain quite a few pure-pop titles. Hip-hop is still a strong part of it and will continue to be as long as we are in the broad period of the cycle."

Ryan Sampson, program coordinator/on-air host for Sirius Satellite Radio's Sirius Hits channel, echoes the sentiment. "Hip-hop is not going anywhere—nor are hard/heavy rock records. However, it won't be as dominant."

Some programmers say they are sensing a lull in the quality of releases from the genre. "Strong hip-hop records continue to test and do so quicker than their non-hip-hop counterparts," says Jimmy Steele, PD of Clear Channel's KHTS San Diego. "But it's getting harder to find fresh hip-hop and R&B. More and more, titles are sounding too similar."

This may underscore the reality that not even all-powerful hip-hop can remain above radio's cycle. Hip-hop may simply be starting to wear its welcome a bit thin.

"Many of the hip-hop records do test, but there is a clear line between 16-24s and 25-34s in test scores," says Mike Donovan, a partner with radio consultancy Vallie Richards, who also notes that hip-hop can drive down listening times. "A few Kanye West 'Gold Digger'-types are big with both demos, but when you try to force more, it tends to hurt the station over time. If you want to be the popular mass-appeal top 40, balance is a key ingredient for the long term."

"Labels should wake the hell up," says Russ Allen, PD at Journal Broadcast Group's WKHT Knoxville, Tenn. "Top 40 stations need more pop music and less of the extremes, whether it's hip-hop or rock. Send out versions of songs without rappers in them, and they may get quicker consideration at top 40. You can't tell me that there isn't a rapless version of 'Say Something' by Mariah Carey or 'Say I' by Christina Milian. Take the rapper out of those songs, and you have an uptempo female pop record."

Top 40 "will play only the best of the best," says Mike McVay, president of radio consultancy McVay Media, who also notes that fewer urban songs are testing well. "We need cume to overcome the wobbles of the ratings, and one way to do that is to be broader in appeal."



LEMMINGS

Perhaps one reason why label executives and radio programmers are so quick to cite the idea of a natural cycle in pop music is because the theory neatly implies that business decisions aren't to blame for radio ruts.

Of course, the cynic could see something darker than a natural cycle in top 40's loop. The format has a tendency to "overcommit to certain styles or artists, burn the artists out and play weaker product to try to stay on the style that is hot," Vallie Richards president Dan Vallie says. "Often, any format ends up shooting itself in the foot."

Indeed, some programmers acknowledge that they could worry more about giving a variety of sounds more of a chance, and worry less about what other stations are playing, or how certain songs test.

"Too many stations are still lemmings, worried about what was added at some major," says Jerry Noble, PD of Citadel's WIOG Saginaw, Mich. "Even though said major isn't doing diddly in the ratings."

J.J. Rice, PD of WBLI Long Island, N.Y., and Cox Radio top 40 format manager, agrees. "I was in Argentina last week, and I heard U2 and Coldplay on the radio," he says. "These are awesome bands that should have more top 40 success in the U.S., but for some silly reason, we brand them as adult top 40. If top 40 can play Nickelback and 3 Doors Down, why can't we play them?"

Dave Johnson says that "we have to get back in the business of breaking pop acts. Maybe we're such a researched world that when we're faced with the choice of playing a new, unproven pop record or a rock record that's worked pretty well at that format, we choose the rock one because it has a little history behind it."

Allen points out that label executives "get caught up in the thought that since [Clear Channel top 40 powerhouses WHTZ (Z100) New York and KIIS-FM Los Angeles] play something, every top 40 station can play it. Not so. In that vast area between L.A. and N.Y.C. that the label execs think is a fly-over territory, the rest of us know it as America. What a pop station there can play may not work in Knoxville, Omaha, Boise [Idaho] or Dayton [Ohio]."

The record labels don't escape culpability, either. When it comes to the variety and quality of pop that has been available for the past few years, programmers were happy to point the finger elsewhere.

"Let's call an ugly baby ugly," says Tony Travatto, PD of Clear Channel's KXXM (Mix 96.1) San Antonio. "Until now, aside from Kelly Clarkson, what pop songs have been out over the past couple of years that were worth our listeners' time?"

Tucker agrees, saying top 40 depended upon hip-hop because there was little else in the shopping cart.

"For too long, the labels were releasing lackluster, wimpy pop product, while the hip-hop side was releasing superior product," he says. "Top 40 is about hipness, and most of the product being released on the pop side was anything but hip."

KHTS' Steele says, "The labels are simply working an increased volume of pop-rock artists and titles. If we play enough of something, some of it will test. I believe much of the pop-rock product being worked stems from non-rhythmic-leaning top 40 stations demanding more titles that they can play. Perhaps labels are trying to expedite a return to center. We don't need more pop-rock product as much as we need for it to be hot."



WORSHIPPING IDOLS

Pop may have been retooling in radio's backrooms for a few years, but it was center stage in at least one crucial way. A number of analysts and programmers cited "American Idol" as an important ally for pop—and for the idea of musical diversity in general.

"All I can say is thank God for Kelly Clarkson and 'American Idol,' " Zapoleon says, "for keeping pop front and center in the public eye for the past four years."

Singer/songwriter Powter is a perfect example of the pop power of the nation's No. 1 TV show. The singer was largely ignored by U.S. radio—until he was featured for successive weeks on "American Idol," which, as McVay says, ignited interest at radio after the song had been released six months earlier by Warner Bros. and pretty much fell on deaf ears among top 40 programmers.

" 'American Idol' has done a lot to make various music types higher profile," McVay says. "It's not just radio doing this. Radio is following the lead of TV and the weekly pop publications. We're reflecting where society is today."

And society today, it seems, is digging variety. In the terms of that 10-year cycle, this is when things start to get really interesting for top 40 radio.

"Think back 10 years ago," KQCH's Erik Johnson says. "Modern AC was huge. We're seeing that again now with Fall Out Boy, All-American Rejects and Teddy Geiger. The pure-pop explosion always follows that period. Here comes Daniel Powter, Natasha Bedingfield and Cascada. Next, we'll see the bubble-gum stuff explode."

Sean Ross, VP of music and programming for Edison Media Research, notes that top 40 is, for the first time in a great while, looking to its softer sister formats and the album charts to cull hits. "James Blunt was a top 10-selling album before top 40 airplay really kicked in," he says. "That is hard for top 40 programmers to ignore."

Most programmers surveyed feel the format is ushering in a period that is less static and more adventurous for radio in general—and they view the new hit artists as a conduit to reinvigorate playlists that have perhaps become staid.

"Programmers are finally giving a chance to these acts," WBLI's Rice says. "These artists are all young, hip and good-looking. The first time we heard James Blunt at WBLI, we were like, 'What an awesome Euro record that won't be given a chance in the U.S.' But it broke through."

Label executives recognize the shift at top 40 radio, and they couldn't be happier.

"There's no question the trend has swung back towards more variety at top 40 radio," says Bruce Tyler, executive VP of promotion/market strategy for Sony Music Label Group U.S., which has scored two top 10 U.S. hits with Epic's Bedingfield: "These Words" and "Unwritten."

Tyler cites the success of many of his labels' acts—Geiger, the Fray, Shakira, Anna Nalick, Three 6 Mafia and Matisyahu—that "top 40 radio is now back to pretty much playing the best of many genres.

"Having corresponded with radio over the years however," he adds, "I have felt top 40 programmers are most comfortable when playing a wide variety of music, in hopes that they're reaching the largest audience possible. From a label perspective, it's important that artists as far ranging as Three 6 Mafia to Teddy Geiger to Matisyahu get heard by the masses. With top 40 radio currently leaning toward more variety, their audience grows broader and larger."

Frank Murray, VP of promotion for Cascada's label, Robbins Entertainment, agrees, noting that he was able to convince programmers that her top 40 hit "Everytime We Touch"—a dance track—would work for them. "It wasn't easy," he says. "A few were kicking and screaming all the way, but when they saw that variety was returning to the format, they were willing to give it a shot. When the record came back in research as a huge phone record, I think most were pleasantly surprised." Robbins also broke D.H.T.'s dance remake of "Listen to Your Heart" at top 40 in 2005.

"When you hear a really quality top 40, it's like, 'Wow, this is great radio,' " Vallie says. "That is because of the songs, how they are rotated and balanced as well as all the production elements, the jocks and imaging. A station should always strive to be quality first and trendy somewhere way behind."

In the coming months, it will be interesting to watch how far top 40 radio goes in embracing diverse styles.

"Top 40 is healthier today than it was six months ago," KHTT's Tucker says. "And I expect it to really be hot this summer. Top 40 will always be the most exciting format in radio, because it's all about trends and what is hot—and pop culture rules."

"Top 40 could still use a little more uptempo variety," Ross says. "Kelly Clarkson has been valiantly providing uptempo medium-weight pop rock, but it would be nice to have a 'Semi-Charmed Life' [by Third Eye Blind] or something from the rock world that is neither a ballad nor teen punk."

After all, historically, variety has been a profitable spice for top 40. "In 1997-1998, we had Chumbawamba, Notorious B.I.G., Sheryl Crow and Brandy at the same time," Ross adds. "Boom periods don't come when top 40 backs away from legitimate R&B and hip-hop hits. Top 40 booms come when there's great stuff from every genre."
_______________________________________

I found this at another forum. It's a great read and it's something I've been talking about for almost a year.

One of the main reasons why there's more pop music topping the charts is iTunes! But I don't think Urban is dying, and I don't think it will.

Agree, except the part where rappers get cut out of songs. Sometimes when the rap gets cut out the song isn't the same(Run It, Soldier, any song with Ludacris as guest artist)

Recently my AC station played "The Way You Move" by Outkast, except there was no rap in it. It was just "I love the way you move" over and over again.

I agree... awesome read and so true. I for one am happy to see that more of a variety of music is catching on, and whether or not radio would like to admit it, iTunes has provided a nice jump on this change!

You'd think they'd do more research. It's blatantly obvious that pop hits are hitting number one on the Hot 100 because of digital sales.

Oops I spent so much time reading the article (and doing other things) that I was a little late on the draw with this comment... but you are totally right!

Though iTunes may be working to Pop music's advantage, that isn't the change that is occurring. If you observed Pop radio over the past year, you would have noticed the big change and the rising popularity & acceptance of true pop songs. Pop songs are being played alot more than most Urban songs at Pop radio. It was bound to happen because, like many said, it *was* just a phase.

Sure Urban music won't die out and I'd hate for it to go away as well. It has always been there but from the years late 2001 to mid 2005, it dominated the charts. That is no longer the case. Life goes on, so does radio.

It's obvious songs from all genres are hitting the top spot thanks to digital downloads. iTunes etc. have become the most vital part of a song's chart success. If digital downloads weren't included in the production of the Hot 100, Mary J. Blige's "Be Without You" (an R&B/Pop song) would have been No.1 for many weeks now.

But rap/urban music is SO pop/glossy/mainstream right now....going towards regular pop again would be more of the same but a different shell. A real counter culture which will eventually happen but would be like Grunge or something (which was a reaction to 80's shallowness). Something more gritty and less materialistic (arctic monkeys like).


Interesting though, we shall see what happens. Either way they are correct...music is stale and is needing a big change.

Also, the way the defined the 90's as N'sync is freaken scary. Um, Spice Girls, Nirvana, and Mariah are just a few who trump N'sync. I relate them more to 1999/2000.

Grunge was not a response to 80's "shallowness". Why? Because the 80's weren't shallow. It is often considered to be one of the most musically diverse decades. Lets not forget, Hip-Hop, Alternative, and sever sub-genres of Dance got their start in the 80s. The 80's had it all. Rock, Pop, R&B, tons of balladry, & more. Grunge's breakthrough was more of a response to the lack of depth between the years 1989 to 1991, though Grunge never really did officially "breakthrough" in the mainstream (whether some like it or not).

True. A counter culture will eventually happen, infact, it could be occurring as we speak. But that isn't a neccessity for the music world to change. Plain overkill (what's going on with Hip-Hop on Pop) can easily bring about change.

Wow they just totally forgot to stress on Kelly Clarkson's UNBELIEVABLE success!

May I just ask how you know this?

Eh I don't really agree with that but I suppose there are many different opinions on 80's the rise of Grunge music so hey.

i always considered Natasha Bedingfield's Unwritten like Urban.....

pop music is fantastic,I pray all the days for comeback the gold age!!!

Well why is that only digital sales are favoring pop music and not urban?
It's not like the two audiences who listen to each are segregated in terms of iTune use.

I like how the article says "Thank god for Kelly Clarkson & American Idol".
I would definitely say TG for KC.

She brought hope to pop last year.

Pop just got some new faces, I doubt that it will seriously takeover anytime soon. R&B is coming back too but its not gonna top Hip Hop or Alternative. Like da article says Top 40 radio has become more diverse than it was before. Case closed.

I'm really surprised that there is so much disagreement with the article. I guess I'm one of the few who notices the changes in radio play at this forum.

Because I love and know alot about music. I'm thinking about interning next year. I plan on getting into the industry when I get older.

FOXNEWS.COM
Wednesday, April 19, 2006
By Roger Friedman


Is Hip-Hop Over?

I heard a weird rumor a few weeks ago: Clear Channel was telling its stations that by the end of this year, hip-hop and rap would be "over." They were making significant changes at their radio stations that would emphasize pop music and songs again.

Look at this week's top 20: There are only three hip-hop CDs — LL Cool J, NeYo and T.I. Six of the top 20 albums are by country artists, including Rascal Flatts, Tim McGraw and Carrie Underwood. Kelly Clarkson, Shakira and Pink represent female pop.

James Blunt and Daniel Powter are on the male side. Four CDs are actually for children. That leaves Nickelback as the lone rock entry and a collection of pop singles, "Now That's What I Call Music, Vol. 21," rounds it out.

Is it a trend? Have the yodeling, sampling, scatting, indecipherable packaged hoods finally been sent packing after a generation of pulling the wool over the public's eyes? One can only hope this is the case. Maybe it's a sign that today's kids actually want more out of their music.

You could say that rock is also vanishing, but that probably isn't the case. Rascal Flatts' CD is as much rock as it is country, with a decidedly more mainstream sound than most of the music that comes out of Nashville.

But what's really interesting is the proliferation of pop — just as it was described for me — already swamping radio.

http://www.foxnews.com/story/0,2933,192331,00.html

_________________________________________________

This article isn't as accurate but it goes with the current theme with Pop radio downplaying Hip-Hop. And besides, it's Fox News. LMAO at calling Rascal Flatts "rock"
and Ne-yo "Hip-Hop." People can be so ignorant.