Just thought i'd share this with you guys, it's really interesting.
I deleted a lot out of it to only show the important parts.
Quote:
The climate at Pop radio is more open to new sounds—different sounds—than they have been, because there’s no longer that, what I like to call, rhythm wall. It’s kinda like the Berlin Wall—it finally fell down. And it’s allowed different non-rhythmic, even more sophisticated music, to find its way onto Pop radio. So if you look at Gotye, or you look at fun., at Adele—without a doubt—18 months ago, I don’t know if they would have found their way. They may not have.
But Pop radio is experiencing the best ratings in its history right now. I think it’s reacting to the fact that the audience is more diversified in their taste, because we live in a world where you can discover music, so much more music, in so many more places.
LB: It was gigantic by the holidays. Besides the fact that you had a quality product, how were you able to do it to compete with the major-label system, which of any format out there, dominates Top 40 the most?
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But I know programmers. At the end of the day, they will admit that it’s not their ear that matters; it’s the public’s ear. So our job, obviously, is to get past the gatekeeper, get it on the radio, and let the listeners tell you whether you’re right or wrong. That’s our responsibility and our obligation to the artist, and we take that very seriously.
What we did is, we identified stations that were credible—ones that had good ratings in vibrant markets, that heard the record and realized its potential. These programmers, who agreed the record was really special, signed on and were willing to partner up with us, and put the record in and not bury it overnight so that only the people at the 7-Eleven would hear it, because they’re the only ones who are up. They really gave it a good shot, played it in the daytime, when people could hear it and respond to it.
And we didn’t give in to the temptation to just push it onto stations, not caring about where and when it would be played, just to be most added. No, don’t care about that. I don’t care if it’s only two adds. If those two were committed and were really going to give this a shot, and the song was the hit that we heard it to be, it would react. Those stations would then share the reaction and the research with us; we would take those flames and fan them across the country to other markets and tell the story, and build it until the record really got up on its own two feet and exploded, which is what happened.
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http://hitsdailydouble.com/news/newsPage.cgi?news09244
Richard Palmese gets interviewed, who's an important guy in the promo Teams of a lot of huge artists. He's like a Promotion Legend lmao. And he made Ho Hey a hit.
The big sized parts are really interesting. So, in fact, they actually had talks with some radio stations who take the artist seriously and made some kind of deal.. Ad they made sure it doesn't get played overnight only, so the audience could react to it.
Now THAT'S what i call real radio promotion. I wish Demi would have such a team.
