FOR IMMEDIATE RELEASE
April 29, 2009
CONTACT
Casey Rae-Hunter
Communications Director
Future of Music Coalition
www.futureofmusic.org
casey@futureofmusic.org
p: 202-822-2051 xt. 103
c: 301-642-6210
"Same Old Song: An Analysis of Radio Playlists in a Post FCC-Consent Decree
World" finds no appreciable change in station playlist composition
in four years since the Rules of Engagement and Voluntary Agreements
World" finds no appreciable change in station playlist composition
in four years since the Rules of Engagement and Voluntary Agreements
WASHINGTON, D.C. – Artist education, research and advocacy organization Future of Music Coalition (FMC) announces the release of a new report that analyzes radio playlists to determine whether the policy interventions resulting from 2003-2007 payola investigations have had any effect on the amount of independent music played on terrestrial radio.
In April 2007, the Federal Communications Commission issued consent decrees against the nation’s four largest radio station group owners – Clear Channel, CBS Radio, Citadel and Entercom – as a response to collected evidence and widespread allegations about payola influencing what gets played on the radio. In addition to paying fines totaling $12.5 million, the station group owners also worked with the American Association of Independent Music (A2IM) to draft eight "Rules of Engagement" and an "indie set-aside," in which these four group owners voluntarily agreed to collectively air 4,200 hours of local, regional and unsigned artists, and artists affiliated with independent labels.
Using playlist data licensed from Mediaguide, FMC examined four years of airplay – 2005-2008 – from national playlists and from seven specific music formats: AC, Urban AC, Active Rock, Country, CHR Pop, Triple A Commercial and Triple A Noncommercial. FMC calculated the "airplay share" for five different categories of record labels to determine whether the major labels’ ratio of airplay share has changed at all in the past four years.
The data indicate almost no change in station playlist composition in this period. Specifically, the national playlist data indicated very little measurable change in airplay share from 2005-2008, with major label songs consistently securing 78 to 82 percent of airplay. The format data showed some modest increases in airplay for indies on some formats (Country and AAA Non-Commercial, in particular) but otherwise the data from year to year changed very little. An examination of airplay by release date showed that many formats leave only small portions of their playlist for new material, with current songs sprinkled in among well-worn hits. While such programming choices might make sense for a given station’s target audience, the outcome is that there are very few spaces left on most airplay charts for new music. Looking specifically at airplay for new releases, FMC found that new major label songs typically receive a higher proportion of spins than new indie label songs. Finally, FMC looked at the indie labels themselves, and found that only a handful of indies have enough resources and clout to garner airplay consistently. For the remainder of indies, airplay is infrequent and modest, if it happens at all.
"Same Old Song" views these results through a broad lens, using the data to describe the state of radio thirteen years after the passage of the 1996 Telecommunications Act. The report underscores how radio’s long-standing relationships with major labels, its status quo programming practices and the permissive regulatory structure all work together to create an environment in which songs from major label artists continue to dominate. The major labels’ built-in advantage, combined with radio’s risk-averse programming practices, means there are very few spaces left on any playlist for independent labels, which comprise some 30 percent of the domestic music market.
"Radio is still an incredibly vital public resource that’s worth fighting for," says FMC Policy Director Michael Bracy. "It's ubiquitous and local nature make it unique in the media landscape, but unfortunately today’s commercial radio rarely reflects the communities where it is heard. There are so many artists who are successful by any other measure, but who still have enormous difficulty reaching the airwaves. Why is that? It’s important to understand how music is programmed at commercial radio. We also need regulators to devise clear and transparent rules so they can effectively oversee such a significant industry."
FMC believes that, by asking the right questions, expanding community radio and enforcing the law, the radio industry can regain its historic role and relevance to culture and community. The report also articulates a brief set of policy recommendations that will enhance the FCC’s oversight of the airwaves and improve the radio landscape for both listeners and the broader music industry. These include:
* A commitment to improved data collection
* A refocus on localism
* An expansion in the number of voices in on the public airwaves
In April 2007, the Federal Communications Commission issued consent decrees against the nation’s four largest radio station group owners – Clear Channel, CBS Radio, Citadel and Entercom – as a response to collected evidence and widespread allegations about payola influencing what gets played on the radio. In addition to paying fines totaling $12.5 million, the station group owners also worked with the American Association of Independent Music (A2IM) to draft eight "Rules of Engagement" and an "indie set-aside," in which these four group owners voluntarily agreed to collectively air 4,200 hours of local, regional and unsigned artists, and artists affiliated with independent labels.
Using playlist data licensed from Mediaguide, FMC examined four years of airplay – 2005-2008 – from national playlists and from seven specific music formats: AC, Urban AC, Active Rock, Country, CHR Pop, Triple A Commercial and Triple A Noncommercial. FMC calculated the "airplay share" for five different categories of record labels to determine whether the major labels’ ratio of airplay share has changed at all in the past four years.
The data indicate almost no change in station playlist composition in this period. Specifically, the national playlist data indicated very little measurable change in airplay share from 2005-2008, with major label songs consistently securing 78 to 82 percent of airplay. The format data showed some modest increases in airplay for indies on some formats (Country and AAA Non-Commercial, in particular) but otherwise the data from year to year changed very little. An examination of airplay by release date showed that many formats leave only small portions of their playlist for new material, with current songs sprinkled in among well-worn hits. While such programming choices might make sense for a given station’s target audience, the outcome is that there are very few spaces left on most airplay charts for new music. Looking specifically at airplay for new releases, FMC found that new major label songs typically receive a higher proportion of spins than new indie label songs. Finally, FMC looked at the indie labels themselves, and found that only a handful of indies have enough resources and clout to garner airplay consistently. For the remainder of indies, airplay is infrequent and modest, if it happens at all.
"Same Old Song" views these results through a broad lens, using the data to describe the state of radio thirteen years after the passage of the 1996 Telecommunications Act. The report underscores how radio’s long-standing relationships with major labels, its status quo programming practices and the permissive regulatory structure all work together to create an environment in which songs from major label artists continue to dominate. The major labels’ built-in advantage, combined with radio’s risk-averse programming practices, means there are very few spaces left on any playlist for independent labels, which comprise some 30 percent of the domestic music market.
"Radio is still an incredibly vital public resource that’s worth fighting for," says FMC Policy Director Michael Bracy. "It's ubiquitous and local nature make it unique in the media landscape, but unfortunately today’s commercial radio rarely reflects the communities where it is heard. There are so many artists who are successful by any other measure, but who still have enormous difficulty reaching the airwaves. Why is that? It’s important to understand how music is programmed at commercial radio. We also need regulators to devise clear and transparent rules so they can effectively oversee such a significant industry."
FMC believes that, by asking the right questions, expanding community radio and enforcing the law, the radio industry can regain its historic role and relevance to culture and community. The report also articulates a brief set of policy recommendations that will enhance the FCC’s oversight of the airwaves and improve the radio landscape for both listeners and the broader music industry. These include:
* A commitment to improved data collection
* A refocus on localism
* An expansion in the number of voices in on the public airwaves
Read the Report @ Future of Music Coalition
Executive Summary [PDF] | Complete report [PDF]
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