A New Christmas Hit, And A Holiday Gift

By Sean Ross

Why does a new song become a Christmas hit, especially when it’s so hard to create a “new” holiday song?  For the same reason, apparently, that any phenomenal song reaches mainstream pop radio from beyond the usual realm of consideration: because a label wanted it to happen.

Last year, Kelly Clarkson’s new “Underneath The Tree” pushed its way into the twenty most played songs at AC, a neighborhood typically populated by much older songs. Clarkson’s song was well-calculated for AC: a core artist working the retro-Spector ’60s style that has come to signify holiday music since “All I Want For Christmas Is You.” But RCA also made it known to radio that they wanted the airplay. That’s a commitment that few major labels make, lest it distract from their other priorities.

On Monday, Republic released the new Ariana Grande holiday single, “Santa Tell Me.” The subject line of the promotional email blast was “the first #1 holiday pop song in 20 years is here.” On Tuesday, the trade ads made clear that the song was “impacting Top 40, Hot AC, and AC radio now.” It also featured major call letters, including New York’s Z100, Chicago’s B96, Miami’s Y100, and Milwaukee’s Kiss 103.7.

Grande has had four top 10 hits since spring, if you count her appearance on Jessie J’s “Bang Bang.” The fourth, “Love Me Harder” just cracked the top 10. In addition, Epic put out a holiday original, “I’ll Be Home,” by Meghan Trainor, even as her second single, “Lips Are Movin’,” continues to build. And Disney has taken trade ads on behalf of “Do You Want To Build A Snowman?” from “Frozen,” urging PDs to think of it as a holiday song. The lead artist on “Snowman,” Kristen Bell, is also represented on the new Straight No Chaser single, “Text Me Merry Christmas.”

It’s significant that Republic wanted to go for a holiday single. If anything, it’s a way to further establish Grande as a significant enough artist to generate interest with a holiday original. (Taylor Swift’s holiday airplay is for a pair of standards, “Last Christmas” and “Santa Baby”). And it’s sooner in Grande’s career arc than either Mariah Carey or Wham, acts that managed equally rare holiday breakthroughs in the ’80s and ’90s respectively.

Edison’s Holiday Gift

For our part, over the last decade that Edison Research has done holiday music testing, we’ve been very cognizant of how songs move in or out of the holiday canon. As with “Do You Want To Build A Snowman,” we’ve also noticed that not every song has to be holiday themed. For “My Favorite Things,” which emerged as a reliable tester, it was the mere combination of references to winter weather and a movie often enjoyed around the holidays.

In our most recent holiday music test, we were curious about what other songs might work. We included a number of transcendent songs that had appropriately warm sentiments, but weren’t necessarily holiday related. Two tested playable – “Somewhere Over The Rainbow” by Israel Kamakawiwo’ole and “One Love”/”People Get Ready” by Bob Marley. Then there was “What A Wonderful World” by Louis Armstrong, which came back top 15.

That song has baffled PDs in recent years. It hasn’t ever been a sonic fit for most of the stations that play it. Most Classic Hits and Adult Contemporary stations have contemporized and few PDs want to play an odd MOR holdover from the mid ’60s. But unless yours is the first all-holiday station to draw a hardline on Burl Ives and Andy Williams, there are no fit issues at Christmas, and no reasons not to play a great-testing song of holiday goodwill. Consider it your holiday gift from Edison.

Classic Rock and Classic Rap

By Sean Ross

It’s a problem familiar to anybody who’s changed a radio station format in the last few years. For the first few days, the audience of the old station is far more vocal, and easier to find than the new one. As the handful of devout listeners who somehow never got a meter or a diary trash the station repeatedly on social media (which, increasingly, means that it’s on your own streaming player as well), there’s not much else you can do except sit there and take it in the name of “transparency.”

Now, consider the tweets that accompanied the re-launch of Hip-Hop R&B WPHI (Hot 107.9) Philadelphia as “throwback Hip-Hop” Boom 107.9.

Boom 107.9 is Radio One’s second launch of a Classic Hip Hop station, and the response to the first one, KROI (Boom 92) Houston was similarly ecstatic. Edison helped launch the first gold-based Hip-Hop outlet, KDAY Los Angeles, a decade ago. We’ve also been involved in the launch of several “hits and throwbacks” outlets, from KHTP (Hot 103.7) Seattle to CFXJ (Flow 93.5) Toronto, which generated similar passion with a relaunch of its own lately.

The early response to Boom 107.9 has been rapturous, (and the word has been nicely spread by a very well-managed Twitter account). There have been virtually no complaints about losing the old station. That’s just one reason that the change reminds Edison’s Larry Rosin and me of the early days of Classic Rock.

Consider the mid-‘80s, when Classic Rock surfaced. Top 40 was dominant. Rock radio’s place in pop culture, seemingly unassailable a few years earlier, had been upstaged. Rock stations weren’t just grappling with whether to play Prince and Michael Jackson, but Lionel Richie and Culture Club. Rock radio owned nothing that CHR couldn’t cherrypick, including emerging stars like Def Leppard, Guns N’ Roses and Mötley Crüe, who were massively alienating to older rock listeners as well.

Classic Rock’s arrival picked off Rock radio’s upper demos and left it with a series of dismaying choices – double down on polarizing hair bands, dig for some more neutral currents that nobody cared about, play very few currents and go “almost Classic Rock,” or, if nobody had snapped up the franchise yet, just go Classic Rock outright.

However you feel about today’s Hip-Hop (and many do consider it to be on an upswing), it’s easy to say that it doesn’t sport the same broad coalition that it did between the mid-‘90s and mid-‘00s when it was, for many 12-to-24-year-olds, either the only music that mattered, or a surprise complement to Alternative Rock. As at the birth of Classic Rock, Top 40 is dominant and as likely to send a song to the Hip-Hop/R&B format as the other way around.

There is, in other words, at least as much excitement about 2pac, Notorious B.I.G., and Jay Z as about today’s Hip-Hop. Among 30-year-olds, it’s not even close, especially since many of those listeners aren’t even hearing today’s Hip-Hop, having scattered to other formats, or maybe even away from music radio.

Conditions were different a decade ago when KDAY launched, ‘90s Hip-Hop wasn’t a distant enough memory. Current Hip-Hop was still accepted in the pop culture mainstream, albeit grudgingly. The ‘80s songs popularized by the original KDAY-AM hadn’t been heard by that many people. The new KDAY didn’t seem like an immediate success, and actually evolved out of the format for a while. But in 2009, it returned to gold-based Hip-Hop, and has made a respectable showing for what had long been considered a fringe signal.

In KDAY’s decision is at least a partial answer to the inevitable questions about the staying power of any new gold-based format. Seattle has levelled off considerably after a huge debut. Even KZEP (Hot 104.5) San Antonio was up 3.1-6.9 in its first month, but off slightly in the second. Those “Jammin’ Oldies” type spikes often obscure that there’s a respectable long-term franchise for somebody afterwards. And Classic Rock was dogged by the “fad format” charges for a decade. Thirty years later, the detractors have finally switched to “well, it’s a mature format.”

It’s also significant that just as Classic Rock was completing its first decade, grunge re-energized Rock radio and there was a viable living for both classic and new rock stations. (The stations that were most left out were those that had sort-of gone Classic Rock and couldn’t credibly own either franchise.) So there doesn’t need to be a permanent vote of no-confidence in today’s Hip-Hop for one Classic Hip-Hop station in a market to find a long-term place. For now, anyway, we’re seeing fresh reminders that a broad coalition of listeners – different from the format’s current audience – grew up with this music and is excited about hearing it again.

Changing Route: The Future of Traffic Reporting

Edison Research’s Larry Rosin presented “Changing Route: The Future of Traffic Reporting” at 2014’s DASH Conference in Detroit. In this dynamic presentation Larry explains the changes he has observed using never-before-seen data and in-person consumer interviews.

Want more? A follow up interview with Larry about the future of traffic reporting can be heard here at Transportation Radio.



How Effective Is In-Taxi Video?

That’s just the sort of question we love to answer here at Edison Research, so we devised a study to find out. Among the eye-opening results: 82 % of riders surveyed said they are likely to seek information about the products and services they saw advertised. More about our work for Creative Mobile Technologies on the effectiveness of ABC’s in-taxi programming can be found here.