Public Radio Programming Strategies

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From the ARAnet On-Line Library Of Public Radio Research

by David Giovannoni, Thomas J. Thomas, and Theresa R. Clifford (111 pages)

Originally published as:

Giovannoni, David, Thomas, Thomas J., and Clifford, Theresa R. Public Radio Programming Strategies: A Report on the Programming Stations Broadcast and the People They Seek to Serve. Washington, DC: Corporation for Public Broadcasting, 1992.

A Report on the Programming Stations Broadcast And the People They Seek to Serve

David Giovannoni Audience Research Analysis Derwood, MD

Thomas J. Thomas Theresa R. Clifford Thomas & Clifford Takoma Park, MD PUBLIC RADIO PROGRAMMING STRATEGIES

Funds provided by: Corporation for Public Broadcasting

The opinions expressed herein are those of the authors and do not necessarily reflect the opinions or policies of the Corporation for Public Broadcasting.

ISBN O-89776-126-X CONTENTS

1. INTR~DUWI~N ...... 1 2. CONTEXTANDDESIGN ...... 4 Design of the Project; Conducting the “Census” 3. PROGRAMMINGCOHORTS ...... 9 Multiple Cohort Membership; What Shapesthe Cohorts?; What Describes the Cohorts?; Programming Cohorts -The Big Picture; Format Definitions; The Programming Profiles; The Network News Dominant Cohort; The Local Public Affairs Dominant Cohort, The Classical Dominant Cohort; The Rock, Jazz, & “Other” Music Dominant Cohort, The Local Alternative Cohort, The Classical, News, & Jazz Cohort; The Acquired Eclectic Cohort; The Local Eclectic With Folk Cohort; The Local Eclectic With Words Cohort 4. PROGRAMMINGCOHORTSCOMPARED ...... 32 Size, Audience, and NFFS; The Relative Sizes of the Programming Cohorts; Programming Dimensions; Sourceand Daypart; Non-English Programming, Information and Music; Programming and Non-Programming Characteristics

5. FUTUREDIRECTIONS OF THEPROGRAMMINGCOHORTS ...... 39 Format Focusing, Today’s Cohorts Tomorrow; Cohorts of Today and Tomorrow, The Dispersing Classical, News, & Jazz Cohort; The Emerging Jazz Dominant Cohort; Crossover Among Current & Future Programming Cohorts; Public Radio’s Shifting Information Cohorts; Realignment of the Network News Dominant Cohort; Realignment of the Public Afairs Cohorts; More Information More of the Time; Future Characteristics Compared 6. APPEALCOHORTS ...... 51 Appeal; Appeal As Measured in This Study; Appeal’s Two Interpretations; Important First Steps; Appeal Cohorts; PerceivedAppeal Norms; The Well-Educated Appeal Cohort; The Older Appeal Cohort; The Mid-Age Appeal Cohort; The Multiple Appeal Cohort; The Younger Appeal Cohort 7. APPEALCOHORTS COMPARED ...... 61 Size, Audience, and NFFS; The Relative Sizesof the Appeal Cohorts; Appeal Dimensions; Age Appeal; Education Appeal; Minority Appeal; Programming and Non-Programming Characteristics 8. AUDIENCESERVICEDIMENSIONS ...... 66 Audience Service Dimensions of Public Radio Stations; Audience Service Dimensions of the Appeal Cohorts; Future Appeal Cohorts 9. COMBININGPROGRAMMINGANDAPPEAL ...... 71

10. APPLYINGTHEDATABASE ...... 75 Minority Issues;Who Are These Stations?; Minority Stations and Cohorts; Two Measures of Minority Service; Black Listeners and Strategic Cohorts; Hispanic Listeners and Strategic Cohorts; Expansion Issues; The Expansion Station Audience; Expansion Stations Today; Expansion Stations Tomorrow; Expansion and CSG-SupportedStations Compared; Where Expansion Stations Make a Difference; Subsequent Inquiries; Obtaining the Database

How COHORTS AREDETERMINED AND AFFILIATION LIST ...... 91 PUBLIC RADIO PROGRAMMINGSTRATEGIES 1

INTRODUCTION

Public radio stations embrace a mission that speaks to the highest standards of public service in journalism and cultural expression; many draw from a shared body of national programming; and from station to station, community to community, the kinds of listeners drawn to public radio have much in common.

At the same time, the independent and local character of America’s public radio stations is reflected in clear and measurable differences in the programming strategies through which they serve listeners. Central questions such as “Whom do you seek to serve?” and “What kinds of programming will comprise your service?” evoke ever more diverse answers from an expanding public radio system.

This report presents the findings from a comprehensive ascertainment of public radio stations’ programming strategies. The study was conducted on behalf of the Corporation for Public Broadcasting by Audience Research Analysis and Thomas & Clifford. More than 740 stations were contacted for the study; some 570 chose to participate.

The project’s central thrust is to seek out underlying patterns in the key dimensions of stations’ audience service - the kinds of programming they present and the kinds of listeners they serve - and to identify where these patterns are shared among significant numbers of stations. The result is a new framework through which to explore the natural alignments and prospective partnerships among stations.

PUBLIC RADIO PROGRAMMINGSTRATEGIES highlights the shared audience-service goals hidden within the complexity of today’s and tomorrow’s public radio system. These shared goals can guide public radio’s strategic planning along audience- service lines. They shape numerous opportunities to preserve and strengthen public radio’s programming and audience diversity. They will be the foundation of new programming streams designed to reach listeners now at the periphery of public radio’s audience.

This study finds that large numbers of stations concentrate in the familiar public radio programming areas of classical music and news. But significant numbers of stations feature other combinations of formats - enough to comprise nine programming-based “cohorts,” groups of stations with similar programming profiles.

1 PUBLIC RADIO PROGRAMMINGSTRATEGIES

Similarly, large numbers of stations perceive that their service is most appealing to public radio’s familiar demographic clusters of white, highly-educated, and older listeners. But significant numbers of stations believe they now serve quite different audience segments, including listeners who are younger, more racially diverse, and who have not (or not yet) attended or completed college. Audience data, to the extent it is available, confirms this perception. The study identifies five distinctive appeal-based station cohorts, each with its own audience mix.

The study finds several broad directions of change in stations’ programming profiles. Individual stations will be more focused in their programming efforts, more discriminating in their program choices. They plan to devote more time to fewer formats. To best serve these stations, producers and funders will need to apply a similar focus and precision.

Stations in almost all programming cohorts plan to present more information programming. One new programming cohort will in fact be a “News and Public Affairs” group - a more intense variation of current information-oriented cohorts.

Stations plan to maintain the current balance between local and acquired programming, which tilts about 60/40 in favor of local programming. Over the next few years, as stations contemplate somewhat longer broadcast schedules, they expect to add an average of some two hours per week of acquired material.

The directions of change in audience targets are softer. Stations now at the extremes of the age continuum - those serving very young and very old listeners - would like to migrate toward a more middle-aged audience. Many stations expect to see more black listeners in the their audience, as well as more listeners who have not completed a college education.

The study anticipates greater diversity in programming and target audiences - not within a given station’s program schedule, but among several stations within the same community. For example, even as a given station is working to focus its schedule on a particular service “niche,” other stations in the same community are committed to quite different strategies - different kinds of programming for different kinds of listeners.

There are both differences and similarities between the programming and audience goals of stations that are supported by CPB and those that are not. As “expansion stations” join the system in the next few years they will change it. One dynamic will be new themes in programming and audience targets that these stations introduce. Just as important, if not more so, will be areas in which they align with currently CPB-supported, interconnected stations to create a “critical mass” of stations focused on a particular programming strategy. The emergence of a new “Jazz Dominant” cohort is one such example.

2 INTRODUCTION

Similarities and differences also exist among stations that are operated by minorities and those that are not. Although minority stations do tend to cluster in a few cohorts, they do not define their own. Indeed, black-managed stations are joining the “mainstream” - or perhaps, the mainstream is joining them, as the emerging Jazz Dominant cohort will be a mixture of black- and white-operated stations.

Perhaps most important of all, the study finds that the programming and audience service aspirations of stations unite in ways that cut across geography, network affiliation, or eligibility for a given grant at CPB. The focus of the project’s strategic cohorts are stations that aspire to serve similar audiences with similar programming, regardless of other characteristics.

This finding allows us to re-map the public radio system in audience-service terms - a key step in the system’s continuing effort to provide meaningful services to significant numbers of listeners efficiently and effectively. In public radio, as elsewhere, there is strength in numbers, economies of scale, and great benefits in cooperation.

The first part of this report presents the context and design of the study and reviews how research was pursued. The second part explores the ways in which stations cluster together (and are set apart) with respect to the kinds of programming that they do. The third part is a similar examination of the kinds of listeners stations believe they serve. These two analytical schemes are then combined into a single programming/audience matrix to yield even more insight. The report concludes with examples of how the project data can be applied to questions concerning better service to people of color and the likely impact of system expansion.

3 2

CONTEXT AND DESIGN

The 1990 report of the Public Radio Expansion Task Force’ presented a broad- ranging plan to help public radio “fulfill its early promise and expand the initial vision of service to the American people.” The Task Force strategy, developed through extensive consultation with stations and public radio’s many regional and national organizations, centered on four broad goals: l Achieve full national coverage, serving 95 percent of all Americans with at least one public radio signal. l Increase the effectiveness of existing stations by improving the quality, presentation, and scheduling of current programming, and by developing new “centerpiece” programming. l Realize greater efficiencies from current programming resources by bringing additional stations into its satellite network. l Diversify the audience with a disciplined, sophisticated, and more broadly- conceived programming strategy that includes new programming streams and multiple stations in larger communities.

One path for pursuit of these goals is the array of station grant programs at the Corporation for Public Broadcasting. The Task Force developed detailed recommendations for several new grant programs, most of which have since been implemented. And the strategic direction of the Task Force plan was a central element in CPB’s 1991-92 comprehensive review of its radio station grants.

Side-by-side with a funding strategy, however, must be a programming strategy. Serving listeners with programming is central to every one of the Task Force goals. But exactly what programming - and for whom - was far less clear to the Task Force. What kind of programming would make public radio more effective and efficient? What programming would be compatible with the goals of stations across the country - both those now supported by CPB and those that will enter the system in the future ? What programming would truly diversify the public radio audience? Which targets for diversity would be most realistic?

’ Public Radio In The 1990s: Fulfilling The Promise, The Report of the Public Radio Task Force, 1990.

4 CONTEXT AND DESIGN

And speaking of audience, who would be the new listeners that new programming ought to serve ? This was a particularly thorny question, because in radio, when one decides to serve a certain type of person, one simultaneously decides not to serve other types.

The stations now supported by CPB currently reach over 16 million listeners each week - about eight percent of the total radio audience. While no small accomplishment, that still leaves an enormous range of potential choices for new service, as well as an enormous number of listeners who will remain unserved by . public radio no matter what choices are made.

Public radio clearly cannot afford to grow in all directions at once. It must make some hard programming and audience decisions. The Expansion Task Force understood this. Yet at the same time, the Task Force realized that it had neither the necessary information nor the analytical tools to suggest which specific programming and audience directions might be most appropriate and fruitful.

AUDIENCE 8B2,which had influenced much of the Task Force’s thinking, provided a few clues to these unanswered questions, but it did not address them directly. Further, AUDIENCE 88 was based only on NPR member stations. Charting the future of public radio requires thinking in terms of a much broader universe of public stations - the one-quarter of the stations in CPB’s Community Service Grant program that are not affiliated with NPR, and the even larger number of public stations that are currently outside the CPB-funding universe.

PUBLIC RADIO PROGRAMMING STRATEGIES assembles the information and creates the tools that the Task Force did not have - information that helps us see how people at stations are thinking about their programming and audiences today and in the future, and tools that help us apply this new and important information.

The PROGRAMMING STRATEGIES project does not decide for public radio what directions programming should take. Rather, its central task is to gather and organize data that will empower a host of program decision-makers - individual producers and production companies, station programmers, national networks, and program funders - to make their respective choices with a far better understanding of station programming strategies throughout the nation.

2 AUDIENCE 88: A Comprehensive Analysis of Public Radio Listeners is a seven-volume report of a study by the same name, funded and published by the Corporation for Public Broadcasting,1988.

5 PUBLICRADIO PROGRAMMINGSTRATEGIES

Design of the Project

The study’s first task was to determine the current programming and perceived audience of the nation’s public radio stations. There are well over 1,400 noncommercial radio operations in America today, of which more than 700 provide a nonreligious public service-oriented schedule. We set out to determine the programming presented by these stations and the types of listeners they believe respond.

This breadth of information must be organized if it’s to be useful. Decision- makers cannot look at the individual responses of 700 stations. Nor can they assume that public radio is a monolithic entity in which all stations are the same.

So the second task was to identify where programming and audience service are shared among significant numbers of stations. Based on these programming and audience commonalities, stations are placed into groups, or cohorts, which this report describes in detail.

Of course, not all cohorts are the same size, nor do they have the same resources to spend on programming, nor do they serve the same numbers of listeners. In order to increase the value of the information for decision-makers, our analyses show how many stations are in each cohort, how much they spend on programming, and how well they are currently serving listeners.

These connections between programming and listener characteristics, audience size, and station resources are the keys that unlock this study’s utility and flexibility. Given a study that sorts public radio stations into cohorts with shared programming and appeal goals, most decision-makers will want to know the “power” of any cohort or cohorts of stations so defined. Are there enough stations with enough resources to justify a new national program? Are there enough to pay for a show that CPB’s Program Fund has launched but may no longer support? Are there enough to pursue any one of the myriad visions of public radio’s producing community? This study cannot provide the answers in advance, because each user - producers, funders, programmers - will have a unique set of expectations and criteria for success. What the study does provide is an immense amount of data about station strategies and resources that can be set against those criteria, whatever they may be.

With this analysis of the current situation in hand, we set out to assess whether these cohorts of stations are shifting, and if so, how they are shifting. It’s one thing to understand the current state of the public radio system. It’s another to understand the directions in which stations intend to move in the next few years.

6 CONTEXT AND DESIGN

Not only are stations’ strategies evolving, but the very composition of the public radio system is changing as well. Many efforts are expanding the range of stations benefitting from CPB’s support and utilizing public radio’s national programming. The stations not yet “in the system” share many traits with those that have preceded them; they also bring new missions, strategies, and programming sensibilities. Our final task has been to compare the goals of stations currently supported by CPB to those of stations which may enter the fold this decade.

Conducting the “Census”

To address these questions, we sought to be all-inclusive in scope. The study contacted every noncommercial radio station we could identify that offers a nonreligious service intended to serve the general public. This took us well beyond the 320 CPB supported stations to include more than 420 additional public stations. CPB is now reaching some of these stations through its various expansion grants. NPR and APR now serve many through various associate and auxiliary programs. A number are members or associates of NFCB. But many of them have no current affiliation with any of public radio’s national organizations.

There’s a big difference between asking questions and getting answers. From the beginning a major priority was to maximize response rate. We employed a battery of techniques including reminders sent by mail, fax, and the DACS system. We made hundreds of phone calls.

In all, 568 stations participated out of nearly 750 contacted - a cooperation rate of 77 percent. Almost any way one might choose to categorize stations - APR, NFCB, NPR, Latino, African American, Native American; CSG recipients and expansion stations - a majority of each such group has participated.

Each station filled out a chart indicating what it was broadcasting in 15 minute intervals throughout the day, throughout the week.3 This yields 672 measures of programming per station. By allowing stations to be as precise as they wanted to be in describing their programming, this exceptional level of detail avoided preconceived notions about programming strategies or approaches.

Stations reported dozens of local formats and hundreds of nationally-available programs in all. To keep the data manageable, we collapsed programs into nine

3 Stations will recognize this as the programming schedule grid sent out quarterly by National Public Radio. NPR shared data from these grids with the PROGRAMMING STRATEGIES project, and was commissionedby the project to include additional stations in its survey. 7 PUBLIC RADIO PROGRAMMINGSTRATEGIES

distinct formats, and tracked how much programming in each was acquired or produced locally. We also tracked whether the programming was in prime time (which we defined as between 5 a.m. and 7 p.m) or in non-prime time. Nine formats times two sources times two dayparts equals 36 ways to characterize a station’s programming. “Off the air” provides a 37th possibility.

On one hand, not all of the ultra-fine programmatic distinctions that exist in public radio today can be expressed in 37 ways. On the other, this method is 37 times more detailed than a survey that asks a station simply to check the box that best describes its format. And, to assess what stations are thinking about the future, we tracked with parallel precision - another 37 ways - how they expected their schedules to change by the year 1995.

The study then gathered each station’s own appraisal of its appeal. We asked the stations to indicate how different kinds of people respond to programming now on the air; we then asked how they expect that appeal to change by 1995.

Finding out who’s listening is much more complex than finding out what’s on the air. To inform this appraisal, the project gave many of the participants information about who was listening to their programming. We acquired audience data from Arbitron, created “audience portraits,” and sent them along with the survey to as many stations as the data and the project budget would allow.4

In this way, the PROGRAMMING STRATEGIES project provided a number of stations with a first look at syndicated audience research data. For many others, including many long-time audience data users, it was a first chance to see their station listening portrayed in the graphical form used by the project.

Station assessments of their programming and audience appeal, alone, would provide the basis for identifying the emerging programming strategies of the public radio system. But to describe these patterns most fully, we needed much more information about the stations themselves.

We complemented our programming and audience data with information about many other station traits, including size of budget and audience, market size, station ownership, network and organizational affiliations or memberships, and participation in the public radio satellite system.

All this, together, comprises the PUBLIC RADIO PROGRAMMING STRATEGIES master database. It is the most comprehensive and inclusive ascertainment of public radio operations ever assembled and it is the foundation of this report.

4 More than 260 stations received audience portraits - over a third of all stations surveyed and over two-thirds of the stations for which Arbitron had enough data to make reliable estimates possible. 8 3

PROGRAMMING COHORTS

The expansion and diversification of America’s public radio system - a process that appears certain to accelerate in coming years - encourages and highlights a broad range of strategies through which stations serve their communities. The sometimes contentious process of expansion and diversification may appear to be adding chaos to an already fragmented public radio system. But maybe not.

The basic theory of PUBLIC RADIO PROGRAMMINGSTRATEGIES is that patterns of affinity exist among stations with shared audience service missions. By better understanding these patterns, the theory continues, public radio can sharpen the effectiveness of the service it provides to traditional constituencies. It can achieve economies of scale through new initiatives that are targeted to meet common objectives. It can reach more broadly across society through programming designed for listeners who are now at the periphery of public radio’s audience.

The basic approach of the PROGRAMMING STRATEGIES project is to discern these affinities through examining the programming that stations choose to present to their communities and the audiences that they explicitly or implicitly choose to serve through these programming choices. This approach represents a purposeful shift from public radio’s tendency to categorize on the basis of inputs - budget and staffing levels, licensee types, network affiliations - to a focus on the output side of the service equation.

The starting point of the inquiry, once the massive database had been assembled, was to construct a unified framework within which we could sort stations by their differences (in both programmatic and audience terms), combine them by their similarities, and present the findings to the system in understandable terms.

As noted in the previous section, the project gathered programming data and audience perceptions with no a priori notions of how it should be categorized. We wanted the stations to characterize themselves and, in turn, for the data to shape the characterization of the system as a whole. We came to think of this approach as “let the data do the talking.”

Several considerations guided the development of the analytical framework presented in this report:

l The framework needed to be driven by the central themes of programming and audience. At the same time, it needed to accommodate the presentation of

9 PUBLIC RADIO PROGRAMMING STRATEGIES

information about a host of other station characteristics that would give meaning and texture to the analysis.

l It had to make practical sense to public radio professionals and resonate with the day-to-day realities of the field. Stations must be able to recognize themselves, their colleagues, and their field within the portrait that emerges.

l The framework must be based upon reliable and replicable statistical techniques. The findings presented to the system must satisfy generally accepted measures of statistical validity and significance.

The Concept of Cohorts. The motif we have chosen to employ is the cohort, a group of stations that have several characteristics that make them like one another, yet different from their colleagues. We make three passes through the station data to define these cohorts. The first articulation is in programming terms, the presentation of which begins with this section. Each station is placed in one or more cohorts based solely on the programming information it provided - how much of each type of programming is broadcast, how much is produced locally, how much is acquired.

The second analysis focuses on appeal - the listeners that stations serve. This discussion begins in Section 6. Stations are again placed in cohorts based on their own characterizations - this time of the extent to which different kinds of listeners respond to their efforts.

The third analysis examines the interaction between programming and appeal by exploring where these two sets of cohorts intersect. We call the intersection of programming and appeal strategic cohorts.

Each of these steps is completed twice, once for the current situation, and again for the future.

Multiple Cohort Membership. In the real world of public radio, stations have all manner of affiliations that reflect their different needs and aspirations. We thought our framework should be no different. Accordingly, as long as the “fit” is right, the PROGRAMMING STRATEGIES framework permits stations to appear in multiple cohorts.

What Shapes the Cohorts? The actual process for assigning stations to cohorts is a statistical technique known as factor analysis.’ The underlying principal is that the full pattern of each station’s programming (or, later, audience appeal) is considered relative to the patterns of all other stations.

’ This technique is described in more detail in the Appendix.

10 PROGRAMMING COHORTS

The technique can create just two cohorts (e.g., music and talk) or as many cohorts as there are stations. By using a combination of statistical tests and common sense judgement, it was our job to determine which number of cohorts created the best fit between the resulting model and the reality we sought to describe. Our conclusion was that nine cohorts best told the programming story and that five cohorts best explained the variations in audience appeal.

What Describes the Cohorts? Once the cohorts were configured on the basis of programming and audience appeal alone, we could bring to bear the full database of information about each station. For example, a key element that differentiates two cohorts may be that stations in one present a lot of jazz and while those in another do not. But if both present a lot of classical music, that would be an important dimension in fully understanding their programming service. More broadly, characteristics such as audience size, financial support, interconnection, network affiliation, and participation of minorities in management can also help describe what is going on.

Programming Cohorts - The Big Picture. This study assigns 561 public radio stations2 into nine programming cohorts based on the type and amount of programming they currently broadcast. These cohorts can be grouped into three major categories: Information Dominant, Music Dominant, and Mixed Format.

l Two-in-ten public radio stations are Information Dominant. As a group they fill nearly 40 percent of their schedules with news, events, public affairs, and/or call-in programming - nearly twice the system average. “Information Dominant” does not mean “all news” or “all talk.” Music fills half of the prime time and 80 percent of the non-prime schedules on these stations. The two Information Dominant cohorts are Network News Dominant and Local Public Affairs Dominant.

l Four-in-ten public radio stations are Music Dominant. On average, 83% of these stations’ schedules are devoted to music. However, very few Music Dominant stations are music exclusive. More than three-quarters broadcast some news and events and/or public affairs and call-in. The three Music Dominant cohorts are: Classical Dominant; Rock, Jazz, & “Other” Music Dominant; and Local Alternative.

l Five-in-ten public stations are Mixed Format stations. The four Mixed Format flavors are: Classical, News, & Jazz; Acquired Eclectic, Local Eclectic With Folk; and Local Eclectic With Words.

2 The number of stations on the air when the survey was taken that returned usable information. The Appendix lists all stations by their cohort affiliations. 11 PUBLIC RADIO PROGRAMMING STRATEGIES

Format Definitions

To prepare the cohort analysis, all programming was placed into one of nine broad format categories. Following are the types of programming and programs in each category.

Classical All types of classical music in News and Events News and feature the European tradition, recorded or live. reporting, and broadcast of local, regional, Includes Baroque, Chant, Choral, Contem- national, and international events. Does porary, Opera, Renaissance,Romantic, and not include Public Affairs or Call-In pro- Twentieth Century. Networked programs gramming as described below. Networked include Adventures in Good Music with programs include All Things Considered, Karl Haas, Perfbrmance To&y, and all AP News, As It Happens, BBC World Ser- syndicated orchestral series and overnight vice, Fresh Air, MarketPlace, MonitoRadio, SXYViCeS. Morning Edition, National Natiue News Service, Pacifica News, and Weekend Edi- Jazz All types of jazz, recorded or live. tion. Includes Avant Garde, Big Band, Contem- porary, and Traditional jazz. Does not Public Affairs/Call-In Programs that air include Blues, Gospel, Folk, Urban, or comments and questions from listeners, World musics. Networked programs in- usually with an interviewer and a guest. elude Marian McPartland and River Walk. Includes the traditional “public affairs” style of interviews, lectures, and round Rock Popular music recorded after 1955 table discussions,as well as documentaries. appealing to younger persons. Includes Networked programs include Crossroads, Alternative, Contemporary, Heavy Metal, Horizons, Modern Times with Larry Joseph- New Wave, Oldies, Rock and Roll, and Top son, National Press Club, Sound Money, Forty. Does not include Ethnic, Interna- Souno!Print, and Studs Terkel. Does not tional, Latin, New Age, Soul, Urban, or include Car Talk. World musics. Entertainment General entertainment, Folk Music with American or European with or without music. Includes Comedy folk origins. Includes Bluegrass, Cajun, and Variety shows. Networked programs and Celtic. Does not include Country, include Bob & Ray, Car Talk, Heat with Latin, Reggae, Rhythm & Blues, Salsa, or John Hockenberry, Mountain Stage, My World musics. Networked programs in- Music, My Word, Rider’s Radio Theater, elude FolkStage, Lonesome Pine, and Whad’ya Know, any show starring Garrison Thistle and Shamrock. Keillor, and any show that sounds like it is derived from any national show starring Other Music Music that is not Classical, Garrison Keillor. Jazz, Rock, or Folk as defined above. In- eludes Blues, Broadway, Caribbean, Club, Other Includes Arts/Cultural Magazines, Country, Easy Listening, Ethnic, Funk, Children’s, Drama, Instructional, Litera- Gospel, HipHop, International, Jewish, ture, Reading, Religious, Sports, and all Latino, Music Mix, New Age, Other Popu- Targeted programming. National programs lar, Reggae, Rap, Rhythm & Blues, Salsa, include New American Radio, NPR Play- Show Tunes, Soul, Space, Urban, and house, and Radio Reader. World musics. Networked programs include Blue&age, Echoes, Music From The Hearts Of Space, New Sounds, and Afiopop.

12 PROGRAMMING COHORTS

The Programming Profiles

Wherever possible, PUBLIC RADIO PROGRAMMING STRATEGIES data are summarized and presented in graphic form. The graphs themselves are complex, often integrating multiple concepts in order to highlight the relationships that are central to the analysis.

The graphic below is used to present the “Programming Profile” of each programming cohort. A similar presentation is used later in the report to introduce the appeal cohorts.

The small sdid boxes indicate how the amount of airtime ststions in this cohort devote to a famat compares to the amount used by all public mdio stations. This relative use of various formats is the key factor in defining the cohort. The further a format’s relative score is from the avemge, either above or below, the mme imp&ant stations use (or non-use) of that format is in shaping the cohut.

Programming Profile of the Current Rend the percent _ NETWORK NEWS DOMINANT Cohort ’ of sirtime frcm this scale. This horizontal L line is the . ‘O1 average for all 8ol! public radio n . -50 p steticns in the L -40 3 The height of these study. . bars indicates the percent of overall Averages airtime that stations d In this cdwt devote Reed the cohort’s to each format. reletive use of a This absdute amount P&Cl NwwEvnts O-Music Classical of programming is a fcmat from this Cther A Jszr Reck scale. If the small key factor in box is above the 0 Percent of Hours m Compared to Average describing the average line, it / cohort, as is the case with News/Events means that the T stations in this programming in this I example. cohoft are mofe I likely than others These are the nine famats into which the to use that -I.... type of programming. programming that stations reported was pracso

Key To Abbreviations Classical Classical JazE JfU.2 Rock Rock 0-Music Other Music NWdEVllb News and Eventa PA/C1 Public Affairs/Call-In Entertain Entertainment Other Other Information Dominant Stations The Network News Dominant Cohort

Over half of the prime time hours on Network News Dominant stations are filled with acquired news/events (44%) or local public affairs/call-in (9%) programming. Yet Network News Dominant stations produce very little local news in non-prime time periods, averaging only one-hour of public affairs/call-in programming per week in non-prime. Virtually all of their non-prime time news is acquired.

Program acquisition is key to this cohort. During prime time, Network News Dominant stations produce only 38 percent of their program hours compared with the public radio average of 63 percent. They produce a somewhat larger portion of their programming in non-prime time, but again, they are more reliant on acquired programming evenings and overnight than are other public stations.

Dual licensees’ penchant for putting information programming on their AM stations shows keenly here: over half of public radio’s AM stations are in this cohort (one-in-five Network News Dominant stations is on the AM band). Public radio’s handful of “all news” stations on either band are included in this cohort. It’s important to note, however, that the majority of Network News Dominant stations also program music.

Locally-originated programming dominates prime time music, which tends to be classical (half of the stations carry it and those that do average 36 hours per week) or jazz (one-third of the stations carry it and those that do average 26 hours per week).

Nighttime is another Programming Profile of the Current story. Three-quarters of NETWORK NEWS DOMINANT Cohort the Network News Dom- I inant stations originate E .g I jazz programming at . rns I night, accounting for 22 More .+ percent of all non-prime 82 . hours. Half of these 2 stations originate ,verage e $ “other” music, account- Less % - ing for another nine -I percent of non-prime PA/Cl NwslEvnts Folk O-Music Clessicel hours. Entertain Other Jan Fbck 0 Percent of Hours - Compared to Average

14 PROGRAMMING COHORTS

The Network News Dominant Cohort - At A Glance

News, events, public affairs, and call-in constitute 73 stations in the cohort account for: half (49%) of stations’ schedules; 35% is acquired 13% of all public radio stations, news and events programming. Most stations also 16%of the national AQH audience, and do music, averaging 42% of broadcast hours - 20% of public radio’s total NFFS. mostly in non-prime times.

Five-in-six Network News Dominant stations are affiliated with NPR or APR - public radio’s two main sources of daily news and information programs. No minority-managed stations are Network News Dominant.

Audience and financial success are hallmarks of stations in this cohort. Though it contains only 13 percent of the stations, its serves 16 percent of the national audience and attracts 20 percent of the system’s nonfederal financial support.

Looking ahead a few years, Network News Dominant stations aspire to produce an additional eight hours per week of local public affairs/call-in programming, and to acquire an additional three non-prime news and events hours per week. To clear the time for these additional hours, some other programming must be cut back. Classical music will be displaced the most; these stations expect to cut it back by five hours per week.

Current Source & Daypart Profile of the NETWORK NEWS DOMINANT Cohort

The stations that best exemplify the Network News Dominant cohort are KALW-FM, KBSM-FM, KBSU-FM, KBSW-FM, KCURFM, KCZP-M, KIOSTM, KNOW-FM, KNSR-FM, KOAC-AM, KPBS-Fhi, KF'CC-FM, m KQED.FM, KSDP-AM, KSJK-AM, KSKA-FM, KiTl'X-FM, Acquired KTPS.FM, KUOW-FM, KUSU-FM, KVCR-FM, KZSE-FM, u WBUR-FM,WCPN-FM,WEOSFM,WQBw-FM,WGTD-FM, LoCal WHA-AM, WILLAM, WKAR-AM, WLFM-FM, WNYC-AM, Prime Time Non-Prima Time WOI-AM, WOSU-AM, WRFW-FM, WSCN-FM, WUWM-FM, WVTF.FM, WVTR-FM,WVTU-FM, and WXXI-AM.

, 15 PUBLICRADIOPROGRAMMING STRATEGIES

Information Dominant Stations The Local Public Affairs Dominant Cohort

Local Public Affairs Dominant stations carry more public affairs/call-in programming than any other cohort, averaging 16 percent of their on-air hours. Almost all also broadcast news/events programming an average of 17 percent of their on- air hours. Together, these two formats constitute 33 percent of Local Public Affairs Dominant stations’ schedules - higher in prime time (43%), less in non- prime (17%).

Stations in this cohort are much more local than Network News Dominant stations, producing three out of four hours in their own studios. Half of the hours they do acquire are filled with news/ events programming. Nearly half of these stations are interconnected, most of which receive NPR and/or APR programming.

Although Local Public Affairs Dominant stations do more public affairs than any other cohort, the bulk of their programming (61%) is music - most of it locally- originated. “Other” music and jazz make up one-third of their hours on-air; more than two-thirds of these stations do one or the other.

Local Public Affairs Dominant stations are better represented in the largest markets, though they are found in markets of all sizes. One-in-six is on the AM band - second only to the Network News Dominant cohort in AM concentration. One-third of public radio’s black- and Hispanic-managed stations are in this cohort, as are one-third of NFCB’s full members.

This set of Local Public Programming Profile of the Current Affairs Dominant sta- LOCAL PUBLIC AFFAIRS DOMINANT Cohort tions aspires to add eight hours per week of news/events program- 60 s ming (mostly acquired) 50 p and public affairs/call-in More programming (mostly 40 2 local) over the next few 30: ,verage years. Their move to 20 j 0 more “talk” will be at Less 10

I f-l - the expense of their ‘1 i 0 PA/Cl O-Music Jazz Nws/Evnts Classical music programming Other Folk Rock Entertain (primarily classical). 0 Percent of Hours m Compared to Average

16 PROGRAMMINGCOHORTS

The Local Public Affairs Dominant Cohort - At A Glance

Stations devote 33% of their hours to public affairs, 60 stations in the cohort account for: call-in, events, and news. They are much more 11% of all public radio stations, local than Network News Dominnnt stations. Most 10%of the national AQH audience, and also do music, averaging 61% of broadcast hours. 12% of public radio’s total NFFS.

The Local Public Affairs Dominant cohort is in transition. Some of its stations will shift their emphasis to “talk” and, with a number of stations from today’s cohorts, coalesce into a News & Public Affairs Dominant cohort. These changes are detailed in a later section. Others will shift their emphasis to music in the next few years and become members of other cohorts.

Current Source & Daypart Profile of the LOCAL PUBLIC AFFAIRS DOMINANT Cohort

loo-

so-

Averages for All Slations The stations that best exemplify the Local Public Affairs Dominant cohort are KABRAM, KASU-FM, KPFA-FM, KPFB-FM, KPFK-FM, KWR-FM, ml KSHI-FM, KUCB-FM, KUOM-AM, KUT-FM, WAMC-FM, Acquired WAMK-FM, WANC-FM, WBAI-FM,WCAN-FM, WDCB-FM, ccl WEAA-FM,WEBR-AM,WEm-FM,WFUV-FM,WHAD-FM. LoCal WHBM-FM, WHHI.FM, WHLA-FM, WHOV-FM,wHSA-FM, Prime Time Non-Prime Time WHSN-FM,WHWC-FM,WKWZFM,WPFW-FM,wRBH-FM, WSIA.FM, and WUSM-FM.

17 PUBLICFUDIOPROGRAMMINGSTRATEGIES

Music Dominant Stations The Classical Dominant Cohort

The 144 members in this segment - one-quarter of all stations - comprise the largest programming cohort.

Classical Dominant stations fill two out of three broadcast hours with classical music - far more than any other cohort. Although most of these stations also program some jazz and “other” music (64% and 83% respectively), these nonclassical musics account for only nine percent of all hours on the air.

Locally-originated classical music dominates prime time on Classical Dominant stations by a margin of three-to-one over acquired classical programming. The balance shifts at night, when these stations prefer acquired to local programming by a similar margin.

The Classical Dominant cohort is the only one in which stations are more likely to be affiliated with APR than with NPR. However, five-in-six carry at least some news/events programming, which accounts for almost all of their non-music hours.

Programming Profile of the Current CLASSICAL DOMINANT Cohort

-70

e _ -60 .o 60 zm -5050 g More $g .I P -4l-J40 2 h . 6 3 -3030 B Average 9---.-A9 - _ B I -2020 g 3 I Less Iti$ - -1010 - -I - X-Q0 Classical Entertain Other Folk PA/Cl Rock Nws/Evnts O-Music Jazz

0 Percent of Hours n Compared to Average I

18 PROGRAMMINGCOHORTS

The CZassicaZ Dominant Cohort - At A Glance

The largest cohort. Stations devote 64% of their 144 stations in the cohort account for: schedules to classical music. In prime time, local 26% of all public radio stations, classical hours outnumber acquired classical hours 29% ofthe national AQH audience, and three-to-one; the ratio reverses at night. Most 27% of public radio’s total NFFS. stations also do some other music, as well as some news and events.

Current Source & Daypart Profile of the CLASSICAL DOMINANT Cohort

The stations that best exemplify the Classical Dominant cohortare KBPSFM,KBYU-FM,KCPB-FM, KCSC-FM, KFAC-FM, KFJM-FM. KHPR-FM, KKUA-FM, KLRE-FM, KPAC-FM, KUARFM, KUAT-FM, KUHF-FM, KUSC-FM,KWAX-FM,KXMS-FM,WABE-FM,WAUSFM, WBHM-FM, WBJC-FM, WBST-FM, WCALFM, WCPE-FM, WDAV-FM,WEKH-FM, WEKU-FM, WETA-FM, WFPK-FM, WFUM.FM,WIUM-FM, WMHT-FM, WNED-FM,WNPRFM, WOSU-FM,WOSV.FM,WPKT-FM, WRHV-FM, WSCLFM, 0 Prime Time Non-Prime Time WSMC-FM, WUOLFM, WUOM-FM, WVGRFM, and WXXI-FM.

19 PUBLIC RADIO PROGRAMMING STRATEGIES

Music Dominant Stations The Rock, Jazz, & “Other” Music Dominant Cohort

The 19 Rock, Jazz, & “Other” Music Dominant stations comprise the smallest programming cohort. Rock (39%), jazz (21%), and “other” music (21%) make up the bulk of the stations’ schedules, which contain more music than any other cohort (88% of all hours). Classical music is conspicuously absent. Compared to other cohorts, all of which offer at least some classical music, this cohort is essentially “classical averse.”

Rock, Jazz, & “Other” Music Dominant stations average only 89 on-air hours per week - far less than the system average of 147 hours. Only 10 percent are affiliated with APR. None are in any way affiliated with NPR, are CPB-qualified, or interconnected via public radio’s satellite system.

The Rock, Jazz, & “Other” Music Dominant cohort is more significant in statistical than practical terms. Once into the analysis, we discovered that the definition of the group was unduly influenced by several stations that incorrectly characterized their local record programs as “acquired.” (Over half of the cohort’s programming hours are reportedly filled with acquired materials, but none of the stations are interconnected.)

This cohort is retained throughout the remainder of the report and in its database. However, users of this information may better interpret this cohort as a non- interconnected, classical-averse set of stations with limited broadcast hours.

Programming Profile of the Current ROCK, JAZZ, & O-MUSIC DOMINANT Cohort 1 -60 c -50 p More -40 f 8 -30 5i berage s -20 H 0 Less -10

TO Rock Jazz PA/Cl Entertain Classical O-Music Other Folk NwdEvnts

0 Percent of Hours n Compared to Average

20 PROGRAMMINGCOHORTS

The Rock, Jazz, & ‘Other” Music Dominant Cohort - At A Glance

The smallest programming cohort. Schedules are 19 stations in the cohort account for: 88% music - higher than any other cohort. A non- 3% of all public radio stations, interconnected, classical-averseset of stations with 0% of the national AQH audience, and limited broadcast hours. 0% of public radio’s total NFFS.

Because of known errors in respondents’ reporting of programming source, the Current Source & Daypart Profile of the Rock, Jazz, & “Other” Music Dominant Cohort does not appear.

The stations that best exemplify the Rock, Jazz, & ‘Other” Music Dominant cohort are KCUK-FM, KIALAM, KINI-FM, KIYU-AM, KTAI-FM, WC~T-FM, WJHSFM, WREK-FM. and WXTWM. , 21 PUBLIC RADIO PROGRAMMING STRATEGIES

Music Dominant Stations The Local Alternative Cohort

Local programming is central to the identity of Local Alternative stations. So is the sense that they are an “alternative” to other radio stations.

Compared to other cohorts, Local Alternative stations exhibit an extraordinary degree of intracohort diversity. While this diversity makes it difficult to imagine a single program or programming stream that would be of use to the majority of these stations, it does expose some of the cohorts’ unique programming needs. All Hispanic- and most native American-managed stations are members of this cohort. Indeed, two out of three minority-managed public radio stations are in this cohort. But not all Local Alternative stations are minority-managed; non-minority stations comprise two-thirds of this cohort’s members. Two-thirds of these stations air at least some programming in a language other than English - more than any other cohort. Non-English programming accounts for one-in-six broadcast hours among this cohort.

Local Alternative stations are also noted for the degree to which they program “other” music programming. All stations in this cohort originate “other” music programming; it fills half of their on-air hours - three times as many hours as their non-English programming. (Most of the se stations also originate jazz programming, which fills one-in-ten hours.)

Locally-originated music fills nine out of ten broadcast hours - more local hours than any other cohort. Virtually all of the cohort’s non-prime time Programming Profile of the Current programming is origi- LOCAL ALTERNATIVE Cohort nated locally. Most of these stations acquire -60 no music programming 5 of any sort. 502 More L I -40 7 I s When Local Alternative I -30 ‘s stations do acquire iverage . . E I -20 E programming it is pri- c. marily news-related: in Less - I -10 - P-l prime time, over half -I i-0 O-Music PbvCI Other Entertain Classical acquire news/events Folk Rock Jazz NwslEvnts programs and half acquire public affairs/call- 0 Percent of Hours n Compared to Average in programs.

22 PROGRAMMINGCOHORTS

The Local AZternatiue Cohort - At A Glance

The most local cohort: 89% of hours created locally. 76 stations in the cohort account for: All stations do “other” music which fills half of 13% of all public radio stations, their schedules. Two-thirds program in language(s) 11%of the national AQH audience, and other than English, filling 12% of their hours. All 6% of public radio’s total NFFS. Hispanic-managedstations are in this cohort. One third of cohort stations are minority-managed.

Most of this programming comes from sources other than NPR and APR, as only one-in-five Local Alternative stations is affiliated with either. One-in-three stations aligned with NFCB as a member or as an associate is in the Local Alternative cohort. Large market stations are the rule among Local Atternative cohorts: two-thirds are in the top 50 markets. But although they operate in the largest markets, these are not the richest stations. Their typical NFFS is only half the national average. And despite the large potential audience that lives under their signals, Local Alternative stations serve far fewer listeners than the average public radio station. Among the stations in this cohort for which audience data are available, 23 percent of the listening is done by blacks and seven percent is done by Hispanics. Although this is the highest concentration of black and Hispanic listening among the nine programming cohorts, and although one-quarter of public radio’s national black and Hispanic audience listens to Local Alternative stations, there are more black and Hispanic listeners to be Current Source & Daypart Profile of the found in other cohorts. This topic is LOCAL ALTERNATIVE Cohort covered in more detail in Section 10, Applying The Database.

The stations that best exemplify the Local Alternatiuecohortare KABF-FM,KAZI-FM,KBBF-FM, KBOO-FM,KCMU-FM, KDNA-FM,KEOM-FM, KERA-FM, KFAI-FM, KGNU-FM, KHDC-FM, KKFI-FM, KMHA-FM, KMPO-FM, KNCI'-FM, KNNB-FM, KNON-FM, KPVU-FM, KRCC-FM, KRCLFM, KSJV-FM, KSUT-FM, KTDB-FM, Acquired K'I-QX-FM,KUBO-FM,KUNM-FM,KZUM-FM, WCSU-FM, I3 WCUW-FM,WDNA-FM,WEVLFM,WFAE-FM,WFMU-FM, I I Lea WKKC-FM,WLCH-FM,WNAA-FM,WNCW-FM,WORT-FM, Prime Time Non-Prime Time WRFG-FM,WRTU-FM,WUSB-FM,WVMR-AM,WWOZFM, WXDRFM,WYCE-FM, and WYMSFM.

23 PUBLICRADIO PROGRAMMINGSTRATEGIES

Mixed Format Stations The Classical, News, & Jazz Cohort

The schedules at CZussicuZ,News, & Jazz stations are dominated by classical music (43% of all hours), jazz (24%), and news/events programming (17%). Together, these three formats fill five-in-six broadcast hours on these stations.

The CZussicaZ, News, & Jazz cohort shares many similarities with its Music Dominant counterpart, the Classical Dominant cohort. However, Classical Dominant stations are particularly averse to jazz (which accounts for only four percent of their hours on air), whereas Classical, News, & Jazz stations program more jazz than any other cohort.

It’s important to understand the interplay between these three formats, their source of production, and their time of broadcast. In prime time, locally-originated classical music fills 38 percent of the schedule and local jazz tills 14 percent. Evenings and overnight this balance flip-flops, with locally-originated jazz filling 38 percent of the schedule and local classical filling 20 percent.

The pattern of acquisition also shifts dramatically between prime and non-prime. Acquired news/events programming fills one-quarter of all prime time hours; but at night, the same proportion of air time is filled with acquired classical programming.

Classical, News, & Jazz stations are some of the most likely to be affiliated with NPR (80%) and APR (73%). They are some of the least likely to be affiliated with NFCB (7%), minority- managed (4%), or on the Programming Profile of the Current AM band (1%). Even CLASSICAL, NEWS, &JAZZ Cohort though few are black- or Hispanic-managed, nearly 40 percent of public radio’s black and Hispanic listeners use I stations in this cohort - more than any other. ,verage o- fi L Less g

I- 7 J&T PA/Cl Nw/Evnts O-Music Rock Classical Enter& Other Folk

0 Percent of Hours n Compared to Average

24 PROGRAMMINGCOHORTS

The CZussicaZ, News, & Jazz Cohort - At A Glance

Stations devote 43% of hours to classical, 24% to 101 stations in the cohort account for: jazz, and 17% to news/events programming. This 18% of all public radio stations, cohort will disperse in the future as stations em- 29% of the national AQH audience, and Iphasize or focus on one of the three formats. 27% of public radio’s total NFFS.

Classical, News, & Jazz cohorts garner 27 percent of nonfederal financial support and serve 29 percent of the public radio audience - the same percentages as the Classical Dominant cohort - even though they represent only 18 percent of all stations.

Current Source & Daypart Profile of the CLASSICAL, NEWS, &JAZZ Cohort I

The Classical, News, & Jazz cohort is the most Averages for loosely knit, with only four of its 101 stations All Starions being strong primary members: WRKF-FM and three stations broadcasting essentially the same schedule. Strong secondarystations that m Acquired exemplify this cohort (but which identify more 0 closely with other cohorts) are KPACTM, LOCal KPCC-FM, KPFK-FM, WBAI-FM, WBEZFM, WBJC-FM, WCPE-FM,WHWC-FM,WRBH-FM, andfivewisconsin Public Radio stations.

25 PUBLIC RADIO PROGRAMMINGSTRATEGIES

Mixed Format Stations The Acquired Eclectic Cohort

What formats don’t Acquired Eclectic cohorts do? All carry news/events; nearly all (98%) broadcast jazz, “other” music, and public affairs/call-in; 96 percent do entertainment; 90 percent air classical music; and 86 percent program some folk. The only major format not carried by the vast majority of these stations is rock. Even so, one-in-three rock sometime during the week.

Classical music (32%), news/events (22%), and jazz (16%) make up 70 percent of Acquired Eclectic stations’ schedules. More of their programming is acquired than any other cohort except Network News Dominant. They draw most heavily upon national news/events and classical music programs.

Unlike the public radio system in general, Acquired Eclectic stations trifurcate almost evenly into the larger, medium, and smaller markets. This makes them relatively rare in the largest (top 25) markets and somewhat of a medium-market phenomenon.

Acquired Eclectic cohorts account for 18 percent of all public stations - the same number of stations as in the Classical, News, & Jazz cohort. But the Acquired Eclectic cohort attracts only 16 percent of the system’s NFFS and 12 percent of its audience, compared to the Classical, News, & Jazz cohort’s 27 percent and 29 percent respectively.

I Programming Profile of the Current ACQUIRED ECLECTIC Cohort 1 70 E _ .g 60 s d I 50 2 More .I! L a 40 2 z _ I 0 a 30 -5 Average g- ‘9S 20 1 0. Less 3 - 10 7 nn Entertain Nws/Evnts PA/Cl Classical Rock Other Jazz Folk O-Music

0 Percent of Hours n Compared to Average

26 PROGRAMMING COHORTS

The Acquired Eclectic Cohort - At A Glance . Most stations air most major formats. 57% of their 99 stations in the cohort account for: programming is acquired - more than any other 18% of all public radio stations, cohort except Network News Dominant. 12%of the national AQH audience, and 16% of public radio’s total NFFS.

Current Source & Daypart Profile of the ACQUIRED ECLECTIC Cohort The stations that best exemplify the Acquired Eclectic cohort are KCAW-FM,KCMW-FM,KCOZFM, KECC-FM, KFCF-FM, KFSK-FM, KHKE-FM, KIPO-AM, KIPO-FM, KMSU-FM, KOSU-FM, KPBX-FM, KRIC-FM, KRNI-FM, KRPS-FM, KSLU-FM, KUAC-FM, KUMR-FM, KUNC-FM, KUNI-FM, KUNY-FM, KUWR-FM,KWSU-AM, WBEZFM, WCBE-FM, WCBU-FM, WCCE-FM, WDCLFM, WDE;T-FM, WDUQ-FM, WEPR-FM, WJ2TB-FM,WFPLFM, WHMC-FM, WHRV-FM, WHYC-FM, WJFF-FM, WJWJ-FM, WKPB-FM, WKYU-FM, WLJK-FM. WLRH-FM, WLTR-FM, WMEA-FM, WMED-FM, WMEH-FM, WMEM-FM, WMEW-FM,WNMU-M,WNSC-FM,WPLN-FM,WRJA-FM, Prime Time Non-Prime Time WRMU-FM, WRVS-FM,WSIU-FM, WSKQ-FM,WSQO-FM, WUKY-FM, and WVPE-FM.

27 PUBLIC RADIO PROGRAMMING STRATEGIES

Mixed Format Stations The Local Eclectic Cohorts

Two other cohorts also embrace eclecticism. What distinguishes them from their Acquired Eclectic counterparts is their locally-produced programming. What distinguishes them from each other is the focus that one places on folk and the other places on non-music. programs. Local Eclectic schedules tend to be filled by discrete programs. Both Local EcZectic cohorts fill about six-in-ten broadcast hours with classical music, jazz, rock, and “other” music. Both Local Eclectic cohorts devote about one-quarter of their schedules to news/events, public affairs, call-in, and entertainment programs. Local Eclectic stations serve much smaller than average audiences and operate with much smaller than average budgets. . The Local Eclectic With Folk Cohort

Local programming fills more Local Eclectic With Folk hours than on any other cohort except Local Alternative. Local Eclectic With Folk stations devote 13 percent of their schedules to folk - more than any other cohort. However, folk isn’t the only music provided by these stations. In fact, the range of music available from Local Eclectic With Folk stations is broader than that available from any other cohort. Ten percent of all hours on the air are devoted to jazz; 13 percent are devoted to classical; 18 percent are devoted to rock; and 20 percent are devoted to “other” music - itself embracing a wide range of music types (see page 10 for the definition of “other” music). Programming Profile of the Current LOCAL ECLECTIC WITH FOLK Cohort Although the diversity A of music is great, music I 1 70 is no more prevalent 60 5 than on public radio as 50 p a whole, accounting for 40 t 74 percent of all pro- s SOB gramming hours. Most Average s--~ - I 20 1 .2 I of the remaining time P is devoted to acquired Less j - 10 news/events (14%) and i , II I 0 Folk Rock Other Nws/Evnts Classical locally-originatedpublic PA/Cl O-Music Entertain Jazz affairs/call-in (8%) pro- 0 Percent of Hours n Compared to Average gramming.

28 PROGRAMMING COHORTS

The &ocaZ Eclectic With Folk Cohort - At A Glance

Stations play a wide range of music. They do more 70 stations in the cohort account for: folk (13% of hours) than any other cohort. Mostly 12% of all public radio stations, major market stations with comparatively small 10%of the national AQH audience, and audiences and budgets. 9% of public radio’s total NFFS.

Nearly half of these stations air an average of six hours per week of programming in a language other than English; however, non-English programming accounts for only two percent of the total on-air hours broadcast by the Local EcZectic With Folk cohort - no more or less than the system average.

Half (46%) of all Local Eclectic With Folk stations are in the top 25 markets. Yet despite the large potential audience living under their signals, Local EcZecti With Folk stations serve far fewer listeners than the average public radio station. Smaller audiences may account for smaller budgets, as the typical NFFS of Local EcZectic With Folk stations is only half that of the national average.

Nearly half of all NFCB members are Local Eclectic With Folk cohorts. Half of this cohort is somehow affiliated with NPR; nearly half with APR. ,

Current Source & Daypart Profile of the I LOCAL ECLECTIC WITH FOLK Cohort I

Averages for All Stations The stations that best exemplify the Locarl Eclectic With Folk cohort are KAXE-FM, KBBI-AM, KBCS-FM, KCLCFM, KDHX-FM, Km-FM, KEYA-FM, lm KHNS-FM, KOPN-FM, KOTO-FM, KPFlThl, KRBD-FM, Acquired KRVS-FM,KUGSFM,KUMD-FM,KZYX-FM,WAMU-FM, 0 WERS-FM, WEVO-FM,WGDR-FM, WICN-FM, Wm.FM, LoCal WMNF-FM,WMRA-FM,WNKU-FM,WOBO-FM,WOhiR-FM, Prima lime Non-Prime Time WPKN-FM,WTJU-FM, WUMB-FM,WXPR-FM,WYEP-FM, and WYSO-FM.

29 PUBLIC RADIO PROGRAMMING STRATEGIES

Mixed Format Stations The Local Eclectic With Words Cohorts

Local Eclectic With Words stations are very similar to their Local Eclectic With Folk counterparts in most respects except one: where LocuZ Eclectic With Folk stations are playing folk music, Local Eclectic With Words stations are offering a range of “other” non-musical programming.

Although the list of nationally-available “other” programs available at the time of the study is 75 programs long (ranging from Alaskan Arts and American Prose Series to NPR Playhouse to Teknikolour Radio and We Like Kids), nine-in-ten hours of “other” programming aired by Local Eclectic With Words stations are locally-originated.

Note: In this study, “other” programming is defined as anything which is neither music nor news, events, public affairs, call-in, or entertainment. Children’s shows, radio drama, reading aloud, literature, sports coverage, and in-school instructional programs fall into this category. So do programs devoted to religious issues, senior citizens, and women. See page 10 for a full description of “other” programming.

As is the case with Local Eclectic With Folk stations, Local Eclectic With Words stations serve fewer listeners with smaller budgets. Eight percent of all stations are Local Eclectic With Words, yet they account for only four percent of public radio’s national audience and five percent of its NFFS.

One-in-three (37%) Local Eclectic With Words stations is affiliated with NFCB. Forty-four percent are somehow affiliated with Programming Profile of the Current APR, the same percent- LOCAL ECLECTIC WITH WORDS Cohort age as that affiliated somehow with NPR. E _ .g s rn . More p 0 2 _ I . z I iverage s-- - E ii! - I -20 8 I - ‘; 1 0 Less $ -

r-l ‘1 Other Entertain O-Music Jan Rock PA/Cl Folk NwslEvnts

0 Percent of Hours n Compared to Average

30 PROGRAMMINGCOHORTS

The Local Eclectic With Words Cohort - At A Glance

Stations offer a wide range of formats. 12% of 43 stations in the cohort account for: their air-time devoted to “other” non-musical 8% of all public radio stations, programming - highest of any cohort. Like Local 4% of the national AQH audience, and Eclectic With Folk colleagues,they serve relatively 5% of public radio’s total NFFS. few listeners with relatively small budgets.

Current Source & Daypart Profile of the LOCAL ECLECTIC WITH WORDS Cohort I

Averages for All Stations

The stations that best exemplify the Imal m Eclectic With Words cohort are KAOSFM, Acquired KBPSAM,KCCU-FM,KMUN-FM,KPRX-FM,KVMR-FM, 0 KVPR-FM,WERN-FM,WHRM-FM,WJULFM,WLRN-FM, LOCal WPRLFM, WRBB-FM, WRHU-FM, WRMC-FM, WRVJ-FM, WRVN-FM, WRVO-FM, WUEC-FM, WVXU-FM, and WXPN-FM.

31 4

PROGRAMMING COHORTS COMPARED

When the nine programming cohorts presented in the previous section are viewed one at a time, it can be difficult to comprehend their similarities and differences. This section compares and contrasts their salient characteristics side by side.

Size, Audience, And NFFS

The graph below shows how each cohort stacks up along three measures: size (the percent of public radio stations that are members of the cohort), audience (the percent of public radio’s national average quarter-hour audience that listens to stations in the cohort), and NFFS (the percent of all nonfederal financial support reported by all public radio stations). Because stations can belong to more than one cohort, percentages will add to more than 100 percent.

The Classical Dominant cohort, the Classical, News, & Jazz cohort, and the Network News Dominant cohort enjoy budgets and audiences above their proportions in the public radio population. On an average or per-station basis, these are generally the stations with the largest audiences and largest budgets. The actual audience and income averages are shown on the table on page 38.

The programming whorts are ranked by the number of The Relative Sizes of stations in each (vertical bars). The Classical Dominant Programming Cohorts whort is the Zurgest; the Rock, Jazz, & “Other” Music Domi- nant cohort is the smallest. The relative percentages of national audience (rectangles) and nonfederal financial support (triangles) acwunted for by stations in each cohort we also shown. The Classical Dominant and Classical, News, & Jazz cohorts serve 0 the same number of listeners; Classical Acq Eel Net News Lot PA R. J. Oh4 however, the latter whort does C.N,J LoCAIt LE w/Folk LE w/Words so with far fewer stations, and 0 Stations . Audience A NFFS with greater nonfederal financial support per station.

32 AUDIENCESERVICE DIRECTIONS

Programming Dimensions

Programming cohorts are defined not only by the formats they air, but also by when they broadcast these formats (prime or non-prime time), and where these formats are produced (locally or elsewhere). The previous section tracked these dimensions cohort by cohort; here all cohorts are compared.’

Source And Daypart. The two graphics below compare the cohorts by their source of prime time programming and their source of non-prime time programming. The local cohorts - Local Alternative, Local Eclectic With Folk, Local Public Affairs Dominant, and Local E&&c With Woro?s- rely the heaviest on locally- produced programming in prime time as well as non-prime time.

Classical Dominant stations - primarily local during the day - shift their emphasis to acquired programming at night. Indeed, they are the most “non- local” of the cohorts out of prime time. The cohorts that acquire the bulk of their programming during the day - Acquired Eclectic and Network News Dominant - also acquire more than half of their non-prime hours.

Source of Prime Time Programming ;ource of Non-Prime Time Proarammin: For the Programming Cohorts For the Programming Co6ot-k

Lot Ah Lot PA C,N.J R,J.CM Net Nowe

The cohorts are l&e& lefi to right, in order of decreasing Key to Graph Abbreviations local hours. For this reason their sequence changes from graph to graph The bottom portion of each bar shows the Net News Network News Lhminant percent of hours that stations in each cohort broadcast LocPA Local Atblic Affah Dominant locally-produced programming. The taller this portion is Claseicnl cla.9skl Dominant in the lefl graph, the mnre local the stations are between R,J,OM Rock, Jazz, & “Other” Mu& 5:00 am and 7:00 p.m The taller this portion is in the Lx Alt Local Altmaath W%J Cladca~ News, & Jazz right graph, the more local the stations are between 7.90 Acq Ed Acquired Eclectic p.m. and 5:00 am LE w/Folk Local Eclectic With Folh LE w/Words Local h%ctic WitA Worda

’ The Rock, Jazz, & “Other” Music cohort is shown on these graphs,but its sourcenumbers are not meaningful given the nature of its stations’ reporting errors discussedin the previous section. No stations in this cohort are interconnected;virtually all of their programming is locally-produced.

33 PUBLIC RADIO PROGRAMMING STRATEGIES

Non-English Programming. The amount of time stations devote to programming in languages other than English is also a characteristic that distinguishes cohorts from one another.

Of all stations in the study, 139 (25%) report some non-English programming. These stations are found across all cohorts.

The greatest concentration of non-English programming is in the Local Alternative cohort, where 51 stations (two-thirds of the cohort) air non-English language programming.

Stations’ use of non-English programming does not fall across a smooth continuum, but clusters in several distinct patterns. Many stations provide only a very limited non-English service - nearly half (45%) of the stations broadcasting in a language other than English do so for no more than three hours each week. Conversely, some 30 stations commit more than 10 hours a week to non-English programming. This latter group of stations overwhelmingly clusters in the Local Alternative cohort, where 23 of the 30 are found. Because stations can be placed in more than one cluster, some of these stations also appear in other cohorts.

Only nine stations in the study could be characterized as providing a service that is primarily non-English. Eight do so in Spanish and one in Navajo. All nine appear in the Local Alternative cohort, and three of these Spanish-language stations are also members of the Classical Dominant cohort.

Non-English Programming Aired By the Programming Cohorts

The bars show the percent of stations in each cohort that air at least some programming in a language other than Eng- lish. Although one-quarter of all public stations broadcast at least 15 minutes of non- English programming each week, all stations that provide service primarily in another language belong to the Local Alternative cohort; three are LE w/F Lot PA R,J,OM Acq Ed also members of the Classical, Hours of Non-English Programming Per Week News, 8z Jazz cohort. m 60 or More lOto ~31010 0 Uptod

34 AUDIENCE SERVICE DIRECTIONS

Information And Music. Classical music and news/events dominate public radio stations’ schedules, respectively accounting for 34 and 17 percent of all broadcast hours. Examination of the programming cohorts along these two dimensions reveals important differences and affinities.

This graphic takes the broadest view by show- Programming Cohorts ing how the three co- Mapped by News/Info and Classical Music hort “superclusters” array themselves in More these dimensions. The NW, Information Dominant Events, lnfommtim Dcminant Cohorts Pub Aff, cohorts are at the top of B Cdl-In the graph. The Music LeSS Dominant cohorts do NW% Events. the least information Pub Aff, programming and are B Call-In Music Dominant Cohorts therefore at the bottom. In the middle are the 4- More Classical Music Less --t Mixed Format cohorts. 4- Less Non-Classical Music Mae -D The individual cohorts are displayed below. With almost half of its stations’ schedules devoted to news, events, public affairs, and call-in, the Network News cohort stands well above any other in the information dimension. The Local Public Affuirs Dominant cohort, while still information dominant, relies more on music than the Network News Dominant cohort. Half of its hours on air are filled with nonclassical music.

All three Music Domi- nant cohorts broadcast Current Programming Cohorts relatively little infor- Percent of Schedules Devoted to: mation programming. Yet they distinguish themselves by the types of music they play. The Classical Dominant cohort airs the smallest ACQ ECL LE W/WORDS amount of nonclassical CR&J IFWIFTYY music, while the Local Alternative and Rock, Jazz, & “Other” Music Dominant cohorts are relatively averse to Non-Classical Music classical music. L

35 PUBLICRADIO PROGRAMMING STRATEGIES

Not only does information and music mapping allow the ready visualization of affinities among today’s programming cohorts, but - as the next section demonstrates - it shines light on the programming directions the cohorts expect to take within the next few years.

Programming and Non-Programming Characteristics

As a reference for those who wish to understand the finer points of the nine programming cohorts, the tables on the following two pages summarize selected programming and non-programming characteristics across cohorts and the public radio system as a whole.

Users who wish to make the most sophisticated applications of the cohort data are directed to the Database For Public Broadcasters, which is made available as an adjunct to this study. The database is discussed in greater detail in Section 10, Applying The Database.

36 AUDIENCE SERVICE DIRECTIONS

Programming Characteristics Of The Nine Programming Cohorts

Local Rock, Jazz, LQcdLocd Public Network Public & Other Clasaicd, Eclectic Eclectic Radio NWVS Affairs Classical Music Local News,& Acquired with with Average Dom. Dom. Dom. Dom. Altern. Jazz Eclectic Folk Words

Percent of On-Air Hours

Local 61 41 73 53 47 89 64 43 78 74 Acquired 39 59 27 47 53 11 36 57 22 26

Local Prime 40 25 47 39 34 56 39 28 47 44 Acquired Prime 24 41 18 23 40 9 23 37 16 19 Local Non-Prime 22 16 26 14 13 33 25 15 31 30 Acquired Non-Prime 15 18 9 24 13 2 13 20 5 7

Classical 34 15 11 64 2”l 1”2 43 32 13 12 JazZ 14 13 16 4 24 16 10 13 Rock 9 4 10 10 39 11 0 5 18 18 Folk 3 3 4 1 2 5 1 3 13 3 Other Music 14 7 20 5 21 52 6 12 20 18 (Music Subtotal) 74 42 61 84 88 84 74 68 74 64 News/Events 17 38 17 13 6 7 17 22 14 15 PubAWCall-In 4 11 16 1 3 6 4 4 8 6 Entertainment 2 5 2 2 112 4 2 3 Other 2 3 3 1 2 2 1 3 2 12

Non-English 2 1 2 2 1 12 0 0 2 4

Percent of Stations Carrying

Classical 75 66 60 88 26 45 81 90 75 * 63 JazZ 83 86 78 64 68 79 93 98 88 93 Rock 36 23 47 18 89 65 ii 32 74 67 Folk 59 70 62 30 26 59 86 99 60 Other Music 91 79 85 83 68 100 95 98 97 93 News/Events 88 99 95 83 79 69 89 100 87 91 PubAWCall-In 81 99 98 67 74 88 67 98 91 81 Entertainment 72 92 55 71 26 32 77 96 72 84 Other 66 82 70 53 32 72 53 84 75 98

Non-English 25 26 35 9 21 67 18 13 46 44

37 PUBLIC RADIO PROGRAMMING STRATEGIES

Non-Programming Characteristics Of The Nine Programming Cohorts

TOtal Local Rock, Jazz, Local Local Public Network Public & Other Classical, Eclectic Eclectic Radio News Affairs Classical Music Local News,& Acquired with with Average Dom. Dom. Dom. Dom. Altern. Jazz Eclectic Folk WOl&

Percent of Stations

Interconnected 50 59 45 42 0 35 61 56 59 46

CSG Recipients 50 60 47 44 0 40 61 54 54 33 NPR Affiliated 62 84 42 62 0 20 80 82 51 44 APR AfXliated 61 85 38 75 10 20 73 76 45 44 NFCB Affiliated 17 11 33 4 16 44 7 7 45 37 Black Managed 4 0 10 0 0 16 3 i 3 7 Hispanic Managed 2 0 2 2 0 11 1 0 0 Nat.Am. Managed 2 0 7 0 5 9 0 2 3 2

On The AM Band 5 21 15 0 11 4 1 5 4 2 In Top 10 Markets 15 12 28 12 13 26 13 6 19 19 In Top 25 Markets 29 26 38 27 33 43 28 12 46 33 In Markets 51+ 53 54 43 55 47 31 54 70 44 43 In Markets lOl+ 27 22 19 31 27 13 30 32 24 17

Percent of: Stations 100 13 11 26 3 13 18 18 12 8 Audience 100 16 10 29 0 11 29 12 10 4 NFFS 100 20 12 27 0 6 27 16 9 5

Average Station: AQH Persons (000) 1.7 2.2 1.6 1.9 0.1 1.4 2.6 1.2 1.5 0.9 Cume Pers. (000) 36 49 40 39 5 29 53 26 36 21 NFFS ($000) 810 990 950 940 0 460 990 690 550 800

Number of Stations Total 559 73 60 144 19 76 101 99 70 43 Strong Primary 41 33 43 9 46 4 59 33 21 Strong Secondary 22 18 6 1 14 14 15 20 14 Weak Primary 10 9 95 9 16 83 25 17 8

38 5

FUTURE DIRECTIONS OF THE PROGRAMMING COHORTS

Most public radio stations in 1995 will offer fewer formats than they do today. The formats they retain, however, will constitute a larger portion of their program schedules. Diversity will be enjoyed less within a single station’s schedule, and more among the schedules of multiple public radio stations serving the same community.

These are just two of the findings that emerge from this PUBLIC RADIO PROGRAM- MING STRATEGIES study of stations’ programming plans. We asked stations to estimate the amount of programming in each broad format category that they expect to be broadcasting in 1995. Their responses allowed us to examine future programming trends in three ways. Our analysis does the following.

l It establishes the general directions today’s cohorts see themselves going in the next few years. Will they be doing more or less of the kind of programming that distinguishes them today?

l It creates a whole new set of cohorts based on the programming stations plan to be airing in 1995. Will today’s cohorts survive into the future? Or will they be displaced by new cohorts that even now may be forming as stations gravitate toward different formats?

l It examines the shifts stations intend to make in their programming of broad formats. Which music formats are waxing or waning? Will information programming ultimately dominate public radio?

There is probably some wishful thinking mingled in the stations’ responses. For example, we suspect that many who responded to the survey were hopefully moving some of their sacred cows to other pastures: the volunteer who’s been doing the same show for 25 years; the irascible host who won’t retire; the university-mandated lectures; the list is as long as it is varied.

At a broader level, though, stations are demonstrating that they intend to continue their long-running movement toward programming consolidation. A public radio station today typically serves many more listeners with fewer formats than it did fifteen years ago. This study finds a widespread inclination among stations to extend this historic and powerful trend.

39 PUBLICRADIO PROGRAMMINGSTRATEGIES

Format Focusing

This consolidation of programming at a station - doing fewer formats and doing them longer - is called format ficusing.

Stations will move away from mixed or eclectic program schedules as they focus their formats. This section examines two examples of this trend: the breakup of the mixed-format Classical, News, & Jazz cohort, and the coalescing of a number of stations into a Jazz Dominant cohort.

The graph below summarizes the general directions in which all stations participating in this study see themselves moving over the next few years. System wide, fewer stations expect to be offering classical, jazz, folk, rock, and “other” music; but the stations that do offer them will be committing more time to each. This is the key “format focusing” concept.

As stations devote more time to their central formats, fewer hours remain for formats on the fringe. Stations predict that formats that fall into this study’s “other” category - typically out-of-format “specialty” programs - will be the first to be displaced. The Saturday morning kid’s show, the Saturday afternoon ball game, the Sunday morning church service, the Sunday night drama. . . . Most stations anticipate a declining role for these programs in their schedules.

Formats below the horizontal line will be available on a Format Focusing by Public Stations smaller proportion of stations Percentage Points Shifted Between 1990 and 1995 in 1995; formats above it will be available on a larger proportion. Formats to the right of the vertical line will be available for more hours per station; formats to the left e 4- NEWS/EVENTS .$ PUB AFF/CALL-IN for fewer. s 0.. rn ROCK I- lc 6 ENTERTAI WENT Public radio will offer more -4. 4 JB%s’Hc&JS E information programming in .c -6. 1995 than to&y: not only will more stations offer news/events g -12. 2 and public affairs/call-in 0 -16i OTHER , programming, but on average -2 -1.5 -1 -0.5 0 0.5 1 1.5 2 each expects to commit more Change in Percent of Hours Devoted to Format time to the formats than today.

40 FUTURE DIRECTIONSOF PROGRAMMINGCOHORTS

Today’s Cohorts Tomorrow

With what formats &J stations expect to fill larger portions of their schedules? The map below shows where cohorts are today and where they are headed.

Immediately striking is that all arrows point Expected Directions of Change up: all but one cohort Percent of Current Programming Cohorts’ Schedules Devoted to: expect to be airing more information program- k ming in the future; only NET NEWS Classical Dominant

stations seem to be PA content with the music/ L information balance in LE W/WORDS C&J LEWb UJC their current schedules. h CLASSICAL Similarly, most arrows

are pointing away from 0 I 0 10 P so 40 so so 70 so so non-classical music. Non-ClaSsical Music This goes hand-in-hand with the increase in information programming at all but Classical Dominant stations. As these stations focus more on information and their primary music format, music formats on the fringe will tend to get displaced.

Cohorts of Today and Tomorrow

Simply because a cohort exists today doesn’t mean it will be around forever. In fact, if stations carry out their proposed plans, two current programming cohorts will have disbanded and two new ones will have taken their place by 1995.

Using the same statistical technique that defined the nine programming cohorts based on what stations currently broadcast, a set of nine new cohorts was created based on what stations expect to air in 1995. Seven of the future cohorts are analogous to current cohorts - a little more focused, perhaps, and with some stations shifting from one cohort to another (refer to the table on the following page) - but these cohorts survive:

l Network News Dominant l Local Alternative l Acquired Eclectic l Classical Dominant l Local Eclectic With Folk l Rock, Jazz, & “‘Other” Music Dominant l Local Eclectic With Words

41 PUBLICFIADIOPROGRAMMINGSTRATEGIES

Cohorts of Today and Tomorrow

These maps show the general music and information characteristics of the nine current programming cohorts (top) and the nine future programming cohorts (bottom). In these and subsequent maps, future cohorts are boxed to distinguish them from current cohorts.

Current Programming Cohorts Percent of Schedules Devoted to: so-

NET NEWS

LOC PA

ACO ECL LE W/WORDS C.N.J LE WmLK

W CLASSlCAl LCC ALT s - lo- R.J,CM i O-7 0 10 20 30 40 so so 70 so so Non-Classical Music

Future Programming Cohorts Percent of Schedules Devoted to:

Oi 0 10 20 so 40 so so 70 so 00 Non-Classical Music

42 FUTURE DIRECTIONS OF PROGRAMMING COHORTSI

The Dispersing Classical, News, & Jazz Dominant Cohort

Many stations plan to have classical music, jazz, and news/events in their 1995 schedules. However, the Mixed Format CZussicuZ,News, & Jazz cohort doesn’t survive into the future.

One of today’s most loosely knit cohorts, The Dispersion of the many of its stations CLASSICAL, NEWS, & JAZZ Cohort plan to emphasize or e- focus on one of the z three formats. When aso- [NET] one format becomes I!? ‘I 116auon* dominant, the station f 40. leaves the tri-format A! 230 cohort; when enough \ stations leave, the co- CNJ -- lJuzl i 20. [&~~z !a adon* hort disbands. Most Classical, News, & Jazz i IO. 2 stations will realign 0-I 0 10 P 30 40 so so 70 so into one of three differ- Non-Classical Music ent cohorts: the Classi- cal Dominant cohort, the Network News Dominant cohort, or the newly emerging Jazz Dominant cohort.

The Emerging Jazz Dominant Cohort

An important trend is occurring with jazz programming on public radio stations. Interesting in itself, it is symptomatic of public radio’s pervasive trend to channel its programming efforts into more focused formats.

Today 83 percent of all public radio stations program jazz to one degree or another. Based on what stations expect to be doing by 1995, this will drop to 77 percent - a loss of six percentage points. Yet this does not signal the decline of jazz. Indeed, in a few years enough stations will be doing enough jazz that they will cross the threshold into a Jazz Dominant cohort of their own.

These stations won’t be “all jazz all the time.” Like their CZussicaZ Dominant colleagues, they will air programming from outside of their defining format. Also like Classical Dominant stations, they expect to produce most of their primary format locally during the day. But in non-prime times, Classical Dominant stations will continue to rely heavily on the satellite, while Jazz Dominant stations expect to be even more local at night.

43 PUBLIC RADIO PROGRAMMING STRATEGIES

Crossover Among Current & Future Programming Cohorts

The table shows the number of stations in each current programming cohort that will be members of each future programming cohort. Shaded are the -es of current cohorts that disperse in the future, as well as future cohorts that are expected to emerge.

Future Programming Cohorts ...... ,.,.,., ,.,., ::::::::::::::::::i:::i,:,:::::::::::::::::::::::::::::::::::::.,.,.,.,.,.,.,.,., ...... /...... ,.,. LOCd “Other” ...... ii,.i, . . ../...... ::::::::::::::...:.:.:.:.:::::::...... in...... ,...... :.:.: LOd E&ctls :;j::jj&#gg~~j: Acquired Eclectic with Alte,n*i”s g$?gg&@ Ec,enic .,...____ with Folk WWd8 .A...... L ...... I I Network NmbW 31 26 4 2 3 14 18 8 4 Dominant ...... v ...... -

ClWSiCd Dominmt 17 1 94 11 9 0 IO 5 3

Rock, Jazz, & “Other” MIA2 5 4 1 9 0 9 5 1 2 Dominant

LOCd Eclectic 6 14 4 1 19 3 19 38 5 with Folk

LOCd Eckctic 4 5 3 2 8 5 4 11 26 with Worda FUTURE DIRECTIONS OF PROGRAMMING COHORTS

Half of all stations in the future Jazz Domi- Programming Profile of the Future nant cohort migrate JAZZ DOMINANT Cohort from the Classical, News, & Jazz and the Acquired Eclectic cohorts of today. Another quarter of its stations More defect from today’s Net- work News Dominant A,verage and Local Public Affairs Dominant cohorts. Less Two forces will move stations into the Jazz Entertain O-Music Rock Clessical Dominant sphere. l_. Percent of Hours n Compared to Average First, many Mixed Format stations see Future Source 81Daypart Profile of the themselves focusing more on jazz and JAZZ DOMINANT Cohort less on other types of music - a specific case of stations’ retreat from mixed and eclectic program schedules. But some future Jazz Dominant stations don’t expect to change their schedules much between now and then. This latter group, most likely to be Information Dominant today, will be “pushed out” of the emerging News & Public Affairs Dominant and Non-Prime nmb the Network NewsDom- inant cohorts by the increasing news empha- The Formation of the sis of their erstwhile JAZZ DOMINANT Cohort colleagues. They will better fit the emerging Jazz Dominant cohort. NET NEWS

Four out of five stations that form the future Jazz Domi- nant whort wnverge from four wntemporary cohorts:the Classical, News, & Jazz cohort, the Acquired Eclectic cohort, the Network News Dominant cohort, and the 10 P 30 40 50 so 70 so Local Public AfTairs Domi- Non-Classical Music

nant whort. d

45 PUBLICRADIO PROGRAMMING STRATEGIES

Public Radio’s Shifting Information Cohorts

Based on current programming, some 117 stations participating in this study are identified as Information Dominant. These stations cluster in two cohorts: Network News Dominant and Local Public Affairs Dominant.

Based on their future programming plans, nearly the same number of stations (110) are identified by their heavy use of news, events, call-in, and public affairs. These stations again cluster in two future cohorts - the Network News Dominant cohort and the News & Public Affuirs Dominant cohort.’ Behind this apparent stability lies an important realignment in programming strategies.

CURRENT FUTURE

Programming Profile of the Current Programming Profile of the Future NETWORK NEWS DOMINANT Cohort I NETWORK NEWS DOMINANT Cohort I

Programming Profile of the Current Programming Profile of the Future LOCAL PUBLIC AFFAIRS DOMINANT Cohort NEWS 8 PUBLIC AFFAIRS DOMINANT Cohort

0 Percent of Hours I Compared to Average 0 Percent cd bun - Oomwto Arnnge II . I The fbrmats that profile each whort are rankeg left to right, by the prevalence of eachformut relative to public radio in general Their positions, therefore, change porn graph to graph.

’ Becausethis study allows stations to be membersof more than onecohort, some15 stations are found in both Information Dominant clusters in both the current and future analyses.

46 FUTURE DIRECTIONSOF PROGRAMMINGCOHORTS

Realignment of the Network News Dominant Cohorts. The programming profiles of the present and future Network News Dominant cohorts are remarkably similar, as the graphs on the opposite page illustrate. The two principal changes are 1) a decrease in the percentage of air time devoted to jazz as the emerging Ja.zz Dominant cohort picks up some stations, and 2) an increase in rock, as several expansion stations, featuring more rock on their schedules, move into this cohort.

Although their programming configurations remain relatively constant, the stations that make up the cohorts do not. Fewer than half (31 of 72) of the current Network News Dominant stations are found in the future cohort. The other stations gravitating to the future cohort come primarily from the two dispersing cohorts - Classical, News, & Jazz and Local Public Affairs Dominant.

The same two forces moving stations into the Jazz Dominant sphere are also at work here. Some stations move into the future Network News Dominant cohort as a result of their own program changes - specifically, Cla&cal, News, & Jazz stations that enhance their news efforts and Local Public Affairs Dominant stations that “join the network.” Conversely, many stations from today’s Classical, News, & Jazz and Local Public Affairs Dominant cohorts will become Network News Dominant as these cohorts collapse and their current news programming leads to Network News as a “best fit.”

Realignment of the Public Affairs Cohorts. Even more dramatic changes are apparent in the other half of the Information Dominant picture.

The Local Public Af- fairs Dominant cohort The Dispersion of the collapses as its stations LOCAL PUBLIC AFFAIRS Cohort disperse to a variety of other cohorts. Some of these stations anticipate emphasizing music - ultimately realigning with the music-heavy LOC PA Jazz Dominant and Local Alternative cohorts. Another sizeable group realigns with the Local Eclectic With Folk pI-.! 0 10 20 30 40 so 60 cohort2 Non-Classical Music

2 Local Public Affairs Lhminati stations are “close cousins” of their Local Eclectic colleagues. All provide an eclectic mix of music and spokenword programs, and are set apart from their colleagues by their greater-than-average reliance on local programming and their limited use of classical music.

47 PUBLIC RADIO PROGRAMMING STRATEGIES

However, more than half of the current The Formation of the Local Public Affairs NEWS & PUBLIC AFFAIRS Cohort Dominant stationsmove into one of the two future Information Dominant cohorts. Indeed, the future News & Public Affairs Domi- nant cohort emerges as the system’s most infor- LE w/Fa.K mation-intensive cluster of stations. These stations virtually match SJ , , , , , , , , ) 0 10 P 30 40 50 so 70 00 so their Network News Non-Classical Music Dominant colleagues in LI news and event programming, yet offer much more public affairs and call-in material.

Another point of contrast is seen in the stations’ music choices. Stations in the future Network News Dominant cohort offer four times the hours of classical music as their News & Public Affairs Dominant colleagues, whereas News & Public Affairs Dominant stations offer twice the hours of “other music.”

More Information More of the Time. While the number of Information Dominant stations remains relatively constant from the current to the future analysis, their collective commitment of air time devoted to news, events, public affairs, and call-in programming increases by 30 percent.

Stations expect most of this additional programming to come from the satellite. Compared to the two current Information Dominant cohorts, the two future cohorts expect to acquire 25 percent more news, events, call-in, and public affairs.

In making these comparisons, it is important to remember that we are not talking about the same stations. Some of the stations that make heavy use of acquired information programming are currently found in other cohorts and flow into the information-oriented cohorts in the future. Conversely, some of the stations in the current information cohorts, especially Local Public Affairs Dominant, that do not use much acquired material are found elsewhere in the future analysis.

In sum, the information-defined cohorts of the not-so-distant future seem to be in a state of fairly rapid flux. Today’s Information Dominant stations may be defined more by their music in the future; and many stations that expect to be Informa- tion Dominant in 1995 are not defined by their information programming today.

48 FUTURE DIRECTIONS OF PROGRAMMING COHORTS

Future Characteristics Compared

Every predicted future programming cohort should hold some interest to a number of public broadcasters. Each represents some facet of public radio’s public service. Each embraces sufficient stations and resources to warrant the producing community’s attention.

The three future cohorts examined in this section - the clarifying Network News Dominant cohort, and the emerging Local Public Affairs Dominant and Jazz Dominant cohorts - are particularly interesting because they are where many changes are currently taking place. And they are a powerful set of stations. The stations that expect to be members of one or more of these cohorts embrace 36 percent of all stations, 42 percent of today’s national audience, and 44 percent of the current nonfederal resources controlled by stations.

Following are the highlights that illustrate the expected characteristics of these cohorts. We encourage readers to employ the study’s database to gain a deeper understanding of these and other cohorts.

The JUZZ Dominant Cohort. The PUBLIC RADIO PROGRAMMING STRATEGIES study cannot predict the future characteristics of any cohort’s audience. But it does tell us that, today, blacks account for 23 percent of the listening done to stations that expect to be Jazz Dominant in the future. This is the highest current minority audience concentration of any future cohort. Fourteen of these 88 stations are black-managed today.

Two-in-three future Jazz Dominant cohorts are currently supported in some way by CPB. For the most part, these are stations that are already “in the system,” although expansion stations will contribute to the cohort’s critical mass. One-half of these stations are currently associated with APR or NPR.

With one-third of its stations in the top 25 markets, the Jazz Dominant cohort will be somewhat skewed toward the country’s largest metropolitan areas. This is where most blacks live, and where multiple public radio stations exist. However, this diversity will extend outside of the largest cities; half of the stations in this future cohort will be outside of the top 50 markets.

The News & Public Affairs Dominant Cohort. With 17 percent of its stations in the top five markets and 40 percent in the top 25, the News & Public Affairs Dominant cohort will be one of the most powerful in its capacity to reach listeners. Its stations represent only nine percent of the system, but they currently control 16 percent of public radio’s nonfederal funds and contribute 16 percent of its national audience.

49 PUBLICRADIO PROGRAMMINGSTRATEGIES

Sixty percent of these stations are currently supported in some way by CPB. Three-quarters are associated with NPR or APR, one-in-five with NFCB.

The Network News Dominant Cohort. Cfthe three cohorts examined here, the Network News Dominant cohort will be the least concentrated in the very largest markets. Even so, 16 percent of its stations will be in the top 10 markets - half in the top 50 - a modest tilt toward large markets compared to the system as a whole.

Not surprisingly, three-fourths of these stations are currently associated with NPR or APR. At the same time, nearly a quarter of the stations in this cohort are not now associated with one of the two major public radio networks and are not participants in the public radio satellite system. The programming plans that place this latter group within this cohort would appear to signal changes in affiliation and interconnection arrangements in the next few years.

It’s significant that 23 percent of the stations in this future cohort are on the AM band. of the two current broadcast bands, other studies have indicated that AM stations have a slimmer chance of reaching the type of listener who now listens to public radio’s network news. We suspect a number of the stations in the Network News Dominant cohort, AM outlets and others, are expecting to capitalize on the efficiencies of networking. Stations will pay the fixed fees to join a network or two, and then minimize their hourly cost of programming by using as much material as possible from the satellite.

Looking at the Information Dominant cohorts together, we see stations that many think of as “flagship news stations” - major market outlets with a major investment in news and public affairs - will be members of both the Network News Dominant cohort and the News & Public Affairs Dominant cohort. Those that are Network News alone tend to be smaller stations in smaller communities; they tend to balance their information programming with local music and cultural material. Those that are News & Public Affairs alone are found in larger cities; nearly 40 percent execute their substantial commitment to information programming without benefit of NPR or APR material, instead relying on alternative sources such as the Pacitica Network and their own local studios.

50 6

APPEAL COHORTS

The programming that stations broadcast is a powerful means of tracing their similarities and differences. However, what stations program is only half of public radio’s service equation. The listeners whom they seek to serve are the other half.

These two dimensions - programming and audience - are the basis of this study’s efforts to understand public radio stations in listener-service terms. Who do stations believe they reach with their current programming? What are the characteristics of the people whom they seek to serve? How are these audience targets different from the audience they now reach?

This section looks at the types of listeners stations believe they are currently serving with their programming. Before delving into this topic, it’s worth reviewing the concept of appeal as it is used and understood in this study.

Appeal

Appeal is the link between programming and the people who listen to it. AUDIENCE88 ’ stated the relationship succinctly: programming causes audience. In this context, “to appeal” means to provide a service that attracts certain segments of listeners more than others; “an appeal” is the attribute of the service, often intangible, that attracts these listeners.

A format’s appeal is best described by the type of person who listens. So not only does appeal indicate how strongly certain kinds of listeners are attracted to or repelled by a type of programming, it also indicates the characteristics of these listeners that set them apart from others.

It’s easy to classify programming by the genre of its content: classical music, news, rock and roll, and so forth. But appeal is much harder to identify because it requires that broadcasters pierce the veil separating them from their listeners - to see those who choose to listen, and those who do not.

’ The Programming and Issues & Implications volumes contain detailed discussionson the nature and ramifications of appeal for public radio broadcasters. 51 PUBLIC RADIO PROGRAMMING STRATEGIES

AUDIENCE 88 identified the appeals of public radio’s major formats by matching the personal characteristics of 4,268 public radio listeners to the programming they actually used. In this way the appeals of specific programs (such as All Things Considered and A Prairie Home Companion) and major formats (such as classical music, news, and jazz) were defined in terms of listeners’ demographics, geographies, geo-demographics, and psychographics.

Appeal as Measured in This Study. PUBLIC RADIO PROGRAMMING STRATEGIES differs significantly from AUDIENCE 88 in the way it assessesappeal. AUDIENCE 88 was a study of listeners; this is a study of stations. AUDIENCE 88 established direct links between programs and formats and the listeners who use them. This study asked station management to report the characteristics that they believe their stations’ audiences have. In short, while AUDIENCE 88 assessed actual appeal among listeners, this study reports perceived appeal among stations.2 This technique raises a number of questions. Do stations know enough to make these judgements? How do they know? Did they get it right? And even if most did, of what use is this notion of “perceived appeal?”

This study invested substantial resources to inform stations’ assessments of their listeners? Wherever possible we procured Arbitron audience data and reworked it to show who was listening to each of the station’s formats! This was new information for many stations. For others it strongly echoed what AUDIENCE 88 found to be the appeal(s) of their major format(s). For all stations it either supported or corrected assumptions they make everyday about their listeners.

2 AUDIENCE 88 identified and interviewed listeners by contracting with Arbitron to recontact diary keepers who reported listening to public radio. This highly efficient research technique made possible the direct connection between public radio’s listeners and the programming to which they listened. It went beyond member surveys to include listeners who did not support the station through direct contributions. Unfortunately, Arbitron no longer contracts for these services.

This study asked stations to assesstheir listeners’ age, gender, race, education, income, and occupation. Forty percent of the responding stations had Arbitron estimates of their listeners’ age, gender, and in many instances black and Hispanic compositionsto help inform their answers. For the remaining stations - and for educational, income, and occupational characteristics not reported by Arbitron - stations based their assessmentson their best senseof who is in the audience. Stations form their perceptions of listeners through a number of devices - personal contact, member surveys, audience research, and even national studies. AUDIENCE 88 identified many variables that factor into appeal - many of which cannot be readily determined. For instance, the “Societally Conscious” and other Values And Lifestyles personalities require that the listener answer 40 questions. In contrast, this study focuseson listener characteristics that are readily discernible.

’ In deciding whether or not to furnish audience data, we considered: whether Arbitron adequately surveyed the station’s area of coverage,and whether the station had enough listeners to provide fairly reliable audience estimates. We made an extra effort to provide audience data to stations that were most likely to contribute to the study’s understanding of public radio’s diversity.

52 APPEAL COHORTS

We do not know exactly how close the responding stations have come to hitting the mark in describing their listener appeals. However, in the areas where data exist to “verify” responses, most stations appear to be in the right ballpark.

That said, it is still important to proceed with caution. Conversations with respondents taught us that asking stations to describe their service in appeal terms pushed many onto unfamiliar and uncomfortable terrain. Some were being asked to address the issues of whom they serve, and whom they intend to serve, for the first time.

Appeal’s Two Interpretations. Cohorts are shaped by their relative appeal and understood by their absolute appeal. Absolute appeal is the degree to which stations believe they attract a given type of person. Relative appeal compares this perceived attraction to other public stations’.

We discovered, again from conversations with respondents, that there is confusion over these qualitative and quantitative distinctions. While the two notions overlap, there are important differences, as the following example shows.

A particular kind of programming may be much more attractive to a younger listener than an older listener. That’s a qualitative distinction. In the vocabulary of AUDIENCE 88, the programming is said to be more appealing to younger listeners - to have young appeal. But if that programming were presented in a retirement community, it could easily attract more older than younger listeners. In this instance, some would use appeal in a quantitative sense and say the programming is more appealing to older listeners.

Station assessments of appeal presented in this report are clearly a mixture of both qualitative and quantitative evaluations.

Important First Steps. For all these reasons, we must change mental gears as we move from our analysis of programming cohorts to an exploration of appeal cohorts. We do not have the same clarity of response or level of specificity. But given the larger purposes of the study - to identify groups of stations with shared audience goals, and to highlight the similarities within groups and the differences among them - we believe this perception-based inquiry yields important and useful insights.

The following analysis of five appeal-based cohorts reflects real and meaningful distinctions among the types of listeners that different stations believe they serve. The key is the direction of service, or strategic thrust, seen in each. appeal cohort. The differences among perceived and intended patterns of audience service are important first steps toward a more complete understanding of stations’ underlying programming strategies.

53 PUBLIC RADIO PROGRAMMINGSTRATEGIES

Appeal Cohorts

This study identifies five upped cohorts. Each is defined by a complex mixture of how stations see themselves appealing to listeners of differing ages, races, levels of education, and incomes.

Although the five cohorts have simple onedimensional names, a mosaic of listener characteristics defines each. The proper interpretation and application of the appeal cohorts requires a thorough understanding of these mosaics. Stations are included in more than one appeal cohort when they share multiple affinities - the same as with programming cohorts.

The five appeal cohorts each comprise from 19 to 26 percent of stations. Although similar in size, their members vary greatly in their ability to serve listeners and raise nonfederal funds. Programming differences are also evident. But it’s important to keep in mind that while programming, audience, and financial characteristics are related to stations’ assessments of their appeals, they are not used to &efine appeal cohorts.

Perceived Appeal Norms

This graph shows the extent to which all stations that respondedto this study perceive they appeal (in absolute terms) to select types of listeners. This is the “norm” against which stations’ self-percep tions are measured. Cohorts are formu- The Perceived Audience Appeal lated by how and how much they of Public Radio Stations deviate from it. The Perceived Appeal graphs that follow P illustrate each co- .- hort’s self-perceived appeal in absolute 1 terms by the height of the bar. Appeal P relative to this 0 “norm” is indicated 0 by the position of a 5 small block (n). Relative appeal creates cohorts; college 25-44 65t Minority absolute appeal While 46-64 High School 12-24 describesthem.

54 APPEAL COHORTS

The Well-Educated Appeal Cohort

Stations in the Well-Educated Appeal cohort’ believe they serve a wide range of persons with high school diplomas. When compared to other public stations, however, they believe their appeal is Zeust directed to persons under 24 yearsof- age, and most directed to white listeners who have completed college or graduate school. When compared to other radio stations (and the population as a whole), their perceived appeal to educated persons is extreme.

Although stations in this cohort tend to be in Perceived Appeal of the Current smaller markets (60 WELL-EDUCATED APPEAL Cohort percent are outside of the top 50 markets), their audiences and budgets tend to be significantly higher than average.

Stations in the Well- Educated Appeal cohort 4 I acquire more program: White 2544 6th Hiah School ming than any other college 45-64 Minorit; 12-24

cohort - nearly half of t This Cohort . Compared to Average their broadcast hours are acquired. Two-in- five hours are filled with classical music; one-in-five offers news/events. Classic: music is primarily local, and news/events is primarily acquired.

Most of the stations in this cohort are affiliated with NPR (83%) and/or APR (81%). Only two percent are minority-managed.

’ The stations that best exemplify the Well-Educated Appeal cohort are KCHO-FM, KEOM-FM, KHPRFM,KHSU-FM,KKUA-FM,KOAB.FM,KOPB-FM,KQED-FM,KUERFM,KUNC-FM,KUNM-FM,KUOW-~,KWO-FM, KWAX-FM,KZUM-FM,WAMC-FM,WAMK-FM,WANC-FM,WBEZFM,WBNI-FM,WCALFM,WcAN-FM,WcBE-FM,WcNY-FM, WFPL~,WHRo-FM,WHRV-FM,WJNY-~,W~K-FM,WNCW-FM,WN~-FM,WOBo-~,WoSU-AM,WQED-FM,W~N-FM, WRASFM,WUNY-FM,WVGR-FM,WVPE-FM,WVPf&FM, and WYMSFM. 55 PUBLIC RADIO PROGRAMMING STRATEGIES

The Older Appeal cohort

Older Appeal stations’ believe they appeal to a wide range of persons over 25 years-of-age. When compared with other public stations, however, their perceived appeal is most directed to persons over 45. Older Appeal stations to not consider themselves appealing to minorities or to persons under 25 years-of-age.

Classical music has a demonstrably older Perceived Appeal of the Current appeal than most other OLDER APPEAL Cohort formats - at least as it’s currently pro- grammed at most public .-$- stations. The program 1: schedules at Older Appeal stations are dominated by classical music; it fills half of the %: hours they’re on the 0 g I air. Although most 65-k College High School 12-24 classical programming 46-64 White 26-44 Minority is locally-originated t- This Cohort n Compared to Average during prime time, classical acquisition is still high. Three-in-four stations air at least some acquired classical programming in prime time. At night, the amount of acquired classical eclipses local classical by a factor of two-to-one.

High levels of classical acquisition mesh with the stations’ high degree of affiliation with APR (71%) and to a lesser extent NPR (65%). These network affiliations also convey many news/events (17%) hours. Together with jazz (13%), classical and news/events till most (78%) of the hours in Older Appeal stations’ schedules. Most jazz, however, is locally-produced.

Only one-in-ten Older Appeal stations is in any way associated with NFCB.

6 The stations th&, best exemplify the Older Appeal cohort are KCHO-FM KEOM-FM,KHPRlW KHSU.FM,KKUA.FM,KOAB-FM,KOpB-FM,KQED-FM,KUER-FM, KUNC-FM,KUNM-FM, KUOW-FM,KUvO-FM,KwAK-FM, K~UM~~,wAMC-FM,wA~.FM,WANC-~,WBE~~,WBNI-FM,WCAL~,wCAN-~,wCBR-~,wCNy-~,WFPLFM, ~~RO~FM,~~R~~FM,~JN~~~,W~K-FM,WNCW-M,WNMU-FM,WOBO-FM,~O~U-AM,~QED-~~~Q~N-~~~RA~FM. WUNY-FM,WVGRFM,WVPE-FM, wvpsm, and wy3m.

56 APPEAL COHORTS

The Mid-Age Appeal Cohort

Stations in the Mid-Age Appeal cohort’ see themselves serving a wide range of collegeeducated white listeners between 25 and 64 years-of-age. As such, they echo the perceived appeal “norms” established by public stations in general. In contrast to other public stations, however, their appeal is most directed to persons between the ages of 25 and 54.

Stations in the Mid-Age Appeal cohort tend to Perceived Appeal of the Current concentrate in larger MID-AGE APPEAL Cohort markets (42 percent are in the top 25 markets). The number of people under their signals may account for their above- average audience size, which is 35 percent .- I larger than the average public radio station’s. 1: 5 7 i 25-44 College Minority whii Mid-Age Appeal sta- 12-24 - 45-64 High School 65+ tions are the most likely to be interconnected n ThisCohort - Compared to Average (62%). Even so, they originate two-thirds of their programming hours, acquiring mostly news/events programming in prime time (69 percent of their acquired prime time hours) and classical programming in non-prime time (55 percent of their acquired hours in non-prime time).

Eight percent of the stations in the Mid-Age Appeal cohort are managed by blacks. This may account for their slightly above-average appeal to blacks which, although self-reported, is substantiated by Arbitron. Among Mid-Age Appeal stations for which audience data are available, 15 percent of their listeners are black - second in concentration only to the Younger Appeal cohort.

’ The stations that best exemplify the Mid-Age Appeal cohort are KBCSFM, KBOO-FM, KCCK-FM, KCURFM,KDHX-FM,KERA-FM,KOAC-FM,KIOSFM,KNOW-M,KNSRFM,KP~-FM,KPLU-FM, KPRX-FM, KSJK-AM, KSLU-FM, KSMU-FM, KUMD-FM, KUNI-FM, KUNY-FM,KUSU-FM, KUT-FM, KVMRFM,KVPRFM, KWQS-FM, WAJC-FM, WAMU-FM,WBGO-FM,WBHM-FM,WBJB-FM,WBURFM,WCPN-FM,WDCU-FM,WDNA-FM,WDUQ-FM,WEAA-FM,WEMU-IFM, WERSFM,WEVO-FM,WFAEFM,WFHC-FM,WFMU-FM,WFSB-FM,WFSU-FM,WOVU-FM,WJSU-FM,WKARAM,WLRN-FM. WMFE-FM,WMNF-FM,WMW-FM,WMUH-FM,WNIU-M,WRTI-FM,WSCN-FM,WSMC-FM,WVXC-FM,WVXRFM,WVXU-FM, WWUH-FM,WXPN-FM, and WYEP-FM.

57 PUBLICRADIO PROGRAMMING STRATEGIES

The Multiple Appeal Cohort

Very similar to their Mid-Age Appeal colleagues, Multiple Appeal stations6 believe they appeal most strongly in absolute terms to collegeeducated white listeners between the ages of 25 and 64. But in relative terms, Multiple Appeal stations perceive that they appeal to most types of people - including minorities. In this sense they share an undiscriminating, nonexclusive attitude.

The graph to the right suggests a relatively Perceived Appeal of the Current high perceived minority MULTIPLE APPEAL Cohort appeal among stations in this cohort; whereas other stations see themselves minimally appealing to minority listeners, Multiple Ap- peal stations see themselves more appealing

to minorities. why? 2% I Because they see them- Minority’ High School 25-44 65-t selves appealing to 12-24 College Whiie 45.64

virtually everybody. fJ This Cohort n Compared to Average In absolute terms, this minority appeal is modest. But because it’s relatively greater than that of other stations, Multiple Appeal stations are set apart from their public radio colleagues.

Multiple Appeal stations differ only slightly from other public stations in most other instances. They tend to rely a little less on acquired programming than others. Only half are affiliated with APR or NPR.

They are neither more nor less likely to program in languages other than English. And only eight percent are minority-managed - no different from the national average. Among Multiple Appeal stations for which audience data are available, 14 percent of their listeners are black or Hispanic - marginally more appealing than public radio’s overall figure of 12 percent.

’ The stations that best exemplify the Multiple Appeal cohort are KALU-FM, KALX-FM, KAOSFM, KAXE-FM, KAZU-FM, KBPSAM, KCFR-FM, KCUK-FM, KCZP-FM, KEWU-FM, KFAE-FM, KFAI-FM, KFCF-FM, KOOU-FM, KKSU-AM, KMSU-FM, KMXT-FM, KNON-FM,KOPN-FM, KSDP-AM,KSKA-FM,KSOF-FM, KTAI-FM, KUAC-FM, KUOP-FM, KVNO-FM,KXPR-FM,WCSB-FM,WCVF-FM,WEPR-FM,WEPSFM,WOBH-FM,WQDR-FM,WHMC-FM,WJPZFM, WJULFM. WJWJ-FM,WWK-FM,WLTRFM,WMHW-FM,WMOT-FM,WNED-FM,WNSC-FM.WPFW-FM,WRM-FM,WRJA-FM,WRMC-FM. WRPI-FM, WRTU-FM, WRWA-FM, WTJB-FM,WI~U-FM, wusB-FMwwFM-FI4and wwQc.FM. 58 APPEALCOHORTS

The Younger Appeal Cohort

Stations in the Younger Appeal cohort’ see themselves appealing to a wide range of persons under 65 yearsof-age. But compared to other public stations, their perceived appeal is directed primarily to persons between the ages of 12 and 34.

These stations also believe that they appeal Perceived Appeal of the Current more than other public YOUNGER APPEAL Cohort stations to persons who have not (or not yet) graduated high school, or who have completed high school but who have not (or not yet) attended college.

Concurrent with their I appeals to younger, 12-24 knority White moremodestlyeducated High School 25-44 college S!5+ listeners, Younger Ap- m This Cohort n Compared to Average peal stations sense that they serve average concentrations of minorities. Although this self-reported propensity to appeal to minorities is not nearly as pronounced as the Multiple Appeal cohort’s, these stations do have the largest proportions of black and Hispanic listeners (20% and 5% respectively) of any of the appeal cohorts.” Forty percent of the Younger Appeal stations program at some time in a language other than English, although non-English programming accounts for only six percent of the cohort’s broadcast hours.

Stations in the Younger Appeal cohort are the most likely to be minority-managed (22%). They are also more likely than others to be associated with NFCB (29%). Only one-in-five are interconnected, CSG-qualified, affiliated with NPR, or affiliated with APR. For this reason their programming is decidedly local (79%).

s The stations that best exemplify the Younger Appeal cohort are KAMU-FM, KAORFM, KAZI-PM, KBBF-FM, KCMW-FM, KCSM-FM, KDURFM, KOHP-FM, KHNSFM, KIDE-FM,KINI-FM, KIYU-AM, KMHA-FM, KNHC-FM, KOM-FM,KPGR-FM,KPVU-FM,KRBM-FM,KRCLFM,KRVSFM,KSDSFM,KSHI-FM,KSJ9FM,KSUT-FM,KTPSFM.KUCB-FM, KUNV-FM,KUWR-FM, KVTI-FM, KWSO-FM.KZYX-FM, WBRH-FM.WCSU-FM, WDET-FM.WDPSFM, WECI-FM. WEFT-FM. WEVLFM;WHCE-FM,~HOV-FM,WHSN.FM,WKHSFM;WKKC-FM,-WKPX-FM,WLCH-FM,~~-FM,~WMSE-FM;WNAA-FM; WOBC-FM,WPCD-FM,WPRLFM,WQSU-FM,WRBB-FM,WRBH-FM,WRHU-FM, WRIU-FM, WRVSFM, WSOU-FM,Wm-FM, WTJU-FM,WUPI-FM,WVBC-FM,WWOZFM, and WXDR-FM.

lo According to Arbitron. Audience data are available for only 26 of the 104 stations in this cohort, and are therefore subject to significant instability. 59 PUBLICRADIO PROGRAMMINGSTRATEGIES

Most of their programming is music (82%). They are the most likely of their colleagues to play rock (31 percent of all hours on air) and “other” music (24%).

This study reached broadly beyond stations supported by CPB, and this cohort is where many “expansion” stations show up.

Broadcasting on average only 129 hours per week, stations in the Younger Appeal cohort are on the air 18 hours per week less than the average across all stations. I

This smallest of the five appeal cohorts serves the fewest listeners, and does so with the least money. The Younger Appeal cohort accounts for one-in-five stations, yet brings to the system only one-in-ten listeners and one-in-twenty nonfederal dollars.

60 7

APPEAL COHORTS COMPARED

Appeal-based cohorts differ not only in their perceived audiences, but also in the characteristics of their stations. This section compares and contrasts salient traits of the five groups.

Size, Audience, And NFFS

The Well-Educated Appeal, Older Appeal, and Mid-Age Appeal cohorts each comprise about a quarter of public radio stations. Those in the Mid-Age Appeal cohort, however, enjoy audiences and budgets above their proportion in the public radio population. On an average or per-station basis, these are generally the stations with the largest audiences and budgets. The actual audience and income averages are shown on the table on page 65.

The Relative Sizes of The five appeal whorts are ranked by the number of Appeal Cohorts stations in each. The Well- Educated Appeal and Older Appeal cohortsare the largest. Size of the cohorts does not vary as much as the audiences each serves and the budgets each controls. When wm- pared to any other whort, the Young Appeal cohort serves less than one-halfthe audience - controls less than one- quarter the NFFS.

0 Stations n Audience A NFFS

61 PUBLIC RADIO PROGRAMMING STRATEGIES

Appeal Dimensions

The appeal cohorts are defined by gender, age, race, education, income, and occupation characteristics. In this section we concentrate on age, education, and racei - the most powerful characteristics in terms of determining and Perceived Current Appeal describing the cohorts. The previous to Persons 12-24 Years Old section tracked these appeal dimensions cohort by cohort. Here all cohorts are compared side by side.

Age Appeal. The Younger Appeal cohort is the only one that believes it I appeals to persons between 12 and 24 Well-Ed Older MM-Age Multipb Youngu years of age. The Older Appeal and Current Appeal Cohorts Well-Educated Appeal cohorts consid- ~ThbCehcwt n CmpamdtoAvemga er themselves unappealing to this age group in both absolute and relative Perceived Current Appeal terms. to Persons 25-54 Years Old

Every cohort believes it appeals in .. .: .:. .,. .. .: : .:.: .:...... ::,.ji. :.‘. ,; .. . some degree to persons over 25 years 1: .:j.. . .:. .,.,.. . ..x .: ,... :.:.::..... :.::. ,I .. . of age. Even the Younger Appeal : :... ., ,.I .‘.‘.I cohort believes it appeals slightly to persons 55 years old and older. But in relative terms the five cohorts line Well-Ed Oldw MY-Age Mulripb Youngu up as expected, with the Mid-Age currentAppeal cbhorts

Appeal cohort having the highest ~ThbCdwt l C%mpuedtoAvemge perceived appeal among persons 25-54 years old and the Older Appeal cohort having the highest score among per- Perceived Current Appeal sons 55 years old and older. to Persons 55 Years Old and Older

The Multiple Appeal and Well-Educat- ed Appeal cohorts are not defined primarily by age appeal. There are, I I however, marked age differences I between them. The Multiple Appeal Well-Ed Older Mid-Age Multiple Younger cohort perceives that it serves much Current Appeal Cohorts younger listeners than does the We& Educated Appeal cohort.

’ Stations noted their appeal to whites, African-Americans, Hispanics, native Americans, and Asians. The latter four groups are combined and reported on this section’s graphics as “minorities.”

62 APPEAL COHORTS COMPARED

Education. The Younger Appeal cohort is the only one of the five that believes it appeals to persons without college educations. It also believes it appeals to persons with college educations, but not to the degree the other four cohorts do.

Perceived Current Appeal Perceived Current Appeal to Persons Without College Educations to Persons With College Educations

Minorities. Due to its stations’ all-inclusive attitude, the Multiple Appeal cohort perceives itself appealing to minorities more than any other. Each cohort’s actual appeal to black and Hispanic listeners is examined in Section 10.

Perceived Current Appeal Perceived Current Appeal to Minorities to Whites 1 I

W&Ed Older Mid-&e Multipk Yww Cunent Appeal Cohotts cufrentAppealcohorts

~lhbC&od - CompamdtoAwage

Programming and Non-Programming Characteristics

As a reference for those who wish to understand the finer points of the five appeal cohorts, the tables on the following two pages summarize selected programming and non-programming characteristics across cohorts and the public radio system as a whole. Users who wish to make the most sophisticated applications of the cohort data are directed to the Database For Public Broadcasters, made available as an adjunct to this study. The database is discussed in Section 10.

Note: Numbers on the tables may differ from those on pages 37 and 38 due to the differing station bases over which each is calculated.

63 PUSLICRADIO PROGRAMMING STRATEGIES

Programming Characteristics Of The Five Appeal Cohorts

Public Well- Radio Educated Older Mid-Age Multiple Younger Average Appeal Appeal Appeal Appeal Appeal

Percent of On-Air Hours

Local 61 53 57 66 69 79 Acquired 39 47 43 34 31 21

Local Prime 40 35 38 40 44 52 Acquired Prime 24 28 26 22 21 15 Local Non-Prime 22 18 19 26 26 27 Acquired Non-Prime 15 18 17 13 10 7

Classical 34 43 48 24 27 10 JazZ 14 11 13 19 15 12 Rock 9 4 2 8 14 31 Folk 3 2 3 4 3 5 Other Music 14 11 10 18 17 24 (Music Subtotal) 74 71 78 73 76 82 News/Events 17 20 17 18 15 9 PubAfVCaIl-In 4 4 3 5 5 4 Entertainment 2 3 2 3 2 1 Other 2 2 2 2 3 3

Non-English 2 0 3 3 3 6

Percent of Stations Carrying

Classical 75 88 87 67 69 46 JazZ 83 84 79 89 80 78 Rock 36 17 24 46 42 75 Folk 59 70 59 52 55 52 Other Music 91 94 91 93 88 86 News/Events 88 94 86 89 85 73 PubAfVCall-In 81 80 83 82 81 82 Entertainment 72 90 73 67 64 41 Other 66 67 71 71 64 55

Non-English 25 14 19 33 30 41

64 APPEALCOHORTS COMPARED

Non-Programming Characteristics Of The Five Appeal Cohorts

Public Well- Radio Educated Older Mid-Age Multiple Younger Average Appeal Appeal Appeal Appeal Appeal

Percent of Stations

Interconnected 50 51 57 62 45 20 CSG Recipients 50 50 60 59 47 21

NPR AfRliated 62 83 65 63 51 23 APR Affiliated 61 81 71 63 49 19 NFCB AfXliated 17 11 9 21 20 29

Black Managed 4 0 1 8 4 10 Hispanic Managed 2 1 3 2 2 4 Native American Managed 1 2 2 0 2 8

On The AM Band 5 4 5 3 5 3

In Top 10 Markets 15 6 13 21 15 19 In Top 25 Markets 29 21 24 42 31 33 In Markets 51+ 53 60 58 40 51 48 In Markets lOl+ 27 34 28 16 25 25

Percent of: Stations 100 26 26 23 21 19 Audience 100 26 28 31 21 11 NFFS 100 28 28 29 20 5

Average Station: AQH Persons(000) 1.7 1.8 1.9 2.3 1.7 1.0 Cume Persons(000) 36 37 38 49 38 22 NFFS 0000) 810 890 740 880 850 450

Number of Stations Total 532 141 139 124 114 104 Strong Primary 41 27 63 55 64 Strong Secondary 19 17 16 18 Weak Primary ii 93 45 43 22

65 8

AUDIENCE SERVICE DIRECTIONS

Most public radio broadcasters see their stations serving more listeners in the future. They differ, however, in their sense of who these new listeners will be. These differences shed light on the directions stations intend to take in their audience-service strategies.

PUBLIC RADIO PROGRAMMINGSTRATEGIES asked stations if they expected to be more or less appealing to certain types of people in the future. Not a single cohort thought it would be “less appealing” to any type of listener; each answered that it would be “more appealing” across all listener traits. However, most expect to increase their service more to some types of listener than to others. We take these responses to indicate where stations expect to see audience growth, and we interpret the data in this context, rather than in terms of a specific plan for changing audience appeal.

If certain audience segments grow faster than others, composition of a station’s audience will change. This new composition will reflect a new appeal. This survey’s data are not sharp enough to give us a clear picture of that future appeal configuration. But the demographics in which stations expect to see audience growth (and where they do not) are clear. These are the signposts to future appeal.

The map on the opposite page shows stations’ perceived appeal to various types of listeners today, and how this appeal is expected to increase in the coming years. The further an audience trait is to the right of the map, the stronger the appeal stations believe they have for this type of listener today. This is the same thing the bar graphs were showing in earlier sections; the appeal is simply displayed “on its side” (left to right) rather than vertically.

The higher an audience trait is on the map, the more stations believe they will increase service to these listeners in the future. This is new information introduced in this section.

Stations do not exclude any type of listener from their audience. As a group, however, they believe they appeal most strongly to white people who have been to college (the traits that are farthest to the right on the chart), and they expect their service to these listeners to increase moderately (the traits are in the middle of the chart vertically).

66 AUDIENCE SERVICE DIRECTIONS

A number of traits cluster in the lower left- Audience Service Dimensions hand corner of the of All Public Radio Stations chart. These are the attributes of listeners to whom stations believe they don’t appeal ES-34 SE-44 strongly today, and to 4554 SLACK whom they don’t expect HSG&D COLLEGE DEGREE to increase service HISPANIC WHITE greatly any time soon. NATIVE AMERICAN GRADUATE DEGFIEE Hispanics, native Amer- 1244 AsmN ssu icans, and Asians are in NOT HS GFIAD this quadrant, along ES+ with people who have ‘1 Less PERCEIVED APPEAL TODAY More not (or not yet) compet- M b ed high school.

In contrast to the wide future service (vertical) spread of the various age demographics, education and race characteristics are much more compressed. There are differences, certainly - stations expect to increase their audience service to blacks more than to whites, for example. But age - not education or race - is what stations see as the locus of their audience-building focus.

Age. The primary audience targets in which stations expect to increase their service are, in relative priority, persons 25to-34 years-of-age, persons 35-to-44, and persons 45to-54. All three are groups to which stations feel they appeal fairly strongly today. Conversely, even though stations feel they are also appealing fairly strongly to persons 55 years-old and older, these older persons are not where most stations will be focusing their attention in the next few years.

Looking at the demographic characteristic closest to the bottom of the chart, we see the type of person to which stations are least apt to increase their service. During the next few years, public broadcasters clearly do not expect to develop their service among persons over the age of 65.

Questions. We saw stations focusing their formats in our earlier examination of programming changes. This continuation of a long-term trend in public radio explained the predicted emergence of the Jazz Dominant cohort and the News & Public Affairs Dominant cohort within the next few years.

The movement in audience service seen with respect to appeal is much more open to a variety of interpretations. Are stations choosing their programming first and then gauging to whom it might appeal ? Or are they working in a classic marketing sense, in which the type of listener is determined first, and then the

67 PUBLICRADIO PROGRAMMINGSTRATEGIES

most appropriate programming is chosen to serve this person? Or are they simply reflecting personal, institutional, or societal desires?

Why is age the area in which stations see the greatest differences in where their audience growth will take place ? Or conversely, why are education and race

Audience Service Dimensions S:ubtle differences exist among appeal of the YOUNGER APPEAL Cohort ohorts’ attitudes toward current and fj irture service to listeners. These maps are PIresented for the reader who wants to examine more closely the underlying shijts tihat contribute to the system wide map on P‘ age 67.

3 PERCEIVED APPEAL TODAY Audience Service Dimensions Audience Service Dimensions of the MULTIPLE APPEAL Cohort of the MID-AGE APPEAL Cohort

8 1644 z . ylcl

PERCEIVED APPEAL TODAY Mom Len PERCEIVED APPEAL TWAY Mom 2 -

Audience Service Dimensions Audience Service Dimensions of the WELL-EDUCATED APPEAL Cohort of the OLDER APPEAL Cohort

0 Fs& Leas PERCEIVED APPEAL TODAY More Lea PERCEIVED APPEAL TODAY Mom - - __c

68 AUDIENCE SERVICE DIRECTIONS

dimensions more compressed? Why do two groups for which current perceived appeal is nearly identical (persons 65 + and 25-34) frame the outer extremes of the continuum in terms of future programming plans?

This phase of research did not ask, and so it cannot answer, zuhy stations expect their growth to come from certain demographic groups and not from others. Undoubtedly a number of factors have influenced their responses:

l Knowledge of actual audience. Age is a defining demographic in radio - one that is reported extensively by syndicated research services. Age groups are the most widely dispersed on the chart, indicating a greater degree of discrimination by stations on this variable.

l Station missions regarding audience targets. Because they know more about their listeners, more mission statements are giving priority to service for specific segments of society.

l Regression toward the mean. Stations with particularly young or old audience may feel it appropriate to join the larger body of their colleagues, or to “balance” their audience profiles.

l Sociopolitical correctness. In the predominantly Societally Conscious public radio system, attention to the needs and interests of some segments of society are more “politically correct” than others. This may contribute to the reported intent to increase service to some types of listeners. It may also complicate the ability to differentiate among types of listeners - even when such differentiation accurately reflects audience service strategies or radio marketplace realities. This is most likely a factor in respect to race and ethnicity.

l Knowledge or assumptions about demographics within society. There are more blacks than Hispanics in the country, and more of either than native Americans or Asians - hence, their relative positions along both the current appeal (vertical) and future service (horizontal) dimensions. Further, sizable populations of Hispanics, native Americans, and Asians tend to be much more geographically concentrated (and thus within the converge area of a smaller number of stations) than is the case with blacks.

Station responses are most likely the product of a number of influences - these perhaps, and certainly many others. We invite readers to ponder this information, perhaps even to manipulate the project’s database, to arrive at their own insights. Why do stations see certain types of listeners in their future and others not? The producer or distributor with the best understanding of station mindsets will certainly have a competitive advantage in public radio’s program marketplace.

69 PUBLICRADIOPROGRAMMINGSTRATEGIES

Future Appeal Cohorts. In previous sections we reported how stations’ projections of future programming were used to generate future programming cohorts. We have done the same with stations’ projections of the changes in their appeal. We created future appeal cohorts, which are used in the next section to explore how certain strategic configurations of stations are expected to change.

Unlike future programming cohorts, however, future appeal cohorts configure themselves along the same lines as current appeal cohorts. The five future appeal cohorts have the same names and the same general characteristics as the five current appeal cohorts. There is some shifting of stations among them, and there are also some changes in the relative sizes of the respective cohorts. Because the fundamental characteristics of the cohorts remain essentially the same, they will not be described here in detail.

70 9

COMBINING PROGRAMMING AND APPEAL

This study’s central focus is to identify stations with shared objectives for audience service. We have seen how stations align with respect to their programming and how they cluster around the kinds of listeners they believe they serve. We now integrate the two analyses to find where significant NUMBER OF STATIONS numbers of stations share an overall audience service approach. The nine programming cohorts and five appeal cohorts produce 45 combinations. The resulting programming/appeal matrix is a powerful framework within which to explore the full configuration of the public radio system. Each point of intersection between a programming and an appeal cohort represents a unique audience- service strategy - a particular programming line-up serving a particular kind of audience. We call of these points of intersection - 45 in all - strategic cohorts.

Fiftr-four stations convene at the intersection of Classical Dominant and Older Appeal. The Classical Dominant/Older Appeal strategic cohort has more stations than any other. It and two other strategic cohorts (shaded cells) have more than twice the average of 17 stations. Strategic cohorts without numbers in their cells claim fewer than 17 stations as members. PUBLIC RADIO PROGRAMMING STRATEGIES

As we look at each strategic cohort, we find enormous variations. Some are filled with many stations; others are virtually empty. Some account for large portions of public radio’s audience and nonfederal financial support; others (including some with a significant number of stations) generate few listeners or dollars. Similar variations can be found with respect to a host of station characteristics - minority service, market size, organizational affiliation, participation in the public radio satellite system, and CPB funding are a few examples.

Program producers, funders, and many others can use this framework to assessthe prospects for a wide range of programming projects, PERCENT OF TOTAL plus related activities such NONFEDERAL FINANCIAL SUPPORT as research or training. In some cases, a few strategic cohorts clearly have the “critical mass” to take on almost any endeavor that may motivate them. In other cases, national programs or other projects may only be feasible if one can enlist participation from several strategic cohorts.

This study cannot answer these questions of feasibili- ty on an abstract or specu- lative basis. So much de- pends upon the level of resources required and how important a given project is to the members of a cohort.

The table to the right shows the strategic cohorts that earn a higher-than- average percentage of the system’s total nonfederal financial support. Before drawing conclusions, a couple of words of caution are in order.

72 COMBININGPROGRAMMING AND APPEAL

Part of what is reflected is simply the number of stations within the cohort. For example, there are 54 stations in the Classical Dominant/OZder cohort, more than in any other. This partially explains the relatively large share of dollars reported by some cohorts. There is also a question of cause and effect: do the highlighted cohorts suggest that these strategies generate more financial support, or that these are strategies pursued by stations that have more resources? It could be either - or both.

The table on this page shows which cohorts account for above-average shares of public radio’s audience. PERCENT OF NATIONAL AUDIENCE The number of listeners 3. served is certainly related Current Appeal Cohorts to the number of stations in a strategic cohort. here, however, the cause-and- effect relationship is clear. It’s programming and appeal that cause audience, ! not the other way around.

It is necessary to consider market size, however. The underlying “strength” of a given audience service strategy is likely to be amplified if it is employed primarily in larger markets, and attenuated if it is more commonly found in smaller markets. For instance, stations in the Mid- Age Appeal cohort are more likely to be found in the top 25 markets.

Local With these caveats in mind, Eclectic 4.8 one can nonetheless discern with Folk that some audience service Local strategies are highly corre- Eclectic lated with public radio’s with Words

income and audience, and Percentages we displayed for cohort8 with l total of 27,000 AOH listeners or more. This is 3.2 percent of the national AOH l udiencs - the average acroaa others are not. ail strategic cohorts. Cohorts with more than twice this average we highligMed.

73 PUBLIC RADIO PROGRAMMINGSTRATEGIES

The two preceding tables have highlighted the absolute amount of nonfederal support and listening to the strategic cohorts. It is also possible to explore how the stations within a cohort perform relatiue to the averages for all of public radio.

This table highlights cohorts in which the average station within the cohort serves an audience that is larger than the system-wide average. Put another way, this table shows which strategies are performing best in audience terms, regardless of the number of stations that pursue the strategy.

Compare this table to the BE’M’ER THAN AVERAGE one on the previous page. AUDIENCE PERFORMANCE Most of the strategic cohorts which, collectively, have more than the average amount of listening are comprised of stations that, individually, have higher than average listening - but not all.

The Classical Dominant/ Well-Educated cohort, for example, accounts for more than twice the amount of listening of the average cohort. But there are more than twice the average number of stations in the cohort. The average station in this cohort actually attracts a slightly smaller- than-average audience.

The “audience power” of the Classical, News & Jazz programming cohort is worth special mention. The average station in the four highlighted strategic cohorts exceeds the national average by factors of 60% to 180%.

74 COMBINING PROGRAMMING AND APPEAL

A similar analysis of the size and “power” of strategic cohorts can be applied to the stations’ plans for the future. The table below highlights the future strategic cohorts that derive from stations’ programming plans and targeted appeal.

By comparing this table to the one at the beginning of this section, it is possible to trace the patterns of continuity and change among the various strategic cohorts.

One broad pattern is an increasing concentration of stations in the Mid-Age and Multiple columns. Recall- ing the earlier analysis of NUMBER OF STATIONS the appeal cohorts in Sec- 1: tion 6, these are the most :Future Appeal Cohorts 7 :3 “average” cohorts, with the Wdl least extreme profiles. The Educated Older Mid-Age Multipb Y~~~Qov migration towards the Mid- Age Appeal and the Multi- Network NOW9 21 ple Appeal cohorts indicates Dominant that at least some stations News & expect to take the “edges” Public Affair8 21 off their appeal profiles. Dominant

2 :.:.:.~:.:.:.:(.:(.:.:.:.;.:.:.:.:...... ~~~~~~~~~~~il:iliililillii B ::::::“:::::::::::::::::::::::::::: The appeals of stations in ~~~~ 32 22 CIassic*l ...... the emerging Jazz Domi- s Dominant ::::::::::~::::j::~:::::::::::::::::...... _...... :y:::::.p...... :.:.:):):((,:,. ,. ... F nant cohort are expected to .r( Rock. Jazz, & “Other” spread into all but the E Music Dominant Older Appeal. 1

Compare this to the Classi- 2 PC Locel 19 20 28 cal Dominant cohort, which Alternative 2 is more focused in the fu- 5 ture than at the present. 2 21 R JUZ 22 19 25 While this cohort grows in Dominant size (from 144 to 168 stations), these stations will be Acquired 23 27 28 21 much more concentrated in Eclectic terms of appeal in the fu- Local ture. Today they span the Eclectic 21 23 3o full appeal spectrum (see with Folk the table on page 71); in the LOCll future they cluster predomi- Eclectic nately in the Older Appeal with Words cohort. Numbers are displayed for cohorts with more than 18 atadore - the warqe across all strategic cohorts. Cohorts with more than twice the wera~e ye hiphlightsd.

75 10

APPLYING THE DATABASE

PUBLIC RADIO PROGRAMMINGSTRATEGIES has created a basic, comprehensive body of data. The broader purpose of this study, however, is not simply to describe the public radio systems of today and tomorrow, but to create a resource that can be applied to questions facing producers, funders, distributors, planners, policy makers, and others who serve the field. In this section we illustrate some of the ways in which the PROGRAMMING STRATEGIES database can be used to inform important policy and programming questions.

Public radio has wrestled for years with ways in which it might increase its service to people of color. This issue has been a continuing theme of Congressio- nal concern, a central point for the Public Radio Expansion Task Force, and a primary focus of CPB’s comprehensive review of its station grants programs. Discussions in each of these settings have highlighted different, though comple- mentary, approaches: empowerment of minority-owned and managed stations, building the minority share of public radio listening, and increasing the absolute number of minority listeners served. The PROGRAMMING STRATEGIES database can contribute insights to the pursuit of these objectives and we will briefly examine each in turn.

Expansion of the public radio system to reach unserved and underserved listeners is another area for application of PROGRAMMING STRATEGIES data. In addressing expansion goals, it is important to recognize two separate “tracks.” One theme is expanding public radio service to new audiences through distinct, coherent program streams that will appeal to listeners now at the periphery of public radio’s audience. Identifying and nurturing such program streams may be quite independent of efforts to develop additional stations. Indeed, the most likely prospect for a successful new program stream is one anchored, in large part, by stations that are already supported by CPB. An example is the emerging Jazz Dominant cohort. While it may be buttressed and strengthened by additional stations “joining the system,” its core is currently-supported stations.

A second expansion theme is whether and to what extent stations that are not currently supported by CPB will change the appeal of public radio’s overall audience service as they enter the system. Will these stations emulate the service and audience appeal of currently supported stations? Or will they pursue different audience service strategies ? We will look at these questions, too.

76 APPLYINGTHE DATABASE

Minority Issues

There are several pathways to minority service. The appropriate focus to programming and appeal depend on what objectives one seeks:

l Service that responds to the particular needs of minority-managed stations, as reflected in the distribution of such stations across the various programming, appeal, and strategic cohorts. This has sometimes been referred to as an “empowerment” or “institution-building” strategy.

l Service that reaches the largest number of black and Hispanic listeners, as reflected in the total amount of black or Hispanic listening. This has sometimes been referred to as a “quantitative” strategy.

l Service that is more appealing to black and Hispanic listeners than to others, as reflected in audience composition. This has sometimes been referred to as a “qualitative” strategy.

While there are considerable areas of overlap among these objectives and the programming strategies that pursue them, there are also important differences.

Who Are These Stations? The database identifies 39 African-American stations, 13 Hispanic stations, and 17 native American stations.’ It shows the following characteristics. Minority-Managed Stations Summary of Characteristics

African Native American Hispanic American

Number of Stations 39 13 17

Interconnected 7 6 CSG Qualified 10 10 NFCB 3 8 NPR 5 2 APR 3 7

Average NFFS (where known) $356,000 $226,000 $379,000 Average AQH Audience (where known) 1,860 1,030 340

’ Stations are classified as minority stations either through self-identification as such on the PROCIRAMMJNG STRATEGIES survey or, in the absence of a response, by national representation organizations identifying them as such. The databasecontains call letters, addresses,phone numbers, and namesof General Managers for those wishing to contact this or any other set of stations. 77 PUBLICRADIOPROGRAMMING STRATEGIES

Minority Stations and Cohorts. More minority-managed stations are in the Local Alternative cohort than any other. Some subtle differences exist among Hispanic, native American, and African-American stations.

Local production appears to be high at most Distribution of Minority Stations stations, as their mem- Among Current Programming Cohorts bership in the primarily-local cohorts suggests. This is no sur- prise as only 15 of the LE w/Words 69 stations are intercon- C,N,J nected via satellite. LE w/Folk Classical The future appears to Acq Eel hold significant changes R,J,OM in cohort affiliations as Net News well as differences 11 12 13 14 15 Number of Stations Managed By: among the minority- m Blacks managed groups. All Hispanics 0 Native Americans three groups will continue to cluster heavily in the Local Alternative Distribution of Minority Stations cohort. However, more Among Future Programming Cohorts black-managed stations will ally themselves LoCAlf with the new Jazz Donz- JaZ?Z inant cohort than to LE w/Folk any other. Only one LE wMlords Hispanic and no native Net News American stations will News 81PA Classical be in this cohort with Acq Eel the 14 black stations. R,J,OM 5 How will these efforts Number of Stations Managed By: fit into the broader m Blacks Hispanics 0 Native Americans picture of minority service by the system as a whole?

78 APPLYINGTHEDATABASE

Two Measures of Minority Service. Service to minorities can be defined quantitatively, as reflected in the amount of minority listening to a particular cohort, or qualitatively, as reflected in audience composition. The latter is a good measure of appeal, as it reports the concentrations of a minority within a cohort’s audience.

In markets with significant black and Hispanic populations, Arbitron reports listening by one or both minority groups. The PROGRAMMING STRATEGIES database contains these audience estimates, which can be used to assess both measures of minority service for each cohort.

For instance, the Mid-Age Appeal and the Classical, News, & Jazz cohorts serve the greatest numbers of black listeners. Howev- Service To Black Listeners er, the greatest concen- Cohorts Arrayed by Two Measures of Service tration of black listeners is among the sta- LocAll tions in the Local Alter- P native and Younger ii+- YOUllp B Appeal cohorts. These c .g 15- C,N,JMid-Aec cohorts have the great- LE w/wcwdr Lot PA est appeal to blacks. LE wiFolk Multiply lo- 1

The Local Alternative m f$ N-ol&f and Younger Appeal 5- B cohorts also have the R,J ,,cEl-3 01 greatest appeal to His- 0 10 20 30 40 50 so panics. However, sta- Quantity - Percent of All Blacks Served tions in the Older Ap- peal cohort serve nearly half of all Hispanics Service To Hispanic Listeners now listening to public Cohorts Arrayed by Two Measures of Service radio. LocAn

YWlger x5- B These graphs map service to 34. Older blacks (top) and Hispanics

(bottom) in two dimensions. 3. Muitiple Classical The closer a cohort is to the CNJ Mid-Age top of its map, the higher the i 2.LEw/w.xda LocPA NetN- concentration of that minority group in its stations’ audienc 1 ‘- LE w/Folk es. The farther to the right a ,, cq Eel Well-Ed 0+ cohort is, the greater the num- 0 5 10 15 20 25 30 35 40 45 50 ber of minority listeners in its Percent of All Hispanics Served stations’ audiences. PUBLIC RADIO PROGRAMMINGSTRATEGIES

Black Listeners and Strategic Cohorts. Half of the listening to stations in the Local AZternativelYounger Appeal strategic cohort is by blacks. Blacks also represent one-third of the audience for stations in the Classical, News, & JazzlMid-Age Appeal cohort. These two cohorts have by far the strongest appeals to blacks. BLACK LISTENING Although there is some over- AMONG STRATEGIC COHORTS lap among the cohorts with the greatest numbers and concentrations of blacks, these two measures of black service are not in lock step. For instance, stations in the CZas- sical, News, & JazzlWeZZ-Edu- cated Appeal cohort account for more than 10 percent of public radio’s listening by blacks (as indicated by a shaded cell), yet the concentration of blacks within their audiences is not particularly high. Even though their appeal is not skewed toward black listeners, these stations serve a lot of black listeners because they serve a lot of listeners in general.

In short, service to blacks can be defined qualitatively or quantitatively. It’s important that the person applying these data choose the measure most suited to the task.

hat is. the percent its listening that is done by blacks1 arts appeal to blacks. Highlighted cells indicate that th ohort accounts for at least 10 percent of public radio’

80 APPLYING THE DATABASE

Hispanic Listeners and Strategic Cohorts. The highest concentrations of Hispanic listeners are found in the Multiple AppeaULocal Alternative and Younger Appealbcal Alternative cohorts. In general, stations in the Local Alternative and Classical Dominant programming cohorts have higher concentrations of appeal among Hispanics. HISPANIC LISTENING Most of public radio’s His- AMONG STRATEGIC COHORTS panic listeners are served by stations in the Local Alterna- tive, Classical Dominant, and Well-Educated Appeal cohorts.

As with service to blacks, service to Hispanics can be defined qualitatively or quantitatively. The person applying these data must choose the measure most suited to the task.

strategic cohort ac

81 PUBLIC RADIO PROGRAMMING STRATEGIES

Expansion Issues

Some 250 stations are potential targets for inclusion in the CPB-supported, satellite-interconnected public radio system. These “expansion stations” hold noncommercial, educational licenses, and have reported that their programming is nonreligious, that they are not operated exclusively by and for students, and that their programming is intended for the general public. They neither benefit from CPB’s annual Community Service Grants nor rebroadcast the programming of a station that does.

The Public Radio Expansion Task Force and others have speculated about the impact of expansion stations on the CPB-supported system as they enter and participate in public radio’s national programming marketplace.

The Expansion Station Audience

Expansion stations serve 3.8 million listeners each week - 1.9 percent of all Americans. Only one-quarter of these people also listen to a station that receives CPB’s Community Service Grant (or its repeater). Expansion stations average 183,400 listeners at any time. This represents a potential 22 percent net increase in average public radio listening levels.

As a group, expansion stations’ listeners are half a generation younger than the listeners to CPB-supported stations. The median age of people listening to the current system is 46; the median age of listeners to expansion stations is 34.

Most expansion stations have relatively small audiences, even by public radio terms. However, about 30 have weekly and average audiences that exceed the median for the CPB-supported system. And like their CPB-supported counterparts, a few expansion stations (about 20) account for half of the audience served. At least a dozen expansion stations have audiences in which Blacks and Hispanics are the majority. By one or more audience measures, some 50 to 75 expansion stations would make an immediate and significant contribution to public radio’s service.

- This information is drawn from Public Radio Expansion: An Audience Analysis, a 1991 report by Thomas & Clifford/Audience Research Analysis, prepared for the Office of Policy Development and Planning of the Corporation for Public Broadcasting. The report used data from Arbitron’s nationwide report of public radio listening and additional information collected for this project.

82 APPLYINGTHE DATABASE

One view sees a possible role for these stations in enhancing the diversity of public radio’s audience. “We believe a strategy for audience diversity must be based on station diversity,” said the Task Force, “different stations that serve different kinds of listeners in a consistent fashion. . . . To implement this strategy, public radio will require multiple stations in population centers throughout the nation.”

A companion view is that expansion stations will contribute to economies of scale as they join the system and reinforce existing initiatives. “By bringing these stations into the public radio program marketplace,” the Task Force suggested, “public radio can increase the efficiency of its shared programming investments, reach a significant number of new listeners, and spread national programming and interconnection costs over a larger base of stations.”

The PUBLIC~UDIOPROGRAMMINGSTRATEGIES databasecan addresstheseissues. Some 139 expansion stations participated in the study - a little more than half of the potential expansion constituency. By comparing the programming strategies of expansion stations with the strategies of those stations already supported through CPB’s Community Service Grant program, we can capture a sense of what the future may hold.

Three caveats accompany this exploration. First, we do not know which of these stations are most likely to enter the CPB-supported, interconnected public radio system in the next few years. Some are already well on their way; others will never get there. In this analysis, all expansion stations receive equal weight.

Second, as these stations benefit from the additional financial resources of CPB support, and the additional programming resources that come with satellite interconnection, their programming strategies are likely to change in ways that the stations themselves may not fully fathom at this point. Their future programming plans may undergo serious revision.

Third, most of these stations have had little access, if any, to reliable data about their listeners. As a result, all of the cautions about the validity of perceived appeal outlined in our discussion of the appeal cohorts apply here with special force.

83 PUBLIC RADIO PROGRAMMINGSTRATEGIES

Expansion Stations Today. Expansion stations are highly concentrated in the Younger Appeal cohort, where nearly half are found. About a quarter of the expansion stations are aligned with each of the Multiple Appeal and Mid-Age Appeal cohorts.

In programming terms, expansion stations cluster in those cohorts that are least dependent on acquired programming. This reflects the fact that virtually none of these stations has regular -- -.------access to the public radio I EXPANSION STATIONS TODAY interconnection system. Number of Stations More expansion stations are found in the Local Alterna- Current Appeal Cohorts tive cohort than any other. Wall The Classical Dominant Educated Older Mid-Age Multiple Yw and Local Eclectic with Folk cohorts also have a large Network NOW8 number of expansion sta- Dominant tions. Local Public . Aft&e Dominant

Clurlcal 7 Dominant

.OCd Eclectic with I I The table at right highlights the Nerds strategic cohorts in which expan- I I I Jumbers are dasplayed for cohorts with 6 or more expansion l miona - tha sion stations are most likely to be overage across all expansion station strategic cohorts. Cohorts with more thm found today. wice the wera,ge are hi(thliOhtcd.

84 APPLYING THE DATABASE

Expansion Stations Tomorrow. We see several interesting changes for expansion stations when we examine their future audience-service strategies. Some changes are attributable to revised programming plans and audience targets of the expansion stations themselves; others reflect shifts elsewhere in public radio which reshape the broader context within which the expansion stations work.

While the expansion stations remain concentrated in the Younger Appeal cohort, there is some migration toward serving older, more EXPANSION STATIONS TOMORROW educated listeners. Number of Stations

With respect to program- Future Appeal Cohorts ming, Local Eclectic with Folk claims the largest number of expansion stations. The Local Alterna- tive cohort is not far behind. Over half of the expansion stations have future programming plans that place them in one or both of these two cohorts.

In contrast, a number of expansion stations that are now Classical Dominant are located elsewhere in the future.

Expansion stations are more widely dispersed across strategic cohorts in the future. As a result, there are fewer cohorts with 10 or more expansion stations. :::::::::::j::::::::::::::::::: LOMl ~~~: Eclectic with 6 7 8 9 ..v...... ,..,.,.,:,:,:,: ..:+:.:. ::::::~~~:i:::::i:i:~::::::: Folk ::::::.:.~::::r,:,:rr.:. ..:.:::::::m;;q$g......

Local Eclcctac with 7 7 7 The table at right highlights the Words strategic cohorts in which expan- Numbers are dIsplayed for cohorts wnh 6 or more expansion 8tationa - th sion stations are most likely to be rvera~c @cross all strategic cohorts of expmsion stations. ColwO with more found in the future. than twxe the worage are highlighted.

85 PUBLICRADIOPROGRAMMINGSTRATEGIES

Expansion and CSGSupported Stations Compared. How do the strategies of the expansion stations align with those of stations now supported by CPB’s Community Service Grants ? This table shows a significant differentiation between the two groups of stations with respect to both programming and audience appeal. There is only one strategic cohort, Local AZternatiuelMid-Age Appeal, with more than ten expansion stations (marked by “0”) and more than ten CPB stations (marked by “X”). EXPANSION & CPB STATIONS The pattern is repeated for Number of Stations future cohorts (not shown here). Only one future strategic cohort, Jazz Domi- nant/Younger Appeal, has both CPB and the expansion group represented by 10 or more . stations. These findings suggest that the expansion stations will indeed contribute to the diversity of public radio’s audience service - they are doing different kinds of programming, for different kinds of listeners, than the current CPB-supported system. These findings are compatible with the relatively low level of overlap in measured listening to the two groups of stations.

This table compares 266 CPB stations and 139 expansion stations. Repeaters of CPB stations are not reflected in this analysis. There are many nwre Xs for CPB stations than OS for expansion stations because of the different sizes of the 0 = Strstegx cohorts with 10 or more expansion stations. two groups of stations.

86 APPLYINGTHEDATAFME

Where Expansion Stations Make a Difference. If there is so little overlap between expansion stations and CPB stations, what about the notions that expansion stations will help achieve economies of scale and perhaps, in combination with current CPB-supported stations, achieve a “critical mass” in new areas of audience service? WHERE EXPANSION STATIONS The previous table indi- MAKE A DIFFERENCE cated those areas in which Number of Stations either CPB stations or expansion stations crossed a Current Appeal Cohorts threshold of 10 stations within a single strategic cohort (and one cohort in which both did). In this table, we explore where a combination of stations from both groups moves the cohort to a higher threshold - at least 15 stations. The number of stations are displayed for the cohorts that reach this level.

Further, we identify those cohorts in which both expansion and CPB stations play an important role. Cohorts are highlighted in which both groups account for at least 25 percent of the stations (and accordingly, neither accounts for more than 75 percent). PUBLIC RADIO PROGRAMMINGSTRATEGIES

This table carries the analysis of expansion stations’ contributions to a strategic cohorts’ “critical mass” into the future. The focus is again on cohorts that exceed a threshold of fifteen stations and in which both currently CPB-supported stations and expansion stations account for at least 25 percent of the stations within the cohort. WHERE EXPANSION STATIONS The cohorts with numbers MAKE A DIFFERENCE of stations displayed that Number of Stations are not highlighted are dominated by either CPB stations (such as Classical Dominant/Older Appeal) or expansion stations (such as Local Eclectic with Folk/Younger Appeal).

This analysis suggests that in the future expansion stations will in fact play a role, together with current CPB stations, in aggregat- ing a substantial number of stations into certain strategic cohorts. This is especially evident with respect to the Local AZternative, Jazz Dominant, and Local Eclectic with FoZk programming cohorts.

Eclecuc with

88 APPLYING THE DATABASE

Subsequent Inquiries

The preceding examples only begin to illustrate the power and perspective of the PUBLIC RADIO PROGRAMMING STRATEGIES database. Indeed, as the project developed, a broad range of applications for its information became apparent.

One of the most obvious explorations - in fact, a central reason for which the project was commissioned - is to address the host of issues surrounding the design, development, marketing, and financial support for national programming. For instance, producers or funders might ask, “When does a national program or programming concept become feasible?” Certainly, it must be accepted by a critical mass of stations. It must also be economically viable - either through support from the stations themselves or by the sustained investment of a funder. It must find a path through station “gatekeepers” to reach its intended audience. Only those most intimately involved with a program can evaluate what constitutes critical mass, economic viability, and an appropriate audience.

This study’s data can inform this evaluation. The number of stations that may carry such a program is one factor. The size and characteristics of the audience they currently serve is another. Their ability to pay for it is a third. Each measure offers a different perspective on the “market” for any programming being sold, underwritten, or simply contemplated.

Another kind of exploration might center on how public radio serves rural audiences, a topic of recent Congressional and system concern. During CPB’s recent review of its station grants, the review committees (and the system generally) struggled to craft a broadly accepted definition of rural service and rural stations. No one approach seemed to capture the right mix of stations and communities. For much the same reason, this database has no “rural” variable and this report does not compare a group of “rural stations” with their colleagues.

But the flexible design of the database, and its full accessibility to the field, permits anyone to examine the question, using his or her own working definition of “rural.”

Indeed, the strength and utility of the database is that it makes possible this type of inquiry for any group of stations - urban, community licensees, APR affiliates, AM stations - and determine whether their programming strategies are shared or divergent, whether they are like their colleagues or different, whether they have natural affinities with other constituencies in the system, and in what directions they expect their services to evolve.

89 PUSLIC RADIO PROGRAMMING STRATEGIES

In this report we have focused on the applications that CPB specified in its requirements for the project. Many more insights await anyone with the interest to pursue them.

Obtaining the Database. As a service to the public broadcasting community, Audience Research Analysis will provide copies of this project’s database to public broadcasters at cost. This activity is endorsed but not underwritten by CPB. Interested parties may contact ARA for information about this database.

Audience Research Analysis 6512 Sweetwater Drive Derwood, MD 20855

The database tracks well over 100 variables for as many as 734 stations. All information was current at the time the survey was taken. It is divided into five components: l A &rectory component contains information about each station’s licensee, its mailing address and phone number, and the name of its General Manager. l An attributes component shows how each station is affiliated with national organizations as well as other attributes of interest, including facilities, market size, nonfederal financial support, audience, whether it is currently on the air and if so, if it is interconnected via satellite. l A cohorts component shows each stations’ affiliation with each of the nine current programming cohorts, five current appeal cohorts, nine future programming cohorts, and five future appeal cohorts. l A programming component shows each station’s programming at the time the survey was taken. It summarizes the number of hours of air time devoted to local and acquired programming, prime time and non-prime time programming, nine major programming types, and all combinations of the above. l An appeal component shows each station’s perceived appeal across a number of audience demographic and listener interest characteristics.

All components are linked by station call letters. An additional file concatenates all information for users who may not have accessto relational database software. A hard disk drive with one megabyte of space is recommended.

90 Appendix

How Cohorts Are Determined And Affiliation List

Programming cohorts are determined through the use of a statistical technique called factor analysis. Factor analysis considers every station’s program schedule: how much of each format is produced locally or acquired, and how much of each is aired in or out of prime time. It establishes patterns in this programming and identifies “factors” that explain them. Factors are mathematical formulae, each defining an abstract archetypical station for its cohort. It’s the job of the analyst to interpret and name the factors and the cohorts they represent, based on their mixtures of programming. It’s also up to the analyst to decide upon the optimum number of factors. Use too few and the cohorts are too large; the mix of stations in any cohort is too diverse to be of much analytical value. Use too many factors and the cohorts get too small; differences among cohorts are insignificant from a practical standpoint. Use the right number and the differences among cohorts are meaningful and practical; the stations within each are similar, and the traits they share make intuitive sense. Using each factor’s formula, a number is calculated for each station that represents how close its programming matches each cohort archetype. The station is “primary” to the cohort for which it has the strongest affinity (i.e., the biggest number). If the affinity between the station and the cohort is great, this is a “strong primary” station. If not, this is a “weak primary” station. When a station has a strong affinity with one or more of the remaining cohorts, it is has “strong secondary” affinity with the cohort(s). In this way stations can be members of more than one cohort. Of the 561 stations in this analysis, 67 stations are in two, 18 stations are in three, and 7 stations are in four cohorts. The appeal cohorts are created in the same way. But instead of examining programming, the analysis establishes patterns among the types of listeners that stations perceive they are serving. All stations that participated in the study are listed on the following pages. Stations are listed by call letters, followed by the cohorts with which each is most closely aligned. Typeface indicates the strength of the station’s association with the cohort: Strong Primary, Strong Secondary, Weak Primary. In the instances where the appeal section of the survey was not completed, appeal cohort membership is not ascertained. Programming and appeal cohort membership is not ascertained when the station did not return a survey. These stations are not listed.

91 PUBLICRADIO PROGRAMMINGSTRATEGIES

CURRENT FUTURE STATION CURRENT PROGRAMMING FUTURE PROGRAMMING APPEAL APPEAL

KABF-FM Local Alternative Local Eclectic With Folk Younger Younger Local Eclectic With Folk Local Alternative Mid-Age KABRAM Local Publio Affairs Dominant Network News Dominant Lad Alternative Local Alternative KACU-FM Local Alternatiue Looal Alternative Older KAJX-FM Claaeical, Newe, & Jazz Network News Dominant Older Multiple Acquired Eclectic KALU-FM Local Alternative Jazz Dominant Multiple Multiple Lmal Alternative KAbW-FM Network News Dominant Network News Dominant Older Older Acquired Eclectic Acquired Eclectic Multiple KAbX-FM Local Alter&e Local Alternatiue Multiple Multiple KAMTJ-FM Acquired Eclectic Claceical Dominant Younger Multiple Older KANU-FM Claeeical, New+ & Jazz Jazz Dominant Older Well-Educated KANZFM Acquired Eclectic Acquired Eclectio Older Well-Educated Mid-Age KAORFM Clue&al Dominant Rock, Jazz, & “Other” Music Younger Younger KAOS-FM Local Eclectic With Words Local Eclectic With Folk Multiple Multiple Local Alternative Local Eclectic With Folk KASU-FM Local Public Affairs Dominant Network News Dominant Older Older KAWC-AM Local Altornatice Local Alternative Older Older KAXEFM Local Eclectic With Folk Local Eclectic With Folk Multiple Multiple KAZLFM Looal Alternative Local Alternative Younger Younger Well-Educated Mid-Age KAZU-FM Local Public Aff&c Dominant Local Alternatiue Multiple Multiple KBBF-FM Local Alternative Local Alternative Younger Mid-Age Classical Dominant Network News Dominant Local Eclectic With Folk KBBGFM Local Alfernafiue Local Alternative Younger KBBI-AM Local Eclectic With Folk Acquired Eclectic Younger Younger Older Well-Educated Multiple KBCS-FM Local Eclectic With Folk Local Eclectic With Folk Mid-Age Multiple Network News Dominant Local Alternative Multiple KBCU-FM Local Public AffXre Dominant Jazz Dominant Younger Younger KBEM-FM Claeeiccll, Newe, & Jazz Jazz Dominant Older Mid-Age Local Eclectic With Folk Well-Educated KBHE-FM Claaeical, New*, & Jazz Claceical Dominant KBIA-FM Acquired Eclectic Claesical Dominant WelLEducated Well-Educated KBOO-FM Local Alternative Local Alternative Mid-Age Mid-Age L.ocal Public Affairs Dominant Local Eclectic With Folk Well-Educated KBPRFM Ckzeeical Dominant Classical Dominant KBFS-AM Local Eclectic With Words Local Eclectic With Words Multiple Multiple KBPS-FM Classical Dominant Local Eclectic With Words Older Older KBSA-FM Cloeeical, Newe, & Jazz Claceical Dominant WelLEducated KBSM-FM Network News Dominant Acquired Eclectic Mid-Age Mid-Age KBSU-FM Network News Dominant Acquired Eclectic Mid-Age Mi&Age KBSW-FM Network News Dominant Acquired Eclectic Mid-Age Mid-Age KBYU-FM Classical Dominant Classical Dominant Older Older KCAW-FM Acquired Eclectic Local Eclectic With Folk Older Multiple

Strong Primary Strong Secondary Weak Primary

92 COHORT AFFILIATION LIST

CURRENT FUTURE STATION CURRENT PROGRAMMING FUTURE PROGRAMMING APPEAL APPEAL

KCCK-FM Classical, News, & Jazz Jazz Dominant Mid-Age Well-Educated Multiple KCCM-FM Claeeical Dominant Classical Dominant Well-Educated Oldsr KCCU-FM Local Eoleotic With Words Local Eclectic With Words KCFRFM Claeeical, Newe, & Jazz Classical Dominant Multiple Multiple Well-Educated KCHGFM Claeeical, Newe, & Jazz Claesical Dominant Well-Educated Younger KCLC-FM Local Eclectic With Folk Jazz Dominant Mid-Age Well-Educated KCMEFM Classical, News, & Jazz Closeical Dominant WelGEducated Multiple KCMU-FM Local Alternative Rock, Jazz, & “Other” Music Well-Educated We&Educated Local Alternative News k Public AtTairs Acquired Eclectic KCMW-FM Acquired Eclectio Aoquired Eclectic Younger Younger KCND-FM Acquired Eclectic Acquired Eclectic Older Older KCNEFM Clnasical Dominant Classical Dominant Older Well-Educated KCOZFM Acquired Eclectic Acquired Eclectic Oldsr M&Age KCPR-FM Claesioal Dominant Claseeical Dominant Older Well-Educated KCRRFM Claeeical Dominant Classical Dominant WelLEducated Oldsr KCSC-FM Classical Dominant Claeeical Dominant Older Oldor KCSM-FM Local Public Affkir8 Dominant Jazz Dominant Younger Younger Older Well-Educated KCSN-FM Classical Dominant Local Eclectic With Folk 0ld.w MultipIe KCSU-FM Local Eclectic With FOR Local Eclectic With Folk Mid-Age We&Educated Acquired Eclectic KCUK-FM Rock, Jazz, & “Other” Music Rock, Jazz, & “Other” Music Multiple Younger Older Multiple KCURFM Network News Dominant New8 & Public Aff&8 Mid-Age Well-Educated KCZP-FM Network News Dominant News & Public Affairs Multiple Multiple Network News Dominant Well-Educated KDAQ-FM Claeeical, News, & Jazz Classical Dominant WelGEducoted KDHX-FM Looal Eclectic With Folk Local Eclectic With Folk Mid-Age Mid-Age News k Public AfTairs KDLGAM Local Eclectic With Folh Rook, Jazz, & “Other” Music Network News Dominant KDNA-FM Local Alternative Local Alternative Older Younger KDPRFM Acquired Eclectic Acquired Eclectic Ok&r KDSD-FM Classical, News, & Jazz Classical Dominant KDSU-FM Acquired Eclectic Jazz Dominant KDURFM Local Public Affkir8 Dominant Local Eclectic With Words Younger Multiple KECC-FM Acquired Eclectic Acquired Eclectic Older Older Well-Educated KEDM-FM Classical, News, & Jazz Jazz Dominant Older Mid-Age Mid-Age KEOM-FM Local Alternative Local Alternative Well-Educated Mid-Age KERA-FM Local Alternative Local Alternative Mid-Age Mid-Age KKSD-FM Classical, News, & Jazz Claseical Dominant KETRFM Local Eclectic With Folk Local Eclectic With Folh Older Older KEWU-FM Chsicol, News, & Jazz Jazz Dominant Multiple Multiple KEYA-FM Local Eclectic With Folk Local Eclectic With Folk Older Younger Local Alternative Younger Older KFAC-FM Classical Dominant Classical Dominant Older Well-Educated KFARFM Closeical Dominant CIossical Dominant Multiple Multiple

Strong Primary Strong Secondary Weah Primary

93 PUBLICRADIO PROGRAMMINGSTRATEGIES

CURRENT FUTURE STATION CURRENT PROGRAMMING FUTURE PROGRAMMING APPEAL APPEAL

KFAI-FM Lccal Alternative Local Alternative Multiple Multiple Local Public Affairs Dominant L-xal Eclectic With Folk Local Eclectic With Words KFCF-FM Acquired Eclectic Acquired Eclectic Multiple Multiple Network News Dominant Local Alternative KFJM-AM Network Newe Dominant Jazz Dominant Well-Educated Younger KFJM-FM Classical Dominant Clamical Dominant OldW Well-Educated KFSK-FM Aoquired Eclectic Acquired Eclectic Well-Educated Multiple KGAC-FM Cla88ical Dominant Claeeical Dominant Mid-Age Mid-Age KGHP-FM Local Alternatiue Local Eclectic With Folk Younger Younger Mid-Age Older KGLT-FM Local Eclectic With Folk Jazz Dominant KGNPFM Local Alternative News & Public Affairs Mid-Age Multiple Local Eclectic With Folk Local Alternative Younger KGOU-FM Cheeical, Newe, & Jazz Jazz Dominant Multiple Multiple KHCC-FM Claeeical Lbminont CL788ical Dominant We&Educated Mid-Age KHCD-FM Cla8eical Dominant CSz88ical Dominant WelLEducated Mid-Age KHDC-FM Local Alternative Local Alternative Multiple Classical Dominant KHKRFM Acquired Eclectic Jazz Dominant We&Educated Older KI-INEFM Cla.98ical Dominant Claaeical Dominant Older Well-Educated KHNS-FM Local Eclectic With Folk Acquired Eclectic Younger Younger KHF’RFM Classical Dominant Clamical Dominant Well-Educated Ok&r KRSU-FM Local Eclectic With Folk Acquired Eclectic Well-Educated Well-Educated KIALAM Rock, Jazz, & “Other” Music Rock, Jazz, & “Other” Music Younger Mid-Age Network News Dominant Acquired Eclectic Acquired Eclectic Network News Dominant KIDEFM Local Aliernatiue Local Alternative Younger Mid-Age Younger KINI-FM Rock, Jazz, & “Other” Music Rock, Jazz, 6t “Other” Music Younger Younger Acquired Eclectic News 6 Public Affairs heal Public Affairs Dominant Acquired Eclectic KIOS-FM Network News Dominant Jazz Dominant Mid-Age OldW KIPO-AM Acquired Eclectic Network News Dominant WelLEducated Well-Educated Local Eclectic With Folk KIPO-FM Acquired Eclectic Acquired Eclectic We&Educated Local Alternative Jazz Dominant Local Eclectic With Folk KIWRFM Claaeical Dominant Claeeical Dominant Older Older KNU-AM Rock, Jazz, & “Other” Music Rock, Jazz, & “Other” Music Younger Younger K&Z&FM Claaeical, Newe, & JUZ Jazz Dominant Mid-Age Well-Ea%cated KKFI-FM Local Alternative Network News Dominant Mid-Age Mid-Age Local Eclectic With Words Local Alternative KKSU-AM Local Public Affair8 Dominant Network News Dominant Multiple Multiple Older KKUA-FM Classical Dominant Cla98ical Dominant Well-Educated Older KIAX-FM Local Eclectic With Folk Local Alternative KLCDFM Claseical Dominant CIaeeical Dominant We&Educated O&r KLCO-FM Local Ecbctic With Folh Local Alternative KLNEFM Claesical Dominant Classical Dominant Older Well-Educated KLNRFM Classical Dominant Claseical Dominant Mid-Age Older KLON-FM Classical, News & Jazz Jazz Dominant Older Younger KLRE-FM Classical Dominant CIoaaical Dominant We&Educated Multiple

Strong Primary Strong Secondary Weak Primary I

94 COHORT AFFILIATION LIST

CURRENT FUTURE STATION CURRENT PROGRAMMING FUTURE PROGRAMMING APPEAL APPEAL

IUSA-FM Claaeic~ Newa, & Jazz Claeeical Lkvninant WelLEducated KLSEFM Clamical Dominant Clamical Dominant Well-Educated Older KMFA-FM cla88ical Dominant Claseical Dominunt Multipk Older KMHA-FM Local Alternative Rock, Jazz, &t “Other” Music Younger Multiple Local Eclectic With Words Older Younger Local Eclectic With Folk Multiple Older KMNE-FM Cla88ical Dominant Clue&al Lkmainant Ok&r Well-Educated KMPO-FM Local Alternative Local Alternative Older Younger KbIPRFM Acquired Eclectic Acquired Eclectic Ok&r O&r KMSU-FM Acquired Eclectic Acquired Eclectic Multiple Multiple Jazz Dominant KMUN-FM Local Eclectic With Words Local Eclectic With Folk M&Age Multiple Acquired Eclectic Local Eclectic With Words KMXT-FM Local Alternative Local Alternative Multiple Multiple KNAU-FM Claeeical Dominant Claesical Dominant WelLEducated Oldor KNCT-FM Local Alternative Local Alternative Older O&r KNHC-FM Claeeical Dominant Rock, Jazz, & “Other” Music Younger Mid-Age Multiple KNNRFM Local Alternative Local Alternative Multipk Younger KNON-FM Local Alternative Local Alternative Multiple Local Eclectic With Folk Local Eclectic With Folk KNOW-FM Network News Dominant Network News Dominant Mid-Age Mid-Age News & Public Affairs KNPRFM Claeeical Dominant Claeeical Dominant Mid-Age Older KNSRFM Network News Dominant Claeeical Dominant Mid-Age Mid-Age KOAB-FM Acquired Eckctic News & Public Affairs Well-Educated Multiple Multiple Well-Educated KOAC-AM Network News Dominant Local Eclectic With Folk Mid-Age WelLEducated Classical Dominant News & Public AfTairs Network News Dominant KOPRFM Acquired Eclectic News & Public Affairs Well-Educated Multiple Multiple Well-Educated KOPN-FM Local Eclectic With Folk Local Eclectic With Folk Multiple Local Alternative KOSU-FM Acquired Eclectic Acquired Eclectic Okkr Well-Educated KOTO-FM Local Eclectic With Folk Local Eckctic With Folk Younger Younger KPAC-FM Classical Dominant Claaeical Dominant Older Older KPBSFM Network News Dominant Network News Dominant Mid-Age Well-Educated News & Public Affairs Multiple KPBX-FM Acquired Eclectic Acquired Eclectic Multiple Multipk Network News Dominant KPCC-FM Network News Dominant Jazz Dominant Older Mid-Age Classical, News, & Jazz News & Public Affairs KPFA-FM Local Public Affairs Dominant Local Alternative Mid-Age Younger KPFBFM Local Public Affairs Dominant Local Alternative Mid-Age Younger KPFK-FM Local Public Affairs Dominant News & Public Affairs Multipk Multiple Local Eclectic With Words Local Eclectic With Folk KPFT-FM Local Eclectic With Folk News & Public Affairs Mid-Age Mid-Age Local Alternative Local Alternative Local Public AiTairs Dominant Local Eclectic With Folk KPGRFM Local Public Affairs Dominant Local Eclectic With Folk Younger Younger KPLU-FM Network Newe Dominant Jazz Dominant Mid-Age Mid-Age

Strong Primary Strong Secondary Weak Primary --I 95 PUBLIC RADIO PROGRAMMINGSTRATEGIES

CURRENT FUTURE STATION CURRENT PROGRAMMING FUTURE PROGRAMMING APPEAL APPEAL

KPNE!-FM Cla88ical Dominant Cla88ical Dominant Okkr Well-Educated KPPRFM Acquired Eckctic Acquired Eclectic Older Older KPBK-FM bal Eclectic With Words Local Eclectic With Words Mid-Age Mid-Age KPSDFM Claeaical, Newe, & Jazz Claeical Lhninant KPVU-FM Local Alternative Local Alternative Younger Younger Jazz Dominant Older Local Eclectic With Words Well-Educated KQEDFM Network News Dominant Network News Dominant Well-Educated Younger News 6 Public AtYairs Younger KQMN-FM Cla98ical Dominant Clacsical Dominant WelLEducaied Older KQSD-FM Classical, News, & JUZ Claesical Dominant KBBDFM Local Eclectic With Folk Local Eclectic With Folk Mulfipk Multipk KRBM-FM Acquired Eclectic News & Public Affairs Younger Younger KRCC-FM Local Alternative Local Alternative Well-Educated Well-Educated KBCLFM Local Alternative Local Alternative Younger Multiple Well-Educated Multiple KBFA-FM Ch88ical Dominant Classical Dominant Multipk Multiple KRIC-FM Acquired Eclectic Acquired Eclectic Well-Educated Multiple KRNE-FM tXa.98ical Dominunt Claesical Dominant Ok&r Well-Educated KRNI-FM Acquired Eclectic Jazz Dominant We&Educated Older KBPS-FM Acquired Eclectic Network New8 Dominant Older Older KBSD-FM Cla88ical Dominant Claseical Dominant WelLEducated Okkr KRSU-FM Claesical Dominant Claeeical Dominant WelGEducated Older KFSW-FM Claeeical Dominant Claeeical Dominant We&Educated Older KRTU-FM Claceical, News, & Jazz Claseical Dominant O&r Older KRVS-FM Local Eclectic With Folk Local Eclectic With Folk Younger Younger KRWGFM Network New8 Dominant Acquired Eckctic KSBA-FM CYa8sical Dominant Cloasical Dominant Younger Mid-Age KSCV-FM Classical Dominant New8 & Public Aff&8 Younger Younger Well-Educated KSDP-AM Network News Dominant News & Public Affairs Multiple Multiple Network News Dominant Well-Educated KSDSFM Claeeical, News, & Jazz Jazz Dominant Younger Younger Older KSHI-FM Local Public Affairs Dominant Local Eclectic With Folk Younger Older Acquired Eclectic Younger KSJD-FM Rock, Jazz, & “Other” Music Jazz Dominant Younger Younger KSJEFM Cla88ical Dominant Local Alternatioe KSJK-AM Network News Dominant Network News Dominant Mid-Age Older KSJN-FM Claesicai Dominant Claseical Dominant WelLEducated Older KSJRFM Classical, New8, & Jazz CLm8ical Dominant WelLEducated Older KSJS-FM Local Public AffG8 Dominant Jazz Dominant Younger Multiple Multiple Younger KSJV-FM Local Alternative Local Alternative Older Mid-Age Younger Multiple KSKA-FM Network News Dominant News & Public Affairs Multiple Multiple Network News Dominant Well-Educated KSKF-FM Cla98ical Dominant Cla88ical Dominant Younger Older KSLU-FM Acquired Eclectic Acquired Eckctic Mid-Age Well-Educated KSMF-FM Clasical Dominant Classical Dominant Younger Older KSMU-FM Local Ecketic With Folk Acquired Eclectic Mid-Age Well-Educated KSOF-FM Classical, News, & Jazz Claesical Dominant Multiple Multiple KSORFM Acquired Eclectic Jazz Dominant Oldor Mid-Age Well-Educated

Strong Primary Strong Secondary Weak Primwy I

96 COHORT AFFILIATION LIST

CURRENT FUTURE STATION CURRENT PROGRAMMING FUTURE PROGRAMMIN ‘G APPEAL APPEAL

KSRS-FM ch88id ~,,,i,,,W,t Claesical Dominant Younger Mid-Age KSTK-FM Network New8 Dominant Local Eckctic With FOR Younger Younger KSTX-FM Network News Dominant News & Public Affairs Older Okkr Network News Dominant KSUT-FM Local Alternative Acquired Eclectic Younger Younger Older Well-Educated KTALFM Rock, Jazq Bt “Other” Music Local Eckctic With Folk Multiple Multiple KTCU-FM Rock, Jazz, & “Other” Music Jazz Dcminant Mid-Age Oldar KTDB-FM Local Alternative Local Alternative Older Younger Younger Older KTEP-FM Ckaaeica& News, & Jazz Jazz Dominant Older Mid-Age KTNEFM Claeeical Dominant Claseical Dominant Older Well-Educated KTOO-FM Local Eclectic With Folk Local Eckctic With Folk WelLEducated KTPH-FM Cloeeical Dominant Clmsical Dominant Mid-Age Older KTPRFM Clueaica~ News, & Jazz Classical Dominant MidAge Older KTPS-FM Network News Dominant Network News Dominant Younger KTQX-FM Local Alternative Local Alternative Older Younger Multiple KTSD-FM Ckwsica& Newe, & Jazz Classical Dominant KUAC-FM Acquired Eclectic Local Eclectic With Folk Multiple Multiple Mid-Age KUAF-FM Clrreeical, Newe, & JQZZ Claeeical Dominant Older Older KUARFM Classical Dominant Acquired Eclectic WelLEducated M&Age KUAT-AM Network Newe Dominant Jazz Dominant Older Multiple KUAT-FM Classical Dominant Claeeical Dominant 0ld.w Ok&r KUBO-FM Local Alternative Local Alternative KUCBFM Local Publii Affairs Dominant Local Alternative Younger Younger Local Alternative News L%Public Affairs Local Eclectic With Word8 Local Eclectic With Words KUCV-FM Cla88ical Dominant Claseical Dominant Oldar Well-Educated KUERFM Cbeica& News, & Jazz Jazz Dominant Well-Educated Mid-Age Mid-Age KUGS-FM Local Eclectic With Folk Local Eclectic With Folk Well-Educated Younger Acquired Eclectic KUHF-FM Classical Dominant Claaeical Dominant Mid-Age Mubipk K-FM Local Eclectic With Folk Local Eclectic With Folk Mid-Age Mid-Age News & Public AfTairs Acquired Eclectic KUMRFM Acquired Eclectic Acquired Eclectic Older Younger Local Eclectic With Folk Younger KUNC-FM Acquired Eclectic Local Alternative Well-Educated Multipk Local Alternative Acquired Eclectic KUNI-FM Acquired Eclectic Acquired Eclectic Mid-Age M&Age KUNM~FM Local Alternative Local Alternative Well-Educated WeUEducated KUNRFM Chaeica& News, & Jazz Jazz Dominant Well-Educated Older KUNV-FM Network New8 Dominant Local Alternotice Younger Mid-Age KUNY-FM Acquired Eclectic Acquired Eclectic Mid-Age Mid-Age KUOM-AM Local Public Affairs Dominant Network Newe Dominant Older Multiple KUOP-FM Local Eckctic With Folk Acquired Eckctic Multiple Younger KUORFM Local Alternative Jazz Dominant Older Well-Educated KUOW-FM Network News Dominant Network New8 Dominant Well-Educated Younger Younger KUSC-FM Classical Dominant Claesical Dominant Older Well-Educated KUSD-AM Claesical, Newe, & Jazz Closeical Dominant

Strong Primary Strong Secondary Wech Primary I

97 PUBLICRADIO PROGRAMMINGSTRATEGIES

CURRENT FUTURE STATION CURRENTPROGRAMMING FUTURE PROGRAMMING APPEAL APPEAL

KUSD-FM Clue&al, News, & Jazz Claeeical Dominant KUSF-FM Claaeical Dominant Local Alternative Younger Younger KUSU-FM Network News Dominant Network News Dominant Mid-Age Younger Acquired Kclectic Acquired Eclectic KUT-FM Local Public Affairs Dominant Local Alternative Mid-Age Well-Educated Local Alternative News & Public Affairs Multiple Mid-Age KUVO-FM Claseiccll, Newe, & Jazz Jazz Dominant Well-Educated Multiple KUWRFM Acquired Ecleatb Acquired Eclectic Younger Younger Network News Dominant Older KVCRFM Network News Dominant Acquired Eclectic Mid-Age Well-Educated KVMRFM Local Eclectic With Words Looal Eclectic With Folk Mid-Age Mid-Age Acquired Eclectic News & Public All&s Local Eclectic With Folk Local Eclectic With Worda KVNO-FM Closeical, Newa, & Jazz Jazz Dominant Multiple Multiple Younger Older Well-Kducated KVPRFM Local Eclectic With Words Local Eclectic With Words Mid-Age Mid-Age KVSC-FM Clae8ical Dominant Local Eclectic With Folk Mid-Age Younger KVTI-FM Claeeical Dominant Rock, Jazz, & “Other” Music Younger KWAX-FM Classical Dominant Claeeical Dominant Well-Educated O&r KWGS-FM Networh Newe Dominant Jazz Dominant Mid-Age Uutipk KWlT-FM Clomical, Newe, & Jazz Acquired Eclectic O&r Well-Educated KWMU-FM ckW84 News, & JGTZ News & Public Affairs Well-Educated Mid-Age Network News Dominant Local Eclectic With Folk KWSGFM Local Alternative Network News Dominant Younger Local Eclectic With Words Local Eclectic With Folk KWSPAM Acquired Eclectic Local Eclectic With Folk Older Older KKCV-FM Acquired Eclectic Clue&al Dominant KKMS-FM Classical Dominant Claeeical Dominant M&Age Multiple KXNEFM Claaeical Dominant Cloeeical Dominant Older Well-Educated KXPRFM Claeeical, New@, & Jazz Claeeical Dominant Multiple Multiple Older Older KZFRFM Local Eclectic With Worde Local Eckctic With Worde Younger Younger Older Well-Educated KZNA-FM Acquired Eclectic Acquired Eclectic OldW Well-Educated Mid-Age KZSEFM Network News Dominant Ckteeical Dominant We&Educated Older KZUM-FM Local Alternative Local Alternative Well-Educated Multipk KZYK-FM Looal Eclectic With Folk News & Public Affairs Younger Younger Older Well-Educated WABEFM Classical Dominant Cla88ical Dominant We&Educated Older WARRFM Classical Dominant Acquired Eclectic Older Older WACGFM Claeeical Dominant Claesical Dominant Older Older WAERFM Cbeica~ Newe, & Jazz Jazz Dominant Mid-Age Mid-Age WAJC-FM Acquired Eclectic Local Alternative Mid-Age Mid-Ago WAIF-FM Local Eclectic With Folk Local Alternative WAMC-FM Looal Public Affaim Dominant Network News Dominant Well-Educated Well-Educated WAMK-FM Local Public Affairs Dominant Network News Dominant Well-Educated Well-Educated

Strong Primary Strong Secondary Weak Primary

98 COHORT AFFILIATION LIST

CURRENT FUTURE STATION CURRENT PROGRAMMING FUTURE PROGRAMMING APPEAL APPEAL

WAMU-FM Local Eclectic With Folk Local Eclectic With Folk Mid-Age MidAge News & Public Aflairs Acquired Eclectic Network News Dominant WANC-FM Looal Public Affair-e Dominant Network News Dominant Well-Educated WeREduoated WAUS-FM Classical Dominant Ch3ical Dominant Older Older WBAA-AM Acquired Eckctic Network News Dominant Multiple Well-Educated Jazz Dominant WBAI-FM Local Public Affairs Dominant News & Public Affairs Mid-Age Mid-Age Local Eclectic With Words Local Eclectic With Folk WBEZFM Acquired Eclectic News & Public Affairs Well-Educated Older Network News Dominant Classical, News, & Jazz Local Public A&h Dominant WBGO-FM Clmeical, Newq & Jazz Jazz Dominant Mid-Age Younger Multiple WBHM-FM Classical Dominant &e&al Dominant Mid-Age Mid-Age Older WBJB-FM Local Eclectic With Words Jazz Dominant Mid-Age Multiple Local Eclectic With Words WBJC-FM Classical Dominant Claeeical Dominant Older Older WBLV-FM CIoeeical, Newe, & Jazz Cla.98ical Dominant MicbAge Older WBNI-FM Claeeical, Newe, & Jazz Claeeical Dominant Well-Educated Multipk WBBJX-FM Rock, Jazz, & “0ther”Mueic Jazz Dominant Younger Younger . Mid-Age Well-Educated WBST-FM Classical Dominant Acquired Eclectic Older Mid-Age Bock, Jazz, & “Other” Music WBSU-FM Acquired Eckctic Network News Dominant Multipk Well-Educated Younger WRUR-FM Network News Dominant Jazz Dominant Mid-Age Mid-Age WCALFM Classical Dominant Clue&al Dominant Well-Educated Older WCAN-FM Looal Publio Affairs Dominant Network News Dominant Well-Educated Well-Eduoated WCBEFM Acquired Eclectic Acquired Eclectic Well-Educated Younger WCBU-FM Acquired Eclectic Ckzeeical Dominant WelLEducated Older WCCEFM Acquired Eclectic Acquired Eclectic Older Younger Local Alternative Local Eclectic With Words Local Eclectic With Words Local Eclectic With Folk WCLK-FM Clamical, Newe, & Jazz Jazz Dominant Older WCMLFM Ckxeeical. Newg & Jazz Jazz Dominant Older Mid-Age WC&l-U-FM Gbeical, News, & Jazz Jazz Dominant Older Mid-Age WCNY-FM Classical, News, & Jazz Claeeical Dominant Well-Educated Older WCPEFM Classical Dominant Classical Dominant Older Older WCPN-FM Network News Dominant Jazz Dominant Mid-Age Younger Network News Dominant Older WCQS-FM Claaeical Dominant Network Newe Dominant Older Mid-Age WCSB-FM L.acal Alternative Local Alternatiue Multiple Multipk Younger WCSU-FM Local Alternative Local Alternative Younger Younger WCUW-FM Local Alternative Network News Dominant Multipk Mid-Age Local Alternative Local Eclectic With Words Local Eclectic With Folk WCVE-FM Acquired Eclectic Claeeical Dominant Oldor WelLEducated WCVF-FM Claeeical, Newe, & Jazz Local Eclectic With Folk Multiple Multiple

Strong Primary Strong Secondary Weah Primary

99 PUBLIC RADIO PROGRAMMING STRATEGIES

CURRENT FUTURE STATION CURRENT PROGRAMMING FUTURE PROGRAMMING APPEAL APPEAL

WCWT-FM Rock, Jazz, 8t “Other” Musia Rock, Jazz, & “Other” Music Younger Younger Network News Dominant Classical Dominant WDAV-FM Classical Dominant Claeeical Dominant Older Mid-Age WDCB-FM Local Public Affaim Dominant Jazz Dominant Multipk Younger Local Eclectic With Words Well-Educated L.ocal Eclectic With Folk Multiple WDCLFM Acquired Eclectic CLaesical Dominant Mid-Age Older WDCO-FM Claseical Dominant Acquired Eclectic Older Older WDCU-FM Claeeic~ Newe, & Jazz Jazz Dominant Mid-Age Younger WDET-FM Acquired Eclectic Jazz Dominant Younger Younger Well-Educated Multiple WDNA-FM Local Alternative Local Alternative Mid-Age Muliipk WDPRFM Cloaaical Dominant Classical Dominant Older Well-Educated WDPS-FM Rock, Jazz, & “Other” Mu.& Jazz Dominant Younger Younger WDUQ-FM Acquired Eclectic Jazz Dominant Mid-Age Well-Educated Acquired Eclectic WEAA-FM Local Public Affairs Dominant Jazz Dominant Mid-Age Mid-Age WEBRAM Local Public Affairs Dominant Network News Dominant Multipk Multiple Jazz Dominant Local Eclectic With Folk WECI-FM Local Eckctic With Folk Acquired Eclectic Younger Older WEFT-FM Local Public Affaitu Dominant Local Eclectic With Folk Younger Younger Local Eclectic With Folk Acquired Eclectic WEKH-FM Classical Dominant Classical Dominant Well-Educated Older WRKU-FM Classloal Dominant Claeeical Dominant WEMU-FM Claeeical, News, & Jazz Jazs Dominant Mid-Age Mid-Age Network News Dominant Local Eclectic With Folk WEOS-FM Network News Dominant Local Eclectic With Words Mid-Age WeBEducated WEPRFM Acquired Eclectic Acquired Eclectic Multiple Multiple Well-Educated Older WEPS-FM Roth, Jazz, & “Other” Mu.& Network News Dominant Multiple Younger Older Multiple WERN-FM Local Eclectic With Words Clclesical Dominant Multiple Mid-Age WBRS-FM Local Eclectic With Folk Local Eclectic With Folk Mid-Age Multiple Local Alternative Local Alternative WESM-FM Local Public AffXr8 Dominant Local Eclectic With Folk Multiple Mid-Age Classical Dominant News & Public Affairs Jazz Dominant WETA-FM Classical Dominant Classical Dominant Mid-Age Mid-Age WET&FM Acquired Eclectic Acquired Eclectic Older Younger WEVLFM Local Alternative Local Alternative Younger Younger Mid-Age WBVO-FM Local Eclectic With Folk Network News Dominant Mid-Age Mid-Age WFAEFM Local Alternative Local Alternative Mid-Age Multiple WFI-IC-FM Local Public AffG8 Dominant Jazz Dominant Mid-Age Well-Educated Younger WFIU-FM Classical. News, & Jazz Acquired Eclectic Multipk Older Classical Dominant Local Eclectic With Folk WFMU-FM Local Alternative Local Alternative Mid-Age Mid-Age WFPK-FM Classical Dominant Classical Dominant Multiple Well-Educated

Strong Primary Strong Secondary Weak Primary

100 COHORT AFFILIATION LIST

CURRENT FUTURE STATION CURRENTPROGRAMMING FUTURE PROGRAMMING APPEAL APPEAL

WFPLFM Acquired Ecleotic Acquired Eclectio Well-Educated Mid-Age News & Public AfIairs Jazz Dominant WFQS-FM Claaeical Dominant Network News Dominant Older iUi&Age WFSQ-FM Cbeica& News, & Jazz Clueeical Dominant Mid-Age Mid-Age WFSS-FM Local Altsrnatiue Jazz Dominant Mid-Age Younger WFSU-FM Clueeica& News, & Jazz Network News Dominant Mid-Age Mid&e WFUM-FM Classlcal Dominant Classical Dominant Multipk We&Educated WFUV-FM Local Publlo AtTalre Dominant Local Alternative Mid-Age We&Educated bxal Alternative Acquired Eclectic Local Eclectic With Folk Locel Eclectic With Folk WGBH-FM Claeeical, Newe, & Jazz Jazz Dominant Multiple Multiple Local Eclectic With Folk Well-Educated WGBW-FM Network News Dominant News & Public Affairs Multipk Older WGDRFM Local Eclectic With Folk Local Eclectic With Folk Multiple Multiple Locel Eclectic With Words News & Public Affairs Younger Younger WGGLFM Claeeicol Dominent Claeeical Dominant Mid-Age Older WGLEFM Claeeicol Dominant &e&al Dominant Multipk Multipk WGLT-FM Acquired Eckctic Jazz Dominant Mid-Age Well-Educated WGTD-FM Network News Dominant Local Alternative WelLEducated Older Local Eclectic With Words Acquired Eclectic WGTEFM &e&al Dominant Clue&al Dominant Multiple Multiple WGUC-FM Cbeica& News, & Jazz Claeeical Dominant WGW-FM Network News Dominant Jazz Dominant Mid-Age Multiple -FM Local Pub& Affairs Dominant News % Public Affairs Well-Educated Mid-Age Network News Dominant Classical, News, & Jazz WHA-AM Network News Dominant News & Public Affairs Well-Educated Mid-Age WHRM-FM Local Public Affairs Dominant News & Public Affairs Older Older Network News Dominant Classical, News, 6 Jazz Local Eclectic With Folk WHCEFM CIaeeical Dominant Local Eclectic With Folh Younger Multiple Multiple Younger WHFRFM Local Altornatiue Local Eclectic With Words Younger Mid-Age WHHI-FM Local Public Affairs Dominant News & Public AtTaire Well-Educated Mid-Age Network News Dominant Classical, News, & Jazz Local Eclectic With Folk WHHS-FM Classical Dominant Rock, Jazz, & “0ther”Muaic WHILFM Classical Dominant Cloeeical Dominant Older Older WHLA-FM Local Public Affairs Dominant News & Public Affairs We&Educated Mid-Age Network News Dominant Classical, News, & Jazz Local Eclectic With Folk WHMC-FM Acquired Eclectic Acquired Eclectic Multiple Multiple Well-Educated Older WHOV-FM Local Public Affairs Dominant Local Eclectic With Folk Younger Younger Mid-Age WHRM-FM Local Ecleotic With Words Classical Dominant Multiple Mid-Age WHRO-FM Cloeeical, Newe, & Jazz Claeeical Dominant Well-Educated Ol&r Older WHRV-FM Acquired Eclectic Acquired Eclectic Well-Educated Younger Jazz Dominant

Strong Primary Strong Secondary Weak Primary I

101 PUBLIC RADIO PROGRAMMING STRATEGIES

CURRENT FUTURE STATION CURRENT PROGRAMMING FUTURE PROGRAMMING APPEAL APPEAL

WHSA-FM Local public Affairs Dominant Classical Dominant Muliipk Mid-Age Network News Dominant Classical, News, 6 Jazz Local Eclectic With Folk WHSN-FM Local Public Affaite Dominant Network News Dominant Younger Multiple Multiple WHWC-FM Local Public Affairs Dominant News & Public Affairs Well-Educated Mid-Age Network News Dominant Classical, News, & Jazz Local Eclectic With Folk WHYC-FM Acquired Eclectic Local Eclectic With Folk Younger Younger Older Well-Educated WHYY-FM Local Eclectic With Folk News & Public Affairs Multiple Multipk Classical Dominant Local Eclectic With Folk WICN-FM Local Eclectic With Folk Local Eckctic With Worde Older Mid-Age WILLAM Network News Dominant News & Public Affairs Well-Educated Mid-Age Local Public A&ire Dominant Network News Dominant Well-Educated WILLFM Ch88iCal Dominand Classical Dominant WelLEducated Well-Educated WIRR-FM Cla88ical Dominant Ckteeical Dominant Well-Educated Older WISU-FM Roth, Jazz, & “Other” Music Jazz Dominant Mid-Age WITF-FM Clue8ical Dominant Cloesical Dominant Older Older WIUM-FM Classical Dominant Acquired Eckctic Mid-Age Mid-Age WJCT-FM Acquired Eclectic Acquired Eclectic Older Older WJFF-FM Acquired Eclectic Local Eclectic With Words Older Mid-Age WJIIS-FM Rock, Jazz, Bt “Other” Music Rock, Jazz, & “Othe? Music Older Younger WJHU-FM Cb&ca& News, & J= News & Public Affairs Mulfipk Multipk WJNY-FM Classical, News, & Jazz Closeical Dominant Well-Educated Older WJPZFM Claeeical Dominant Networh News Dominant Multiple Well-Educated Younger Younger Well-Educated Multiple WJSP-FM Clu88ical Dominant Acquired Eckctic Older Older WJSU-FM C!Laeeica& Newe, & Jazz Jazz Dominant Mid-Age Well-Educated Younger WJULFM Local Eclectic With Words Local Eclectic With Words Multiple Multiple Well-Educated WJWJ-FM Acquired Eclectic Acquired Eclectic Multiple Multiple Well-Educated Older WKARAM Network News Dominant Network News Dominant Mid-Age Multiple Multiple Mid- Age WKAR-FM Claesical Dominant Acquired Eclectic Well-Educated WKGC-FM C?hssica& News, & Jazz Clueeical Dominant Mid-Age We&Educated WKHS-FM Rock, Jazz, & “0ther”Music Network News Dominant Younger Younger WKKC-FM Local Alternative Local Eclectic With Folk Younger Younger News & Public Ailairs WKMS-FM Acquired Eckctie Acquired Eclectic Multiple Multipk WKNO-FM Cloeeical Dominant Classical Dominant WelLEducated Older WKPEFM Acquired Eclectic Claseical Dominant Mid-Age Older WKPX-FM Claesical Dominant Rock, Jazz, & “0ther”Music Younger Younger Well-Educated WKSU-FM Lsxal Eclectic With Folk Claeaical Dominant Older Older WKWZFM Local Public Affairs Dominant Local Eclectic With Folh Younger Younger WKYU-FM Aoquired Eclectic Classical Dominant Mid-Age Older

Strong Primary Strong Secondary Weak Primary

102 COHORT AFFILIATION LIST

CURRENT FUTURE STATION CURRENT PROGRAMMING FUTURE PROGRAMMING APPEAL APPEAL

WLCH-FM Local Alternative Local Eclectic With Folk Younger Younger Classical Dominant Local Altarnative Older Older Local Eclectic With Words Local Eclectic With Words Mid-Age Mid-Age WLFM-FM Network News Dominant News Qt Public Affairs WelLEducated Mid-Age WLJ’K-FM Acquired Eolectic Acquired Eckctic Multiple Multiple Well-Educated Older WLRH-FM Acquired Eclectic Acquired Eclectic Older Multipk WLRN-FM Local Eclectic With Words Jazz Dominant Mid-Age WLTRFM Acquired Eclectic Acquired Eclectic Multiple Multiple Well-Educated Older WLURFM Local Alternative Local Alternative Younger Younger WMARFM &ssica~ News, & Jazz Clclaeical Dominant We&Educated Mid-Age WMAEFM C%ssica~ News, & Jazz Claeeical Dominant We&Educated Mid-Age WMAH-FM Claeeical, Newe, & Jazz Claesical Dominant Well-Educated We&Educated WMAO-FM Clue&al, Newe, & Jazz Classical Dominant WeUEducated Mid-Age WMAPFM Clnseical, News, & Jazz Classical Dominant We&Educated Mid-Age WMAV-FM Ckzeeica& News, & Jazz Classical Dominant WelLEducated M&Age WMAW-FM Claeeical, News, & Jazz Ckzseical Dominant WelLEducated MidAge WMCO-FM Acquired Eckctic Local Eclectic With Folk WelLEducated Mid-Age WMXA-FM Acquired Eclectic Acquired Eclectic Well-Educated Mid-Age WMED-FM Acquired Eclectic Acquired Eclectic Well-Educated Mid-Age WMEH-FM Acquired Eclectic Acquired Eclectic Well-Educated Mid-Age WMEM-FM Acquired Ecleatic Acquired Eclectic We&Educated Mid-Age WMEW-FM Acquired Eclectic Acquired Eclectic Well-Educated Mid-Age WMFEFM Classical Dominant Network News Dominant Mid-Age WMHT-FM Classical Dominant Claesical Dominant Older Mid-Age Mid-Age WMHW-FM Claeeical Dominunt Network News Dominant Multiple Multiple WMLN-FM Claesical Dominant Local Eclectic With Worde Multipk MidAge WMMT-FM Local Eclectic With Folk Local Eclectic With Folk Younger Younger Acquired Eclectic Older WMNF-FM Local Eclectic With Folk Local Eclectic With Folk Mid-Age Younger WMNRFM Classical, News, & Jazz Cla88ieal Dominant Older Older WMOT-FM Cktaeica& News, & Jazz Jazz Dominant Multiple Multiple WMPG-FM Local Eckctic With Folk Local Alternative Mid-Age Multiple WMPN-FM Classical, News, & Jazz Claesical Dominant We&Educated Mid-Age WMRA-FM Local Eclectic With Folk Local Eclectic With Folk Well-Educated Mid-Age WMSEFM Local Eckctic With FoLk Jou Dominant Younger Mid-Age WMUH-FM Claeeical Dominant Local Alternative Mid-Age WMUK-FM Classical, News, & Jazz Acquired Eclectic Well-Educated Well-Educated WNAA-FM Local Alternative Local Alternative Younger WelLEducated Network News Dominant Mid-Age Younger WNCW-FM Local Alternative Acquired Eclectic Well-Educated Mid-Age Local Alternative WNEDFM Classical Dominant Claseical Dominant Multiple Multiple Younger Older Well-Educated WNlN-FM Claeeical Dominant Classical Dominant We&Educated We&Educated WNlU-FM C%8eica~ News, & Jazz Cla8sical Dominant Mid-Age Mulfipk WNKPFM Local Eclectic With Folk Local Eclectic With Folk Older WelLEducated Network News Dominant Network News Dominant Younger WNMU-FM Acquired Ecleotic Local Eclectic With Words Well-Educated Acquired Eclectic WNPRFM Classical Dominant Clue&al Dominant Older Ok&r

Strong Primary Strong Sscondary Weak Primary I

103 PUBLIC RADIO PROGRAMMING STRATEGIES

CURRENT FUTURE STATION CURRENT PROGRAMMING FUTURE PROGRAMMING APPEAL APPRAL

WNSEFM Local Public Affairs Dominant Jazz Dominant Younger Younger Acquired Eclectic Local Eclectic With Folk WNSC-FM Acquired Eclectic Acquired Eclectic Multiple Multiple Well-Educated Older WNYC-AM Network News Dominant News & Public Affairs Older Older Local Public A&&s Dominant Network News Dominant WNYC-FM Classical, News, & Jazz Acquired Eckctic Multiple Multiple WORC-FM Local Alternative Local Altornatiue Younger Younger WOBO-FM Local Eclectic With Folk Local Eclectic With Folk Well-Educated Well-Educated WOI-AM Network News Dominant Network News Dominant Older Older WOI-FM ‘%88iC‘d &,,,i~t Cla88ical Dominant Older Multipk WOMRFM Local Eclectio With Folk Local Eclectic With Folk Older Younger WORT-FM Local Alternative Looal Eclectic With Folk Local Alternative wosu-AM Network News Dominant Network News Dominant Well-Educated Multiple Local Public Affairs Dominant Local Eclectic With Folk WOSU-FM Classkal Dominant Cla98ical Dominant Multipk Older Multiple WOSV-FM Classical Dominant Claeeical Dominant Multiple Older Multiple WOVI-FM Roth, Jazz, & “Other” Music Network News Dominant Younger WPCD-FM Claaeical Dominani Rock, Jazz, & “0ther”Mueic Younger Multiple Multiple WPFW-FM Local Public Affairs Dominant Jazz Dominant Multiple Multiple News & Public Affairs Local Eclectic With Folk WPKN-FM Looal Eclectic With Folk Local Eclectic With Folk Multiple Younger WPKT-FM Classical Dominant Claeeical Dominant Older Older WPLN-FM Acquired Eclectic Acquired Eclectic Mid-Age Well-Educated WPNEFM Classical. News, & Jazz Claeeical Dominant Older Well-Educated WPBL-FM Local Eclectic With Words Jazz Dominant Younger Local Alternative Mid-Age WQCS-FM Clue&al Dominant Claeeeical Dominant Older Older WQED-FM Claeeical Dominant Claesical Dominant Well-Educated Older WQLN-FM Local Eclectic With FOR Claesical Dominant Well-Educated WQPRFM Network News Dominant Acquired Eclectic Older Well-Educated WQSPFM Local Eckctic With Words Local Eckctic With Worde Younger WBAS-FM Claeeical Dominant Network News Dominant Well-Educated Younger Younger WRKBFM Local Eclectic With Words Local Eclectic With Words Younger Mid-Age Younger WBBH-FM Local Public Affairs Dominant Local Eclectic With Words Younger Younger Classical, News, & Jazz Older Local Eclectic With Folk Well-Educated WRKK-FM Rook, Jazz, & “Other” Music Rock, Jazz, & “Othe?’ Music Mulfipk Acquired Eclectic Local Eclectic With Words WBFGFM Local Alternative Local Alternative Multiple Multiple Local Public Affairs Dominant Younger Local Eclectic With Folk Older WBFW-FM Network News Dominant News & Public Affairs Well-Educated Mid-Age WBHU-FM Local Eclectic With Words Local Eclectic With Words Younger Older Younger

Strong Primary Strong Secondary Weah Primary

104 COHORT AFFILIATION LIST

CURRENT FUTURE STATION CURRENT PROGRAMMING FUTURE PROGRAMMING APPEAL APPEAL

WRHV-FM Classical Dominant Classical Dominant Older Mi&Age Mid-Age WRIU-FM Local Eclectic With Worda Local Eclectic With Words Younger Younger Older Well-Educated Multiple Multiple WRJA-FM Acquired Eclectic Acquired Eclectic Multiple Multiple Well-Educated Older WRKF-FM Classical, News, & Jazz Claeeical Dominant Well-Educated Older WRMC-FM Local Eclectic With Words Local Eclectic With Folk Multiple Older Younger Younger Older Multiple WRMU-FM Acquired Eclectic Jazz Dominant Mid-Age Mid-Age WRPISFM Local Eckctic With Worde Local Eclectic With Word8 Multiple Multiple WRTI-FM Claseical, Newe, & Jazz Jazz Dominant Mid-Age Younger WRTU-FM Local Alternative Local Alternative Multiple Older Classical Dominant WRV J-FM Local Eclectic With Words Local Eclectic With Words Multipk Multiple Network News Dominant Network News Dominant WRVN-FM Local Eclectic With Words Network News Dominant Multiple Network News Dominant Local Eclectic With Words WRVO-FM Local E&&ii With Words Local Eclectic With Words Multipk Multiple Network News Dominant Network News Dominant WRVS-FM Acquired Eclectic Acquired Eclectic Younger Younger News & Public Affairs Jazz Dominant Rock, Jazz, & “Other” Music WRWA-FM Classical Dominant Local Alternative Multiple Multiple Younger Older WRKC-FM Ckzseica~ News, & Jazz Clrrssical Dominant Older Older WSCDFM Claeeical Dominant Claeeical Dominant WelLEducated Older WSCI-FM Acquired Eckctic Claeaical Dominant Mid-Age WelLEducated WSCLFM Classical Dominant Ckzeeical Dominant Ok&r WSCN-FM Network News Dominant Network News Dominant Mid-Age Mid-Age Local Eclectic With Folk WSDP-FM CLzeeical Dominant Rock, Jazz, & “0ther”Music Younger Younger WSFP-FM Classical, News, & Jazz Jazz Dominant Older Older WSHA-FM Local Alternative Jazz Dominant WSHU-FM Classical Dominant Classical Dominant Older Older WSIA-FM Local Public Affairs Dominant Local Eclectic With Folk Younger Mid-Age WSlEFM Cka.&ca& News, & Jazz Jazz Dominant Multiple WSIU-FM Acquired Eclectic Closeical Dominant Older Muliipk WSKGFM Acquired Eclectic Acquired Eclectic WelLEducated Mid-Age WSMC-FM Classical Dominant C&&al Dominant Mid-Age Mid-Age WSOU-FM Claeeeical Dominant Network News Dominant Younger WSQGFM Acquired Eclectic Acquired Eclectic WelLEducated Mid-Age WSSU-FM Cka8sicab News, & Jazz Classical Dominant Multipk Mid-Age WSTR-FM Rock, Jazz, & “Other” Mu.& Rock, Jazz, & “Other” Mueic Younger Younger WTJEFM Claveical Dominant Local Alternative Multiple Multiple Younger Older WTJU-FM Local Eclectic With Folk Local Eclectic With Folk Younger Younger WTSU-FM Claeeical Dominant Local Alternative Multiple Multiple Younger Older WUALFM Network News Dominant Acquired Eclectic Well-Educated

Strong Primary Strong Secondary Weah Primary

105 PUBLICRADIO PROGRAMMINGSTRATEGIES

CURRENT FUTURE STATION CURRENT PROGRAMMING FUTURE PROGRAMMING APPEAL APPEAL

WUEC-FM Local Eclectic With Worda Clue&al Dominant Mulfiple Mid-Age WUFT-FM Clue&c4 Newe, & JLXZ Jazz Dominanl Mid-Age MidAge WUGA-FM Claaeieal Dominant Clae8ical Dominant Well-Educated Younger WUEY-FM Aoquired Ecleetia Acquired Eclectic Well-Educated MirGAgo WUMB-FM Local Eclectic With Folk Local Eclectic With Folk Well-Educated WelLEducated Local Alternative Acquired Eclectic WUNC-FM Clamical, Newq & Jazz Classical Dominant MicEAge Well-Educated WUNY-FM Claaaical, Newa, & Jazz Clue&al Dominant Well-Educated Older WUOLFM Claerical Dominant Cloeeical Dominant Older Mid-Age WUOM-FM Claasioal Dominant Claeeical Dominanl Mlbltiple Well-Educated WUOT-FM Claeeical, News, & Jazz Claesical Dominant Older Older WUPI-FM Claeeical Dominant Rock, Jazz, & “0~her”Musie Younger Younger WUSB-FM Local Alternative Local Alternative Multiple Multiple Well-Educated WUSF-FM Classical. Newe, & Jazz Classical Dominant Older Mid-Age WUSM-FM Local Public Affairs Dominant Jazz Dominant Mid-Age WelLEducated WUWF-FM Claeeical, Newe, & Jazz Acquired Eclectic Older Mid-Age WUWM-FM Network News Dominant Network News Dominant Multiple Muliiple WVBC-FM Claesical Dominant Rock, Jazz, & “Other” Music Younger Younger WVEP-FM Claesical Dominant Network Newo Dominant Well-Educafed Older WVGRFM Claesioal Dominant Cloeeical Dominant Well-Educated Mid-Age WV&FM Acquired Eclectic Classical Dominant Older Multipb New & Public Affairs Local Eclectic With Folk WVIK-FM Claeeical Dominant Claeeical Dominant Multiple Multiple WVMB-AM Local Alternative Local Alternatioe WVNP-FM Claesical Dominant Network Newe Dominant Well-Educaied Older WVPRFM CLaeeical Dominant Network Newe Dominant WelLEducated Older WVPEFM Acquired Eclectic Jazz Dominant Well-Educated Well-Educated Acquired Eclectic Mid-Age WVPG-FM Clue&al Dominanr Network Newe Dominant WelLEducated Okier WVPM-FM Clcrseical Dominant Network Newa Dominant WelLEducated Older WVPN-FM Claeeical Dominant Network News Dominant WelLEducated Older WVPS-FM Clubcal, News, & Jazz Claeeical Dominant Well-Educated Mid-Age WVPW-FM Claeeical Dominant Network Newe Dominant Well-Educated Older WVTF-FM Network Newa Dominant Jazz Dominant Older Older WVTRFM Network News Dominant Jazz Dominant Older Older WVTU-FM Network News Dominant Jazz Dominant Older Older WVWV-FM Claaaical Dominant Network Newe Dominant WelLEducated Older WVXC-FM Local Eclectic With Worde Local Eclectic With Worde Mid-Age Younger WVXRFM Local Eclectic With Worda Local Eclectic With Worda Mid-Age Younger WVXU-FM Local Eclectic With Words Local Eclectic With Worda Mid-Age Younger WWET-FM Classical Dominant Acquired Eclectic Older Older WWFM-FM Claeeical Dominant Cla&cal Dominant Multiple Older WWNO-FM Claeeicol, Newe, & Jazz Claeeical Dominant Older Mid-Age WWOZFM Local Alternative Jazz Dominant Younger Younger Local Alternative Mid-Age WWQC-FM Acquired Eclectic Acquired Eclectic Multiple Multiple Older Well-Educated WWUH-FM Local Ecleciic With Folk Local Alternative Mid-Age Younger WXDRFM Local Alternative Local Alternative Younger Younger Mid-Age WXDU-FM Local Eclectic With Words Local Eclectic With Folk Multiple Multiple

Strong Primary Strong Secondary Weak Primary I

106 COHORT AFFILIATION LIST

CURRENT FUTURE STATION CURRENT PROGRAMMING FUTURE PROGRAMMING APPEAL APPEAL

WXELFM Closeical Daminont Claeeical Dominant Older WXPN-FM Logal Ecleatia With Worda Rock, Jazz, & “Other” Mwia Mid-Age Well-Educated Local Alternative WXPR-FM Local Ecleotio With Folk Local E&&c With Folk Older WeUEducated Acquired Eclectic WXTSFM Rock, Jazz, & “Other” Mu& Jazz Dominant Multiple Mid-Age WXVSFM Claaeical Dominant Acquired Eclectic Older Ol&r WXXI-AM Network News Dominant Network News Dominant Mid-Age WeldEducated Local Public A&irs Dominant News % Public Affaire WXXI-FM Claseioal Dominant Classical Dominant Older Younger WYCEFM Local Alternative Local Eclectic With Folk Well-Educated WeUEducated Local Alternative WYEP-FM Local Eclectic With Folk Local Alternative Mid-Age Well-Educated Acquired Eclectic Local Eclectic With Folk WYMS-FM Local Alternative Jazz Dominant Well-Educated Mulripb WYSO-FM Local Eclectic With Folk Local Alternative Mid-Age WeUEducated WYSTJ-FM Claaeica& Newe, & Jazz Acquired E&&c Older Older

Strong Primary Strong Secondary Weak Primary

107