How Public Radio Gained Two Million Listeners

From the ARAnet On-Line Library of Public Radio Research How Public Radio Gained Two Million Listeners by David Giovannoni (5 pages) Originally published as: Giovannoni, David. “How Public Radio Gained Two Million Listeners.” Current, Volume 1, Number 1, March 1982. aranet.com Copyright © 1982 Corporation for Public Broadcasting Copyright © 1999 David Giovannoni, Audience Research Analysis All rights reserved ii HOW RADIO GAINED TWO MILLION LISTENERS New tune-in strategies doubled audiences of Earplay and classical music in a year, says analyst for NPR. Sunday Show is next test of good programming. by David Giovannoni By now, we have all heard about the intruder and average quarter-hour audiences marked which has invaded the sanctuary of public the first time dramatic audience growth was radio. Discouraged from tuning in for so long, attributable primarily to good programming. a significant number of people are now listening to public radio — 7 million per week at last count, and growing fast. Did hype do it? We have been attacked by an audience. And Could the increase have been caused by all the we brought this attack upon ourselves by publicity surrounding public radio in the paying attention to programming. Spring of 1981? Probably not. Certainly, some of these new listeners were attracted by Until 1980, public radio’s audience growth had publicity accompanying Star Wars, the Jon- barely outpaced inflation and the price of estown special, All Things Considered’s 10th gasoline. From 1974 until 1980, its audience anniversary, and, perhaps, Mr. Reagan’s reci- increased at a fairly steady rate averaging 14% sion show. per year. But most of that increase was attributable to the expansion of the system, up- But listeners attracted by hype usually don’t grading of facilities, the improvement of a few listen very long. They listen for a while, then stations in the larger markets, and population tune out. Yet the data show that was not the growth. case in Spring 1981. While some people listened only to Star Wars or only to Jonestown, However, an amazing thing happened during the new listeners who did return to public the 12-month period between Spring 1980 and radio stayed just as long or longer than the old Spring 1981: The system’s weekly cume audi- listeners! ence increased by 2 million listeners. In Spring 1981, Arbitron estimated a weekly For example, more than 600,000 people over national audience of 7.1 million listeners — up the age of 11 listened to Star Wars each week. 37% from Spring 1980’s 5.1 million. Sim- About one in five listened only to Star Wars, mons Market Research Bureau data confirm but the remaining 81% of the Star Wars audi- the extent of the increase. ence typically listened to their public radio station an additional 5½ hours more during the In addition, public radio was being listened to week. (“Typically” is meant as the median by an average of more than one-third of a time spent listening, not the mean or average.) million people during the average quarter- Six hours is twice as long as the “typical” hour, compared to only a quarter of a million public radio audience listens (about three the previous spring. That increase in cume hours per week). 1 The Star Wars audience listened longer to induce audience tune-out. Prompted by this public radio than other listeners due to the realization, programmers are now consciously concentrated efforts to do good programming smoothing the seams, intending to lead the around the show. audience through to the next program ele- ment. What is this “good programming” I keep mentioning? Radio “programming” does not Maintaining audience flow through the mean radio programs. While public radio’s smoothing of seams is as much of an art as a programs have been winning awards for science; in addition to requiring careful design years, public radio’s programming of them and placement of on-air promos and other has not. Programming is the form in which elements, smooth transitions rely heavily on programs and other elements are presented. the awareness and skill of the on-air an- Good programming consists of related strate- nouncer. gies designed to maximize audience tune-in and to minimize tune-out. Programmers also are decreasing the number of seams altogether, by “blocking” program Again Star Wars provides a good example. elements into a larger format. This is known One of the reasons each episode was 29 min- as formatting or block programming. utes long instead of an hour was because of our knowledge of how people used Earplay. To illustrate: Professional radio journalists Virtually no one was listening to Earplay’s have known for years that very few people entire 60-minute presentation. It was just too remember, desire or listen to more than a few long for an audience to hang on. minutes of investigation into all but the most important issues. In late 1979, Morning Edi- So Earplay itself was repackaged into half- tion was made available, and allowed pro- hour presentations in the Spring of 1981, and grammers to retain their commitment to local along with Star Wars and Hitchhikers’ Guide issues while ridding themselves of ineffective to the Galaxy, was “stripped” (aired at the long-form programs. same time each day) in the NPR Playhouse series. This repackaging alone increased Ear- Morning Edition provided a regular format, play’s weekly audience from 85,000 weekly blocked and stripped to help build regular listeners in 1980 to 200,000 weekly listeners in listening patterns. Local programmers were 1981. able for the first time to effectively distill the essence of important local stories into reports That’s good programming. three to five minutes long. When dropped in to Morning Edition, the information in these reports was heard by 10 to 20 times the num- Smoothing the Seams ber of people who would have heard it in public radio’s traditional “long-form” hour- There are many other examples of program- long, roundtable public affairs programs. ming experimentation. The transition between programs is known as a “seam.” When ig- nored by programmers, awkward and disori- More Time and Audience for Music enting seams interrupt program flow and Since the placement of local news and issues 2 within Morning Edition has decreased the With a few relatively simple programming amount of local long-form public affairs pro- changes, those researchers argued, public gramming, more time is available for public radio could begin to serve a significant, per- radio’s most listened-to commodity — music. haps sizable, portion of the public. But such In Spring of 1981, 5.7 million people per week techniques were tainted by their origin in listened to music on NPR-member stations. commercial radio. Many public broadcasters Three quarters of these music listeners (4.4 felt the techniques were grossly inappropriate million) listened to classical music program- for them to use. ming — up 27% from the previous year. Jazz, the second most prevalent music on public Proponents of new programming practices radio, was heard by 1.5 million people per persisted. They asked how public radio could week, up 41% over the year before. relate to the public if it doesn’t recognize a responsibility to serve a significant portion of Yet while there has been some increase in the the public. Without a listening public, the number of hours devoted to classical and jazz system would never be able to rely on public music, the overwhelming reasons for their support. Nobody tunes in because of a sta- larger audience is based on the better schedul- tion’s non-profit tax status, the programming ing of music blocks. For example, stations proponents argued. They concluded that the which formerly aired concert and recital pro- only way to get people to tune in — and stay grams as discrete programs now are stripping tuned — was by cleaning up the programming them five afternoons or evenings per week — act. and more frequently within the context of larger classical music blocks. As a result of Understandably skeptical at first, a few pro- this practice, NPR-distributed classical music grammers began to experiment. Adapting programs were heard by 1.1 million persons effective “commercial” techniques, they soon per week in 1981 — more than double the realized their stations were not sounding more 500,000 weekly listeners of the previous year. commercial at all. Indeed, they were sounding better. Listeners agreed. More programmers While the results of better programming prac- followed suit, some prompted by impending tices were first seen in the dramatic audience funding reductions, until “good programming” increase of 1981, the concern for better pro- reached its critical mass in 1981. gramming was first voiced in the mid-1970s by a small group of “audience researchers.” Radical Action Nobody was listening! Some programmers are now trying even more radical strategies to better serve their audi- Initially viewed with skepticism because of ences: their ideas and treated with contempt for their numerical, “commercial” methods, the irrever- · There is some rumor that a few local pro- ent and disreputable-looking band pointed out grammers, no doubt members of an ex- to their fellow public broadcasters some dis- tremist faction, are consciously excising arming facts: Some public radio stations and protracted segments of applause, concert many public radio programs had no measur- hall ambiance, and even interviews from able audience. Nobody was listening! pre-produced concert programs. They say 3 the audience would rather enjoy the music across America — commercial as well as non- than hear someone explain why they commercial. At that point, our turnabout with should enjoy it.

Load more