Or turn the station?

I was just wondering what types of things make you push the buttons on radio. For me it is when I hear certain top 40 songs that have been beat to death over the years and played "Ad Nausea"! When that happens I usually turn to my Zune for some lesser played but equally great hits! Been thinking about satellite but decided to wait and see what comes from the expected merger. I may even decide to get an HD Jump for may car instead. http://www.evisteon.com/prod_serv/mobile_electronics/products/hd_jump/index.shtm l
Pretty Nifty little gizmo!

what makes me turn it off, any commercial featuring Kurt and Rob Widmer ,Guys your beer is the best in the world but your commercials suck,also whatever radio staion my radio is on, you get one chance, play one song i dont like BOOM THE FINGER HITS THE STEREO AND OFF ON A NEW SEARCH............

Any time I hear a commercial, where people are noisly eating food, I instantly change the station!

Dead Air on Golden Hours.

GHR's programming (from what I understand, anyways) is mostly controlled by our friend Otto, with probably the only exception being live programming like Oregon Today/PM and many of the readings. Unfortunately sometimes Otto falls behind on his job and what do we end up hearing? Silence where the radio programming should be!

(This sometimes happens when they are rebroadcasting Internet audio streams like Radio Entertainment Network programming on the weekends or Oregon School for the Blind's audio stream.)

Anytime I hear a matchbox 20 or Doo Doo Dolls song, my radio is off!! That crap has been shoved down people's throats so many times, its no wonder people are turning to satellite.
My cousin just got Sirius and the first comments out of his mouth was "finally some stations that play decent music".
The music played on most portland stations is AWFUL!! The same CRAP played OVER AND OVER!

Nothing gets my trigger finger jumping like one of those horrific 'Credit Yes dot com' spots! I've spilled many a drink reaching for the remote (the tv version, would have to be those putrid Mattress World spots, if that brat tells me to be quite one more time, I'm taking away his allowance!)

In retrospect, I might want to lay off the caffeine...

any commercial with Tom Shane. Enough. I am sick of his voice. (Although, Greg Nibler on the Nibler show does a great impression of him, which is pretty funny).

And, DT, I agree with the certain top 40 songs. We did cover this in another post - my "punch the button" groups are mostly Journey and Air Supply and REO Speedwagon.

Sleep Country USA commercials as well.

When every single radio station is either on commercials or talking about a topic I don't care about. One would think that out of the 9 FM music stations and 2 AM music stations I'll try to listen to, at least one would hold my interest.
BTW, we all bash Z100 from time to time, but I like the really quick commercial idea - out of a song, a quick 'buy your (consumer product) at (insert somewhere here)!,' then another song. Now if only I could stand the music for longer than 30 seconds (to see what they're playing at the current moment - the second I hear the words "smack that," "booty," any other hip-hop song, Panic at the Disco, or Fergie... <click>).

TOM SHANE!

(Love the Widmer Brothers, though)

Personal observation this past week: BMW Babe next to me has our station on and is really into it..all of a sudden the jock talks and goes into first commercial...5 seconds into first commercial BMW Babe punches directly into our competitor who is playing music and she is now back to grooving. Coming to a theater near you: Hot Clocking- The Movie!

Thedude has spoken the truth.

I'll add any time there are two callers duelling on Tom Leykis and one of them says " You need to grow a pair, dude. You're a pussy..."

click - or push or whatever sound it makes.

Tanya Roberts - Tahiti Village - High Roller, baby - doesn't exactly make me want to hang with so many people from Jersey in an enclosed space for 7 hours while listening to a high pressure sales pitch for a timeshare.

Are you from Joizy? I'm from Joizy!

I know I want it. I know I deserve it. Come on. Tease your hair more, Cinderfella.

The Dude has just confirmed what TDanner and others have been trying to tell us! That's why we continue to hear the same songs over and over again.

On the other hand, I've been known to hit another preset before the third note of "Louie, Louie" is played.

Tom Shane and those Dick Hannah commercials. Too much chatter also makes me tune away.

Sorry, some of us might sit through a lesser favorite if the talk between the rock is interesting, entertaining and compelling enough.

Now, shake that booty, I'll hit that!

I tune away when I hear a song that I have already heard a million times before.

Haze Barnard (the mortgage sleeze)

This is a longer one, but it talks about setting expectations, how people add value differently, relevance and an interesting thing, I call "Loyalty Variance", featured in the second post.

As usual, if you don't care, scroll me!

(See, that's setting and managing expectations to spin noise for value!)

If it's a show, I'll stick with it because I'm interested in the PROGRAM. Things like the chill show, passport approved, a talk program, etc...

Those survive bad elements, better than just playing tunes does. I think the key is being invested a piece at a time, instead of for a period of time, based on some elementary drama.

If it's just a music station and something does not match the mood, I'll go looking. Same for a crappy spot, but I'll likely tune back too, depends on a lot of things. This kind of station just features programming.

I've heard stations try to bridge the gap, with "coming up soon, that really cool song". Ok, that's some drama, but it's pretty shallow and it's really only good for that tune. Done too much and it's just more noise, done too little and nobody cares. Tricky.

This difference is significant, IMHO. All depends on the expectations being set.

When just playing music, does not matter what it is, I've nothing invested, generally speaking, past the tune being played. So each piece of material stands on it's own. There are lots of stations and lots of pieces. Digital tuners make the slam 'n jam ritual a no brainer.

I'll call that, "lotto radio". Go ahead, laugh, it's funny.

Some "shows" are like this. The 90's at noon is really just themed music. There is some chatter about callers / IM'ers in and what they wanted, where they work, what their mood is, etc...

This is good because that seal of daily relevance is there, but really it's just tunes. So one or two bad hits, and I more or less fail to identify with the programming that day and I'm gone.

If there are things like, "we are gonna play three cuts from a rare album during the show", and I like that album, there is an investment! I'll stick through the rough parts more often, because there is an investment there. Same balance as the above example though. Too much and it's noise, too little and it does not add enough value.

To a lesser degree, things like "focus on 1993" work too. Again, if that's a year that I know is gonna work for me.

(Continued)

Another vote for Haze Barnard. . .or any other
mortgage company that can assure you of the lowest rates in spite of your current credit problems. . . .Pleeezzzze.......enough of these
guys doing their own announcing. . .

(part two of two --loyalty variance)

A program like "passport approved" has some goodies about the music being played that generally adds some context and the music itself is distinctive, coming from the UK, etc...

This one is cool because rough spots are to be expected! Nice spin and it often works. So, I'm wanting to find out what our friends in Europe are jamming to and might get lucky and hear something really great I know I wouldn't otherwise. No brainer to stick through and sample the goods. PROGRAMS like that are excellent. They are dripping with cool, set the kinds of expectations that deal with rough bits, and are well themed so people can self-select and know what they are getting more often.

A talk program carries with it some drama, if the host is decent. There is also a strong daily relevance in that the topics of the day are interesting, as are some of the opinions aired. Worst case, jump away for a music break to avoid the moron patrol, then hop back before too much is missed. There is story here and theme that is easily managed. No brainer.

One either enjoys this format or not. If they do, they listen regularly and will often deal with spots. If not, then no worries, don't even bother trying to muddy the expectations necessary for this to work nicely.

The Cocktail Mix is an interesting case because it more or less presents the whole hour as a show. We get an intro for context, "DJ bobble put this together and is totally excited to hear your feedback on his latest work, often heard at club bozo". Sample it and either it is gonna work or it isn't. Kind of like an hour long tune. All or nothing.

I think there is a clear difference between programming and PROGRAMS. A hits music station features music as it's programming and there are few PROGRAMS. Seacrest, Casem, etc... all are PROGRAMS that feature some drama, trivia, context, etc... for the music being played. The rest of the time it's really a music thing and talk had better add serious value or people are gone. Same for the music, so that explains tight playlists and an assload of research going into them.

On the other hand, some stations feature PROGRAMS as the main element of their programming, with other more general things being filler. (daily grind music)

IMHO, the digital stuff, particularly if we get the program guide bits mentioned here earlier, is gonna make an emphasis on programs easier to manage. This will improve the overall radio value proposition, IMHO.

If there is something there for the listener to identify to and get invested in (and said things come from people, BTW), then the tune out factors are gonna change, again with expectation set and properly managed.

A good TV analogy would be just playing videos, or short works in sequence (think old school MTV, or Current TV), -vs- programs. Think sitcoms, drama shows, etc....

Interestingly this differentiation applies to a Newscast -vs- something like "The Daily Show".

The newscast really is a bunch of stuff shown that one can take or leave. Most stations will try and cast the hook, but it's often pathetic. "Coming up next, the news you really want!" as opposed to what's airing right now? Yep... I think this is rough to maintain attention without really pushing the "shock and awe" factor. So we get "FOODDRIVE!", "FIRE", "DEATH ON WHEELS", "THEY FINALLY WON!", etc... oh yeah, weather too.

"The Daily Show" is a program, with some set expectations that follow through daily. There are many human elements that bring context to regular viewers that help to power through poor bits.

eg: A really bad bit might be consumed just to see Jon's reaction! We know about Jon, we know he's damn cool and pretty hip too. He's gonna call it bad and laugh about it, so we can too.

(That's extremely powerful stuff!)

Humor and simple human drama have an appeal that is the foundation for the elements presented. Much easier to set expectations, get people to identify with the people involved in the production and convey daily relevance, while doing news at the same time. Genius.

With radio, all of these things work the same way, but it does take people working to set expectations and manage them, and it does not scale as easily as simple things like, "ALL HITS ALL THE TIME" do.

What expectations are set really matters! If the expectation is "ALL HITS ALL THE TIME", then anything else is seen as a non-value add, right?

This explains the ongoing push-pull dynamic related to this topic here nicely, IMHO.

This kind of expectation does not leverage people. Is there any wonder about why this one is being pitched really hard? It's cheap! That's the reason period, end of story.

This seems obvious enough to me, and nicely explains why a lot of radio has devolved to the lowest common denominator. It's just cheap ass and scales like no other. These two things are the life blood of big business. We all know this right?

What's the easier sell? Do this formula, everywhere, invest little and make money with low risk, or employ these messy people, who can make the money, but you gotta invest for the big returns? No brainer for big business.

If the expectations are set with, "Coming up this afternoon, we've got bob doing the daily grind, followed by that special show we air @ 3:00, happy hour @ 5:00, followed by the comedy spot, which takes us into Dave for the evening, thanks for listening to the noon hour with jane, who features deep cuts from an artist every day." Now, you've got some potential investment. This is not so cheap. It takes some people working (how much is a matter of discussion), daily to manage those expectations set. This done right can make more of the potential material be seen as a value add, up to and including spots.

On a side note, I've often wondered why we don't have spot intros. Everybody hates on Tom Shane, but we all know who he is too. Credit where credit is due there. From his more recent spots, it's clear he knows this and is more than willing to play it up for some attention, so how come we can't get "Check this latest Tom Shane spot out! What's the first thing you think of when you hear it, caller 10 gets a cookie!"? Hell, he might just provide the cookie!

Done right, we will actually have people listening for the damn things! This works both ways too. Shane can endorse a station he likes, by featuring his new spot there first. Yeah, it's all morbid, but it's also simple and human. People will catch on to this and it will be a point of discussion. Where there is discussion there is promotion period. Ask Lars about that. He's living well because he understands that perfectly.

That's turning something that would normally be considered noise, into a value add! Seems to me there is a lot of potential for daily relevance there. Where you've got that, you've got a longer attention span and a greater tolerance for loyalty variance. (Yeah, another KSKD term --sue me.)

A lower loyalty variance means, people may tune, but they've got a fairly strong hook set to tune back, or they choose to not tune period. More risk in that, but more return too. Over time, given solid feedback, a fairly loyal audience accumulates to bolster the normal daily churn of spotty listeners. This means nice peaks, in terms of share, but fewer deep valleys. Isn't that a good thing?

I sure think so. That is also an excellent cost ROI position to take when trying to sell the more complex value proposition, IMHO. This kind of thing works in the industry I'm in, why not radio?

(If this does work, e-mail me at least! See, that's drama right there. Betcha some of you are wondering if that ever happens. --It has and will in the future.)

The TV related stuff was for clarity and comparison.

Haze Barnard.

Every time I hear him come on, I can't help but think, by his general on-air (on-tape???) demeanour, "Boy, I'd sure hate to get stuck doing business with him!!"

Radioboy, ditto on the "sleeze"..........

(Is "Haze" really how he spellz his name? If so that might be a subtle hint right there. ;o)

I click it when I hear "john for dick hannah" who the heck is he and why am I supposed to know or care that he is "john"?
Quit with the fake remote spots "john".
Whoever is the ad agency needs to get some new ideas goin.

Marconi. His voice is enough for me. The show is not funny.

www.ihatestevensinger.com

Shakira, Brittney, Cristina Agulara. Im so sick and tired of these no talent ass clowns clogging the airwaves! i hate this teeny boper CRAP! Play some bands and artists with actual talent PLEASE!

What, you don't like pornpop?

I like this term.

Me too!

And I was reminded last night driving home from the fireworks show how much I despise Wickes ads

(and Les Sarnoff's voice at the blues fest, which I could not turn off on someone else's boat)

Hearing a song I already got tired of hearing twenty years ago.

Hearing Gustav say "alternative" for the third time in one sentence on KNRK, especially just after hearing a song I already got tired of hearing twenty years ago (please tell me what the alternative is).

Something you only listen to when you have no other "Alternative"!

Dang missing.....did you have to pause and catch your breath on that one or what Dude?

"Something you only listen to when you have no other 'Alternative'!"

Dark--

There IS, of course, KBOO.............

It used to be John's voice for Rubenstein's furniture.

Now I kind of miss the guy.

Herb

The thing that irritates me about NRk is that they have to use the world alternative in every single sentence. Why is that????? Whats so alternative about your station??? The jocks say the same thing on every talk break and Always end with "on 947 alternative portland". Its a bad crutch that all of the jocks say and it sounds really bad.

Guaranteed, it's required by station management.

Just like my last place First thing out of your mouth when you hit the mic.....

Froggy 1-0H-4, "Todays country and your familiar favorites".... BLAH BLAH BLAH..... ending with... "your home for 12 in a row Froggy 1-OH-4.

EVERY JOCK EVERY BREAK EVERY TIME. Yes the PD would hotline if you missed it, yes it came up at aircheck sessions if you missed one......

made for some damn exciting radio for the listener interested in what's between the music........ (not)

AWFUL ABSOLUTELY AWFUL!!!! Radio at its absolute Worst! I realize station Id is important, BUT you should be able to mix things up each time you say it or else it sounds really BAD! Any good Pd wil tell you that!

Beano said - "Its a bad crutch that all of the jocks say and it sounds really bad."

I would agree with that, mostly. I bet it is tweaked sometime soon. Then again, I went all-in on a 9, 4 suited. So betting may not be for me today.

It's called positioning statements....it's been in the biz since the beginning of time.

"Froggy 1 - OH - 4, Positioning statements -- its been in the biz since the beginning of time. Froggy 1 - OH - 4."

I have never seen the calls or positioning statement as a crutch. Simply identifying for the listener who they are listening too. Rather important for those with diaries.

Beano- you maybe more sensitive to those positioning statements because you're not the average listener.

But Chris, Isin't it bad radio when you have memorized exactly what the jock is going to say right before they say it? To me thats a crutch, its comfortable to the jock because they always say it the exact same way. While I understand the importance of a positioning statement, you should mix it up and make it fresh every time you say it or else it will sound really bad. Right??
By the way Chris, when you worked at Z100 how often were the jocks airchecked??? Just curious.

Yes I know what it's called, but to say the same freakin thing every time with no variation is bland, and is a listener tune out... Shows a lack of creative thinking in the Programming decision making.

This example is from this particular station but too many others are guilty of the same. Doesn't have to be that way, but it is....

Froggy 1-oh-4 todays country and your familiar favorites with Tim McGraw on your home for 12 in a row Froggy 1-oh-4..... Isn't a very compelling talk set is it? No need to say it twice every time, A position mention is sufficient, especially with pre recorded sweepers and positioners running every two songs. Is the audience that passive or oblivious that they don't know where they are? Or in the case of this station which is now simulcasted, do they care whether they are tuned to froggy 94, froggy 98, froggy 103, or froggy 104? In some areas you can get all four, plus another froggy farther to the north not part of this pond.......

Sure, getting the station out is important for diaries, but too much is overkill, and really not necessary, and no variation is flat ass boringly bad, profit sucking jocks who have nothing to say, radio.

Cut and paste plug and play radio. The thread is about what make people push the button.... Lousy content between the music.........

That's why McDonald's and Coke have been so unsuccessful with:

"You deserve a break today" and "It's the Real Thing".

The announcers in their commercials should be able to be creative with those positioning statements too.

Your job is to execute the format exactly the way you were instructed to do it.

The same can be said specifically for 99.5. How many more years are they going to keep saying "The NEW 99.5, the Wolf"?

It isn't new anymore. Hasn't been for a long time. It is old and tired.

Speaking of other threads, I watched the WSL rewind video that was posted for a video. Yes, THAT was what radio used to be and that was when it was exciting to listen. The Jocks got into everything and it was mostly good. But that era is gone, sad to say. No real excitement playing music anymore.

What makes you "Push" the button and turn the Radio off?

A dj that babbles too much, like Eve Fuller!
lol!

They get to say "NEW" until somebody steps up and makes them look old.

It's a special situation: The Wolf is newer than the old KWJJ and more importantly, KUPL. I believe Z100 kept the "new" handle for about 2 years.

For me, the "button pusher" is Lars doing spots.... like his silly-ass sleep number, where he smokes his stogies, what Tina's dog eats, or who put his last roof on, ad nauseum.

The best one (well, worst actually) was during the xmas holidays when he advised us all to "ho-ho-hold the payments" on some suggested purchase or another. Hey Lars: ho-ho-hold THIS

Out of context like that, you'd think he was voicing an intro for a song on 95.5.

As for crutches, I think the "new" is overused terribly.
Look, you're only new for a little while. How long is new?
Establish the calls, or the positioning statement and then stick with them.
I don't know what genius came up with the "new" or "the all new" blank FM. Listeners are not that stupid.
A format change, yes, that's new. Be new for awhile, then move on.
JMHO

"Your job is to execute the format exactly the way you were instructed to do it."

Ok, so where is the value add?

If a format definition is extremely rigid, then the real value add (in terms of the people releasing their value), lies fairly high up in the chain. This scales well in that a few people can add value in many places at once, with less of an investment in people time and energy overall.

It's cheaper ok? It's also using people like we would normally use machines. Is there any wonder why pay is low? Think about that for a moment.

The more cruft put between those adding value and those consuming value, the less overall daily relevance said value will have, generally speaking. Everything costs something. There is no free lunch. So, if value is distributed, it has less relevance period.

Compensating either requires more investment then, or a lowering of overall costs to build acceptable profit.

I think the barrier to overcoming this approach is fairly low. If it's easy to add value higher up in the chain for one broadcast group, it's easy for another group. So they will churn, trading value propositions often enough to continue to attract consumers for periods of time.

This is closer to lotto radio, as I mentioned above. Churn more often to get a tempoary flash in the pan hit, then milk it for max dollars while it lasts. (One could invest those dollars to really innovate too, but that's just me.)

However, if the format definition is more general, then said variance pushes the value add farther down the chain, meaning the value proposition is a combination of people value adds that include local or perhaps regional staff.

This is more expensive as it more or less demands people with more skill and ability to bring relevance, which costs more and scales less easily.

(talent must be found, cultivated, be found agreeable to audience, etc...)

The barrier to overcoming this is considerably higher. People to people bonds are a lot stronger than just appealing to the shiny thing syndrome.

Finally, having only the roughest of format definitions means pushing the value add to the local staff nearly completely. There is very little between the listener and the relevance.

IMHO, this has the highest potential for building loyalty and limiting overall variance in that regard.

Of course, this does not scale well at all, and is the most expensive and is highly dependant on people. [this could be done with a fairly lean upper management structure, but that's just me too. IMHO, this aspect of radio is way too top heavy for it's own good.]

Which brings me to Dodgers "new" crutch. [BTW, "The Wolf" is leveraging people pretty well, thus the barrier to overcoming their "newness" is fairly high. Well done, and a solid use of a mixed value add both high and lower in the chain.]

New is way over used, in general in a ton of markets, not just radio. This is because of the format churn happening. (or in the case of other products, branding, packaging, bundling, etc...)

We have this churn because the value adds have been moved up the chain, in order to scale. That happened because we've got megaownership trying hard to improve their profitability, ability to scale and compete in general.

The more megaownership we have, the more this "new" crutch will be abused, IMHO. Why? Because churning (repurposing) is a lot cheaper than actually building value is.

Additionally, there is a clear benefit to the megaowners in lowering overall expectations. Keeping the bar low, then more or less manages this process, keeping the dynamic viable for their interests, not really ours.

Think about value for a moment too. What's a lot of value? Arbitrary isn't it? Lower expectations and a given value add will seem fairly high. Raise them, and that same exact value proposition will seem moderate or low right?

Today, we see competition via other delivery technologies. That's causing trouble for this whole affair, which is gonna either force innovation (a move of value back farther down the chain, or some new niche), or a diminished value for radio as a whole.

In short, expectations are being raised outside the industry direct control.

IMHO, this dynamic is directly responsible for the attacks on Internet radio, net neutrality, increased regulation, etc...

Sadly, I think it's likely cheaper these days to go and legislate or litigate away competition to manage expectations in a way that keeps low value add business models viable, than it is to actually innovate and add value.

Blame that on the "make money every quarter no matter what" market mindset we see in public companies today.

Another solid and time tested fix for this dilemma is to lower overall profit expectations, take that value and invest it toward real innovation, with the expectation that said innovation will be "new" and "improving" thus, raising the bar for competetors to establish a more profitable effort overall.

Maybe we will see it, maybe not...

and you said.......

Your job is to execute the format exactly the way you were instructed to do it.

You combine format and content into one total package. Yet one PD said here's the frame work, work with in it, and the next says do exactly this and nothing more. The right one is the current one, but not necessarily the better one.

My comment was, saying the same thing every time with no other content was, is and remains DULL BORING and LIFELESS.

Which is why if everything that is said is pre written then no need for anyone LIVE to read it.

Pre-record it, and go with the jockless Jack type format and be done with the whole live concept. Give people NOTHING interesting and compelling and wonder why they are just as likely to divide their loyalties. You speak like the empty suits you represent. Your lovely examples of Coke and Mc Donalds, are perfect for todays one size(brand) of MC Radio. Boring Boring Boring. Is it REALLY what people want or is it that they want it because you tell them they want it and your boring choice is better than the other guys boring choice.

Who is setting the standard? Clear Channel because of the number of stations they own? Someone is, because you hear the same thing coast to coast across the dial. Everyone playing follow the leader, but who is the leader.

You certainly suffer from terminal inflexibility.

Oh, that's right there is only one possible way to do anything, and if someone isn't in agreement with you it must be wrong!

BTW, Why didn't coke stick with the real thing and Mc Ds You deserve a break? Or better still, Why not show a picture of a hamburger and McDonald logo and sing the Jingle... really hammer it, and since it's less expensive to produce, you can get more of the in. Same with coke.

ANSWER,

THEY GOT OLD worn out and boring, and in the second scenario, the ads would be lifeless. So, NEW ideas were thought of to FRESHEN the image.......New presentations

Notice too that while the core product stayed the same new items were created, new presentations, some successful, some failures.

Some risk in change isn't there? Maybe radio needs some change. Of course someone like you wouldn't venture to create change, but would most certainly jump onboard to share in the success.

The hippest branding in the world doesn't make a mediocre product any less mediocre.

Perhaps, we should just have "The Copper Penny" on 92nd and Foster or the one that used to be at 82nd and Division could just be called "The Cathay". My favorite: York, York!

Crappy Want'a be Dj's like we have here in Sweet Home(KFIR)sounds like they did'nt graduate kindergarden and the worst part is the owners/Manager Don't care......

BTW Roger, this is exactly what the old KSKD did. It was almost completely automated. Their value add was in the music selection, overall sonic quality and low impact framing around the music.

People still mattered in that the research and resulting song selection was distinctive. They just didn't choose to leverage them directly on air. Perfectly viable, IMHO.

What made this work was very well managed expectations.

People are mostly Atomoton's. You play it and they listen. There is still a few of us in the minority who are more demanding listeners, ones who will not settle for crap radio and want quality. It is sometimes easy to spot the VT'd over the live shows once you pick up on what to listen for, and sometimes you just are not quite sure.....those are the good ones....when you can't tell. I e-maild a jock once on a weekend cause he sounded so good I thought he may be in the studio, he replied on Monday and said he was not and that it was tracked and I told him he sounded like he was live. This again though from a full time live air talent just doing a weekend slot. I have heard some live radio though that truly sucked and have heard some tracking that was superb. The great tracking is usually, but not always Chris, a product of a full-time jock tracking in for a weekend slot or to fill while on vacation. This all IMHO of course.

John, the nasal car guy (I hate him..and Dick Hannah, too)

Tanya Roberts (SHUT UP)

Tom Shane (retire...please)

Molly and her babbling sister

Haze Barnard (will never do business with)

Binder & Binder ("Nobody, NOBODY, f***s with us")

I like the Binder and Binder ads. The whole, "put up 'yer dukes, we've been doing this a long time" bit is cool in a twisted, hate dealing with the government kind of way.

Oh, one more thing: CREDIT YES DOT COM

Worst spots ever.

By the way, Jeff was pissed, and I don't blame him.

;-)

N.H.F.

Pukey jocks make me change the station. Yes, we have some of those in Portland. But hey, one man's puker is another man's "great top 40 jock". Whatever.

Crappy jocks that think they are good! Oh wait, he's no longer working in portland.

Any jock on Z100! Sorry they need to go to a smaller markert.

Yeah. I knew that guy, Justin, and used to listen to him. He is pretty crappy, or mediocre, but he knew it, and never particularly enjoyed hearing himself, hated airchecks. He's hangin' in, though, working in a smaller markert now.
I always thought your board name was kinda funny but why don't you use your real name?
Have a good week.

Hey I may be crappy, But Not nearly as bad as Buckethead!

... And round one goes to Jeffrey

I think the Z100 Morning show has IMPROVED, now that Buckhead is gone. I never thought that guy brought much to the table, besides a HUGE inflated ego.

hearing a bad commercial.