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How a big, bad drug monster begat a big-business rock band. How the hair-metal pretty boys from New Jersey became one of our last legacy rock bands. How four men in face paint made rock real for a nation. In the first installment of a new series, we swing the hammer of the gods. Now, rock signified new, uncomfortable truths about the new century: fragmentation of tastes, old-media collapse, demographic shifts favoring women and minorities and freezing out aging white dudes.
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In its prime, rock had been used interchangeably with "pop." It was a catchall term for music intended to be appreciated by millions. Rock stations had to choose one or the other, diminishing their own stature in the process. The rock audience had been parceled into smaller, less significant constituencies who saw themselves as incompatible with one another. And the reverse was true for listeners who preferred the heavier bands. And those listeners recoiled at hearing a song by Interpol or Death Cab for Cutie followed by Staind or (gasp!) Nickelback. KROQ's Kevin Weatherly zeroed in on a dilemma for many rock stations in the '00s: More rock fans were listening to indie bands, but not enough to sustain strong ratings. Even the record labels pushing the music admitted that its latest batch of artists - in the words of an anonymous promotion executive - "could be your waiter tomorrow night and you wouldn't know the difference." Indifferently promoted product resulted in indifferent ratings: Ratings for the "alternative" rock format in the 18-to-34 age group fell 20 percent in the first half of the '00s, while audiences for rap, R&B, and Spanish-language formats grew. The Times originally reported on the trend back in 2005, when program directors and station managers put the blame on changing listener habits and, more pointedly, on the music itself. The extinction of rock radio has been a nationwide epidemic dating back to the mid-'00s, when stations in former rock strongholds like Chicago, Philadelphia, Baltimore, and Seattle began slowly filtering new and emerging bands out of their playlists - or changing formats altogether.
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The change at WEMP was, in a sense, old news. Now the ignoble death of rock radio in the city had been reduced to a matter of administrative paper-shuffling in a dispassionate web post.
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Rock radio in the city had been dealt a blow like Hiroshima had a bad day with a loud explosion.Īt one time, New York City had been the unofficial capital of rock and roll, the place where the Beatles traveled to appear on Ed Sullivan and infiltrate an entire nation's TV sets where wannabe arena rock bands received their coronation by filling Madison Square Garden where Bob Dylan and the Brill Building were nurtured and Lou Reed, the New York Dolls, and the Ramones were birthed. It would now be virtually impossible to hear bands under the age of 40 over the airwaves in the nation's largest media market. Given the news, "dealt a blow" was a pretty massive understatement: WEMP, the city's last radio station dedicated to playing contemporary rock music, was to begin simulcasting the AM sports talk station WFAN. "Once again, rock radio has been dealt a blow in New York." So begins a 290-word item that appeared October 9, 2012, on the New York Times's Media Decoder blog. That's where we dig deep." -Linkin Park singer Chester Bennington, 2001, in Rolling Stone "In between the letters of the word fuck - that's where we go. rock radio station KROQ, 2005, in the New York Times Or you have the other extreme, dumb rock, red-state rock that the cool kids just flat out aren't into." -Kevin Weatherly of L.A. You have stations that are too cool, that move too quickly and are only playing the coolest music, which doesn't at the end of the day attract enough of the audience. The format in the last couple of years has gone through an identity crisis. The Winners’ History of Rock and Roll, Part 6: Linkin Park
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