The Spring 2016 Numeris (formerly BBM) Survey of CBC Radio Market Share

This is our eleventh review of CBC Radio's market share since the CBC decided to restructure the programming of CBC Radio Two. Previous surveys can be seen in the sidebar to the right.

This review summarizes the radio audience of CBC Radio Two stations in major cities, as surveyed by Numeris (formerly the Bureau of Broadcast Mesaurement). It compares the audience of CBC Radio Two stations both before and after the CBC restructured the programming of Radio Two.

The premise is simple. If the restructuring was successful, the audience would have increased. If unsuccessful, the audience would have decreased.

We note that the audience for radio is declining. Even so, if the audience for CBC Radio Two decreased more than the general radio audience, then the restructuring was unsuccessful.

The results of these reviews have consistently shown that the audience for CBC Radio Two stations in the cities surveyed by Numeris declined following the Radio Two programming changes. An impartial observer would therefore have to conclude that the programming restructuring was, and continues to be, a resounding failure. Yet the CBC apparently refuses to recognize this.

A summary of the findings: the overall radio audience declined by 22.3% while the audience for CBC Radio Two declined by 35.4% since the initial survey in 2007.

A graph of the CBC Radio One and Radio Two audience in Vancouver.

Calgary:

Edmonton:

Winnipeg:

Toronto:

Ottawa:

Montreal:

The results are clear. The CBC Radio Two programming changes have been a spectacular failure, in spite of repeated protestations from CBC management that the new programming would "find it's audience". The audience was never found, and listeners have abandoned CBC Radio in droves.

Jurgen Gothe, former host of "Disc Drive", dead at the age of 71

Jurgen Gothe was the comfortable, quirky host of CBC’s DiscDrive

ROD MICKLEBURGH

Special to The Globe and Mail

Published Wednesday, Apr. 22 2015, 8:17 PM EDT

Last updated Thursday, Apr. 23 2015, 2:04 PM EDT

There were the cats, the Willis Point Fire Department, much Mozart, and there was Jurgen Gothe, the comfortable, conversational host of an eclectic mix of music and often-quirky chat that made him an unlikely national figure and his show DiscDrive a long-running institution on CBC Stereo (which became Radio 2).

For three hours each weekday afternoon, from “scenic, subterranean Studio 20” in the depths of CBC’s concrete bunker of a building in Vancouver, Mr. Gothe’s mellifluous voice would coax commuters home and soothe their jangled nerves, while charming those at home. He was helped by musical selections that went well beyond classical to dip into jazz, pop, New Age, bluegrass and, on occasion, obscure, side-splitting cuts such as Don’t Fence Me In, rendered by a pair of cowboy-hatted East Germans named Hein & Oss.

But it was really Mr. Gothe who made DiscDrive what it was.

Launched in 1985, at a time when classical music at CBC was serious business, the preserve of announcers intoning gravely about rondos and sonatas in E major, DiscDrive was revolutionary. Mr. Gothe chatted convivially about the music and anything else that popped into his active mind. He seemed engaged, hip to the world outside, someone you might want to share a glass of wine with. And Mr. Gothe did know his wine.

His personable, knowledgeable columns on food and particularly wine were regular features of numerous newspapers and magazines for years. For someone who projected such an urbane, laid-back persona over the air, Mr. Gothe had tremendous energy. He ran a corporate communications business, wrote books, cooked up a storm, pounded out columns, and dabbled in unpublished, trashy mystery novels. He also penned a Monty Pythonesque, six-part radio series about the adventures of a fictitious Mozart named Wolfie Amadeus and a cast of characters hanging out at a pub in Vienna known as The Dog and Trombone. It remains a much-loved cult classic.

But what rocketed him to cross-country prominence was DiscDrive. With half a million regular listeners across the country, the program soon had the highest ratings of any radio show on CBC’s FM network. In Vancouver, DiscDrive topped most private AM offerings, too. It dominated Canada’s FM airways until 2008, when CBC brass abruptly cancelled the show after 23 years, as part of the network’s controversial makeover to attract a younger demographic.

Mr. Gothe, who died of cancer on April 9, a few days after turning 71, was an unlikely choice to front a show on CBC. A high school dropout, he had spent much of his working life in private radio on the advertising side, where his talent for writing clear, sometimes funny commercials brought him steady employment. He had made only sporadic appearances on air, reviewing wines and cultural events. One of his reviews nearly sparked a riot at Vancouver’s Schnitzel House, which sponsored the arts roundup. When Mr. Gothe panned the film Battle of Britain and the bomber jackets worn by a number of RAF veterans who had attended the movie premiere, the flyboys took offence. They went down to the Schnitzel House, threatening to dismantle the German restaurant’s furniture, before peace was eventually reached .

Meanwhile, Mr. Gothe had been acquiring an encyclopaedic knowledge of recordings, cramming his living space with thousands of albums. He first got his foot in the door at CBC in 1984, contracted to host Front Row, a straightforward Sunday afternoon concert series. A year later, CBC producer Tom Deacon was looking for someone with the gift of intelligent gab to preside over an innovative new FM show based in Vancouver, aimed at a drive-home audience with little interest in long symphonies. The aim was to relax FM’s traditional format and make highbrow music more accessible. Hired after a brief audition, Mr. Gothe made the show his own. “It needed a certain personality to carry it off, and Jurgen was the right man for the job from the get-go,” long-time producer Janet Lea said.

To the consternation of CBC producers in Toronto, Mr. Gothe worked without a script. He told stories, not all of which were true. He interjected whimsy on the fly, imagining at one point a Vivaldi Works factory churning out Vivaldi pieces by assembly line. The credits at the end of the week regularly included a nod by Mr. Gothe to the Willis Point Fire Department, a volunteer brigade for the small enclave outside Victoria where he used to live.

And there was his succession of cats. Mr. Gothe talked frequently about them on air. There was Quincy, after whom he named his consulting company. There was Fred. When Fred died, Mr. Gothe commissioned a commemorative piece from Seattle composer Alan Hovhaness, titled Fred the Cat Flies to Heaven. But most of all, there was Herbie. He became such a part of DiscDrive that its annual list of best recordings were known as the Herbie Awards. On Herbie’s death, the final hour of the show was turned over to music the dead cat might have appreciated.

The abundance of chatty hosts on CBC Radio’s FM network today owes much to the trailblazing of Mr. Gothe and DiscDrive. Before that, said CBC personality Shelagh Rogers, “most CBC music shows were good for you, like All-Bran. With Jurgen, there was fun. Deep fun.” But DiscDrive was not A Prairie Home Companion. It was still a show of satisfying music, which was not always to Mr. Gothe’s own liking. Once, after listening to Andrea Bocelli perform his hit Con te partiro, Mr. Gothe moved in close to the mike and observed: “Ahh, the wonderful sound of money.”

Mr. Gothe was highly regarded south of the border. Many NPR stations picked up DiscDrive, and he won the Gold Medal at the New York International Radio Festival an unprecedented three times as best network radio personality.

Mr. Gothe was born in Berlin on April 4, 1944, or 4-4-44 as he liked to tell people. The elder of two children born to Charlotte and Walter, a baker who survived a stint as a medic on the Russian Front, he grew up in a city devastated by bombing and postwar hardships. But it was there that young Jurgen first experienced radio, performing as a child actor and singer on a Berlin kids show on an American-financed station in the divided city. Seeking a better life, the Gothes moved to Canada in 1954.

They landed in Medicine Hat. Despite the shock of going from urban Berlin to prairie Alberta, Mr. Gothe made the best of his new surroundings. A precocious teenager, he acted in community theatre, set up a basement gathering place called The Ember for the small city’s few young hipsters, and, at 15, wangled a late night, one-hour gig playing jazz records on “the voice of the Gas City,” radio station CHAT. “He was Medicine Hat’s avant-garde man,” former station employee Wayne Craven told the local newspaper. “I didn’t think he’d be in Medicine Hat very long.”

Indeed, Mr. Gothe was bored and restless by the time he hit Grade 10. Figuring he could learn far more on his own, he quit school. After working briefly for the Medicine Hat Brick and Tile Co., he lit out for Manitoba and a series of odd jobs, including pumping gas. By 18, he was in Vancouver, looking for radio work. He was soon hired by CHQM, a popular easy listening station that Time magazine once called “probably the best private radio station in North America.”

Meanwhile, he was building a record collection of classic proportions and becoming a sophisticated, self-taught connoisseur of wine and food. He loved celebrating good wines, while purposefully puncturing the snobbery that often shrouded the wine world. His final wine column, written last August for The Georgia Straight, was a typical ratings roundup of decent wines under $20 a bottle. “Ordinary people don’t taste wine,” he once said. “They drink it.”

Mr. Gothe bounced around several radio stations from Victoria to the Okanagan before making it big at CBC, but mostly, he was at CHQM, working his way from ad writer to music librarian to copy chief. There were also tenures at various ad agencies around town. Mr. Gothe’s talent and creative, offbeat way of looking at the world never left him short of employment.

At home, Mr. Gothe liked to throw dinner parties, usually doing all the cooking and washing up himself. An early fan of Monty Python, he invited the wacky troupe to his house on their first trip to Vancouver for a memorable all-nighter.

Mr. Gothe had several long-term relationships, including a marriage to fashion designer Marilyn Janis that ended in divorce, before meeting Victoria photographer Kate Williams on a blind date. They married a year later, in 1991.

Known for his private reserve, Mr. Gothe was caught off guard by the long-running public spotlight that came with the success of DiscDrive. Yet he came to enjoy his interaction with audiences when the show toured across the country and occasionally south of the border, talking affably to thrilled listeners between cuts of music.

Throughout most of DiscDrive’s lengthy run, Mr. Gothe would grouse to close friends that he would do one more year then retire to the Gulf Islands and write mysteries. But when the end came after 23 years, he was bitter at being cut loose so close to the show’s 25th anniversary. He agreed to do a one-hour Sunday afternoon program called Farrago, featuring his favourite CDs. It lasted but a year. “Nobody’s heart was in it,” Ms. Lea said.

After leaving the CBC, Mr. Gothe kept busy parlaying his extensive epicurean experiences into teaching, consulting, judging and just plain tasting of the wine and food he enjoyed so much. Few mourned his passing more than those in the now celebrated B.C. wine industry. Mr. Gothe had supported and encouraged the industry from its early days, when tasting many B.C. wines was considered, in the words of fellow oenophile Anthony Gismondi, “a painful experience.”

Mr. Gothe was an original throughout his life, said former CHQM executive Lyndon Grove, who had watched him mature from an 18-year-old hopeful to the gifted force he became. “He always had this great sense of confidence,” Mr. Grove said. “He was just there, ready for the world to catch up.”

Mr. Gothe leaves his wife, Kate; stepdaughter, Colette; brother, Peter; nephew, Jordan; and niece, Kelsey.

"Taking Responsibility" - the Spring 2012 CBC Radio Two audience survey

One of the popular buzz-phrases these days seems to be “take responsibility”. People are being urged to “take responsibility” for their actions, or are stepping up to “take responsibility” for what they’ve done, even when it seems there is no need to do so.

For example, Jared Connaughton, the member of the Canadian 4 x 100 metre relay team who caused the Canadian team to be disqualified, was quoted as saying “he had to step up and take responsibility” for the disqualification. Teammates were quoted as praising Mr. Connaughton for stepping up and “taking responsibility” for the disqualification.

Why was it necessary for Mr. Connaughton to “take responsibility”? It was an accident. I very much doubt that he deliberately stepped on a lane line to disqualify the team. Stuff happens. There was no need to “take responsibility”.

Michael Bryant, the former Attorney-General for Ontario who was involved in the accidental death of Darcy Allen Sheppard, recently appeared on “The Current” on CBC Radio One. Listeners subsequently castigated Mr. Bryant for not “taking responsibility” for his actions. What actions? He attempted to flee from an individual who was attacking him and, in doing so, Mr. Sheppard died. There was no evidence that Mr. Bryant acted in a deliberate manner to harm Mr. Sheppard. It was an accident. What does it mean for Mr. Bryant to “take responsibility” for an accident?

I’m sure pundits, critics and media commentators will be urging Lance Armstrong to “take responsibility” for his alleged doping infractions. But Mr. Armstrong denies the allegations. What should he be “taking responsibility” for?

It’s one thing to be told to “take responsibility” for something that you didn’t do, had no intention of doing or was an accident, and quite another thing to “take responsibility” for something that you knowingly, deliberately did.

Which brings us to the CBC and the latest BBM radio survey data. When will someone from the CBC step up to the plate, belly up to the bar, [insert favourite saying here] and “take responsibility” for the CBC Radio Two restructuring fiasco?

Without further ado, here is the table summarizing the decline in the CBC Radio Two listening audience since the CBC embarked on their audacious plan to “restructure” Radio Two. As can be seen from the table, the audience for CBC Radio Two has been decimated in Montreal, Toronto, Vancouver, Calgary and Edmonton since the restructuring effort was initiated. Anyone willing to “take responsibility” for this fiasco?

To mark the fifth anniversary of the death of Radio Two

I unfortunately let several anniversaries slip by the notice of this blog. The first was the fifth anniversary of the beginning of the end of the old CBC Radio Two. This was, of course, March 19. It was on this date in 2007 that the CBC launched their stealth attack against the CBC Radio Two listening audience by cutting “The World at Six” from its 6:00 PM time slot, cancelling Danielle Charbonneau and the much-loved “Music for a While” and replacing “In Performance” with Eric Friesen with the reviled “Canada Live”. Oh yes, I forgot to mention: “Two New Hours”, “Brave New Waves” and “Northern Lights” were also cancelled. But it is easy to overlook these changes in the general slaughter that took place.


Of course, that was just the beginning. Even more drastic changes to the programming schedule were about to take place, commencing in September 2007 and finally being completed in September 2008. But for many of us, March 19 2007 was the day that the music died on CBC Radio Two.


So I thought it would be fun to mark the fifth anniversary of this blog by listing here all of the letters and correspondence that I sent to various individuals (and in some cases, the replies I received) during the course of my five-year protest against the changes that were made to CBC Radio Two. For those of you who have just discovered this blog, it’s an easy way to catch up on what has happened during the last five years. For those of you who have been following along, it’s a handy summary of what has taken place in the past five years.


The list is in the format of links to previous blog entries. Here goes:


Post to Jowi Taylor’s Blog, March 21 2007


Letter to Tell Us What You Think, March 24 2007


Letter to Jennifer McGuire, Executive Director of Programming and Jane Chalmers, Vice-President of CBC Radio


Letter to Robert Rabinovich, President and CEO of the CBC


Letter to Gary Schellenberger, Chair of the House Standing Committee on Canadian Heritage


Letter to Bev Oda, Minister of Heritage


Response from the office of the Minister of Heritage


Response from Jennifer McGuire, Executive Director of Programming


A second letter to Jennifer McGuire, Executive Director of Programming


A second response from the office of the Minister of Heritage


A second response from Jennifer McGuire, Executive Director of Programming


Letters to the members of the House Standing Committee on Canadian Heritage


Open letters to the candidates in Carleton-Mississippi Mills during the 2008 election


Replies from the candidates in Carleton-Mississippi Mills during the 2008 election


Of course, we can’t forget the nation-wide protest that took place on April 11 2008 in response to the disbanding of the CBC Radio Orchestra and the Radio Two changes that were announced at that time:


Scenes from a Protest


Although it wasn't in the form of a letter received from these two individuals, I thought the interview conducted with Mark Steinmetz and Chris Boyce (the CBC Radio Director of Music and the CBC Radio Director of Programming, respectively, at the time of the interview) was interesting for what it revealed about the CBC:


Interview with Mark Steinmetz and Chris Boyce

In a subsequent post I’ll attempt to answer the question “Where are they now”, to track the careers of some of the major players in the CBC Radio Two restructuring debacle.

Will Kirstine Stewart save the CBC? - Globe and Mail, July 29 2011

This article appeared in the July 29th edition of the Globe and Mail. The decline in market share for CBC Radio 2 is mentioned, almost as an aside. Clearly, radio is not that important!

Will Kirstine Stewart save the CBC?
Michael Posner
Globe and Mail Update (with correction)
Published Friday, Jul. 29, 2011 7:08PM EDT

Some years ago, a young Canadian television sales executive found herself at a trade market in Hong Kong. At an industry party, she and a colleague decided to visit a fortune teller.

The colleague, Isme Bennie, was told that she would soon confront several major transitions in her life, including moving house. The predictions all proved accurate.

And the young exec? Kirstine Layfield (now known by her maiden name Stewart) was told that she would one day become prime minister of Canada. That, needless to say, hasn't happened – yet.

What Ms. Stewart has become is executive vice-president of the CBC's English services. Arguably the most powerful job in Canadian broadcasting, it has never before been held by a woman. Not only is it the most powerful, it is, without doubt, the most daunting job. As the CBC prepares to celebrate its 75th anniversary this fall, it may be approaching a historic crossroads.

“The best she can do is keep the CBC in the game,” one CBC insider says.

Ms. Stewart remains optimistic. “Everyone is engaged by the same questions,” she allows in a recent interview. “It's a big brain challenge. But there's real opportunity here, to remake the modern public broadcaster and keep it relevant.”

The eldest daughter of British immigrants to Canada, Ms. Stewart, just 42, has a degree in English literature from the University of Toronto. With her former husband, teacher Ken Layfield, she has two daughters, Brigitte and AnnaLise. After each birth, she returned to work within six weeks, while her husband took paternity leave. “I wouldn't necessarily recommend it,” she once explained, “but it was what I needed to do to keep doing what I was doing.”

The marriage effectively ended several years ago. Earlier this year, she became engaged to Zaib Shaikh, star of Little Mosque on the Prairie. She says a wedding date has not been announced – a polite way of saying she does not want to discuss her private life.
Since winning the job last year, her first order of work seems to have been housecleaning. In the past year, the heads of CBC drama (Sally Catto), sports (Scott Moore), digital (Steve Billinger) and radio (Denise Donlon) have all departed.

“What we've done is take out a layer of management,” Ms. Stewart explains. “There were multiple levels reporting to me and we wanted to flatten that out.”

Ms. Stewart's conversation tends to sound like that. Outwardly cool, if not icy, she has clearly mastered the vocabulary of modern corporatese, all those “bottom lines” that, “at the end of the day,” will allow us to “move the yardsticks.”

But Isme Bennie, who hired her as a receptionist in 1988 at Paragon Entertainment, straight out of university, cautions against any impulse to underestimate Ms. Stewart. “Kirstine started by answering our phones and left as president of distribution,” she says. “She is smart and resourceful. She takes initiative.”

At the CBC, Ms. Stewart succeeded Richard Stursberg, a brilliant Machiavellian who had been, in roughly equal measure, feared, respected and loathed.

Mr. Stursberg departed suddenly last August, after CBC president Hubert Lacroix, the public broadcaster's government-appointed and largely invisible power behind the throne, grew weary of his gamesmanship. Mr. Lacroix nurses an ambitious agenda, which is to reshape the corporation for the 21st century. Rightly or wrongly, he decided Mr. Stursberg was not the person to realize that agenda.
Enter Ms. Stewart, then head of network programming. Before joining the CBC in 2006, she had earned her spurs as a VP at Alliance Atlantis (overseeing eight channels), Hallmark Entertainment (managing a budget of $300-million (U.S.) and a staff of 750), and Trio, a now-defunct U.S. channel.

Under Mr. Stursberg, she scored largely with reality shows, although one gamble – a simulcast with ABC's The One: Making a Music Star, hosted by Mr. Stroumboulopoulos – backfired. The show was cancelled after two weeks.

Critics, among them Ian Morrison, spokesman for Friends of Canadian Broadcasting, also complain that the CBC's ratings gain has been built on the back of cheap, lowbrow American imports, such as Wheel of Fortune and Jeopardy.

Yet the ad revenue generated by these game shows, Ms. Stewart argues, helped the CBC underwrite five other shows that yielded million-plus audiences – Battle of the Blades, Dragons' Den, Rick Mercer Report, Republic of Doyle and Heartland. As part of its effort to Canadianize its prime-time schedule, Ms. Stewart has promised to cancel the game shows next year.

As things stand, the CBC's numbers are doing well – BBM Canada surveys indicate it has vaulted past Global in prime time. “The jump in ratings was all Kirstine's doing,” a former CBC senior executive says. “She's a very smart programmer. Richard … listened to her.”

Those who monitor the CBC's often Byzantine politics think that Mr. Lacroix has followed a time-honoured tradition in cultural institutions – choosing a leader distinctly different than the one being succeeded. “Hubert did not want another Richard,” says an industry executive close to the corporation. “Kirstine is a safer pair of hands, and will dutifully and efficiently carry out the mandate.”

Howard Bernstein, a former TV producer who has worked for the CBC and other broadcasters, is highly critical of the corporation's leadership. In a recent post on his media criticism blog, he wrote, “Today, in the post-Stursberg CBC the Stursberg philosophy lives on: go light, get numbers, avoid depth and at all costs don't allow serious culture anywhere near the lineup. …”

He also writes, “Kirstine Stewart, once Stursberg's leading yes woman, is surprise, surprise carrying on as if Stursberg were still telling her what is what.”

Any suggestion that she might be “Sturs lite” makes Ms. Stewart bristle. “I'm surprised by that association,” she says. “Richard had a huge beneficial effect on the CBC, in terms of processes. But people are looking for programming leadership. That's where I come from. The future is about content.”

And in a follow-up e-mail, she adds, “The label ‘lite' is one I've seen levied too often at female execs to now let pass by without comment. … It's an awfully convenient way to put someone, in this case me … in a box. It trivializes and makes diminutive the goals I have for the CBC and for this role … I won't be a copy of anyone, lite or otherwise.”

The challenges Ms. Stewart faces are also far from trivial. In a world run amok with television choice, she must simultaneously maintain the CBC's thin market share, stay competitive in the increasingly vital digital sphere, strengthen ties to the regions, reflect the fast-changing Canadian demographic while fulfilling its triple-barrelled legislated mandate – “to inform, enlighten and entertain.”

And that's just the big picture.

Critics, such as The Globe and Mail's own John Doyle, have noted that while prime-time TV ratings have soared, the once-thriving oasis of serious arts and culture programming has become a wasteland; audiences have evaporated. In news and current affairs, which has borne a disproportionate burden of budget cuts, morale is moribund. And Radio 2's ratings have collapsed, since abandoning its largely classical music format in 2007.

Then there is Hockey Night in Canada – the CBC's most popular show (accounting for 30 per cent of its audience) and its single most powerful engine of advertising revenue. The broadcaster's contract to cover the National Hockey League expires in June, 2014. A bidding war for rights is inevitable, one the cash-strapped corporation will be hard-pressed to win, without allies.

Looming over it all is Stephen Harper's Damoclean sword. The Conservative government may act on its ideologically driven impulse to destroy public broadcasting by slashing the CBC's annual $1.1-billion appropriation. (It earns an additional $700-million from advertising and other revenue.)

Meanwhile, the corporation's fundamental dilemma remains: To the extent that the CBC must justify its federal subsidies and attract advertisers, it must be populist. But to the extent that it is populist, it risks becoming a clone of commercial broadcasters, and forfeits its signature identity as Canada's cultural lodestone.
Until she seeks political office, as her fortune teller predicted, it will be Kirstine Stewart's burden to find a balance for an organization whose own future prospects appear less auspicious.

Michael Posner is a Globe and Mail feature writer.
Editor's Note: Kirstine Stewart, executive vice-president of the CBC’s English services, has not dated George Stroumboulopoulos. The original newspaper version and an earlier online version of this article have been corrected.

Four years later, and what have we learned?

It has been over four years since the CBC implemented the first phase of the restructuring of CBC Radio Two and four years since we began this blog. What have we learned during that time?

I doubt that the CBC has learned very much from this experiment or taken the experience to heart. I’ll try to state some of the more obvious points that I believe the CBC should have learned.

First of all, listen to your customers. This is a basic point that is taught in business schools, preached by management consultants and ignored to the detriment of corporations. Bitter experience has taught most corporations – the ones that survive, at least – that a corporation ignores the opinions of its loyal customers at its own peril. I’ve referred to the example of New Coke as the classic (no pun intended) example of a company misreading the tastes of its customers. Corporations have learned this lesson many times over since then.

Not so the CBC. When the CBC Radio Two restructuring was announced there was a storm of protest. Letters were written to the newspapers, petitions written (including mine), web sites started (including this one), FaceBook groups begun. Protests were held on the streets of major Canadian cities in support of the “old” CBC Radio Two. Hearings were held in Parliament. All was for naught. The CBC did not change its course. The CBC stubbornly stuck to its guns in spite of impassioned pleas from its audience.

And what was the result? The audience for CBC Radio Two has been decimated. In Vancouver, the audience for CBC Radio Two has fallen 61.7% from its pre-restructuring levels, while the total radio listening audience in Vancouver has fallen only 24.1%. An audience decline such as this is nothing short of astounding. The same is true for the other major cities for which we have recent audience data: Montreal, down 44.1%, Toronto, down 44.2%, Calgary, down 59.8% and Edmonton, down 40%. The only bright spots for the CBC seems to be Winnipeg and Ottawa, for which we have no recent data. We await the spring radio diary data for recent audience data for these cities. Results such as these are the raw material for future business school cases.

The second point is that the public broadcaster exists to offer an alternative to commercial radio stations. A public broadcaster that does nothing more than offer a pale alternative to commercial radio is in danger of having its funding cut. A declining audience certainly doesn’t help.

What is to become of the CBC? I expect that it will muddle along, becoming increasingly irrelevant. There will be ever-more persistent attempts to cut its budget. CBC executives will continue to plead the case for a public broadcaster before Parliamentary committees. The public will become increasingly indifferent to the plight of the CBC, having been driven away by the dictatorial decisions of CBC management. Eventually the CBC will fade away, existing only as archived shows on .mp3 files on iPods, iPads and iPhones, as a new audience discovers the glory of what once was a revered Canadian institution.

Radio 2 Cummings and goings

While in Toronto today I tuned into CBC Radio 2 – for about fifteen minutes, which was all that I could take. I heard the last fifteen minutes of Radio 2 Morning with Bob Mackowycz, during which I heard a song performed by Buffalo Springfield (Buffalo Springfield!) and someone named, I believe, Virginia Gore.

The song performed by Buffalo Springfield was "For what it's worth" by Stephen Stills. (“stop, hey, what’s that sound, everybody look what's going down”) and I was immediately transported back to the late 60’s, at least for several minutes. I remember the sixties, likely because I was too young to be doing drugs at the time, thus disproving the saying that if you remember the sixties, you probably weren't there. Or was that Woodstock? Perhaps both. I mention this not out of nostalgia for the 60s, however, but because I have to wonder: how does playing a song from the 60s that you can hear on any JACK FM or similarly derivative station make CBC Radio 2 more relevant to Canadians?

I thought the song by Virginia Gore was by Feist, but it wasn’t. Have you noticed that there is now a new generation of female singer/songwriters who sound like Feist, who in turn seems to have been influenced by Bjork? Just something that I’ve noticed.

Radio 2 Morning ended and I was pleased to hear that Joe Cummings is now reading the news. I was afraid that Mr. Cummings had been unceremoniously dumped from the CBC after the Arts Report was canned. Good to see you’re still there, Mr. Cummings!

I began to wonder what happened to Tom Allen. I searched the CBC web site and found that Mr. Allen is, according to the CBC web site, hosting either “Radio 2 Shift” (where he is the host) or “Shift with Tom Allen” (where he is apparently the anchor). Both programs seem to occupy the same time slot. Whichever it is, I’m happy to see that Mr. Allen is still with the CBC.

So then I looked up Mr. Cummings on the CBC web site. Apparently Mr. Cummings is the host of the “Arts Report”, which according to the CBC “provides CBC Radio Two listeners with up-to-the-minute coverage of the arts in Canada and abroad”. Who knew?

The web site goes on to say that:

With contributions from arts reporters in major centres across Canada as well as from freelancers abroad, The Arts Report covers everything from cultural politics on Parliament Hill to a new art exhibit in Vancouver to a play première in Halifax.

During its 23-year history, listeners have come to rely on The Arts Report to provide a broad-based, regionally balanced account of artistic life in Canada.

In 1993, The Arts Report won the Imperial Oil Award for Excellence in Arts Journalism, presented by the Canadian Conference of the Arts.

It would be nice if it were true, wouldn’t it?

How have you adapted to the demise of CBC Radio 2?

How have you adapted to the demise of CBC Radio 2?

For many long-time listeners CBC Radio 2 was an integral part of their lives. When a part of your life is taken away from you, you have to adapt. Generally, you find a substitute for what has been taken away. If Coke is not available, you drink Pepsi. If Pepsi is not available, you might drink a no-name Cola. There are usually substitutes for most products or services.

Not so for Classical music radio stations. In the case of classical radio, CBC Radio 2 was the only game in town in most Canadian cities. I wrote one of my early blog entries on this subject on May 4 2007. What do you do without a source of classical music? Some readers suggested playing CDs. Others suggested listening to your iPod. I discovered other radio stations in the Ottawa/Gatineau area but I eventually found each of these wanting.

I soon discovered the pleasures of Sirius Satellite radio and wrote about it in a blog entry on Nov. 24 2008. It took some time, but I eventually developed my Sirius Satellite radio installation to be an acceptable substitute for CBC Radio 2, with the help of a roof-top satellite antenna and a radio repeater installed in the attic. I eventually grew my Sirius Satellite radio installation to three radios: one for the bedroom, one for the kitchen and one roving unit for car. It’s true that you could use a single unit for all three purposes, but I prefer leaving the house units where they are. I’m sure Sirius is happy with this arrangement too.

Even though I was very satisfied with Sirius Satellite radio, I found another source of Classical music: WiFi internet radio. While some may think of internet radio as listening to music streamed over the internet on your PC, in this case “WiFi internet radio” refers to a device which is dedicated to receiving internet streamed music over your home WiFi router. It looks just like an AM/FM radio, except that it connects to the internet and can receive any radio station worldwide which streams its programming over the internet. The internet radio also has an FM tuner and can play MP3 files, but I use it for internet radio only.

I soon had some favourite stations, which I described in a post on Jan. 16 2009. Ottava from Japan, Radio Stephensdom from Austria, Bayern 4 Klassik from Germany, Concert FM from New Zealand and ABC Classics from Australia. I must admit, I even broke my self-imposed ban on all things CBC by listening to CBC Radio Classical. I began to narrow my listening to just a few stations. Ottava was interesting at first, but I found there are long periods of spoken introduction to each piece. Unless you are a student of Japanese and are practising your verbal comprehension of Japanese, it starts to become tedious.

The same is true of Radio Stephensdom and Bayern 4 Klassik. At first I enjoyed listening to the news and trying to follow the broadcast using my extremely limited knowledge of German. But I don’t know enough to follow, and the spoken broadcasts became less interesting.

Concert FM from New Zealand and ABC Classics were interesting to listen to too. It was refreshing to hear news from the other side of the world, and to hear the weather forecasts for cities in Australia during the depths of the Canadian winter. (I learned that broadcasters in Australia will use the term “and fine” to refer to, I assume, sunny weather; for example, “The forecast for Brisbane today is 34 degrees and fine.”) I still listen to ABC Classics from time to time.

As I note above, I broke my self-imposed boycott of all things CBC Radio by listening to CBC Radio Classical. I eventually realized, however, that this is the white bread of radio broadcasting. It has no character, no context, nothing but the same top-40 classical hits streamed over the internet. It’s not radio; it’s Muzak for classical listeners. The periodic interjection of “This is so-and so and you are listening to CBC Radio 2 Classical” became annoying in the extreme. Even so, I continued to listen to CBC Radio Classical until, not surprisingly, my internet radio would no longer connect to the site. Can’t the CBC get even this right?

So what am I listening to now? When I’m in Toronto, I listen to 96.3 FM, CFMZ FM, Moses Znaimer’s classical music station. When I’m at the cottage, I listen to CFMZ. And I recently found that I can tune into CFMZ over my internet radio when I’m in Ottawa. So we listen to CFMZ.

It’s true, the announcers on CFMZ can be a bit irritating at times – I won’t name names – and the commercials can be even more annoying. But I find it comforting to hear Robert Upward’s traffic reports for Toronto, even when I’m in Ottawa and they’re of no use to me. Jean Stilwell has the sexiest voice in perhaps all of Canadian broadcasting and I would tune in to her program just to hear her read names from the telephone book. Even some of the commercials become part of the fabric of your life.

Which brings me to the point that I have been leading up to all along, in a somewhat long-winded and round-about manner: radio is all about ambience, context and connections. We listen to radio stations because we have some connection to the announcers and programming that is meaningful to us in a context that is familiar or because we have developed such a connection over time. The programming and announcers become part of our own history and the daily fabric of our lives, whether it is listening to Joe Cummings and the Arts Report and Tom Allen’s ‘Cage Match’ while you are shaving in the morning, Howard Dyck and Choral Concert while preparing breakfast on Sunday morning, Jurgen Gothe talking about the cats while you are driving home in the evening, Robert Upward reading the traffic report and telling us about the congestion on the DVP, Jean Stilwell laughing her husky laugh while you are drinking your second coffee of the morning or Danielle Charbonneau (the previous holder of the 'Sexiest Voice in Canadian Broadcasting' title) while you are drinking your pre-dinner drink. Radio is all about context, ambience and connection with your day-to-day life.

Overseas radio stations can be enjoyable but it’s much more difficult to make a connection to a foreign broadcaster or foreign country that makes the station integral to your life. CBC Radio 2 Classical is just too bland to ever make a meaningful connection. The new CBC Radio 2 is too variable, too unpredictable and too annoying to ever make that connection, at least with me. The old CBC Radio 2 had those connections but broke them forever for many listeners. This is what the management of the CBC has failed to understand and what has led them to make some disastrous decisions, in my opinion.

Latest CBC Radio 2 survey data: the "S9 2010" results

Two years have now passed since the CBC completed their restructuring of the CBC Radio 2 programming.

As you may recall, the first phase of the changes to the CBC Radio 2 programming occurred in March 2007. The last survey of the CBC Radio 2 audience listening to the “old” programming conducted by the Bureau of Broadcast Measurement was, in the BBM’s terminology, S1 2007. The most recent survey available on the BBMs web site covers the period from July 26 – October 24 2010 and includes data for Montreal, Toronto, Calgary, Edmonton and Vancouver and is based on data compiled using the Portable People Meter, or PPM. Radio audience survey data for Winnipeg and Ottawa is based on data compiled using diary data and so is not available for this period, the last survey period for these markets covering the period March 1 – April 25 2010. I term the period from March 1 – April 25 2010 “S4 2010”, to be consistent with prior survey naming, but it should be noted that the BBM does not use this term.

Anyone interested in the success or failure of the new programming on CBC Radio 2 can therefore compare the current audience for CBC Radio 2 with the audience for the “old” Classical format. Since the goal of the restructuring of the CBC Radio 2 programming was apparently to increase the total audience, we would expect that the CBC Radio 2 audience has increased in the major markets surveyed by the BBM. At the time of the programming changes, the management of the CBC admitted that they were going to alienate many loyal listeners, but contended that they would gain additional listeners and would therefore increase the total audience for CBC Radio 2. So what actually happened?

As readers of previous entries to this blog are no doubt aware, the audience for CBC Radio 2 has plummeted. Changes in the survey methodology from diary data to the PPM data are no doubt one factor, but the decline in the CBC Radio 2 audience was evident even before the changeover to the PPM measurements. The audience has declined 41.4% in Montreal, 39.4% in Toronto, 67.1% in Vancouver, 56.3% in Calgary and 45.2% in Edmonton. This is a decline in market share of almost unheard of proportions. The charts below summarize the results for S9 2010. Note that the last survey for which full market data is available is S4 2010, which included data for Ottawa and Winnipeg.

While it is true that the total radio audience has declined in each of these markets, with the exception of Montreal English broadcasting stations, the decline in Radio 2's audience has been much more dramatic.

Many former listeners of CBC Radio 2 will not be surprised by this. You may recall that listeners protested the changes in most large Canadian cities in April 2008. There was a public outcry when the extent of the CBC’s plans were revealed to the Canadian public. Although the audience was vociferous in their condemnation of the CBC’s plans for the new programming, the CBC management proceeded with the restructuring in the face of overwhelming public opposition.

Consider how other corporations have implemented change and how they have reacted when their customers reacted negatively to such change. The most well-known example of a marketing debacle is, of course, the introduction of “New Coke” in the late eighties. For those few who may not know the story: Coke attempted to increase the market share for Coca-Cola by introducing a new formula for Coke that they dubbed “New Coke.” Their customers were outraged. New Coke sales plummeted. Coca-Cola relented and reintroduced “Coke Classic” to placate their customers, offering both “New Coke” and “Coke Classic”. Sales recovered and “New Coke” was quietly retired by an abashed Coca-Cola corporation.

Consider a more recent example. The Gap recently decided to change their logo. Their logo! Customers were outraged and protested. The Gap, having learned something during the past twenty years from other corporate missteps, quickly retreated, admitted their mistake and reinstated their old logo. Note that nothing apparently had changed with respect to the merchandise, shopping experience or pricing. The only thing that was altered was the logo! Yet the management of The Gap was quick to realize that they had made a mistake and recovered from the mistake in order to keep their customers happy.

Not so the management of the CBC. Not only did they ignore the public outcry that greeted the initial announcement of the restructuring of the CBC, but have apparently been oblivious to the declining audience of CBC Radio 2, judging by the lack of public statements to their shareholders, the taxpayers of Canada.

You can’t get away with stuff like this if you are a company operating in a competitive environment. If you’re a corporation that lives off the public purse, apparently you can.

Globe and Mail readers react to the departure of Mr. Stursberg

From the August 9 edition of the Globe and Mail:

For devotees of CBC Radio 2’s intelligent, mature presentation of serious classical music programming on offer before his arrival and subsequent reckless drive for popularization, Richard Stursberg’s departure is unimaginably sweet music to our ears (Top CBC Executive Leaves Broadcaster – Aug. 7).

Clifford Garrard, Ottawa

As a former dedicated CBC Radio 2 listener, the sudden departure of the head of English-language services is good news indeed. Perhaps now there will be a slow and imperceptible move (to preserve reputations) back to quality programs, replacing so many recent mindless ones, and making that nauseating promo spot every half-hour unnecessary.

Malcolm Niblett, Kingston

The importance of the departure of Richard Stursberg as head of CBC’s English-language services and the manifestation of his enduring legacy I can now state in one sentence: “Peter Mansbridge, you may now sit down.”

Bill Casselman, Dunnville, Ont.

The Bushification of CBC Radio Two

I recently decided that the English language needs a word that succinctly describes the case when a corporate manager, leader of a country, religious leader or other zealot assumes control of an organization, country or religious group, makes significant changes to said organization or country and then rides off into the sunset, leaving the organization, country or religious group in significantly worse condition than before.

Since Sarah Palin is busy ‘refudiating’ the policies of those Godless Communists, the Obama administration, I thought I would step in here and offer a term. In honour of George W. Bush, the 43rd President of the United Sates, I offer the term ‘Bushify’.

I thought I was being original. Of course, the term has long since been coined. I see it has already been defined as “To get something very wrong, in any area of life” (unwords.com) and “the act of taking a word that wouldn't normally have "ificate" or "ify" at the end and adding one or both said suffix's’ (urbandictionary.com). However, I think my definition is broader in scope, and certainly more useful.

Consider the origins of the term ‘Bushification’ or “to Bushify’. When George W. Bush assumed office, the U.S. was running a budget surplus, unemployment was at record lows, the U.S. was at peace with the rest of the world and the future seemed bright for the U.S. Of course, we all know what happened. Tax cuts for the wealthy, budget deficits, two wars in the Middle East, a housing bust, a financial system meltdown and record unemployment. Don’t you think that the U.S. was really, truly Bushified during the Bush administration?

On Friday, August 6 2010, the CBC announced that Richard Stursberg, executive vice-president for English language services, was leaving the CBC, effecitve immediately. The announcement included this statement:

“When Richard was appointed executive vice-president of CBC Television six years ago,” said Mr. Lacroix, “he brought with him a revolution that shook the foundation of the organization and eventually of the whole of our English services. He challenged every premise, attacked conventional wisdom, and uprooted whole parts of the internal culture.”

Wouldn’t if have been more succinct to have simply said “Mr. Stursberg thorougly Bushified the CBC during his tenure.”? I find the term “Bushify” to be much more evocotive, and concise, than Mr. Lacroix’s more long-winded statement. (In fairness to Mr. Lacroix, I should also note that he is also quoted as having said “Six years later, the institution is better off than it was. I want to acknowledge his success in turning CBC Television around and thank him for his contribution.” But I think we can all read between the lines of his statement and see the thinly veiled reference to the Bushification of the CBC.)

What other applications can we think of for this term? Stephen Harper’s Conservative minority government has thorougly Bushified Parliament? Stephen Harper and the Conservatives are attempting to Bushify Statistics Canada? The possibilities are endless.

So remember: Bushification, the act of Bushifying an organization or country. You heard it here first.

CBC Radio Two market share - the "Spring 2010" results

After I completed my last entry on this blog analyzing CBC Radio 2’s market share, I tried once again to access the Top Line Radio data on the BBM web site and, lo and behold, I was able to access the site. The “Spring 2010” radio diary data is now available on the BBM site, as well as new PPM survey data for Toronto, Vancouver, Calgary and Edmonton. The “Spring 2010” survey (former the “S2” survey using the BBM’s terminology) covers the period March 1 – April 25. PPM data is available for the periods January 25 – April 25 and for March 1 – May 30 for those cities surveyed using the PPM. (Note: I wrote this blog entry at then end of June, then neglected to post it. The BBM now has data for March 29 - June 27 and for April 26 - July 25 for those markets surveyed by the PPM on their web site. I'll analyze these results in a subsequent blog entry. Sorry about that.)

As I mentioned in my last blog entry, the BBM previously released four surveys per year to the general public, terming these surveys S1, S2, S3 and S4. The surveys relied on listener diary data.

The introduction of the PPM, first in the Montreal market, then in the Vancouver, Toronto, Calgary and Edmonton markets, meant that the survey data no longer aligns precisely with the S1, S2, S3 and S4 periods previously used. To date, there are surveys based on PPM data covering the periods Nov. 28 2009 – Feb. 28 , Dec. 28 2009 – March 28 2010, January 25 – April 25 and for March 1 – May 30. There is a single survey based on diary data. I term the surveys based on PPM data “S1 2010”, “S2 2010”, “S3 2010” and “S4 2010” for consistency with past analyses. It should be noted that the BBM does not use these terms. I am aligning the “Spring 2010” survey with the “S4 2010” survey, for the purposes of comparison with past years. Once again, this is not the BBM’s terminology, but mine.

As you may recall from past blog entries (S2 2010, S4 2009, S3 2009, S1 2009, S3 2008), we are comparing CBC Radio 2’s market share, as measured by the Bureau of Broadcast Measurement in their latest survey, with CBC Radio 2’s market share before the first phase of the program restructuring was implemented in March, 2007. The last BBM survey to measure the CBC Radio 2 audience listening to the “old” programming (i.e. the programming before Phase I of CBC Radio 2’s restructuring was introduced) was, using the BBM’s old terminology, the S2 2007 survey. The latest survey data is taken from the BBM’s web site, at http://www.bbm.ca/, for the major radio markets surveyed by the BBM for S4 2010.

As I mentioned in my last blog entry, the stations included in the BBM surveys have varied from survey to survey. Please see this entry for a discussion of how I have compared the total listening audience for stations surveyed by the BBM between survey periods.

Now, onto the results.

I find the results for the latest survey absolutely astounding. Consider this: while the total listening audience in the major markets surveyed by the BBM has fallen 8.6% compared with S2 2007, the last quarter during which CBC Radio 2 featured the “old” classical format, CBC Radio 2’s audience has fallen a remarkable 40.2%, from a total of 710,800 listeners to 425,400 listeners. Consider the Vancouver audience: the number listening to CBC Radio 2 has fallen by 62.3%. 62.3%! Isn’t that just a stunning reversal of fortune for CBC Radio 2 in the Vancouver market?

While the change to the use of the PPM has been identified by some media commentators as one cause for the change in listener totals, one has to assume that this is only part of the cause. Another reason? I suspect that the radio listening audience is simply abandoning CBC Radio 2, finding the programming too similar, and not as enjoyable, as commercial radio stations.

Given that the CBC management implemented this programming restructuring to broaden the appeal of CBC Radio 2, can we not therefore conclude that this experiment has been a big, fat, resounding failure?

The CBC Radio 2 new programming - success or failure?

Time once again to review how CBC Radio 2’s new programming has fared amongst the listening audience.

As you may recall from past blog entries (S4 2009, S3 2009, S1 2009, S3 2008), we are comparing CBC Radio 2’s market share, as measured by the Bureau of Broadcast Measurement in their latest survey, with CBC Radio 2’s market share before the first phase of the program restructuring was implemented in March 2007. The last BBM survey to measure the CBC Radio 2 audience listening to the “old” programming (i.e. the programming before Phase I of CBC Radio 2’s restructuring was introduced) was, using the BBM’s terminology, the S2 2007 survey. The latest survey data is taken from the BBM’s web site, at http://www.bbm.ca/, for the major radio markets surveyed by the BBM.

Now, here’s where it becomes a bit complicated. The BBM previously released four surveys per year to the general public, terming these surveys S1, S2, S3 and S4. The surveys relied on listener diary data.

The introduction of the PPM (Portable People Meter), first in the Montreal market, then the Toronto, Vancouver, Calgary and Edmonton markets, meant that the survey data no longer aligns precisely with the S1, S2, S3 and S4 periods previously used. As well, the BBM has announced that the “Summer” surveys will no longer be issued for those markets relying upon diary data. So, in this latest blog update, we have only the S4 2009 data for Ottawa and Winnipeg. We have two more recent surveys for each of Montreal, Toronto, Vancouver, Calgary and Edmonton, one covering the period Nov. 28 2009 – Feb. 28 2010 and the second covering Dec. 28 2009 – March 28 2010. I term these surveys “S1 2010” and “S2 2010”, respectively, simply for convenience and consistency with past terminology. It should be noted that the BBM does not use these terms.

Furthermore, the stations included in the BBM surveys have varied from survey to survey. This means that if you are trying to compare the total audience surveyed by the BBM in a major market (Toronto, for example) in S2 2007 to S2 2010 then you have to exclude stations that were included in the S2 2007 survey but not surveyed in the S2 2010 survey. This ensures that you are making a valid comparison when calculating the growth or decline of the total market surveyed. As an example, using the Toronto data again, the S2 2007 survey included CJBC and CJBC FM, but these stations were not included in the S2 2010 survey. So, to compare the total audience surveyed in S2 2010 with S2 2007, I have subtracted the radio audience for CJBC and CJBC FM from the S2 2007 totals to enable a valid comparison of S2 2010 totals with S2 2007 totals.

My analysis of the BBM survey data was delayed by that fact that I haven’t been able to access the BBM web site from any of the personal computers (a total of three) from which I have posted these blog entries. Strange, eh? I had to go my local branch of the public library to download the data. There may in fact be more recent survey data available on the BBM web site, but I haven’t been to my local branch of the public library lately. (Shortly after writing this blog entry, I discovered that I again had access to the BBM web site from my home PCs. So I will follow this blog entry with an analysis of the latest data from the BBM.)

As I mentioned in my previous blog entry, the introduction of the PPM data revealed some dramatic changes in audience for some stations compared to the previous diary data. Some in the media have speculated on the reasons for such disparities and I described some possible causes that have been suggested by media commentators in my previous blog entry. Since these disparities do not seem to be specific to any specific radio stations we can assume that it is a systemic anomaly and we will not let ourselves get sidetracked by this. We’ll assume that the survey data is a correct representation of the market share for any specific station.
What does the data show? Using the S4 2009 data, CBC Radio 2’s audience has fallen 38.4% in those major radio markets surveyed by the BBM since Phase I of the CBC Radio 2 programming changes was implemented. In comparison, the total audience for those major radio markets surveyed by the BBM declined by only 8.5%. Pretty bad results, eh? What about the latest survey data?

The S2 2010 survey data confirms this trend. While the total audience has fallen by 16.8% (using the S4 2009 figures for those cities not surveyed by the BBM in the S2 2010 data), CBC Radio 2’s audience has declined by 49.3% since Phase I of the CBC Radio 2 restructuring was implemented.


As I have noted time and again, the purpose of the CBC Radio 2 programming restructuring was apparently to broaden the appeal of CBC Radio 2, presumably being intended to increase Radio 2 listenership. And yet just the opposite has happened. As a shareholder in the CBC, don’t you think you have a right to see your tax dollars spent in an efficient and productive manner? Don’t you think you have a right to have a say in how the CBC is managed? Don’t you think that the CBC Board of Directors, Standing Committee on Canadian Heritage and Minister of Canadian Heritage have a duty to sit up and take notice that this grand experiment in dictating programming to the Canadian people has been a resounding failure? You would think so, but apparently not.

CBC Radio 2 Overhaul - more cheerleading from the desperate

The following article appeared in the January 11 edition of the National Post. You can read the article on the National Post’s web site here. I’ve also copied the text below in case the link to this article is ever broken, as often happens in the world of the internet.

CBC Radio 2: The mix fix

16 months after CBC’s overhaul of Radio 2, it’s like the all-classical version never existed — in a good way

T’cha Dunlevy, Canwest News Service
Published: Monday, January 11, 2010

"Hi, I'm Laurie Brown. Welcome to The Signal." These are a few of my favourite words. And I can hear them six nights out of seven on what just might be the best show on Canadian radio.

It's The Signal, like the lady said, on CBC Radio 2. Therein, Brown presents an array of evocative sounds, from the simply pretty to the esoteric and experimental, all with a fluidity and grace that can take you to unexpected places.

Much like Radio 2 these days. The dust has settled following the station's controversial makeover 16 months back, when it completed the transformation from an almost all-classical format to more varied programming featuring everything from indie-rock to folk, jazz, world and pop, with a little classical thrown in for good measure. The overarching emphasis is on Canadian content.

Brown arrived in 2007, at the early end of the change process. A veteran arts reporter for CBC-TV, it was her first foray into radio.

"I came to CBC and said I wanted to be able to do a music show that was capable of playing any kind of music, that was all about new music and about discovery," she says.

To her great surprise, her words fell on open ears: "For the first time in my entire career, CBC management was totally in sync," she said. "I hit the magic word: 'discovery.' I can't tell you how refreshing that was."

Another key player in Radio 2's overhaul is Rich Terfry, host of the station's recently expanded afternoon Radio 2 Drive. Also known as acclaimed rapper Buck 65, Terfry took over from revered DiscDrive host Jurgen Gothe in September 2008, replacing the classical symphonies of yore with a more youthful playlist.

He has been settling into his "first real job" ever since, weathering the initial storm of protest by keeping his head down, and emerging with one of Radio 2's most popular shows in the process.

"I don't look at emails," he said, reached at his Toronto home last week. "But I do get a sense of the people in the country, all over the country. After a while, you feel like you're beginning to develop a relationship with the whole country."

That's music to the ears of CBC programming director Chris Boyce, who sees Radio 2's metamorphosis as an opportunity to redefine the station's relationship with Canadians.

"We went into this with the theory that there is an amazing range of music being made in Canada," he said, "and very little of it is being heard by Canadians over the airwaves. We've been able to broaden the range of music being played on the station, being played on radio. It's been fantastically successful, if that's the measure."

It's not, or not the only one. Ratings matter, too, and Radio 2's are more or less on par with what they were before the change. The station reaches just over one million Canadians per week -- which is down 10% with a 2.7 share of the national market compared to its previous 3%.

So almost the same number, if not the same people, are tuning in. The average age of your typical Radio 2 listener before the facelift was a golden 65. It's now a sprightly 52.

"It's getting more evenly distributed," Boyce said. "To me, changing our audience is as important as increasing it. Is it about chasing younger listeners? No, we're a public broadcaster -- it's about serving all Canadians."

One of Radio 2's biggest coups has been its newfound support of Canadian independent music. A recent edition of Radio 2 Drive featured songs by Sarah Slean, Sarah Harmer, Chantal Kreviazuk, Native pop singer Elisapie Isaac, Sam Roberts, Joel Plaskett, K'naan, Stars, Feist, as well as established Canadian and international acts including Kate Bush, Wilco, Bob Dylan, Charlotte Gainsbourg, The Police and Drive hero Neil Young, who gets a daily tribute.

"Speaking not so much for myself but for Radio 2," Terfry said, "and listening to what management has to say, they want the show to be [one where] if people really want to know what's going on in Canadian music, what's up-and-coming, who are the artists making an impact, listen to this show and you'll know.

"The problem with that, the challenge from the beginning, is to get people to care about Canadian music. The average person doesn't."
The average person hasn't had much of an opportunity to care. Spin your way across the radio dial and you'll find station after station playing a mind-numbing loop of chart-topping pop, most of it from south of the border.

So for our national station to be presenting a homegrown alternative is a sort of quiet revolution. There has been resistance to Radio 2's makeover, from both the media and hardcore classical fans.

The latter can still hear their music during the daytime and on weekends, it should be noted, and all the time online on the first of Radio 2's four specialty channels: classical, jazz, Canadian songwriters and Canadian composers.

What's harder to hear is the emerging dialogue of a country coming to terms with its multi-textured musical identity. From Bob Mackowycz (weekdays) and jazz singer Molly Johnson's (weekends) eclectic Radio 2 Morning show to mezzo-soprano Julie Nesrallah's Tempo, Tom Allen's genre-spanning ( "from Bach to Bachman, Haydn to the Hip") early afternoon Shift, Andrew Craig's Canada Live and Katie Malloch's jazz show Tonic in the evening, there is lots to listen to.

Weekend offerings include Newfoundland musician Tom Power's Deep Roots, Bill Richardson's Saturday Afternoon at the Opera, Randy Bachman's Vinyl Tap and the ever-gregarious George Stroumboulopoulos's new Strombo Show on Sunday nights.

It's a lot to fit into a week without coming off like an allover-the-place college station. The trick is to have it all make sense, and create a flow from one show to the next.

DIRECTOR'S TAKE

General manager and executive director of CBC Radio's English services Denise Donlon has come a long way from co-hosting CityTV's The New Music with Laurie Brown in the late '80s. She became MuchMusic's VP and general manager in 1997 before becoming president of Sony Music Canada from 2000 to 2004. She arrived at CBC in September 2008, just after Radio 2's transformation:
Her opinion "I agree with the changes. [Radio 2] was really a service that was very niche before -- which is great for commercial radio, but as a public broadcaster, it meant so much Canadian music had no other area for exposure."

On the naysayers "You can't make everyone happy. ...We're trying to please not only our audience, but the Canadian cultural community, independent artists, major label artists, the classical community. We're serving many masters to celebrate the best of Canadian music."

On the bright side "There's a real depth of conversation and richness of programming; any other station would be racing to commercials, while we're talking about all kinds of things."

The most remarkable statement from the article is this:

Ratings matter, too, and Radio 2's are more or less on par with what they were before the change. The station reaches just over one million Canadians per week -- which is down 10% with a 2.7 share of the national market compared to its previous 3%.

As I pointed out in my letter to the National Post, it should be remembered that the goal of the CBC’s restructuring of CBC Radio 2 was to make Radio 2 more “relevant” to Canadians. Presumably, one measure of relevance is the number of Canadians listening to Radio 2. After all, how can Radio 2 be relevant to Canadians if no one is listening?

Yet, as T’Cha Dunlevy states in the news report, CBC Radio 2’s audience share has fallen 10% (according to his/her figures) since this grand experiment was initiated. In fact, recent BBM results indicate a more alarming loss of market share of approximately 38.4% in the major markets surveyed by the BBM. See my next blog entry to follow. For the sake of argument, however, let’s assume a loss of market share of 10%.

In a public corporation, any corporate initiative which resulted in a loss of market share of 10% would result in those responsible for the intiative being sacked, or at least being given other responsibilities where they can do less damage. Has this happened at the CBC? Apparently not – management at the CBC is too busy patting themselves on the back at the so-called success of the Radio 2 experiment. Meanwhile, formerly loyal CBC Radio 2 listeners have abandoned CBC Radio 2 for other media which are more to their liking, such as satellite radio or Wi-Fi radio.

Please, tell me again – how is this good for CBC Radio?