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* Music/DavidBowie suffered the same fate in the U.S. after he moved on from the pop-rock stylings of ''Music/LetsDance'' and its two successor albums at the end of TheEighties. He moved on to [[Main/NewSoundAlbum usually harder sounds]], and combined with his lyrical tendency towards dark and/or difficult subject matter rather than SillyLoveSongs, he's not welcome in the adult contemporary radio format that usually adopts older rockers and their new material (Sting, Elton John, The Eagles, etc.). Yet he's not embraced by modern rock radio either, possibly due to his age. In TheNewTens, ClassicRock radio largely neglects his work because so little of it "rocks" in the conventional sense; it's telling that the song of his that gets the most play is his collaboration with Music/{{Queen}}, "Under Pressure". (Stations that do "flashback" weekends featuring blocks of 1970s/80s tunes might throw in "Changes", "Young Americans", "Modern Love", and a few other numbers that charted when new.)

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* Music/DavidBowie suffered the same fate in the saw little U.S. airplay after he moved on from the pop-rock stylings of ''Music/LetsDance'' and its two successor albums at the end of TheEighties. He moved on to [[Main/NewSoundAlbum usually harder sounds]], and combined with given his lyrical tendency towards dark and/or difficult subject matter rather than SillyLoveSongs, he's not he wasn't welcome in the adult contemporary radio format that usually adopts older rockers and their rockers' new material (Sting, Elton John, The Eagles, etc.). Yet he's not embraced by modern Modern rock radio wouldn't play him either, possibly due to his age. In TheNewTens, ClassicRock radio largely neglects his work him because so little of it his work "rocks" in the conventional sense; it's telling that tellingly the song of his that gets the most play is his collaboration with Music/{{Queen}}, "Under Pressure". (Stations that do "flashback" weekends featuring blocks of 1970s/80s 1970s/'80s tunes might throw in "Changes", "Young Americans", "Modern Love", and a few other numbers that charted when new.charted.)


** "Boy With Luv" stands out as a song that by any other criteria would be considered BTS' radio-friendliest single, but got heavily edited for radio and only managed to stay on Top 40 stations during the weeks Columbia spent actively promoting it.

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** "Boy With Luv" (which debuted at #8) stands out as a song that by any other criteria would be considered BTS' radio-friendliest single, but got heavily edited for radio and only managed to stay on Top 40 stations during the weeks Columbia spent actively promoting it.


* As fans have found and some radio DJs have outright stated, Music/{{BTS}}'s music gets little to no airplay in US radio stations regardless of requests or chart placement due to the lyrics being in Korean, with several reports of radio stations ignoring requests or asking for ridiculous amounts of Twitter interactions just for a play in the middle of the night, even after "Fake Love" or "IDOL" charted at #10 and #11 on [=Hot100=], respectively. The songs that got the most airplay were "Mic Drop" (the remix featuring Desiigner), "Waste it on Me" (mostly in dance music stations), and "Boy With Luv" (feat. Music/{{Halsey}}).

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* As fans have found and some radio DJs [=DJs=] have outright stated, Music/{{BTS}}'s music gets little to no airplay in US radio stations regardless of requests or chart placement due to the lyrics being in Korean, with several reports of radio stations ignoring requests or asking for ridiculous amounts of Twitter interactions just for a play in the middle of the night, even after "Fake Love" or "IDOL" charted at #10 and #11 on [=Hot100=], respectively. The songs that got the most airplay were "Mic Drop" (the remix featuring Desiigner), "Waste it on Me" (mostly in dance music stations), and "Boy With Luv" (feat. Music/{{Halsey}}).

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* As fans have found and some radio DJs have outright stated, Music/{{BTS}}'s music gets little to no airplay in US radio stations regardless of requests or chart placement due to the lyrics being in Korean, with several reports of radio stations ignoring requests or asking for ridiculous amounts of Twitter interactions just for a play in the middle of the night, even after "Fake Love" or "IDOL" charted at #10 and #11 on [=Hot100=], respectively. The songs that got the most airplay were "Mic Drop" (the remix featuring Desiigner), "Waste it on Me" (mostly in dance music stations), and "Boy With Luv" (feat. Music/{{Halsey}}).
** "Boy With Luv" stands out as a song that by any other criteria would be considered BTS' radio-friendliest single, but got heavily edited for radio and only managed to stay on Top 40 stations during the weeks Columbia spent actively promoting it.
** It's worth noting that songs 100% in English by other Korean groups received more radioplay despite not having charted at all on Billboard, with radio director Erik Bradley saying that K-pop songs in English made it easier to play them on radio - this, only a few months after [[https://ew.com/music/2019/03/28/bts-exclusive-cover-story/ BTS stated]] that they would not change their identity by making an entire English album solely to make it to US charts.


Is that half my songs are five minutes and [[PainfulRhyme over]]\\

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Is that half my songs are five minutes and [[PainfulRhyme over]]\\over\\


* Bill Drummond and Jimmy Cauty, better known as Music/TheKLF, had a Number One hit in the UK as [[Series/DoctorWho The Timelords]] with a novelty record called "Doctorin' the Tardis", and were inspired to write a book about it, ''The Manual (How to Have a Number One the Easy Way)'', "a step by step guide to achieving a No.1 single with no money or musical skills". One part of the advice is listen to other tunes, and the one you're making, on the most basic equipment available. If it's [[EarWorm memorable]] on the crappiest car radio, you're onto a winner. The book was also prescient enough to anticipate home recording, saying "It's obvious that in a very short space of time [[JapanTakesOverTheWorld the Japanese]] will have delivered the technology and then brought the price of it down so that you can do the whole thing at home. Then you will be able to sod off all that crap about going into studios."

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* Bill Drummond and Jimmy Cauty, better known as Music/TheKLF, had a Number One hit in the UK as [[Series/DoctorWho The Timelords]] with a novelty record called "Doctorin' the Tardis", and were inspired to write a book about it, ''The Manual (How to Have a Number One the Easy Way)'', "a step by step guide to achieving a No.1 single with no money or musical skills". One part of the advice is listen to other tunes, and the one you're making, on the most basic equipment available. If it's [[EarWorm memorable]] memorable on the crappiest car radio, you're onto a winner. The book was also prescient enough to anticipate home recording, saying "It's obvious that in a very short space of time [[JapanTakesOverTheWorld the Japanese]] will have delivered the technology and then brought the price of it down so that you can do the whole thing at home. Then you will be able to sod off all that crap about going into studios."


* [[SubvertedTrope Subverted]] in the case of Music/{{Queen}}'s "Bohemian Rhapsody" from ''Music/ANightAtTheOpera'', a mini-RockOpera released as a single uncut at 5:55, which the band knew would be a hard sell. It became a hit when Freddie Mercury ''begged'' his friend, DJ KennyEverett not to play it, [[TemptingFate knowing full well Kenny (who loved the song) would do so anyway]]. Kenny would always "excuse" his plays of the song by muttering, "[[BlatantLies Oops, hand slipped]]!" and the like.

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* [[SubvertedTrope Subverted]] in the case of Music/{{Queen}}'s "Bohemian Rhapsody" from ''Music/ANightAtTheOpera'', a mini-RockOpera released as a single uncut at 5:55, which the band knew would be a hard sell. It became a hit when Freddie Mercury ''begged'' gave his friend, DJ KennyEverett a copy, telling him not to play it, it [[TemptingFate knowing full well Kenny (who loved the song) would do so anyway]]. Kenny would always "excuse" his plays of the song by muttering, "[[BlatantLies Oops, hand slipped]]!" and the like.


* Of course the length rule isn't always true; if a DJ at a rock station needs to buy some time for other matters (such as taking a rest, grabbing some food, or [[PottyEmergency doing some business]]), they'll often put on "[[Music/LedZeppelin Stairway to Heaven]]" (7:55), "[[Creator/DonMcLean American Pie]]" (8:33; also the longest single to ever be a number-one hit in the U.S.), or "[[Music/LynyrdSkynyrd Free Bird]]" (9:08).

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* Of course the length rule isn't always true; if a DJ at a rock station needs to buy some time for other matters (such as taking a rest, grabbing some food, or [[PottyEmergency doing some business]]), they'll often put on "[[Music/LedZeppelin Stairway to Heaven]]" (7:55), "[[Creator/DonMcLean American Pie]]" (8:33; also the longest single to ever be a number-one hit in the U.S.), or "[[Music/LynyrdSkynyrd Free Bird]]" (9:08). "Free Bird", however, sometimes gets cut short just as the singing stops, and the [[EpicRocking guitar solo that comprises the last third of the song]] starts.


* TimMinchin has an unusually clean, three-minute long song written especially for pre-{{watershed}} TV appearances (which make similar stipulations), and which [[HowIWroteThisArticleArticle is all about the reasons he needs to write a clean three-minute song]].

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* TimMinchin Music/TimMinchin has an unusually clean, three-minute long song written especially for pre-{{watershed}} TV appearances (which make similar stipulations), and which [[HowIWroteThisArticleArticle is all about the reasons he needs to write a clean three-minute song]].


-->-- '''TimMinchin''', "Three-Minute Song"

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-->-- '''TimMinchin''', '''Music/TimMinchin''', "Three-Minute Song"


* Bill Drummond and Jimmy Cauty, better known as TheKLF, had a Number One hit in the UK as [[Series/DoctorWho The Timelords]] with a novelty record called "Doctorin' the Tardis", and were inspired to write a book about it, ''The Manual (How to Have a Number One the Easy Way)'', "a step by step guide to achieving a No.1 single with no money or musical skills". One part of the advice is listen to other tunes, and the one you're making, on the most basic equipment available. If it's [[EarWorm memorable]] on the crappiest car radio, you're onto a winner. The book was also prescient enough to anticipate home recording, saying "It's obvious that in a very short space of time [[JapanTakesOverTheWorld the Japanese]] will have delivered the technology and then brought the price of it down so that you can do the whole thing at home. Then you will be able to sod off all that crap about going into studios."

to:

* Bill Drummond and Jimmy Cauty, better known as TheKLF, Music/TheKLF, had a Number One hit in the UK as [[Series/DoctorWho The Timelords]] with a novelty record called "Doctorin' the Tardis", and were inspired to write a book about it, ''The Manual (How to Have a Number One the Easy Way)'', "a step by step guide to achieving a No.1 single with no money or musical skills". One part of the advice is listen to other tunes, and the one you're making, on the most basic equipment available. If it's [[EarWorm memorable]] on the crappiest car radio, you're onto a winner. The book was also prescient enough to anticipate home recording, saying "It's obvious that in a very short space of time [[JapanTakesOverTheWorld the Japanese]] will have delivered the technology and then brought the price of it down so that you can do the whole thing at home. Then you will be able to sod off all that crap about going into studios."


* Music/DavidBowie suffered the same fate in the U.S. after he moved on from the pop-rock stylings of ''Music/LetsDance'' and its two successor albums at the end of TheEighties. He moved on to [[Main/NewSoundAlbum usually harder sounds]], and combined with his lyrical tendency towards dark and/or difficult subject matter rather than SillyLoveSongs, he's not welcome in the adult contemporary radio format that usually adopts older rockers and their new material (Sting, Elton John, The Eagles, etc.). Yet he's not embraced by modern rock radio either, possibly due to his age. In TheNewTens, classic rock radio largely neglects his work because so little of it "rocks" in the conventional sense; it's telling that the song of his that gets the most play is his collaboration with Music/{{Queen}}, "Under Pressure". (Stations that do "flashback" weekends featuring blocks of 1970s/80s tunes might throw in "Changes", "Young Americans", "Modern Love", and a few other numbers that charted when new.)

to:

* Music/DavidBowie suffered the same fate in the U.S. after he moved on from the pop-rock stylings of ''Music/LetsDance'' and its two successor albums at the end of TheEighties. He moved on to [[Main/NewSoundAlbum usually harder sounds]], and combined with his lyrical tendency towards dark and/or difficult subject matter rather than SillyLoveSongs, he's not welcome in the adult contemporary radio format that usually adopts older rockers and their new material (Sting, Elton John, The Eagles, etc.). Yet he's not embraced by modern rock radio either, possibly due to his age. In TheNewTens, classic rock ClassicRock radio largely neglects his work because so little of it "rocks" in the conventional sense; it's telling that the song of his that gets the most play is his collaboration with Music/{{Queen}}, "Under Pressure". (Stations that do "flashback" weekends featuring blocks of 1970s/80s tunes might throw in "Changes", "Young Americans", "Modern Love", and a few other numbers that charted when new.)


* A lot of Music/PinkFloyd songs get heavily edited for the radio.

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* A lot of Music/PinkFloyd songs get heavily edited for the radio. Also, don't expect to hear many of their songs outside "Money", "Another Brick in The Wall, Pt. II", "Comfortably Numb" or "Learning to Fly" on classic rock radio.


* Save for [[BlackSheepHit "Touch of Grey"]], don't expect to hear a lot of Music/TheGratefulDead on classic rock radio.

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* Save for [[BlackSheepHit "Touch of Grey"]], Grey"]] or "Truckin'", don't expect to hear a lot of Music/TheGratefulDead on classic rock radio.


* Of course the length rule isn't always true. Among the most played songs on the radio all-time is [[Music/LedZeppelin Stairway to Heaven]] at 7:55.
** And a song you'll almost certainly hear on Classic Rock stations on Thanksgiving is "Music/AlicesRestaurant", which runs 18:34. Of course, there's a joke/statement of some degree of fact that these are both played for much the same reasons: To allow the DJ to leave the booth unattended for 5 and 15 minutes respectively. (After all, even [=DJs=] need to crap.)
** The 10 - 15 minute version of "Freebird" shows up from time to time on whatever channel the university's food court puts on.

to:

* Of course the length rule isn't always true. Among the most played songs true; if a DJ at a rock station needs to buy some time for other matters (such as taking a rest, grabbing some food, or [[PottyEmergency doing some business]]), they'll often put on the radio all-time is [[Music/LedZeppelin "[[Music/LedZeppelin Stairway to Heaven]] at 7:55.
** And a song you'll almost certainly hear on Classic Rock stations on Thanksgiving is "Music/AlicesRestaurant", which runs 18:34. Of course, there's a joke/statement of some degree of fact that these are both played for much
Heaven]]" (7:55), "[[Creator/DonMcLean American Pie]]" (8:33; also the same reasons: To allow longest single to ever be a number-one hit in the DJ to leave the booth unattended for 5 and 15 minutes respectively. (After all, even [=DJs=] need to crap.)
** The 10 - 15 minute version of "Freebird" shows up from time to time on whatever channel the university's food court puts on.
U.S.), or "[[Music/LynyrdSkynyrd Free Bird]]" (9:08).



** The longest song to hit #1 in the US is ''American Pie'' by Creator/DonMcLean which ran a whopping 8:33

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** The longest And a song to hit #1 in the US you'll almost certainly hear on Classic Rock stations on Thanksgiving is ''American Pie'' by Creator/DonMcLean "Music/AlicesRestaurant", which ran a whopping 8:33runs 18:34.

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