Faced with increasing broadcast fees and limited success with visual ads, Pandora, the streaming radio service that grew out of the Music Genome project, has begun including in-stream advertisements as a way to raise revenue.
via Urban Radio Nation – Urban Radio Stations, Internet Radio, New Media and Music Blog.
I re-read an article earlier today researching some material on Black Radio for Black history. It mentioned the idea that the re-emergence of black radio “finding it’s voice” during President Obama’s campaign. A few names were mentioned, (Tom Joyner. Michael Baison, Bev Smith and Warren Ballentine) and were presented as influential Africa American radio personalities. Stated in the article is the following: “Joyner, by many accounts, is considered an urban industry pioneer. His decision in 1996 to hire former Black Entertainment Television host Tavis Smiley to provide daily political commentary on The Tom Joyner Morning Show was pivotal in raising political activism and awareness among blacks via the airwaves”.
Here is where I need help. With all due respect to Mr. Joyner, there is nothing that he pioneered. Let me repeat the statement. There is NO-THING that Mr. Joyner pioneered. Before Mr. Joyner was in syndication, a number of on-air personalites were doing syndicated shows and I might add from their homes. Jocko Henderson for sure. Before Mr. Joyner and others were during traveling stage shows, Jack Cooper as well as Jack the Rapper were doing the same.
The thing that disturbs me about all of this is that Mr. Joyner and others know this and yet fail to make the historical correction. Why? That’s the question. If they are so concerned with the state of “African American Radio” why don’t they spend just a little time attempting to educate their listenerships about the history of Black Radio.
Black on-air personalities were always seeking to raise political awareness within their communities. I recall, watching as my father Kae Williams and another Philadelphia radio personality George Woods, were harrassed by police officers outside the Uptown Theatre while trying to calm the masses during one of their shows when DR. King was shot. Both my father and George Woods were very vocal during their tenure at WDAS and WHAT radio stations.
True, they may not shine as much as they do now because it will be understood that they also stand on the shoulders of the real pioneers. True, this may cause some damage to their popularity with the media conglomerates who control their syndication. But then again maybe that just might be what Black Radio needs. An injection of personalities who actually care about the industry.
How many local on-air personalities have to loose their jobs because of the big personality shows being streamed in with the playlist. How many independent artist have to continue in frustration because they can’t get airplay in the very cities that they live. The very stations that seek to draw resources out of the communities that they so-called serve won’t support the local talent around the corner.
Why are the Joyner’s, Baison’s and others not raising their voices and wielding the self professed influence in these areas. Help me understand. PLEASE.
One of the most interesting technologies that we have today is the internet. The more I look into it’s potential the more I discover that it is still an untapped resource for digital music music content. With advent of podcasting, the internet became a great medium for music content distribution.
One question I see arising time and time again is what is the difference between podcasting and streaming media. There are a number of sites that market themselves as streaming media which in reality they are upgraded podcasting site. Now, I am not saying that there is anything wrong with podcastind, I do it myself, but I think it is a good thing not to confuse the few.
As Internet radio continues to establish an online presence, I think the distinction will become more obvious. There are particular advantages to podcasting as well as streaming an much depends on what the goal of the developer of the stream or cast has in mind. The ideal solution of course, is to have an effective way to utilize them both.
Streaming vs Casting….
Simply put, podcasting is ” prerecorded content” which is made available for use either through downloading amd the various players.the major advantages of this form, for the user, is that the content is readily available. Since it is recorded and stored as a digital file, the user has the ability to listen when time permits, much like many of the recorders available for televisions now.
The draw back has to do with he live interactivity. Unlike streaming media which is more often than not live, the human element is missing. Remember the big concern that broadcast radio had when television began. It was a major concern whether or not television would replace the spontaneity of live radio. Well time answered the question. Radio continued to be a very effective means of information and entertainment and still is to this day. There is something about that person on the other end of that box.
This is where streaming media seems to be picking up the steam. It takes the purest elements of terrestrial radio, minus the abundant insertion of advertisements, and ports it over the internet. This becomes the primary difference between streaming and casting. Live vs recorded. One advantage of a properly setup streaming site is that the recording aspect of podcasting will be incorporated on the back end ( check out http://www.wdkkradio.com). Meaning, the streams will be recorded for availabilty at a later time.
So as you are considering how to implement your online media, do some research into the options.
Just some musings again.
(D.A. Williams is CVO of Full CirKle Media Group, a internet based media convergence company)
Sitting here going through all the information I have gathered on broadcast history, I am just blown away at how half the story hasn’t been told. There is of course the twisted story about Alan Freed and Rock & Roll. Why isn’t anyone talking about Tommy (Dr. Jive) Smalls, E. Rodney Jones and Herb Kent. They were the on-air personalities whose styles and playlist were copied by Mr. Freed, Dick Clark and so many others and never were credited.
These pioneers were duplicated, stolen from and put out to pasture. No wonder the radio and music industries are experiencing so much chaos. And then there is this issue of Rock & Roll. R & B artist being played on predominately white stations by white jocks were duplicated, robbed and put out to pasture just like the dj’s who intoduced the music in the first place. Mr. Freed did, however relabel the music from Rhythm and Blues to Rock & Roll. The rest…is history.
Tragedy is, because this part of broadcast history isn’t discussed we run the risk of the same thing happening again with convergence media. Why aren’t the Tom Joyners, Michael Baisons, and Stev Harveys making any attempt to transmit this aspect of Urban radio. Is it because they have to much $$$ at stake? Just musin. What do you think?
(DA Williams is the son of Broadcast Pioneer Kae Williams-Philadelphia PA)
Did you ever dream of running your own radio station? Being a DJ? Hosting a talk show? With today’s Internet technology, that dream can be realized easier than you think. The amount of time and money it costs to start your own Internet Radio station is a lot less than you think. Plus, you can do anything you want: host music, talk about politics, discuss the mechanics of basket weaving, or just rant.
The Internet and software technology have revolutionized and broadened the concept of what broadcasting is evolving into . Today, for very little money, almost anyone with a reason or message can broadcast it to the world. Never before have so many people been so empowered with communication possibilities.
Follow this article to learn more about the reasons why YOU should and the WAY that you can.
It’s not that a Republican won the Massachusetts Senate race; I question how any Democrat could have lost. (Understanding the polictical dynamics is aided by this observation from John Gorman.)
It’s ironic that Attorney General Martha Coakley (D) kept her head in the sand exactly the same way as radio industry leaders have been doing; only, in this instance the impact was immediate. In the case of radio, it’s a long-term growing defeat that won’t get response because, like Coakley, radio industry leaders refuse to look at the facts – or should we say they only look at facts of their choosing.
There are two items of evidence to present on this issue. Here’s the first. After the devastation Lowry Mays brought upon the radio industry, how is it plausable that the Broadcasters Foundation of America created the Lowry Mays Excellence in Broadcasting Award? Jerry Del Colliano has penned the perfect piece on this topic, pulling together all the pertinent facts surrounding this surreal juxtaposition of realities. I’ll simply state that any radio industry publication backing this effort shows its ability to look around the truth. Mays, near singlehandedly, can be attributed with swelling the ranks of radio vets in need of the Broadcasters Foundation to proportions never known.
The second point to exemplify is the Coakley Cloud, defined as an environment for easily grabbing defeat from the jaws of victory. Please read therebuttal article written for MediaLife by Mary Beth Garber, President of the Southern California Broadcasters Association, for a demonstration on how this relates to the radio industry. In this rebuke of a MediaLife article titled “Outlook for radio in 2010,” Ms. Garber (while using select data to back her claim) pulls arguments that have been shattered again and again. Adding to this lackluster defense of radio is her failure to mention relevant items, such as the radio industry continuing to ignore the fact that more and more, advertisers are looking for documented results on their ad spending.
Need a few more examples? Let’s take this line from Ms. Garber’s article: “Today’s radio sounds better than ever due to digital and HD technology.” Sounds good, until you estimate the number of HD Radio receivers being used and the effect it has on listening trends (null). Another item mentioned by Ms. Garber: “Today every computer, virtually every MP3 and iPod, and any cell phone capable of downloading apps is streaming radio’s over-the-air content.” Only, the concept for streaming revolves heavily on NOT placing over-the-air content online. Two entirely different audiences exist with completely different needs. You can’t simply regurgitate on-air content online and expect it to be a draw.
Mary Beth Garber’s statements are akin to Martha Coakley blaming the Democratic Party for her loss in Massachusetts with no mention of the multiple gaffes she herself produced in this Senate run. John Stewart outlines a few, with deserved comments.
Here’s another major line in Ms. Garber’s article. The next time you think about moving your ad dollars out of radio and into the internet, check Nielsen or ComScore for their weekly internet ratings. You’ll discover that in any given week, about 60 percent more people will listen to radio than will log onto the internet.
If you do a thorough check, you’ll notice that internet ad spending is increasing not because of the numbers of people it reaches but because of how those people being reached can be tracked, authenticated, and responded to with appropriate messages designed around the advertising pitch. That is the wonder of being online. Like search engine optimization, it’s reaching a higher quality of prospects and watching them reach back that gives online the edge. Radio could use this online edge if it chose to change.
To quote her, again: Obviously there’s a big disconnect between reality and perception when it comes to radio. Yes, there is. Let’s continue: …the truth is that part of that perception is radio’s own fault, because the radio industry has been slow and quiet in its own defense or to publicize its noteworthy achievements. Not that I’m a naysayer, but if Ms. Garber would provide a list of these “noteworthy achievements” made since consolidation, I’ll reprint them here.
Advertising has changed. Audience desires have changed. Radio is still doing the same thing it’s done for decades, sliding into a much poorer quality product with the killing of newsrooms, voicetracking, and general cutbacks that grow the ranks of the Broadcasters Foundation recipients.
Radio tries to tie itself to elements of new media – for ex., Clear Channel’s announcement of creating “contextual advertising” – but people who know, know the real story. (Read Mark Ramsey’s take on this here.)
The radio industry has been in a Coakley Cloud for too long a time to be ignored, or waved away with claims based on numbers supplied by people standing to lose when the truth is believed.
How did radio lose this revenue race? By continuing to ignore all signs that its gaffes were leading it down a road less traveled, just like the smug Attorney General Martha Coakley did.
Indeed the radio industry is losing respect, ad dollars, and audience participation – three elements required to hold one’s head high.
Long ago the question turned from why radio isn’t winning in a changing media environment to why the radio industry is losing a race it was so well-positioned to win from the get-go.
Blaming it on the pundits has less effect than creating solutions, and it’s quite a bit easier. Which is why we see so little advancement in radio and why many executives maintain the status quo argument that the radio industry delivers what advertisers want, results. Radio just isn’t addressing the growing demand for proof.
(Repost from AG News: Wednesday -1/20/2010)
As the industry changes and corporations are looking for ways to save money two trends appear to be on the rise that could affect radio's PPM negatively…maybe positively. Full time on air slots are being replaced by part time slots at some stations in an effort to save salaries and benefits. This may not be GREAT news for current full timers [...]
via Music Industry, Radio, Record Label, Artists, Music News | radiofacts.com.
The Radio Music Licensing Committee (“RMLC”) has announced that it has entered into agreements with both ASCAP and BMI for interim royalties to be paid by commercial radio stations until final royalties are set. These royalties will be set either through negotiation or through litigation in Federal Courts which act as a “rate court” to determine what reasonable rates will be under the antitrust decrees that govern these organizations.
As I listen to the various conversations surrounding the future of terrestrial radio, Internet radio, and urban music, there is this continual feeling that something is being overlooked in the story. Perhaps it has to do with my growing up in the home of a pioneer broadcaster or the fact that I was constantly around individuals who were building the industry which now seems to be in so much disarray. You see, I hear discussions about the state of hip-hop, yet fail to hear the mention of Jocko Henderson (the on air personality who inspired young artist to use lyrical expression in time with music) which created the “rappers”.
I hear mention of the lack of African American broadcasters involved in talk radio, yet fail to hear the mention of Jack the Rapper, Al Benson, or Tommy Smalls, all whose success in radio is credited to their ability to feel the pulse of their communities and “talk” about it over the air. I hear mention of the demise of the blues among African Americans yet watch world – wide acceptance of B.B. King, Buddy Guy, and Koko Taylor.
I can’t help but wonder, is the missing piece a lack of broadcast and music history or just the right a right in my face fact that the quote has become a reality, ” Those who do not remember the past are condemned to repeat it”. ~George Santayana
Well, let me know what you think.
As 2010 begins, many people are anxiously waiting to see what trends will emerge within the music industry. Much of the conversation in 2009 was how technology is being used by independent artist to promote their music. While this is proving to be a very effective outlet, traditional radio is still a powerful medium. One internet broadcaster is making a move to blend the freedom of internet programming to the listenership of traditional radio.
It has long been understood that college radio stations are among the easiest to introduce new formats. College students are also among those who are most likely to listen to internet radio. Since most college radio stations operate under FCC guidelines, artist who are promoting material via college stations are more likely to be able to track the regions where their music is gaining a audience.
I posted an article a few months ago (http://www.wdkkradio.com/2009/11/24/understanding-college-radio/) detailing the overlooked college audience both for listenership and performances. Looking back over the development of labels such as Motown, Stax and Solar, all who began as independent labels, radio played a major role in establishing the label as major players. As traditional radio seems to be loosing ground, one solution is to give the listeners what they want to hear. One advantage of college radio is that it doesn’t have all the corporate tape to unravel in order to introduce music that isn’t on the playlist.
WDKK RADIO owner D.A. Williams airs a weekly program called “Indie City” on WWSU 106.9 FM, which is run by Wright State Universitiy located in Fairborn Ohio. The college also streams programming on the Univerisities website and D.A.’s program will can also be heard on http://www.wdkkradio.com via simulcast. The show airs Thursdays at 1PM EST. Indie artist will be featured on the show and will consist of artist who have submitted music to WDKK.
Updates will be posted weekly.
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