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.
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.
Finding himself on the other side of the conversation, D.A. is interviewed by Debbie Edwards, founder of Meta-Visionaries Radio. D.A. shares from his heart his story and what fuels his passion in the work he is doing with WDKK RADIO. This episode provides an insight into D.A.’s thinking, passion and vision for life. From his musical upbringing to his spiritual journey you’ll get a glimpse into the world of D.A. Williams
Standard Podcast: Play Now | Play in Popup | Download Standard Podcast: Play Now | Play in Popup | DownloadIt’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 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.
1:00 pm EST - LISTEN HERE
My guest today is one of the baddest drummers you’ve heard but you may not immediately recognize. Paul Hines was part of the group Ozone of Motown back in the 80’s. Ozone was a funk fusion band that many say was ahead of their time. They were complete, backed up many of the Motown acts and were actually the only band on the Motown label to produce 5 album projects. Charles Glen, founding member of Ozone was a recent guest on the SOS and highly recommended that I bring on Paul Hines. Well for yours truly it was a no brainer as paying tribute to this music is what it’s all about on the Soul on Saturday. They actually still perform together today as part of an all star jazz band.
As for Paul his drum beats on Teena Marie’s Square Biz, a song that helped take her career to the next level back in the day has never been replicated or duplicated and was the funky beat to that song that made it move. Paul is living music history as we will hear. His career took him many places as well as his knowledge of the music is special. Please join me today as I welcome Paul Hines to the Soul’.
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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The other Radio One in the radio industry is from the BBC. Radio 1 is a British national radio station operated by the BBC which also broadcasts internationally, specialising in current popular music and chart hits throughout the day. Radio 1 provides alternative genres after 7:00pm including electronic dance, hip hop, rock or interviews. It is aimed primarily at the 15–29 age group. Radio 1 was launched at 7:00am on 30 September 1967 as a direct response to the popularity of offshore pirate radio stations such as Radio Caroline, which had been outlawed by Act of Parliament.
One of the stations Radio 1 features is Hip Hop and RnB station Radio1Xtra. From what I sampled, their playlist is decidedly British with an occasional American hit. You know they love Rihanna. I found it very entertaining especially their breaks and interaction with callers. However what makes this station unusual is the fact that they promote themselves as BLACK! You would never catch an urban station stateside promoting themselves as a Black radio station especially in a PPM ratings world.
“The best black music from the UK”
“The newest black music and hottest UK talent”
Overall the BBC’s Radio 1 definitely seems plugged into mobile technologies by providing various listening options. You can also catch the BBC main Top 40 station “Radio 1″ on Sirius satellite radio.
(Reposted from URBAN RADIO NATION)
Citadel Broadcasting Corp., the nation’s third-biggest radio company and parent of Chicago’s WLS-AM 890 and WLS-FM 94.7, is preparing to file a prearranged bankruptcy before the end of the year, according to the Wall Street Journal and later the New York Times.
And, while all this is going on, Chicago Public Radio blogger Robert Feder is reporting that WLS-AM is close to signing afternoon star Roe Conn to a new deal.
The Associated Press reported that Citadel did not immediately return messages left seeking comment as the Journal story broke Thursday. The wire service added that investment bank Lazard Ltd declined comment on the report. Like the Chicago-based law firm of Kirkland & Ellis LLP, Lazard reportedly has been advising Citadel on a possible restructuring in recent months.
Citing unnamed sources familiar with the matter, the newspapers said the proposal presented this week to creditors — and reportedly supported by many — would have lenders trade a substantial amount of the $2 billion they’re owed for 99.5 percent equity in the reorganized company, which would have about $760 million in debt.
Current shareholders would be out of luck.
Farid Suleman, Citadel’s chief executive, would likely get to keep his job, according to the Journal, which said the company needs the support of those holding two-thirds of its outstanding debt as well as a majority of individual debut holders to get final approval in bankruptcy court. A deadline for lenders to sign off on the deal, the paper said, is Tuesday.
Citadel loaded up on debt to fund its acquisition of Walt Disney Co.’s ABC Radio stations, but not Radio Disney or ESPN Radio, in 2006, not a particularly good time to be in radio acquisition mode, it turned out.
Of course, the Journal also pointed out other factors that did not help Citadel, such as the February death of syndicated Chicago-based giant Paul Harvey at age 90.
(Reposted from About.com)
Black Radio Fights Performance Royalties
by Neda Ulaby
November 24, 2009 -
New legislation in Congress could drastically change music-industry economics. As it currently stands, musicians in the U.S. aren’t paid when their songs are played on the radio unless they wrote the songs, too. Only songwriters get radio royalties, not the folks who play and sing their tunes. Two bills moving through the House and Senate would change that, by making radio broadcasters pay royalties to musicians, too.
Radio broadcasters hate the idea of performance royalties — really, really hate it. They’re speaking up in Congress and on air.
Cathy Hughes is the legendary founder of Radio One, the country’s largest chain of black radio stations. For months, her stations have played her announcements against the performance-rights bill. Hughes complains, on air, about all the work it would take to comply.
“If the performance tax is passed, all radio stations will have to count how many times a song is played each day and each week,” Hughes says in an on-air announcement. (The bills do not really propose a tax.)
Natalie Hopkinson says there’s no escaping Hughes. Hopkinson is an editor for the popular online news blog The Root, which is geared toward African-Americans. She says just about everyone who listens to urban radio has heard Hughes’ point of view.
“Radio One holds more than half of the top 30 black radio markets. They dominate,” Hopkinson says.
Is This A Racial Issue?
In an essay on The Root, Hopkinson writes that she resents Hughes’ attempts to paint proposed financial regulations as a racial, gender and social issue.
“You know, she’s the little woman. You know, she’s going up against the big recording industry,” Hopkinson says. “No, you own 53 stations and this is a huge, huge, massive, multimillion-dollar company that is still bringing in quite a bit of money.”
NPR was unable to get Hughes to comment. But James Winston, who heads the National Association of Black-Owned Broadcasters, says his organization’s members can’t be blamed for not wanting to pay royalties.
“Our revenues have been going down. We recognize we got problems,” Winston says.
Across the industry, ad revenue has dropped 23 percent in the past year alone. Listeners are turning from radio to MP3 players, computers and cell phones. Winston says there’s a giant paradigm shift across the entire music industry, but radio isn’t trying to squeeze more money out of the recording industry.
“Miss Hughes didn’t start the fight. It began with hearings in Congress, where these older performers — most of who happened to be African-American — were brought forward to tell their tales of woe that their songs were being played and they weren’t being compensated,” Winston says. “Now, nobody asked, ‘Well, what deal did you have with your record company? Why weren’t you being compensated by your record company for these records?’ Instead, everyone pointed their fingers at broadcasters and said, ‘You’re the bad guys.’ ”
It’s wrong to think in terms of good guys and bad guys, Hopkinson says. She says she doesn’t want to see radio — especially black radio — making the same mistakes as the recording industry.
“They’re just fighting over the scraps left over at this point, and I really think Miss Hughes’ time would be better spent figuring out a new model and a way to evolve,” Hopkinson says.
Supporting Local Artists
Chuck D has some ideas. He was working at a college radio station back when he founded Public Enemy in the 1980s. He says that, in order to survive, black radio should grow local talent.
“I would love to see artists in Indianapolis and artists in Louisville and artists in Chicago, be able to get played in their own town,” he says. “I mean, so what if the artists can’t get played in L.A. or New York? If they’re coming from Tulsa, Okla., they should be able to be played in that five-state radius.”
But broadcasters would still have to pay those musicians royalties, as Chuck D says they should. He says he’d like to see people who own radio stations be a little less defensive about performance rights. (It should be noted that NPR has expressed concerns about the bills to Congress.) But he says that black broadcasters, like Cathy Hughes, are competing against more powerful networks that lack a real connection to black communities.
“I’m not saying Miss Hughes doesn’t. But in order for her to stay in business, she has to be able to keep her head above the other corporations that probably don’t give a doggone about the black community,” Chuck D says.
In the end, it’s corporations that will largely profit from a change in collecting performance royalties from radio stations. Fifty percent of the money will go to the rights holders — usually record labels — 45 percent to the stars who sing the songs, and 5 percent to the musicians who back them up
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