Notícias como esta («Universal to allow free music downloads») podem querer significar duas coisas - que se trata de uma experiencia (e, por exemplo, uma moda) ou que a música tendencialmente será grátis. E legal. A rádio musical é a mais atingida por esta situação: que lugará estará reservado para a rádio musical quando todos estivermos em rede (ligados) e encontrarmos toda a música de que gostamos (incluindo a nova, que não conhecemos...) na rede (com uma infinidade de recursos, como listas personalizadas, e «transportáveis/embedded»)?

Quanto maior for a oferta, quanto maior for a escolha, mais necessidade de que alguém (ou algo - pode ser um computador ou o chip do iPod...) faça a selecção. Podemos ser nós próprios, podemos entregar à maqúina (de acordo com coordenadas dadas por nós ou em 'roda livre') ou podemos confiar em alguém. Que, com talento e criatividade, o faça por nós.

Mas não bastará apresentar um fluxo de emissão (musical), ainda que com muito talento e criatividade. A rádio ter-se-á de fazer acompanhar de ferramentas (que já existem fora da rádio) para competir com vantagem; por exemplo permitir o download das musicas que passaram (ainda que com publiciddade ou a um preço 'competitivo'), além de muitas outras opções de consumo activo.

(e isso tem consequências ao nivel do consumo activo «The latest Internet & Multimedia study, conducted among people who are employed fulltime or parttime and who listen at work, shows a clear up-and-down trend. Arbitron says “the portion of people who listen most often to radio stations through a computer over the Internet has grown from 12% to 20% in one year’s time.” Want to bet what’s happening to that old GE/Motorola portable with the antenna taped to the wall near the plants? “The portion who listen most often via a regular radio has declined from 88% to 80%.” That’s a real swing in just 12 months. And Arbitron says when you control for education, “among college graduates, 30% say they listen most often to radio stations over the Internet.” That’s contrasted to a figure of 12% for non-college grads. Edison’s Larry Rosin says “the findings suggest that broadcasters need to think about the quality of their streams, and promote the ability to listen to radio online.” And here’s the Hammer of Doom, if you didn’t see it coming: “After all, on the Internet, the competition is not just the other stations in town. The possibilities are essentially infinite.”» fonte: “The boss says, Turn down that computer”, taylor on radio-info, 6/05/08; o original está aqui

«Another radio giant -- CBS Radio -- also is establishing an online foothold on several fronts. This summer, CBS will launch play.it, a music streaming service where users can indicate who their favorite artists are and get a customized playlist of similar music they may like. Play.it users will be able to choose from a selection of icons representing different artists. By dragging the icons to their playlist, they’ll hear a lot of songs by that artist, as well as other music influenced by or similar to it. It’s similar to online music site Pandora, which has been successful at matching its users’ tastes in music with new content. In March, CBS Radio and AOL announced a partnership in which CBS will power AOL’s online radio network, replacing XM Satellite Radio. And CBS is planning to stream its HD channels, making that programming accessible to online users.» (Clear Channel mixes it up on new music site)

« CBS Radio plans to launch a custom internet radio site, similar to Pandora.com and Last.fm, where users can stream music that sounds like a given musician. The company is currently talking to advertisers about the site, called Play.it, and says it will open it to the public in the next few months. Screen grabs from an early version of the site are after the jump. Aspects of Play.it sound cool. Users will drag and drop favorite artists into a grid, weighting them by preference, to create the style of music they want to hear. And they’ll be able to add news reports, traffic updates, and celebrity interviews from local CBS affiliates. The site will then assemble and stream a radio station like one on the FM dial. Big surprise, that will include commercial breaks. But CBS Radio’s David Goodman says the frequency of breaks will be “a lot lower,” than on terrestrial radio, and that the ads will be “in context” — love songs will generate jewelry or flower advertisements, for instance. I’m eager to check it out, but I’m also skeptical CBS can keep up with the competition. Right now, Pandora and Last.fm have deep libraries of musicians and sophisticated recommendation technology (Play.it will use its own system, called “The Brain”). New services, meanwhile, keep popping up. Just last week we heard about another one, Chilirec, which records songs as they stream online, like a TiVo (via TechCrunch, or Go2Web20). Who knows where we’ll be when Play.it opens months from now» (CBS Radio Plans its Own Pandora (And It’s Not Last.Fm))

«CC TARGETS YOUNGER DEMOS WITH ONLINE MUSIC PORTAL/SOCIAL NETWORK: Clear Channel has launched an online music service and social network called eRockster, targeted to 13-34-year-olds. The service was actually introduced over the weekend at the California rock festival Coachella by the actor Eric Szmanda (from the CBS show “CSI”), who is credited as “producer and inspiration” for the service. Beginning May 2, eRockster will reportedly be made available from Clear Channel station sites including KYSR-FM/Los Angeles, WWDC-FM/Washington, D.C. and WRFF-FM/Philadelphia. ERockster content may also be ported to HD2 side channels and as an on-the-air syndicated show. “We want to be be playing everything from indie rock to hip-hop to classic rock to soul to dance rock,” Szmanda explained in a press statement.« fonte: «CLEAR CHANNEL LAUNCHES eROCKSTER FOR YOUNG ONLINE LISTENERS·Apr 29, 11:46 AM by: Paul Maloney»

Observação: é um serviço limitado à América do Norte; permite escolher entre varias opções, tem musica, tem videos, tem blogues, tem comunidade. É um compromisso face à emissão clasica, mas é tambem um avanço (permite selecionar, a partir da oferta existente, e construir a sua lista personalizada

«Clear Channel’s new radio station, or The Arrow, or Virgin Xtreme, or any number of other “music jukebox” channels, just play a mix of music which is suboptimal, for me, to that available from a computer program or a website - or, even, from a tightly tuned iTunes. Surely the future of radio isn’t just non-stop music jukebox channels? Can’t one-to-one technology do that job better? Or is the job of a programme director really just the job of a music scheduler these days?» (is all about music, James Cridland, 4/05/08)

«In addition to the streaming player, listeners also can use an on-demand feature and choose individual songs or entire CDs. The erockster playlist currently weighs in at more than 800 tracks, and will eventually feature a library of more than 5,000 songs»

«Not everyone wants to spend time messing with configuration settings and preferences. We do enough of that stupid computer stuff already, right? Even geeks like me just want to be blown away by something fresh and new. Asking us to invent, quantify or define that for a Radio service provider is plain stupid. We like stuff, or we don’t. Maybe we can be persuaded something is good. That’s the battleground»

(a rádio que resiste em tirar partido das potencialidades oferecidas pela net, nomeadamente a interactividade)

«Although large numbers of radio stations are now making use of the Internet, the nature of that use varies substantially. By far the primary use ofthe sites is for station-related promotional purposes. Based on a content analysis of the sites of commercial radio sites in the United States, Lind and Medoff (2000) report that nearly three-quarters of the sites they investigated contain promotional materials such as programming guides, profiles of staff and other forms of station information. Considerably fewer stations - between 10 and 25 percent - provide information related to news stories, sports and the weather. Contact with stations was for the most part arranged through e-mail links. Other forms of contact or feedback - listener surveys and registration forms, discussion groups and bulletin boards sessions - were organised by small fractions of the stations studied. No more than 15 percent of the sites examined by Lind and Medoff (2000) provide chat opportunities for listeners.» (van Selm et al, 2006: 267)

RESISTIR, a partir da rádio, em aderir: «The BuZz web radio staff, on the other hand, showed a reluctance to provide listeners with too much influence over programme content» (279-280) 

«Although we would not want to exaggerate the suggested relation between web radio and communIty media features, we do feel the use of interactive Internet tools has implications for both programmers and listeners. Consultation of audio archives demands a more active stance than many conventional radio listeners may be willing to accept. And web radio programmers that incorporate chat services into their repertoire of listener-oriented activities will have to take input from listeners more into account than they normally may consider appropriate. These developments create, in fact, a dilemma for both prorammers and listeners. The more radio stations make use of the interactive and multimedia potentials of the Internet, the less the programming resembles conventional radio fare. (...) In our study of the radio programme BuZz suggests that this transformation is problematic and tends to be resisted by all involved.» (280) 

«Lind and Medoff first concluded that at the time of their study, most broadcast executives were guilty of not realizing the potential of their streaming efforts. Specifically, the researchers found that although stations understood the value of using the Web's interactive capability to establish better interaction with listeners, Webcasters largely failed to utilize information and design features capable of attracting the psychographically unique Internet user. Moreover, stations were especially lax in offering visual information with their streamed signals (information that was offered was primarily local in nature), sites were not well maintained, and stations seemed surprisingly slow to develop additional revenue-producing opportunities from this new medium.» (Evans, Smethers, 2001: 7) [The Lind and Medoff research provides an important snapshot in the development of Cyber radio in the late 199Os, although the data, while highly relevant at the time of the study, have been rendered somewhat dated with the passage of time, an inescapable risk associated with studying rapidly evolving media technology -pag 8].

«Listeners of web radio who participated in the focus group interviews also emphasised that on-demand music services provide a degree of individual control and may become an important characteristic of future Internet-based radio prograrnming. In contrast, the focus group members did not make use of this feature themselves. (...) One of the focus group interviewees expressed this position as follows: ’You just do not always feel like chocsing between alternatives or formulating your own preferences. That’s too much of an effort.’(...) there was limited interest in becoming an active user of the interactive tools made available.   (van Selm et al: 2006: 272-273) [Interviews were held in 1999 with five website radio staff: four programme hosts and one web master. The online survey was held amongst visitors to the website and was completed by forty-one respondents. Focus group interviews were held survey respondents who indicated they were regular participants of the BuZz chat box. Two  focus group interviews were held, each with four persons» (271)],

[EST ESTUDO, ENTREVISTANDO GENTE QUE TRABALHA NA RÁDIO E UTILIZADORES/OUVINTES, MOSTRA UMA GRANDE DIFERENÇA ENTRE AMBOS 273-274: «The above statements suggest a discrepancy between radio programme hosts and ’chatters’ regarding the value assigned to interactions during the web shows. The focus group members expressed a degree of disappointment with the way in which the hosts incorporated the chat box into the web-based radio programme.» 274«This lack of enthusiasm for the contribution of chat box by programme hosts did not go unnoticed by listeners» 275) «In summary, interactive media can facilitate two-way communication. It remains uncertain, however, whether radio programme hosts are adequately aware of the implications of programme hosts are adequately aware of the implications of this for their work. Their status as radio ’stars’ is, in a sense, duced to that of facilitator or moderator of a website where lies are discussed and music played. » (van Selm, 275)

«Traditional gratifications associated with listening to radio programming, such as being entertained and informed (see, for example Lind, Medoff and Rarick, 2001), suggest that listeners of web radio programming would be reluctant to seek to exercise control over the content of web radio shows. In this case study it appears that listeners appreciate being entertained by a mixture of web radio items and music selected by the programme hosts» (van Selm et al 279) 

«Radio, on the other hand, has an advantage even over the printed text in being entirely non-visual and can thus let as a secondary intellectual medium - one through which we can absorb many if not all forms of information and ideas while being free to do something else. (...) the blindness of radio should be seen as a precious asset» (Crisell a, 2006: 10) 

«(...) if we wish to broadcast informative and analytical material, then having regard to the innate character of radio and television and starting, as it were, with a tabula rasa, we will find it more effective to do so through the blind medium of radio than through the pictorial medium of television.» (Crisell a 2006: 12) 

(com que implicações ao nivel do proprio futuro da rádio? isto significa que ela se deve continuar a centrar no seu elemento sonoro, em detrimento das caracteristicas multimedia? colocar a questão no consumo passivo)

«Make content for their portable devices. Many students faithfully listen to podcasts. Podcasting is the next radio -- have I said that lately? The reason I keep saying it is because it is. The next generation wants to time delay its entertainment. They want to control it -- stop, start, go back, advance. They are less likely to tune in to 24/7 programming and more likely to "subscribe" (for free -- I'm just using the term "subscribe" to mean sign up) to what they want. This is mandatory -- get into podcasting. And if you're going to do it with the current air staff, you'll lose. You need an entire new approach from content, production, marketing and sales. (...) Two, learn about podcasting. You're going to see me talking about the new radio a lot in the future. I am jumping in with two feet -- not just with one toe. I advise the same to you. Podcasting is not as easy as you think. Of course, it's easy to do technologically -- that's not what I'm saying. It's the content, the presentation, new ways to market (no commercials) and make a profit. If it sounds like radio on a memory stick, it won't pass the test with Gen Y.»
COLLIANO, Jerry del, Gen Y Consults Radio Inside Music Media, 14/04/08

«Universal WiMax would make it seamless for consumers to have Internet-based music, information, communication with them everywhere. The advantage that radio transmission now has -- it's everywhere and it's free -- would be reduced to one thing. It's still free. But consumers would likely pay a premium to get Internet on-the-go.
That's why Internet streamers could be the next broadcasting revolution when their delivery system is put into place.
(...) I'm thinking -- and you may be, too -- that terrestrial radio companies might be ready to get into the content business. That's pictures, video, text and audio and become a new age broadcaster. How exciting is this? The salvation of Internet streamers is the arrival of a WiMax network. But some broadcasters seem to have a hard time seeing that the salvation of a dying radio industry is also this new form of wireless accessibility. Not transmitting a terrestrial stream over the Internet. That's so 20th century! But creating new content for the delivery system of a new age.»
fonte: Jerry Del Colliano, Watch WiMax Inside Music Media, 17/04/08

«Many radio stations have focused recently on ‘more music’, and less local presenter involvement - particularly the commercial radio operators. It seems a little peculiar to me that radio has taken away the main differentiator between it and my iPod: after all, my iPod plays a better choice of music that I can find anywhere on the radio. (.,..)There are millions of young people enjoying speech radio every day, though some might not think they’re listening to the radio; after all, a good bit of speech radio, prepackaged and made available as a download, is what most people call a ‘podcast’. I believe that radio’s future depends on great content. If programmers focus their attention at the bits between the records, and less slavishly on following their music testing, then we can ensure radio’s future. If radio is just to become a non-stop ‘music aggregator’, then last.fm and services like it will always do that job better (even if last.fm’s algorithms need rather a lot of work).»

«If your definition of “2.0″ is a much more collaborative experience, where many people provide the content you’re looking for, then Radio 2.0 was born with the advent of the request show or the phone-in. Of the ‘old media’, I’d claim that radio has always been the most democratised, most involving media there is. If your definition also includes “giving control to th audience”, then (quite apart from the superficial control that request shows give the audience), again radio has a good story to tell. Listen-again services, like the BBC provides with their BBC iPlayer for Radio, have succeeded in takng radio away from being an uncontrollable linear stream of content to one that is more malleable. It’s particularly good for niche programming - if you look at programmes like Radio 1’s Essential Mix, you see that it has nearly as many listeners online as onair. The iPlayer provides the long-tail and discoverability of content that is the issue with an old-fashioned linear stream.»

«It must be NAB's role as a lobbying arm that predisposes it to see PR as a hammer and every challenge as a nail. You don't reinvigorate by saying you will. You reinvigorate by doing what's reinvigorating. When that happens, you don't need to "remind" listeners of anything. Nobody wants to be "reminded" of stuff they already take for granted. They want to hear about what's new. And that, my friends, is radio's true challenge. Radio can make much more headway with its audiences in a new media world by grabbing opportunities which satisfy listener needs in new and exciting ways. This is what CBS did with last.fm. This is what Radio One did in its dive into social networking.» Mark Ramsey

«CBS Radio re-launched their legendary NY rock radio station WNEW recently. It's a group blog about music, it's a last.fm group (built by the combined scrobbling history of all of the group members), it's an internet radio station, and it's available over the air on HD2 at 102.7 (you need an HD radio to get it).(...) Maybe the golden years of the 70s and 80s are long over, due to the iPod and other forms of portable music and the changing dynamics of the music industry. But I think radio does understand what it has to do in order to hang onto its audience and bring new listeners (younger more technologically inclined) into the fold.» It's A Blog, No It's A Radio Station, Wait It's Something Altogther New Fred04.15.2008

«(...)Rehr continued, "We know that the world has changed. Consumers have more options than ever before. The media landscape is rapidly changing. We’re being buffeted by forces larger than our industry. Some in the business are a bit disoriented. Some are overwhelmed by the changes taking place. Frankly, some are not optimistic about broadcasting’s future."
After noting that "broadcasters can be a bit of a cynical bunch," Rehr said, "I’m afraid that some people in this business have been staring so long at the door that’s closing, they haven’t seen the new door that’s opening. The digital door." (...) Listeners still want what they’ve always wanted. Technology hasn’t changed that -- it has just changed the devices of delivery. This is not to diminish the challenges or uncertainty of the radio business. In fact, I think one thing that’s changed is that many in the industry have been so worn down by the battles and buffeting, that they themselves have forgotten the magic of radio. But we have not forgotten." (...) being local, in and of itself, is not what defines radio’s value. It’s the accessibility and the connection with radio personalities. And it’s being everywhere and available to everyone. A radio is not a jukebox.(...) "If you’re listening to radio, you want to hear a human voice sharing that same moment in time that you are. There is power in that personal bond. A CD doesn’t have that connection. An iPod doesn’t have it. No, our model is not broken."» Rehr: ’Radio Remains Relevant’, Radio Ink, 15/04/08

«Radio needs to become a service provider for portable media players so listeners can customize the traffic they want to hear on their device, for example. In a session during Sunday’s Broadcast Engineering Conference, Wilson said radio’s current, inefficient frequency allocation would need to be re-worked to permit such customization. He would co-locate channels and use single-frequency networks to make more efficient use of spectrum.
He expects pushback from the FCC and broadcasters on such a frequency re-allocation, but he said radio needs to adapt to changing times to survive.» RWONline, Wilson: Radio Needs to Adapt or Face Obsolescence, 14/4/08

«(...) Radio One Inc., which is pinning future growth on Internet outlets, has acquired social networking company Community Connect Inc. for $38 million. (...) It said Community Connect's sites have more than 20 million members. (...) Radio One (NASDAQ: ROIA) owns and operates 53 radio stations in 16 markets, including four Baltimore stations: WERQ-FM 92Q Jams, WOLB-AM 1010, WWIN-AM 1440 and WWIN-FM Magic 95.9. Its stations primarily target African-American and urban listeners» fonte: «Radio One buys social networking company for $38M», Baltimore Business Journal - by Jeff Clabaugh, 11/04/08 

«Assume for a minute that radio's revenue growth via the traditional commercial platform is going to continue to be challenging.  And if your station specializes in lower demand demographics like 18-34s and Teens, you know that radio has fallen out of favor with many key advertisers, with no apparent turnaround on the horizon.

Yet, many major advertisers haven't changed their target demographic strategy.  They've changed tactics.  And radio, especially formats like Alternative and CHR, has to respond to this shift in order to survive. (...)

Looking at it a different way, youth-targeted radio formats might be able to lead the way to revenue growth for the radio industry.  There are billions of dollars available chasing youth (maybe even more than for aging baby boomers).  Maybe these stations need to consider some serious experimentation by re-structuring their promotional, digital, and sales models.  Maybe they need to, in the words of Jason Calacanis at Summit 12 - "surrender" to the reality that the current business model is not the road to revenue growth.

Let's invent a new one, and in the process, begin to reinvent the way that radio interfaces with advertisers - and the audience.»

fonte: Follow The Money - Part II, Jacobsmedia, 9/04/08

«(...) fresher radio technologies could solve the problem.  Terrestrial streams frequently transmit identifying information using RDF, though emerging satellite and HD (or digital) radio streams package metadata far more effectively.  That means that fans can easily identify track information without the assistance of a deejay.

But HD radio technology actually enables a more interesting step.  Just recently, Clear Channel Radio started streaming digital stations that allow instant iTunes tagging, thanks to technology supplied by iBiquity Digital Corp.  More specifically, songs are tagged within an iPod for subsequent purchase on the iTunes Store.  

A total of 440 HD radio stations, and 340 HD2 stations now carry the capability, though just one tag-ready receiver is currently on the market.  "Radio continues to be the number one way that people discover new music, and the HD radio iTunes tagging capability lets listeners add songs to their iPod playlists with just a push of the button," explained Clear Channel Radio president and chief executive John Hogan.»

fonte: «Impulse iTunes Downloads: The Radio Rollout Begins». Digital Music News, 7/04/08  

«Part of that “engage the consumer” business is to make sure that radio’s available on “every mobile phone, PDA and mp3 player within five years.” The Emmis boss says “we have to be there, we have to be 360 degrees, everywhere our customers are.” Many Nokia and Sony phones around the world already come equipped with radio, and Jeff says in this country, “We believe it’s a perfect solution to the WARN Act” about emergency notification. There are “discussions with the American cellular industry” about making radio standard in phones. As for iPods: Jeff says a radio unit is already a best-selling accessory for the iPod. (Nobody asked about AM radio, by the way: it’s got a less-certain path to inclusion in future devices.) Smulyan insists that radio “isn’t hiding from new technology, we’re driving it.»

fonte: Taylor on Radio-Info, Wanted: Some backbone, 3/04/08

«Regarding yesterday’s piece on “The Future of Radio” from the Washington Post (here), Ralph Guild writes, “There isn’t ‘a’ future, just a future and like AM and FM some people will like one format and others will like another. Broadcasters have to stop talking about the future and start investing in the ones they believe in before anything will happen. Ultimately, it will be what the listeners prefer and they have no idea what they will prefer until they can try it.”»

RAIN READER FEEDBACK 25/03/08, RAIN

ou como se demonstra mais uma vez que a industria tem dificuldades em compreender a net (o exemplo da pub)

«(...) why is there no radio industry-backed web site that explains the process of radio advertising to local advertisers? Why is there very little found on the web that instructs local advertisers on how to use broadcast radio? (...) What you won't find in that search, or any search of related keywords, is anything from the radio industry that offers help to a business owner looking for guidance on radio advertising. Excuse me. This is outrageous in today's media climate. As everyone in the radio industry continues their claims of turning towards the internet for non-traditional revenue, here's a clue as to how this is going to end up: same old, same old (as in commitment, effort, and payoff).» Radio Industry Has Little Time to React Audiographics Ken Dardis, 3/03/08

«(...) For younger audiences, daily entertainment options now include visits to online sites like YouTube, and video has become part of radio's outreach strategy. WKST's Web site, for example, features on-demand music videos in addition to podcasts of some of its "Morning Freak Show" bits. Younger listeners are using cell phones as the new request line connection, text-messaging song requests to their favorite radio stations instead of phoning them in. Some cell phone companies now offer the capability to see a radio station's recent playlist, download audio or take part in contests. A terrestrial station's cyberspace presence has become an important programming tool. "We're really tuned into the audiences that utilize our sites" says Clear Channel's Rohm. "We know who they are. They tell us what they want. We've begun to develop a tremendous amount of proprietary content. In a variety of platforms, we're trying to make the best entertainment value to consumers. No matter how much on the go they are, we're accessible to them." "What comes out of the speakers over your radio is the most important thing," adds CBS Radio Pittsburgh's Clark. "But there is content that comes out of those speakers that people might want to hear again, at a more convenient time. Making a lot of our content available in short Webcast form is going to be an important part of the future."

fonte: «Radio competes against downloads, file-sharing, satellite broadcasts», Wednesday, January 10, 2007, Adrian McCoy, Pittsburgh Post-Gazette

Um estudo da Bridge Ratings mostra o que já se suspeitava: de um universo de 2000 inquiridos, entre os 12 e os 24 anos, 85% escolhem o seu leitor de mp3 à rádio tradicional.

"The study interviewed 2000 persons 12-24 years of age and was done on a national platform*. The project was part of a University of Southern California Media Lab analysis entitled "How to Make Music Radio Appealing to the Next Generation." »

outras notas: há diferenças entre os 12-17 e os 18-24;

- para ouvir musica, a internet é preferida do que a rádio tradicional: "When given a choice between listening to music over the Internet or traditional radio stations, 54% prefer the Internet while 30% prefer radio. This preference is more pronounced among 18-24 year olds."

"Some ways make music radio more appealing to this Next Generation?

• Add variety - more different types of music and different types of programming throughout each day.
• Reduce repetition
• Showcase much more New Music.
• Hire relateable personalities who can expose this age group to new music.
• Podcast your personalities, create blogs, eliminate the pre-recorded, imported automoton announcers.
• Completely embrace all of the technology available as extensions of the radio station.
• Re-think commercial loads, placement and production quality. For example, properly placed hour long sponsorships would enhance client brands and station image.
• Provide what the MP3 player cannot.

Conclusion

While it appears that the next generation has responded negatively to traditional radio, the reasons are rooted in radio’s abandonment of the 12-24 year old over the last ten years.

This age group appears to want radio to step up, change for the better and challenge them with a new way of presenting radio that is customized for their lifestyles and tastes.

12-24 year olds believe that radio can offer unique programming that will attract them away from their MP3 players and Internet Radio. "

«How to Make Music Radio More Appealing to the Next Generation», Bridge Ratings, Dezembro 2005

[http://www.bridgeratings.com/press_120105-12-24%20Listening.htm]

Um comentário: "While it appears that the next generation has responded negatively to traditional radio, the reasons are rooted in radio’s abandonment of the 12-24 year old over the last 10 years. This age group appears to want radio to step up, change for the better and challenge them with a new way of presenting radio that is customized for their lifestyles and tastes.” And maybe that same age group is just as anxiously awaiting the rebirth of the abacus. The decline in radio listenership among today’s youth is part of a larger trend. It’s no secret, for example, that newspapers are increasingly ignored by this same demographic. And, in the case of newspapers, the same kind of recommendations have been made. “Grab young readers’ attention by creating stories relevant to their interests.”