«(...) Especially among 15- to 25-year-olds, people seem to need their peers to validate their musical tastes, making the Internet a perfect medium for the intersection of MP3s and mob psychology. (...) Imeem and Bebo are two Web sites trading on the idea that music is a social phenomenon, and that the Internet is the place to be to gather around it. Imeem asks, "What's on your playlist?," while Bebo calls itself a "social media network." Imeem draws 20 million visitors a month by specializing in free streaming music and music-video playlists that you can customize. The offerings are surrounded by information about the artists, rankings, related songs, polls, and profiles of other fans. (...)"We can target to hip-hop fans in L.A. who are also into indie films," said Steve Jang, Imeem's chief marketing officer. The most successful sites in any category, Jang maintains, are not the ones with the most money or the best technology, but the ones with the best "user experience," like the simple interface that Google started out with.The recent wave of social music sites that Imeem is a part of is showing the music industry that a free, open, ad-supported system is better than tying down digital songs with software that limits their playability, Jang said. Just look at radio and MTV, which have been sustained by advertising for years, he said. (...)Like Imeem, Bebo surrounds its offerings with extras: fan groups, artist information, concert dates and charts. Bebo, which has 40 million registered users and drew 11 million visitors last month from Britain alone, also lets its users bring in music and other media from Web sites like YouTube by using "widgets" that can be dropped on to personal pages. (...) Shields acknowledges that teenagers, the age group most attached to socializing around entertainment, do not have the kind of income that many advertisers would like to attract. But they make up for it with loyalty. As a testament to how attached Bebo users are, the average time spent on the site per session is 40 minutes - an eternity by Internet social-networking standards.»

fonte: «Could social networking sites save the music industry?», Victoria Shannon, IHT, 30/01/08

«What researchers in their efforts to scrutinise the modalities of adolescent media use and its effects have often failed to ask is why adolescents use the media, and why media can be assumed to have an effect. The starting point of most research was the fact that they certainly do, but not so much the reasons for it.» (Boehnke, 2002: 1) (não é objectivo saber porquê que usam, embora se deva ter isto em conta: «The picture changed somewhat with the emergence of the so-called ‘‘uses-and-gratifications’’ paradigm, Rosengren (e.g., 1981; cf. Swanson, 1979) probably being one of the founders of this approach. It shifted the focus of media studies from the angle of what the media did to or with the adolescent to what benefits adolescents gain from media use.» idem)

«From a developmental point of view adolescence can be  seen as a transition phase between childhood and adulthood (Jessor & Jessor, 1984), as a moratorium phase (Zinnecker, 1987), or as an independent phase of identity formation as in the work of Erikson (1968) or Marcia (1993). All these conceptualisations have in common that they do not see adolescence as a static life segment defined by chronological age, as we find it in juridical definitions, but as a dynamic process. Within the framework of social scientific youth research we find one specific concept especially suitable to capture the dynamics of youth as a life phase, namely, the concept of developmental tasks, first introduced by Havighurst (1953) (...) The variability of expectations does, however, have biological and social boundaries: Cultures and subcultures that do not expect youth to have mastered all age-typical developmental tasks between the ages of 10 and 30 presumably are rare.»

(Boehnke 2002: 194)

«Individual adolescents actively incorporate the media into their lives in order to reduce developmental pressure with regard to youth-specific developmental tasks. Adolescents use the media to accelerate the accomplishment of their developmental goals»

 (Boehnke et al, 2002: 195)

«(...) radio is indeed an agent of youth development. In detail, our analyses showed that youth who express a strong desire to gain more autonomy (most importantly), better peer-group integration, more ability to cope with their own physical maturation, and an improved understanding of politics, use radio as a quasi-social means of mood management more than those age-mates who exhibit lower developmental aspirations. How can this be interpreted? Listening to the radio seems to give adolescents good feelings in a life-phase of uneasiness and at the same time seemingly has to offer clues on how to cope with youth-specific tasks. Through its parasocial interaction options, together with its mood management capacity, radio seems to offer youngsters an ideal medium to cope with the stresses of being an adolescent.» (199-200)

«In 1995, about 95% of the 14-to 29-year-olds listened to the radio at least once every two weeks. Three-quarters of that population listened to the radio every day. The average daily listening time (between 5 a.m. and midnight) was 117 minutes. Over the years, radio listening time has been declining slightly, but radio still competes actively with television for the prime position in adolescent media preferences (Berg & Kiefer, 1996; Keller & Klingler,1995; Munch & Boehnke, 1996).»

 (Boehnke, 2002: 195)

« (...)why do adolescents listen to the radio—is usually, ‘‘they want to listen to music’’. And this is certainly the case. To use radio as a music medium begins in childhood (Christenson & De Benedittis, 1986) and continues at least through adolescence (Christenson & Roberts, 1998). Unpublished work from the German state of Baden-Wurttemberg2 showed that 91% of 14- to 29-year-olds were guided in their radio programme selection by music. Christenson and DeBenedittis (1986) report a proportion of 84% in their study of 11- to 12-year-olds. From a study by Roberts and Henrikson (1990) it can be inferred that some 91% of US seventh graders and some 96% of US ninth graders are guided by the music in their choice of radio stations. Even before unification, East German youth also selected the radio stations they wanted to listen to—often West German programmes—on the basis of the music that was played (Felber, 1991).»

 (Boehnke et al, 2002: 195)

«However, the time-lag between invention and mass media application (Marvin, 1988) may be relatively long (e.g. ‘wireless’ took about 25 years to become ‘radio’;» Lehman, 2004: 712.

«‘Wireless radio’ started off as a minor role-player, mainlyfor land–sea communication. Only after some 20 years did its real mass nature emerge.» Lehman, 2004: 713.

«What are the reasons for the fast growth of a new medium? Culture (that is, openness to novelty), cost–benefit utility (‘bang for the buck’), userfriendliness (‘human–machine interface’), and a nation’s technological infrastructure (human and physical), are all critical factors. Also, the level of inter-medium interactivity (Mahler and Rogers, 1999), for if the medium can be utilized usefully only in conjunction with someone else’s appliance (say, a videophone), that will retard diffusion as each consumer waits for others to buy it first – until a critical mass is attained (Marwell and Oliver, 1993). However, the most important factor is social need and readiness. Without the proper communications and social conditions, new media can wait for decades to realise their potential. (715)

«How will older media adapt to the maturing internet? Most of the older media will survive in somewhat changed form in the internet age – with a few caveats. First, it is not contradictory to predict that most of the older media will continue to exist, albeit within the internet’s underlying metamedium infrastructure. While content and functions will remain recognizable, their modes of transmission/distribution will change drastically. Ultimately, newspapers will become exclusively electronic (Ries and Ries, 2000), delivered through the internet to new media appliances (PDA, ebook, tablet computers)» (724)

«Will any of the older media disappear completely (stage 5c)? To use a digital metaphor: yes, but mainly through morphing into something else. We have hinted already that the ‘newspaper’ will not exist in a few decades – in its present format. However, if it gravitates onto the web and does not disintegrate under the centrifugal force of do-it-yourself news and text/ photo weblogging, it might well survive but in quite a different form. Just as the typewriter became the computer keyboard, so too might older media ‘appliances’ become obsolete but continue to live through their functions.» 725

«Rogers (1962) identified five types of adopters, the first two being catalytic ‘Change Agents’: innovators (2.5% on average), early adopters (13.5%), members of the early majority (34%), members of the late majority (34%), and laggards (16%).» Lehman, 2004:709

«We should note that ‘50 percent’ follows from Rogers’ diffusion of innovations model: the first three categories together (innovators 2.5%, early adopters 13.5%, and members of the early majority 34%) equal precisely 50 percent. Certainly, when half the public uses a medium we can safely say that it is no longer marginal.? (Lehman, 2004:714)

O multimédia acaba com a ideia de rádio?

A rádio é acumulação, escuta secundária e portabilidade. E é óbvio que as ferramentas multimédia, associadas à Internet, matam esta ideia de rádio.

Mas poderá continuar a haver canais só de áudio para desempenhar essa função de acumulação ao nível da música.

Contudo esses canais terão menos ouvintes: porque a acumulação tem agora concorrência, porque as ferramentas multimédia oferecem um novo tipo de comportamnento ao utilizador que já não se compadece só com ouvir.

Daí que os telemóveis permitam visualizar

A rádio tal como a conhecemos ficará confinada à rádio de palavra, essa sim insubstituível, à palavra em directo, e a situações de acumulação passiva (correr) em que ou não haja outras opções (iPod, telemóvel) ou em que apeteça ser passivo. Mas essas situações configurarão menos ouvintes, menos dimensão.

Portanto: a rádio como a entendemos não está em causa se:

- for a rádio de palavra (os leitores de mp3 concorrem com a rádio musical):

- enquanto houver gente que não tenha alternativa ou queira ser passiva na escuta de música.

Se no primeiro caso, é de pensar que os ouvintes continuarão a ser os mesmos (ainda que haja mais hipóteses de obter informação ‘em cima da hora’, através da net, a ráido poderá de palavra em directo será insubstituível), já relativamente aos canais de musica, falta saber se o numero de utilizadores garante massa critica que os viabilizem comercialmente (apesar dos baixos custos)

«the decline of the older medium may not occur immediately; under competitive pressure the traditional medium can squeeze more out of its arsenal – even actually increasing revenues for a period of time. Landes (1969: 260) noted three basic reasons for this: (1) creative technological response; (2) cutting costs and prices; and (3) widening markets and opportunities due to the increased demand brought about by the new technology’s efforts.» Lehman, 2004: 716

«What are the older medium’s possible reactions? First, attack – the best defence is a good offence. As a vehicle of communication, the threatened medium can propagandize against the newer competitor: the new medium’s content reliability and technical dependability might be questioned (Naughton, 2000). Also, fearmongering is not an uncommon ploy, where the print and electronic media play up the internet’s dark side: paedophilia, pornography, sales fraud, etc, that are actually but a very small part of the internet universe (see R¨ossler, 2001, for counter-evidence). Second, the older medium can try to cut off the new medium’s content sources. In the 1930s the newspaper industry tried to block news agencies from feeding news to the young radio medium (Emery and Emery, 1988).» (717

«To some extent, the threat to older media is a cultural–generational one. As McLuhan noted, new media can change profoundly the way in which content is consumed and perceived.(...) Moreover, the sheer number of media available can also change consumption patterns – today’s youngsters listen to music, watch TV, read magazines and play video games simultaneously, thereby altering the media experience of each. Such ‘parallel consumption’ (or multi-tasking) is a problem for each older medium but also an opportunity for synergistic inter-media cooperation, for example, CD music which is produced specially as streaming background to popular internet video games.» (Lehman-Wilzig e Cohen-Avigdor, 2004: 722)

«If old consumers were predictable and stationary, then new consumers are migratory, showing a declining loyalty to networks or even media’ (Jenkins, 2004). This is the real challenge for radio when attempting to communicate with the ‘wirefree’ generation in the converged age. It is time to rethink not only established practices but also our notions of what audiences really want.»

(Berry, 2006: 144)

«The other big audience challenge is youth. Most of my generation grew up with radio. Memories of that first car, that first cigarette, that first pint of heavy, are for many of us inextricably bound up with particular pieces of music, particular radio programmes or DJs. Today, while television can still capture children up to their early teens and the challenge is simply getting them back in their twenties, for radio, is there a generation growing up who are simply not introduced to the habit and may thus not get the point as they mature. Two thirds of today’s young mobile users have their phones on and within easy reach for between 21 and 24 hours a day. I earnestly hope that radio- possibly using the mobile as delivery medium - can capture at least some of that time», Stephen A Carter (Chief Executive, Ofcom), The Radio Festival - Certainty or Security? The Path to Digital 04|07|05

«Work that emerged early after the introduction of a new medium was often governed by the myths of a general cultural pessimism.»

Boehnke et al (2002: 193)

«Among the things they liked about the player included the supported artworks, band biographies, ability to store Wi-Fi keys and the option to have access to a free, or paid, enhanced music services. The Slacker Portable also auto refreshed channels when it detected a trusted network, as well as automatically refreshing while recharging.»

«Taking personalised radio fully mobile, although it’s available only in the US for now, is Slacker.com’s Portable Radio Player (from 0/£100). Launched this week, it comes preloaded with up to 40 stations containing thousands of tracks. As you rate individual tracks, Slacker learns your tastes and refreshes the player’s built-in memory with other songs, using your wi-fi connection. A 4in screen lets you browse playlists and view album artwork – although it will also screen a couple of adverts each hour if you don’t upgrade to a .50 (£3.75) monthly fee. The subscription also allows you to skip tracks or save them to the player to listen to again. Slacker.com doesn’t yet know how soon its service will be on offer in Britain»

E os receptores satélite:

«No pequeno receptor acoplado ao rádio do carro, são mostradas informações sobre a música, autor e intérprete. A qualidade de som equivale à dos melhores CDs. Nenhuma interferência, tudo límpido, para satisfazer até o ouvinte mais exigente de música clássica»

Indeed, we're seeing this play out in Alternative and Active Rock and in the erosion of time spent listening among younger audiences already.

What a fabulous opportunity for non-music radio. What a fabulous opportunity for new non-music experiments (which may or may not be "Talk"). What a fabulous opportunity for radio to plant its flag in the future, given that so much of that future can be seen coming now.»

«Constant denial -- that's what's killing radio.

Last week we heard the same old song again at the Southern California Broadcasters Association gathering. I don't know about you but these guys are starting to scare me.

Radio-Info's Tom Taylor reported that Clear Channel's John Hogan said "performance and capability is not our problem. Our problem is one of perception". (...) They have driven off the next generation -- have no clue what they want -- and think the problem is about perception. No one cares about perception -- they care about content and -- I might add -- how it is delivered.»

fonte: Jerry Del Colliano, Redfine Radio -- Don't Reinvent It 4/02/08

«É muito importante que os meios de comunicação de massas sejam para aqui chamados, no momento em que a moda das novas tecnologias está no auge, fazendo crer que o lugar mais próprio para a televisão é o museu. Os perigos de uma desestabilização da televisão são tanto mais graves porque a sua legitimidade sempre foi contestada e a reflexão a seu respeito bastante limitada.(...)Afirmar uma ambição forte para a televisão pública no espaço da Europa. » (Wolton, 2000: 117)

«(...) ao contrário do discurso dominante segundo o qual a televisão generalista foi ultrapassada pelas novas tecnologias, é necessário afirmar que os meios de comunicação generalistas, centrados na oferta, têm o futuro pela frente. Quanto mais existirem meios de comunicação segmentados, temáticos, individualizados, mais visível será a diferença e o papel essencial desempenhado pelos meios de comunicação de massas, logo mais susceptíveis serão de ser valorizados» (Wolton, 2000: 120) 

«É imperativo recordar incessantemente a importância de uma oferta de qualidade por parte dos meios de comunicação generalistas.  O progresso não se situa em exclusivo do lado da lógica da procura em operação nas novas tecnologias. A lógica da oferta é um verdadeiro desafio, não de natureza técnica, mas cultural, por consistir - e reencontramos aqui o desígnio do conceito de grandei público - em oferecer ao maior número uma gama de produtos de comunicação o mais lata possível» (wolton, 178) 

« Sobretudo, o telefone e a rádio aproximam os indivíduos a partir do sinal que marca a nossa entrada no mundo: a voz humana. A força do telefone e da rádio provém da capacidade para transcender a dimensão técnica, sublinhando a importância do som e da voz em qualquer troca comunicacional. E se a música é desde há muito tempo a única comunicação realmente universal, ligando continentes apesar da diversidade de línguas, é porque através do casamento de palavras e de ritmos os homens partilham algo que lhes é comum. O telefone e a rádio, os dois meios de comunicação "mais velhos", mostram que o essencial do seu papel é a ajuda modesta, embora indispensável, que dão aos homens na tentativa de melhor se compreenderem. "Compreender-se", em vez de "ver-se". (wolton, 200: 187/188)

«"We tend to overestimate the effect of a technology in the short run and underestimate the effect in the long run." By Roy Amara, past president of The Institute for the Future.»

«In other words, although we expect tomorrow to arrive in a burst of science-fiction flashiness, it often takes longer to arrive. And when it finally does, the real impact of the change is likely to exceed our initial expectations. Consider where we stand in 2005: Much of what we see happening online today is the long-run, large-scale result of changes that many people dismissed only a few years ago. Amid the great tidal wave of innovation in the 1990s, the most interesting story was the birth of new business models like Amazon, eBay, and Google. But that's clear only in hindsight. The innovative fantasies of the dotcom era did bear fruit, but it took a lot longer--a decade, not five years. (See "Everything Old Is New Again," page 92.) So where will the business world be in, say, 2008? I look for small but telling hints. In my 15-year-old son Benjamin's room, for example, he's uploading a lightsaber duel video he made for a Star Wars fan competition. A digital videocamera and a Mac, and suddenly he becomes Schwartz Productions. Meanwhile, Al Gore's new cable-television venture, Current TV, aims to be almost entirely viewer-produced. Marc Benioff, CEO of Salesforce.com, plans to allow his company's users to develop and share new software applications using simple programming tools. The distinction between consumer and producer, server and served, is beginning to fade, and forward-looking companies understand that making money with your customers is even better than making money from them. (See "Companies Tap Into Consumer Passion," page 84.)»

It echoes a quote by Joseph Licklider that says: "A modern maxim says: People tend to overestimate what can be done in one year and to underestimate what can be done in five or ten years," which occurs in a footnote on p. 17 of Joseph Licklider, "Libraries of the Future," MIT Press, 1965 (

Amara, Roy "The Futures Field", Institute for the Future, Menlo Park, 1980.?

«Nos nossos dias, ao abordar o sucesso das novas tecnoJogias de comunicação, há que ser rigoroso e salientar que se trata de uma mistura de realidades e de fantasia e que o entusiasmo ingénuo que as envolve será daqui a 10 anos  bastante mais matizado, quando o acumular de uma experiência de utilização tiver relativizado os discursos espaventosos de hoje» (Wolton, 2000: 76) 

«(...) hoje em dia, vive-se o fascínio pela net e sonha-se que este sistema possa abrir um novo capítulo na história da comunicação, inaugundo uma era em que tudo será rápido, interactivo e individualizado» (110) 

«O que hoje se diz sobre a sociedade da informação foi já fortemente proclamado aquando da chegada do telefone há um século, da rádio no início do seculo xx, do computador nos anos 50 e da televisão por cabo há trinta anos. Mas quem se recorda disso? Um contemporâneo dirá ingenuamente que o que não chegou ser possivel com a televisão por cabo sê-Io-á com a Web. Mas quem lhe lembrará que a sua bela certeza de hoje se parece com a ilusória certeza de ontem e que muito em breve aquilo que para ele é inultrapassável- os prodígios do ecrã - será inevitavelmente ultrapassado? E que um outro, igualmente crédulo, com base em tecnologias ainda mais sofisticadas, predirá com a mesma ênfase que a revolução de depois-de-amanhã é anda mais promissora do que a de amanhã. E assim sucessivamente.» (Wolton, 2000: 133-134) 

JA USADOS «Mas porque será que as novas tecnologias de comunicação têm tanto I sucesso? Em Pensar a comunicação abordei já este problema, tendo sublinhado a importância para os mais jovens da ideia de abertura - mas não só. São igualmente factores de atracção a recusa da omnipresença dos meios de comunicação de massas, o desejo de responder à inegável angústia antropológica, a atracção pela modernidade, enfim, a procura de novas solidariedades com os países mais pobres.» (Wolton, 2000: 77)

«Existem três conceitos fundamentais para compreender o sucesso das novas tecnologias: autonomia, domínio e rapidez. Cada um pode agir, sem intermediário, quando quiser, sem filtro nem hierarquia e, o que é mais importante, em tempo real. Não se tem que esperar, age-se e o resuItado é imediato. Isto confere um sentimento de liberdade absoluta, e mesmo de poder, que se manifesta na expressão "surfar na Net". Este tempo real que desarruma as escalas habituais do tempo e da comunicação é provavelmente um factor de sedução essencial. » (Wolton, 2000: 77)

«De resto, esta [juventude] encontra nas novas tecnologias um veículo adicional de distinção em relação aos adultos, simbolizados no império da televisão. Mas a vontade de distinção é sem dúvida menos forte do que a sensação de participar por intermédio das novas tecnologias numa aventura nova. Não é só a história não estar terminada, é o multimédia abrir um novo capítulo na história da comunicação, do trabalho, das relações pessoais, dos serviços» (Wolton, 2000: 79/80)

«(...) nesta utopia da Net, o mais importante não é o fascínio pela técnica, pois a juventude dos países ricos vive desde os anos 70 num universo tecnológico; o mais importante está no facto da Net se ter tomado o suporte de sonhos eternos de uma nova solidariedade.» (Wolton, 81) 

«Existem três conceitos fundamentais para compreender o sucesso das novas tecnologias: autonomia, domínio e rapidez. Cada um pode agir, sem intermediário, quando quiser, sem filtro nem hierarquia e, o que é mais importante, em tempo real. Não se tem que esperar, age-se e o resuItado é imediato. Isto confere um sentimento de liberdade absoluta, e mesmo de poder, que se manifesta na expressão "surfar na Net". Este tempo real que desarruma as escalas habituais do tempo e da comunicação é provavelmente um factor de sedução essencial. » (Wolton, 2000: 77)

«Um outro aspecto positivo diz respeito ao facto de as novas tecnoIogias satisfazerem a necessidade de agir. É a filosofia "do it yourself', que se encontra um pouco por todas as esferas da vida prática. A necessidade de agir e a capacidade para a interacção que caracterizam os indivíduos da sociedade moderna encontram aquI terreno propício ao seu desenvolvimento. É bom de ver que o acesso a máquinas semelhantes não reduz por si só as desigualdades sociais, mas pelo menos confere a alguns um sentimento real de que é possível operar uma revolução. Ora, isso permite ao jogo social renovar-se, sendo indispensável a cada geração para compensar uma outra percepção, por vezes bem real, a de que "isto é que vai uma crise!" (...) Se, por um lado, é indispensável não confundir nova tecnologia com nova cultura, por outro lado, pode-se, no mínimo, sublinhar que este novo suporte facilita uma determinada expressão cultural e linguagens ainda em gestação, embora seja ainda demasiado cedo para saber se, a prazo, representarão uma ruptura cultural relevante» (Wolton, 2000: 79) 

«No essencial, a Net não é um meio de comunicação social, é um formidável sistema de transmissão e acesso a um número incalculável de informações. » (Wolton, 2000: 92)

«One of the questions posed to the students was whether they thought, here in Portland, they could identify radio stations that were true "brands." A few stood out (KINK, 94.7, KGON and Jammin' 95.5 for music, and KOPB and KXL for news and talk), but most, they felt, were just "stations" that didn't exactly connect with them. There were myriad reasons why this was the case. For the most part, they felt as though most music stations were "delivery systems" with some people telling them what the song was. Part of their reasoning was that there lacked, in most cases, a tangible emotional connection. Most of the people in our class are under the age of 25, pretty brand loyal and savvy and, despite the fact they are in what amounts to a radio creative class, struggled to find, with some exceptions, a reason that a radio "station" could be considered a radio "brand."»

«Brands are, by definition, things that evoke emotional connections. Their value is a function of the fact that you care about them, and you only care about the stuff you maintain an emotional connection to or, in the ideal case of Kevin Roberts, the stuff you "love." Zanger says his students viewed most radio stations as "delivery systems" rather than brands. And in a crowded mediasphere with sound-alike competitors "delivery systems" are commodities. Easily and readily substituted whenever and however the mood strikes. I think we really need to ask ourselves as broadcasters what, exactly, creates value in our brands. What turns a "delivery system," a soul-less music channel, into an emotion-filled "brand"?»

«What are three trends to watch for in 2008 in radio?
(...) A third trend is the unknown.
When people ask, “‘Where’s radio going?,” the thing you can count on is something you can’t even imagine. Something big will happen that we don't have a clue about yet. »

fonte: For radio, expect year of unknowns, Media Life Magazine, By Diego Vasquez, Jan 11, 2008

«Many people are dissatisfied with the state of commercial radio in the U.S. today. “It all sounds the same” and “there’s nothing there for me” are common complaints. Observers point to consolidation in the radio industry as the cause. Since 1996, when Congress deregulated the radio industry, a wave of mergers has placed the majority of radio stations into the hands of a few large corporations. During this time the number of independent radio stations shrank. Uniform corporate policies and market research-driven programming have reduced the variety of music on commercial radio. One critic summed up this approach as “play the fewest songs that appeal to the most people.” Also problematic is the requirement that record companies make big payments to promoters in order to get their songs on the radio. As a consequence it is harder than ever for new acts to be heard on commercial radio; only the biggest and best-financed acts get access to the commercial airwaves. Bill Wyman of the Rolling Stones recently said, “The Rolling Stones would never make it now.”»

BREEDING, Andy (2004), Internet Music Services, MA: Giant Path, pag 18

«I like what RAIN publisher Kurt Hanson wrote the other day when he said the answer to radio's problems is simple -- redefine "radio".

Kurt credits consultant Walter Sabo with pointing out that stand-alone FM radio stations were not allowed to join the NAB as recently as the 70's because they weren't considered "radio".

See, we don't just make stupid assumptions today. We've got a lot of experience in that department.

Kurt's point is worth thinking about: "In 2008, if you define 'radio' as AM, FM, satellite and streaming (both AM/FM stations and Internet-only radio properties like LAUNCHcast and Pandora and a panapoly of others), then, once again, radio is healthier and more vibrant than it has ever been".

I'd add mobile content and podcasting to the mix and call it all "radio", too.

Yes, throw satellite in there, as wel. Mel's a radio guy. Ask any XM or Sirius subscriber what they are listening to in the car and they'll say -- radio.

Call it all radio.»

fonte: Jerry del Colliano, Redefine Radio -- Don't Reinvent It 4/02/08 Inside Music Media

«(...) Clear Channel's John Hogan said "performance and capability is not our problem. Our problem is one of perception".
No.
Consolidators like Clear Channel but not limited to Clear Channel either just don't get it or they don't want us to get it.
1. They try to grow a business by cutting back.
2. They embrace the wrong technology (HD instead of mobile/Internet).
3. They have driven off the next generation -- have no clue what they want -- and think the problem is about perception. No one cares about perception -- they care about content and -- I might add -- how it is delivered. (...) I am convinced that as much as radio groups say they understand the Internet, they don't. It is a delivery system -- plain and simple. It needs content. One would think they would want to be in that business.»

fonte: Jerry del Colliano, Redefine Radio -- Don't Reinvent It 4/02/08 Inside Music Media

Da leitura de mais um relatorio da JPMorgan sobre audiencias na net, o que mais impressiona é, por um lado, a incompatibilidade entre aquilo ali é designado por terresterial radio operators online (ou seja, a industria de rádio que tambem tem streaming) e os internet radio providers (canais de streaming neste giria) e o desinteresse destes por aqueles.  Ou seja, a industria de rádio não se interessou em lançar canais autonomos de streaming e as empresas que os têm tambem não pensam em emissão hertziana. (a excepção é a Last.Fm e a CBS)

Por curiosidade: «Terrestrial radio operators online include Beasley Broadcasting, CCU, CBS Radio & Last.fm, CDL, CXR, Educational Media Foundation, ETM, EMMS, Greater Media, Maranatha Broadcasting, Midwest Communications, NPR , Radio Disney, Radio One, Regent Communications, and Spanish Broadcasting, as well as the individual website metrics for wbal (HTV), wgn (TRB), and wtmx (Bonneville). Internet radio providers include, AOL Radio, Yahoo! Music, MSN Radio, Pandora.com, social.com, windowsmedia.com music, LIVE365.com, Accuradio, accutunes, BigRRadio, 181.fm, Lucksysevenradio.com, orsradio.com, Sky.fm, 1club.fm, di.fm, rock.com, 1.fm, gotradio.com, broadcasturban.net, and 202online.com. Also, getnetradio.com, and myclubradio.com, were included in all months until June 2007 when comScore stopped reporting their metrics.»

Table 4: Unique Visitors to Pure Play Internet Radio's Websites, Dec. 2007 vs. Nov. 2007

Nov-07 Dec-07 Sequential Growth

Yahoo! Music 21,546 20,685 (4.0%)

Windowsmedia.com Music 3,721 4,086 9.8%

AOL Radio 3,353 3,680 9.7%

Pandora.com 3,774 3,957 4.9%

LIVE365.COM 905 1,069 18.2%

Social.fm 22 NM NM

Accuradio 154 NM NM

181.fm 231 351 51.5%

Luckysevenradio.com 280 173 (38.3%)

«notre societé est en train d'inventer un nouveau type d'agregat social mettant en jeu une étrange combinaison d'egoisme et de grégarité (...)» Vivre en troupeau en se pensant libres ,Dany-Robert Dufour, Le Monde Diplomatique Janeiro 2008, pág 20

« (...) within 10 years, no consumption of anything that we think about as media today -- print, TV, Internet -- everything that we think about today as media will, in fact, be delivered over IP Internet technology, and will all be digital. I don't care whether you're sitting there watching your big screen, whether you think you're reading what we would have called a magazine or a newspaper in the old days; everything will be delivered digitally, delivered digitally, which means, in fact, that the forms of the creative, the creative in the media, the creative in the advertising, the technologies which will be available for targeting, will all be fundamentally different, and be able to be improved by software. (...) as soon as you assume everything is delivered digitally, all media and all advertising will have to take that into account. The notion that you have things that are just text or just pictures or just video goes away, because everything is digital. »

BALLMER, steve, «ANA ANnual Conference», 12/10/07

«If you want to influence what gets played on traditional radio you have the option of calling in a song request to the disc jockey (DJ). Or, if the station is more technically savvy, you can send requests by fax, e-mail, or instant messenger. This, of course, presumes that the show is live and the DJ is available to review your request—which is often not the case. Most Internet radio stations are similar in this regard: your ability to influence the playlist is limited, and your main choice is whether to listen or not. The Internet is a two-way medium, however, and a number of services have emerged to exploit this fact. As a listener you get some control over the broadcast. At its most basic, this control includes the ability to skip or pause songs that you are listening to. At its most sophisticated, personalized radio allows you to fine tune a broadcast based on your musical preferences. This can range from genre preferences (I like Classical but I don’t like Rap) to artist and album preferences (I like David Bowie but not his latest album), and song preferences (I like the original version of The Night They Drove Old Dixie Down). While personalized radio does not allow you to control the exact composition or sequence of your playlist—for this you need a true on-demand music service— it does help you control the content of your station. In many situations this is all you need—especially if your intent is to discover new music. Personalized radio gives you the means to follow a musical trail—using favored songs or artists as “scent.”»

fonte: BREEDING, Andy (2004), Internet Music Services, MA: Giant Path, pag 33

Songerize promete muito; mas «Sorry, couldn't find song» é a expressão que mais vezes aparece...

« (...) Even as the future of Digital One, owned by GCap and the infrastructure provider Arqiva, is under scrutiny, plans are being drawn up for a second national “multiplex” for the commercial sector, headed by Channel 4 Radio. (...) All the uncertainty and a vortex of conflicting interests have simply amplified a debate on the future of digital radio – a technology that is being taken up much later in the day by consumers than digital television – and whether it is now at the brink of a “Freeview” moment of immense growth, or a “Betamax” moment of consumer abnegation. Some industry experts such as Richard Wheatley, chief executive of The Local Radio Company, see Digitial Audio Broadcasting (DAB) as radio’s equivalent of Betamax, a failed technology in the face of a mass of better alternatives»

Não, diz a BBC: «Following yesterday's news from GCap Media, the BBC and 4 Digital Group have joined forces to confirm their commitment to develop digital radio in the UK. Both parties will look at ways to encourage more rapid consumer take-up of the technology ahead of 4 Digital's launch in the next 12 months»

«Millions of people who have invested in new digital radios were yesterday wondering whether they would be left with little more than expensive ornaments after Britain's biggest commercial radio group all but abandoned the medium. The owner of Capital Radio, Classic FM and Xfm was an enthusiastic champion of digital audio broadcasting (DAB) under its previous management, spending an estimated £80m on new transmitters and stations.»

«Ms Hazlitt, the former Virgin Radio chief, said GCap had spent around £8m a year on digital radio, but had failed to recoup the investment. It is a marked change in strategy for GCap, which under its former chief executive Ralph Bernard, championed DAB. Ms Haz-litt said: "We believe the future for the new GCap is on FM and broadband. FM remains the backbone of the radio industry and on quality compares favourably to any other platform." The latest Rajar figures show that DAB accounts for 9 per cent of all listening, digital radio alone for 4 per cent and online – in which GCap is now placing its faith – for just 1.9 per cent, even though many more households have broadband than have DAB radio sets.»

This doesn’t mean that the radio industry doesn’t have a better product today and will for a long time to come. Every car comes with a radio that is simple to use. WiFi isn’t ubiquitous and free outside of the most dense major metropolitan areas. And it isn’t clear that WiFi or any other form of bandwidth will ever really be free and ubiquitous the way the radio spectrum is. But the trendline is going in a clear direction. High bandwidth IP is going to be everywhere someday pretty soon. In that world, the radio industry’s spectrum is not the proprietary advantage that it is today.» ,fonte: «Radio in 2010 July 12, 2004 in Venture Capital and Technology

1. Listeners will increasingly prefer to pay for programs, not stations. Just as music buyers want individual songs, not entire albums. It doesn't make sense for me to subsidize a station for a podcast I can hear without that station. Nor does it make sense to pay for a station that mixes in lots of stuff you don't like with exactly what you love.

2. The definition of a "public radio listener" will have to be reconsidered when such a listener may - in some cases - listen to public radio podcasts but never to a radio station that airs them. If I never listen to a station but do hear numerous public radio podcasts, how can I support my favorite shows without supporting a station I ignore?

3. Public radio will have to significantly enhance their ability to solicit and encourage donations from podcast listeners for podcasts. A passive "please pledge" will not do the trick. At the very least there should be a "walled garden" that listeners elect to pay for, behind which are all kinds of goodies for premium podcast subscribers only. This is no different from the premium items stations use in their solicitation efforts now - except it's program based and online. It's not about blocking free distribution, rather it's about offering premium access to a deeper experience of the program. But we're a long way from that now: If you go to the page for NPR's Wait, Wait...Don't Tell Me, it's not even possible to support the program directly from this web page!

4. Stations will have to recognize that their value is related to the manner in which they mix public radio programs and add original local content that is a magnet in and of itself. To expect support for the station simply because it airs Car Talk will no longer be reason enough to expect support.

5. Revenue models will have to change. Revenue can and should shift to web-based models for program sponsorship, with the station affiliates sharing in those proceeds. In the long run, the stations will be supported by the programs, not vice versa.

6. More funding for public radio programs will have to come from corporate or other non-listener sponsorship.

Imeem and Last.fm are positioned as music communities, where friends tell each other about what songs and artists they like. Since the sites have licensing agreements with the four major labels, fans can share songs and playlists with each other. Last.fm restricts users to listening to a song just three times, while Imeem has no restrictions. Both services are online radio stations, but they are different from competitors Pandora or Slacker, which create personalized stations based on your musical tastes. Here, you pick the songs and the artists, or choose music based on recommendations from peers. "Friends pay a lot more attention to what their peers say than music reviewers," says Mike McGuire, an analyst with Gartner.  The sites also differ from social networks like MySpace and Facebook in that "our audience isn't looking for dates," says Steve Jang, Imeem's chief marketing officer.» (fonte: «Music websites are fighting to be free, 5/02/08, USA Today)

«There’s now a bevy of free, ad-supported music services emerging, including CBS' Last.fm, Spiralfrog, imeem and Qtrax. The message to consumers is clear: Music is an add-on; it has no retail value of its own. With each new service, the ;?> No hay comentarios. Comentar.

ATENÇÃO A ESTA IDEIA: the experience of AM/FM listening can be delivered perfectly and unchanged via the Internet.??? 

«New distribution channels expand radio's ability to meet consumer demand for our content where they want it, and when they want it," Haley said. "Radio is uniquely positioned to do this because radio is the only medium that does not change its form when you move from channel to channel. Print and video are different experiences when they move from digital -- radio is not. The Rolling Stones still sound like the Rolling Stones, no matter the channel."» (CEO of the Radio Advertising Bureau, Jeff Haley)

fonte: 'Audio Content Is Expanding Everywhere You Look', Radio Ink, 13/02/08

A afirmação já provocou polémica: para Mark Ramsey, «This is not just wrong, but shockingly so. Jeff, any time you move from one medium to another you change the message. This is Marshall McLuhan 101. The issue is not whether the Rolling Stones sound like the Rolling Stones across media (although it’s interesting that you picked a band best known for its output in the 60’s and 70’s), the issue is what it means to be “radio” when you exist across media and where each medium has different potentialities that extend well beyond audio alone.» Para Kurt Hansen, «What Jeff was saying was that the experience of AM/FM listening can be delivered perfectly and unchanged via the Internet. And that is absolutely correct. For sitting on your sofa listening to the local Smooth Jazz station, it doesn’t matter if the radio in the room is an FM radio or a PC playing the station’s stream. The listening experience is identical. Close your eyes, and you can’t tell the difference. This is not true for print. If one wants to curl up the sofa with one’s sweetie, drink coffee together, and read the Sunday New York Times, flipping through some sections quickly, savoring others, etc., you can’t replicate that experience using NYT.com.  Similarly, watching TV is a much different experience online. You’re not going to be watching an HD picture in surround sound on your 54” plasma TV — at least not in 2008.»

«(...) MP3 players' future depend on radio.

"The Zune has an FM receiver because a Microsoft product study found that 46 percent of Zune owners listen to the radio receiver function at least once a week," he [CEO of the Radio Advertising Bureau, Jeff Haley ]said. "And the radio feature has higher-than-average importance to Zune owners, scoring 8 out of 9 points." Haley also noted that in a product feasibility study, Microsoft found that 74 percent of respondents listed radio as their primary source for new music, leading online (31 percent) and in-store (8 percent). "The long-term success of an MP3 player requires users to continue to source and use new music," he said. "Without new music, the player becomes stale and irrelevant, relegating the MP3 to just one more fad. FM radio will definitely drive the success of the MP3 player."

He noted, however, that radio's future is also linked to MP3 players, over 100 million of which are in U.S. consumers' hands. "What would it mean for our business if all of those players featured access to radio content?"»

fonte: 'Audio Content Is Expanding Everywhere You Look', Radio Ink, 13/02/08

MAIS: «Also the FM adapter for Apple’s iPod ("it’s the #1-selling accessory").»

«"Are you getting the new audience? The iPod generation?" Wired magazine author Chris Anderson and "Long Tail" author Chris Anderson starts an effective keynote speech explaining radio’s creation of "the notion of a common culture" that was "suddenly synchronized around this top-down delivery" of content, starting in the 1920s. That template of a mass medium – a homogeneous culture created by relatively few sources of content – ended in the late 1990s. That’s because "the Internet allows you to reach everybody with an infinite amount of content for free." (Anderson’s forthcoming book is titled "Free", about how content creators need to create ways to get paid for their free content.) Anderson answers a question about who’s responding best to the new imperative to narrowcast or even "slivercast", and he says it’s "advertising." Though not his own business of magazines, or books, or broadcasting. As for radio, "this is the only medium that’s translated to online virtually unchanged. The core product – free music and spoken word – is undiminished in popularity, and vastly increased in reach." But radio’s no longer got anything like a monopoly on supplying either music or talk. Anderson concludes "the business model must change."

fonte: "Are you getting the new audience? The iPod generation?", Taylor On Radio-Info, 13/02/08

«(...) The marriage of automobile and radio seems so logical, one can only wonder why it took the intervention of entrepreneurs to make it happen. Happen it did; and nearly 80 years later, radio and the auto remain joined at the hip.
The seminal year was 1929. After failing twice in the storage battery business, Paul Galvin was encouraged to try to put a workable car radio into volume production, an idea that had pretty much been ignored by auto manufacturers.
(...) Choices on the listening side are changing as well, thanks to satellite radio and HD2 channels, which can deliver traffic reports and information focused on commuters and provide more options and useful data to drivers than ever imagined possible.
But no matter how high tech, the simple joy of a pleasant audio companion in the car, a pleasure that stimulated radio sales at their introduction 80 years ago, is still there.»

(fonte: «Radio Has a Special Place in the Car, RWOnline, Charles S. Fitch, 2.01.2008)

«The NPR Podcast Directory, which features hundreds of free podcasts produced by NPR, NPR Member stations and other public radio producers, has now reached the 617-title count with the addition of the new NPR News "In Character" series, seven podcasts from public radio station WYEP/Pittsburgh, and nine more from other station contributors. Furthermore, since launching in August 2005 with 33 titles, NPR reports that its podcasts have generated more than 200 million downloads, and they currently average 12 million downloads per month. In the fourth quarter of 2007, there were 36.5 million downloads of NPR Podcasts, which marks an increase of 19 percent over the previous quarter.»

fonte: FMQB, 11/02/08, NPR Bolsters Podcasts, Tops 200 Million Downloads

«We are in the middle of an exciting expansion of radio's horizon and capability with the digital revolution.  And, despite all the naysayers, radio's doing quite well. With all the new choices available to consumers, radio has lost less than 5% of its total listening.  Radio components  within new devices are expanding our reach.  Did you know that one of the most popular and well received accessories for iPods is the FM tuner?  Did you notice that Microsoft included a radio tuner in its Zune device?  Technology companies have embraced radio; it is high time for radio to embrace the technological tidal wave, rather than swimming against it.   Regardless of the delivery system, radio will always have the unique advantage of being the local content provider.  We've got the facility and the talent; all we lack is the vision to move aggressively into custom, tailored content for these new delivery systems.» ( Peter Smyth, CEO Greater Media, Sending Bold Signals at RAB2008, Fev 08)

 SMYTH, Peter, «Sending Bold Signals at RAB2008» Greater Media,, Fev 08 [http://www.greater-media.com/corner/feb_08.html]

«At RAB2008, we will explore how to position Radio’s assets across the increasing number of distribution channels in ways that are attractive to advertisers. New distribution channels extend Radio’s ability to meet consumer demand for our content where they want it and when they want it. Radio is uniquely positioned to do this because it is the only medium that does not change its form from channel to channel» RAB State of the Radio Industry – February 12, 2008 at RAB2008 in Atlanta Jeff Haley, 2008.

«1 - I can hear RABRadio on my laptop. I’m getting the audio content over the Internet as opposed to a broadcast signal;

2- With this IP Radio from Assus, I don’t need my laptop to listen to a local Atlanta Radio station. And once again, it is delivered via the Internet. (...) Many IP Radios are wireless, so you don’t even need to have an Internet connection in the room. It certainly makes it a lot easier for the listener to get the content they want, when they want it, and where they want it.

3 - (...) Today, it’s the MP3 Player. For Apple’s iPods, this Radio Remote accessory allows FM listening, and the most popular accessory that Apple sells.

4 - (...) The long term success of an MP3 player requires that users continue to source and use new music. Without new music the player becomes stale and irrelevant – relegating the MP3 to just one more fad. FM Radio will definitely drive the success of the MP3 player.

5 Revenue opportunities also exist with Radio to display text-messaging. This feature is quickly moving beyond artist and title information and is poised to deliver advertiser content, including location-based messages and GPS services. This DUAL Radio features MSN® Direct HD, providing personalized and localized text content on the display screen.

6 (...) HD Radio is expanding its in-vehicle presence and is available as a factory-installed unit in BMW, MINI Cooper, Hyundai, and by 2009 in all Ford vehicles. iTunes Tagging has made the buy button a reality. Listeners tag the songs they want and when they connect their iPods to their computers, there is a seamless transition to the purchase process. So, hearing music over the air I hit the tag button and I have the option to buy.

8 - (...) There are over 200 million mobile phones in the U.S., representing nearly 80 percent of the population. This Nokia mobile phone comes with a built-in FM Radio receiver. Again, if Radio were available on every mobile phone, what would that do to drive our business forward?»

RAB State of the Radio Industry – February 12, 2008 at RAB2008 in Atlanta Jeff Haley, 2008.

«Listening via Podcasts :4.3 million people have downloaded a Podcast and 1.87 million listen to a Podcast each week. The average Podcast user subscribes to 3.16 Podcasts and spends 53.6 minutes per week listening to them. Comedy and music are the two favourite genres. iTunes is the software of choice, used by two thirds of Podcast users to subscribe to Podcasts, while almost a quarter simply download directly from the website via their browser. 80% listen to Podcasts on their home computer and 61% listen via a portable audio / mp3 player. Podcast listening occurs throughout the day, with an evening peak when 46% of Podcast users tune in. Almost three-quarters of Podcasts users listen to Podcasts that are more than a week old. Podcasting appears to have a positive effect on live radio listening – almost 18% say they now listen to more live radio since they began downloading Podcasts; while only 8% stated they listen to less, and 31% say they are now listening to radio programmes they did not listen to previously. 58% of respondents said they would be interested in downloading Podcasts containing advertising if they were free, while only 28% responded positively to the idea of Podcasts without adverts that had to be paid for.

o estudo: Podcasting and Radio Listening via Internet Survey RAJAR January 2008

«Personalised Online Radio is an online service that uses a music recommendation system. Intelligent software selects music for listeners based on their personal likes and dislikes. Some of the better known examples are LastFM and Pandora. Asked if they were aware of such services, 30% of Internet radio listeners (3.97 million) said that they were.

People who said they were aware of POR were asked how often they used it. Almost a quarter of a million people (247,000) use a POR service everyday, and nearly a million people are weekly users (973,000). (...)

All users were asked if POR had changed how much conventional radio they listened to.

The table shows a marginal negative effect, which is understandable given that POR is positioned as "personalised radio". However, for 78% of users, POR has not eroded their traditional radio listening, and only 6% admitted that it had made a significant difference – 2.8% listening to much more and 3.2% to much less. »

o estudo: Podcasting and Radio Listening via Internet Survey RAJAR January 2008

But why? Why should an audio signal ddivcrcd through the Internet be called 'radio' in the first place? Is it self-evident that making money from the delivery of such signals has anything to do with radio? Do listeners to Internet audio streams count as radio listeners? Or is 'Internet radio' a different medium from 'radio' - and, if so, why has it borrowed the name? Which comes first, the name or the medium? Indeed, whose idea was it to call it that?» (Black, 2001: 397) 

Jango, TheSixtyOne, Musicovery, BoomShuffle, finetune, last.fm, Pandora, Slacker, Skreemr, Songza, MySpace, and imeem.

«Free, legal music has existed forever—or at least since the invention of the radio (...) These days, a good radio station is hard to come by and CDs are a pop. So, what's a music lover to do? Turn to the Internet, of course, where you can find music-streaming services that are not only free and legal (like all radio) but customizable. There are plenty of services out there that offer either loose customization or full-blown playlist building. Services like Pandora, Slacker, and Jango let you enter the name of an artist or artists and listen to a stream of songs tailored specifically to your tastes. Other music sites like BoomShuffle and finetune allow you to pick the actual songs you'll hear; once you've added X number of songs, your playlist is treated as a full-fledged Web radio station and you can listen to it as often as you like, pass it around the Web, and embed it on a blog or social network. As with anything free, there are some caveats. In order to get the blessing of the music industry, these music sites can't just let you play any old song you want, whenever you want. The playlists you build and the streams you customize need to be considered Web radio stations. Here are some of the conditions that have to be met to be considered Web radio:

• Any playlist you build must include songs from at least 15 different artists
• The playlist order is randomized
• The listener can only skip a certain number of songs per listening session
• The site—not the user—must make royalty payments

These are minor hang-ups—after all, the payoff is that you get to listen to free music legally—but they're worth mentioning. These sites are a perfect match for a certain type of music listener: the kind who wants a little more control than typical Web radio affords, but who also wants to listen to new music that might not be in his or her iTunes folder. They're also perfect for office workers who can't store their personal music libraries on work machines but go crazy in their cubicles without tunes. Even better, they're all free, and you won't get sued for using any of them. So what are you waiting for?»

Os doze sites em revista

fonte: Get Free Music! PC Mag, Kyle Monson 02.15.08

«Certainly, the development or propagation of a new technology, in the sense of a new machine does not evaluate to the emergence of a new medium. Something like 'Internet radio' may be a new medium, or it may be a new technology trying not to be a new medium, or it may be telephone technoJogy acting like a new medium so that it can act like an old medium or some other' permutation. » (Black, 2001: 398)

«The corporate prerogative of bringing media into existence by naming them can be played out in may forms and for many reasons. In the specific case of 'Internet Radio', motivation  for exercising the prerogative comes at least in large part from the fact that Internet makes it possible for non-corporate, non-wealthy people to provide audio content» (Black, 403)

«'Internet radio ' is still palpably in the naming stage» (405)

Há novas funções?

«Hay necesidades a) cognitivas, de búsqueda de información, conocimientos y explicaciones de los hechos que suceden: la curiosidad por conocer el devenir de la ciudad, el país o el mundo en que vivimos, la historia, la tecnología, etc., (...); b) afectivas, donde el consumo de mensajes obedece a un deseo de vivir vicariamente emociones y sentimientos, así como el placer estético que producen las obras artísticas presentes en los medios; c) de integración personal, para conseguir mayor confianza en sí mismo y status personal; d) de integración social en cuanto el hecho de compartir los mensajes es un factor que facilita las relaciones sociales; y e) de entretenimiento y distracción que liberan tensiones creadas en el trabajo o en las relaciones sociales y familiares» (Noriega, 82) 

«Fue Abraham Moles quien hace tiempo acuñó la expresión cultura mosaico para referirse a los contenidos de los medios de masas: una página muestra un anuncio de comida para perros y, sin advertirse contradicción alguna, en la siguiente hay un informe sobre el hambre en el mundo; o en un lugar se ponderan las excelencias de un coche de alta cilindrada y al lado se informa del derroche de combustible y se hace una prospectiva pesimista sobre las reservas de petróleo. Es decir, en los medios no aparecen los mensajes estructurados o vertebrados mediante relaciones racionales, una jerarquización o un sentido totalizador, simplemente se superponen unos a otros sin siquiera apreciar las contradicciones. La cultura mosaico, es «una forma atomizada del bagaje de conocimientos presente en el ser humano y que representa el aspecto extremo de una cultura de la época de las comunIcaciones de masas  (...) es fruto de un espolvoreo de conocimientos superficiales, de fragmentos de ideas recibidos al azar, y sólo a través de un proceso de "ensayos" y de "errores" llegamos a conocer el mundo en que vivimos. Descubrimos al mismo tiempo la base y los resultados, según las vicisitudes de nuestra propia historia» (Moles, 1975, 205).

• (1) The public has shown little interest in HD Radio. HD Radio was the biggest radio advertiser in 2007 and roughly 350,000 units were sold. By comparison, Sirius added over 900,000 in Q4 of 2006 alone, with a far less advertising support. At the rate HD Radio was adopted in 2007, it would take over 15 years to equal the current critical mass of Satellite radio.

• (2) There is no apparent revenue model for HD Radio. How many HD radios would have been sold if the channels included advertising? Well, certainly not more.

• (3) The Radio industry is embarrassing itself with its public support for HD Radio. Whether perceived as backing a loser or profoundly ineffective as an advertising vehicle, Radio isn’t representing itself well as a marketing vehicle or partner with its public support for this failing product.»

fonte: by Bob Bellin Guest editorial: Consumers, Wall Street not buying HD RAIN 15/02/08

«El adulto cada vez más infantilizado y el niño cada vez más adultizado, lo que se puede observar sobre todo en preadolescentes que tienen pautas de jóvenes y en jóvenes que plantean reivindicaciones de adultos » (por acção dos meios de massas, sobretudo a televisão) NOriega, 1997: 416 

«Utilizar únicamente la variable edad es engañoso porque no se puede hablar de juventude, sino de jóvenes de determinadas características en oposición a otros jóvenes, al menos tanto como a otros sectores sociales.» (Noriega, 1997: 417)

«El joven producto del audiovisual de masas a) busca el sentido de lo concreto y se ve seducido por lo inmediato; b) tiene una visión  hedonista de la vida; c) predominan en él los valores afectivos y estéticos por encima de la lógica racional o ética; d) tienen dificultad en concretar los ideales, vertebrarlos y, por supuesto, llevarlos a cabo e) desprecian la historia porque no existe más que el presente; o f) tienen gran capacidad de admiración y de intuición de qué es lo nuevo. El modelo electrónico de joven obedece a un canon de belleza y de atuendo muy señalados» (Noriega, 417-418)

«Parece como si las televisiones pensasen que los jóvenes sólo tuvieran interés por la música y algunos objetos de consumo que se identifican con la la «cultura juvenil». Lo que ofrecen las programaciones como específico de los jóvenes aparece bajo el síndrome de  Peter Pan: si, por definición, ser joven es vivir en un estado de transición en tensión entre la infancia y la adultez, las televisiones quieren prorrogar indefinidamente ese momento como estado de felicidad despreocupada: se vive al día, en un clima de permanente felicidad despreocupada: se vive al día, en un clima de aventura, de diversión amable y humorística bajo la protección de las deidades del videoclip y el escenario cosmopolita (...)» (Noriega, 418)

«La imagen de joven en los medios de masa es, sin duda, un modelo importante para la construcción de la propia identidad. De hecho, los jóvenes consideran como las experiencias más significativas de sus vidas las de tipo cultural, por encima de las espirituales o místicas, religiosas, parapsicológicas, sexuales, amorosas, de relaciones interpersoanales, políticas, etc.» (Noriega, 419)  

«(...) Radio operators could go to school on this generation and deliver things that they would like where they live -- which is not near a radio.

1. Intelligent people picking their own music (and maybe even talking about it).

2. Programs that can be time-delayed -- shifted forward, reversed and paused.

3. A way to get their hands on it -- mash it up -- and send it along to others.

4, No commercials, no pre-rolls (that they don't watch anyway), but links to discovery that they may eventually pay for.

The iPod is the most successful portable entertainment device since the Walkman. It has taught a new generation how to avoid the things they loath about traditional media.»

Jerry Del Colliano, iPod, I quit, Inside Music Media, 15/02/08

«A Internet em Portugal está em situação semelhante. Começou por ser utilizada e promovida pelos ‘early adopters’, mas 15 anos depois apenas 20% da população se agarrou a essa coisa nova e útil. Muitos, porque precisam de outras coisas básicas anteriores à Internet, outros porque sofrem de iliteracia multimédia (não sabem ou não querem saber utilizar o computador), e outros ainda porque são analfabetos – uns inacreditáveis quase 10%!
Nos últimos cinco anos a utilização da Internet pelos portugueses pouco cresceu. Segundo alexa.com, um sítio que mede a utilização da Internet, em 2007 houve uma diminuição importante no número de  ‘page views’ de todos os ‘sites’ mais visitados, desde Hi5, Google a YouTube. Sapo.pt, o maior ‘site’ português, tem hoje cerca de metade dos ‘page views’ dos que tinha em 2002.  
Aumentou o tempo dedicado a ver menos páginas? Será  efeito dispersivo ‘long tail’? Diminuiu o interesse? É necessário um esforço conjunto das empresas, da sociedade civil e do Estado num trabalho complexo, de longo prazo, requerendo recursos e muita imaginação para convencer muitas mais pessoas sobre os benefícios da ‘web’.»

fonte: Nuno Cintra Torres, «Coisa nova e útil», Diário Económico, 15/02/08 

... Mark Ramsey volta a desafiar as ideias preestabelecidas (a proposito de ligações piratas que reencaminham os streamings e que começam a ser bloqueadas nos EUA; a ideia é que quando os conteudos são bons devem estar no máximo de lugares possiveis):

«Because the audience doesn't care about what you hate. And you can't keep anything that doesn't want to be kept, so long as those ears have options other than yours. The basic advantage of owning content is that you should spread it around. If the Internet-enabled world is shaping up in such a way as I will be able to hear whatever I want from wherever I want it, are you sure you want to erect your own particular barrier and force me to access your content YOUR way rather than mine? Is your content really that unique to the world that I can't get a fair facsimile from someone else with a more open access policy? Are we learning nothing from the stupidity of the music labels? Get this straight: Hijackers are your friends. Should you share in their revenue from your content? Of course you should! And should you incentivize them to spread your content around? you bet. Should you be so stupid as to block their ability to promote and publicize what you have? Absolutely not.»

«Radio reaches a large portion of adults on a weekly basis, but time spent listening is at a 27-year low. In September 2002, Duncan’s American Radio reported that the “average persons rating” – the percentage of the U.S. population listening to the radio in any average quarter hour – has experienced a near-17 percent drop in listening over the last 13 years.» Future of Music Coalition, Radio Deregulation: Has It Served Citizens and Musicians?

1. Our listeners are going away. (...)
2. Radio has maltreated its listeners and advertisers. Too much clutter, too many station promos, too little leadership, and too much research. We follow our listeners instead of leading them. We pander to them. (...)
3. Consolidation has helped the quality of the radio product…the actual “on air” presentation. It has not helped to expand the range of programming choices available to our audiences. This has been a huge disappointment.
4. Consolidation has done harm to one of our most basic and important tenets of commercial radio: the ideal of localism.

«Beware, SpiralFrog and Imeem. A powerful new player is eyeing your ad-supported music turf. MySpace.com is in talks with the four major record labels about starting a free-to-consumer music service, a source with knowledge of the talks told CNET News.com on Monday night. So far MySpace and the labels are just talking, the source said, but PaidContent, the blog that broke the news, reported that the music companies are being offered an equity stake in the News Corp.-backed start-up. A MySpace spokeswoman declined to comment Monday evening. There are conflicting reports about whether the new music service would offer downloads or stream music to PCs. PaidContent reported that it's downloads, but Silicon Alley Insider reported that its sources said the site would stream songs»

fonte: «MySpace's music plan likely to be streaming service», Greg Sandoval, CNET February 18, 2008

«Here, then, are six lessons I've learned about what it takes to get the best performance from a sophomore.

1. ELIMINATE AMBIGUITY.Millennials are experts at calculating what it takes to meet expectations. Once locked in, they have a GPS-like approach to navigating toward the goal. I have learned that the flip side of this laser-like focus is a lack of patience for any hint that the rules are being changed midstream.
LESSON: Set clear goals and timelines -- and resist modifying them. Once the syllabus is printed, I never change it.

2. THINK OF TIME AS A 24/7 RESOURCE. College students don't look busy or frantic; they look tired. Millennials regard time as a 24-hour resource. Thanks to time stamping, I know students complete their work closer to 5:00 a.m. than 5:00 p.m. I have come to admire this as an exquisite sense of time management rather than a lack of forward planning.
LESSON: Focus on results, not process. Tell them when it's due, not when to do it.

3. COMBINE WORK WITH PLAY.I suspect Millennials will think of a job less as a place you go from 9 to 5 than as a place where you get to hang out with a great team of friends prior to meeting them later to hang out and continue the conversation somewhere else.
LESSON: Allow Millennials to form their own work teams when possible.

4. MAKE IT WORTHWHILE. Students are sick of busy work and exercises; they long to do something "real" and meaningful. What's more, they are convinced they are ready for it. Whenever possible, I incorporate real-world consulting problems and clients into class assignments. Many students have told me years later that those were among the most meaningful experiences they had in their college careers.
LESSON: Assign the tough problems, not just the ones you think they can handle.

5. HANDLE WITH CARE.They look like adults, talk like adults and (usually) think like adults. So it's easy to forget that emotionally they have more in common with high-schoolers than young professionals. They take everything very seriously. Many Millennials lack the resilience to shrug off setbacks; a misdirected frown or a curt e-mail can send them into a tailspin.
LESSON: Use criticism sparingly, frame feedback positively -- and keep the Kleenex handy.

6. PLAY TO THEIR STRENGTHS. Millennials find technology effortless, the result of growing up in a world where computers, cellphones, iPods, navigation systems and digital recorders are ubiquitous and essential. They exhibit an unusual breadth of experiences and a deep sense of social responsibility. Their perspective is entirely global. In the classroom, I try to leverage these strengths by giving them choices and encouraging them to follow their interests. Student work often astonishes me with its professionalism and creativity.
LESSON: Let their creativity, technology skills and brainpower loose. There's no telling where it will lead. »

fonte: «Get the Best Out of Millennials by Tweaking Habits», AdAge,By Carol Phillips  Published: February 11, 2008

«CAMBRIDGE, MA -- February 19, 2008: In the flashily titled report "The End of the Music Industry As We Know It," Forrester Research projects that digital music sales will grow at a compound annual rate of 23 percent over the next five years, reaching .8 billion by 2012 -- not enough to make up for lost CD sales, which Forrester projects will fall to .8 billion over the same period. Half of all music sales in the U.S. will be digital by 2011, the research firm projects.» (Radio Ink, Report: Digital Music Will Pass CD Sales By 2012, 20/02/08)

Forrester Researches "End of Music Industry As We Know It"

In fiscal 2007, which ended in August, the radio industry posted growth of 3.9%, according to figures published by the Radio Marketing Bureau. While this growth was restrained in comparison to a 6.5% increase a year earlier, the first four months of fiscal 2008 have so far produced growth of 5.6%,says Mr. Bayard.

Among radio’s strengths, he says, is its cost-effectiveness relative to other media, and the fact that radio rates highest for “the ability to connect with the consumer” who is close to making a purchase.»

fonte: Signals strong for radio industry, Astral and Corus, Posted: February 19, 2008, 9:02 AM by Jonathan Ratner

Australia's commercial broadcasters plan to embrace a DAB+ standard for digital radio from the beginning of rollout, thus avoiding legacy compatibility issues with older DAB layer 2 coding technology, a problem now facing commercial programmers in the UK, where interest in commercial DAB is said to be flagging.

Altogether, the Australian radio industry reportedly plans to invest 0 million over several years phasing in the new national DAB service, scheduled to debut in 11 key cities including Sydney, Melbourne, Brisbane, Perth, Adelaide and Canberra. Government sponsored public radio services will also be carried on the multiplexes. »

«NEW YORK – February 20, 2008: Reacting to the RAB's report that overall radio revenue declined 6%, Wachovia Securities analyst Marci Ryvicker today issued a report in which she described the result as a "horrible start to the new year" for the industry. In the report, Ryvicker also cut her Q1 forecast for the industry.
Whereas she previously had expected the industry to be flat versus year-ago levels, Ryvicker now predicts that the industry will post a 0.8% revenue decline for 2008.
She said, "We think Street estimates for 2008 are at risk and that most numbers will come down during the next two weeks as companies report Q4 2007 results and provide color on Q1 2008."» 21/02/08 radio INK 'Horrible Start' To 2008

INSIDE RADIO Thursday, February 21, 2008

Radio's worst January in more than a decade. There's no way to sugarcoat the stark fact that 2008 had a rough start for radio. Revenues fell 6% in January. But non-spot revenues continued to grow, increasing 11% last month. Wachovia analyst Marci Ryvicker says this "horrible start to the year" worries her. After just one month of data, she no longer thinks radio has hit bottom - and is projecting another negative year.

Big growth for online radio listening and revenues. Online music radio online logged 4.85 billion total listening hours last year, a 26% increase from 2006. AOL's Shoutcast remains the top destination, followed by Clear Channel Online. AccuStream iMedia Research calculates ad revenues increased 194% to million last year - and that figure could jump to 0 million this year.

«(...) radio's inability to captivate younger listeners, can also be tied to a lack of research, as well as the larger refusal to devote resources to younger listeners. Is radio inherently unsuitable as a delivery system for an 18-year-old, or is that person's desired content just not available? Would a station that targeted the next generation of listeners play more Hip-Hop? Indie Rock? Radio Disney music? Do those listeners want music that is nowhere on the radio now? Broadcasters who were able to count on teen listening by default have rarely researched teens--a particularly young-skewing Top 40 station might go down to age 16--and the consequences of that decision are evident today. And with diminishing resources to target adult listeners, most broadcasters are unlikely to give younger listeners the chance to vote anytime soon.»

«Web-based music radio services generated 4.85 billion total listening hours in 2007, a 26% increase over 2006, according to a report from AccuStream iMedia Research.Total listening hours averaged 404.2 million hours per month, compared to a 320.5 million hour average in 2006.
AOL's Shoutcast remained the top platform for Internet music radio, claiming 48% of total listening hours for the year, and was followed by Clear Channel Online, Yahoo Music, AOL Radio Networks and Pandora.
The Internet music radio ad market was worth approximately million in 2007, including million in audio ads -- a 194% increase from 2006 -- and another - million generated through video ads placed within radio sites.
AccuStream credited online commitments from terrestrial broadcasters such as Clear Channel and Citadel Broadcasting in part for the improved ad market for the medium, but noted that the top ten radio sites still captured over 90% of total listening hours monthly. »

fonte: «Report: Web Music Radio Listening Up 26% in 2007», Digital Media Wire Mark Hefflinger on February 20, 2008

«(...) George hosts a weekly one-hour talk program on an Internet-only radio network called Voice America. Since it’s a pretty safe bet that you’ve never heard of Voice America and thus never heard George’s show, you’ll want to know that Radio by George deliberately ventures away from sports topics. On Jan. 28, for instance, the Buckeye icon’s topic of conversation was the national touring production of The Vagina Monologues. (...) While Voice America doesn’t compile ratings breakdowns for individual shows, the company says it has more than 5 million unique listeners. And one industry expert says to spare your scoffs about online radio. “I see it as the future of radio,” said Michael Harrison, editor of the talk radio trade magazine Talkers. “It’s not a sideshow; it’s the next show. We’re seeing it emerge right now. I would say it’s growing at a rate that’s faster than can be predicted or measured.”»

fonte: «LOOK WHO’S TALKING», The Other paper, by ERIK JOHNS / february 21, 2008

Otro futurólogo estadounidense, John MacHale, de la Universidad de Nueva York, anunciará la reducción, "posiblemente" a un canal único de todos los tipos de información, con algunos perjuicios y muchas consecuencias positivas para la comunicación social. Su análisis optimista sobre el desarrollo de las tecnologías de los ordenadores, las telecomunicaciones y la radiotelevisión le conduce a señalar sin embargo ciertos riesgos, como la fragmentación de las actitudes y del consenso, y a reclamar un mayor vigilancia y papel del Estado (MacHale, 1976). (Bustamante, 2005: 32)

«Otro futurólogo estadounidense, John MacHale, de la Universidad de Nueva York, anunciará la reducción, "posiblemente" a un canal único de todos los tipos de información, con algunos perjuicios y muchas consecuencias positivas para la comunicación social. Su análisis optimista sobre el desarrollo de las tecnologías de los ordenadores, las telecomunicaciones y la radiotelevisión le conduce a señalar sin largo ciertos riesgos, como la fragmentación de las actitudes y del consenso, y a reclanar una mayor vigilancia y papel del Estado (MacHale, 1976).» (32)

« James Martin tiene por ejemplo el mérito de haberse referido, en esa historia anecdótica de las metáforas a que aludíamos antes, a las "nuevas autopistas": "ahora necesitamos autopistas electrónicas". Pero en el desarrollo le esa nueva "ciudad virtual" es fundamental la acción del Estado, ya que si no "gran te de los nuevos servicios sólo serían posibles en zonas de alta densidad de población, o en los Estados con mayores ingresos, lo que podría ser socialmente perjudicial y destructivo" (Martin. 1978). (Bustamante, 2005: 32-33)

«Por tanto, para lograr se futuro, la intervención del Gobierno "no es necesaria", ni siquiera en los países en vías de desarrollo (Gates. 1995). (Bustamante, 36)

«El nucleo central del discurso es ya explícito: frente a las crisis de todo tipo, las promesas de solución están centrada en el todo información. Pero el determinismo tecnológico aparece dominado por una lógica superior, el determinismo económico, que convierte a estas tecnoutopías en "mercadoutopías". El Estado, signo de tiempos neoliberales extremos, pasa a un segundo plano, con labores esencialmente de liberalización (remover obstáculos al libre mercado) y de concienciación (promoción le la demanda), pero resulta demonizado en todos los demás frentes.» (Bustamante, 37) 

EVITAR

«Ciertamente, muchas de esas obras e informes son sólo mitologías parciales, si consideramos a las utopías como universos ficticios completos y autosuficientes, pero reelaboran y modernizan viejos mitos (la innovación técnica como salvación, el progreso lineal de la historia) y crean nuevas metáforas cargadas de presupuestos no los, de visiones implícitas de la realidad.» (Bustamante, 2005: 33)

CUIDADO:

«(...) el pensamiento mitológico sobre la Sociedad de la Información siguió proliferando geométricmente en los años ochenta Naishbit, pregonaba por todo el mundo sus "megatendencias" (Naisbit, 1984), y A. Smith proclamaba su "goodbye Gutenberg", al tiempo que prometía una "nueva Alejandría", "unn sistema electrónio con el que puede compartirse, compararse Y aumentarse la totalidad de la sabiduría o, cuando menos, del conocimiento" (Smith, 1980).» (34)

«Nicholas Negroponte, el segundo gran utopista contemporáneo citado, cofundador y columnista de Wired, la revista emblemática de la utopía encarnada en Internet, y Director del Media Lab del MIT, sostiene también que el mundo digital trae consigo una 'era de optimismo". Una era que "no podemos negar o interrumpir", porque posee cualidades muy poderosas que la harán triunfar: " es descentralizadora, globalizadora, armonizajora y permisiva". Además, los monopolios y los imperios mediáticos nada tienen que hacer, puesto que se están disolviendo en una serie de empresas locales", de la misma forma que se están disolviendo en una serie de empresas locales", de la misma forma que en el conjunto del "negocio del bit" el reino será de las pequeñas empresas. En ese camino hacia una "estructura socIal global, totalmente nueva" las fuerzas dominantes no son sociales, raciales o económicas "sino generacionales". En consecuencia, hace falta menos regulación y menos legislación anti-concentración para garantizar la pluralidad (Negroponte, 1995).» (Bustamante, 35-36)  

«(...)las circunstancias ideológicas y políticas permiten a ese pensamiento la arrogancia de presentarse no sólo como el fin de las ideologías, sino como el auténtico fin de la historia, "reducida a la sucesión de simples acontecimientos de una economía de mercado y de una democracia al fin generalizadas" (Sfez/Levassseur, 1995). La disolución tecnológica y el estrellato del mercado y el negocio (la "nueva economia') hacen más difíciles aun por no decir imposibles la verificación o la negación experimental de sus prevIsIones, teñidas cada vez más de la audacia y de la inminencia del corto plazo (una década para su inicio según Gates y Negroponte). » (Bustamante, 38)

«Nicholas Negroponte, el segundo gran utopista contemporáneo citado, cofundador y columnista de Wired, la revista emblemática de la utopía encarnada en Internet, y Director del Media Lab del MIT, sostiene también que el mundo digital trae consigo una 'era de optimismo". Una era que "no podemos negar o interrumpir", porque posee cualidades muy poderosas que la harán triunfar: " es descentralizadora, globalizadora, armonizajora y permisiva". Además, los monopolios y los imperios mediáticos nada tienen que hacer, puesto que se están disolviendo en una serie de empresas locales", de la misma forma que se están disolviendo en una serie de empresas locales", de la misma forma que en el conjunto del "negocio del bit" el reino será de las pequeñas empresas. En ese camino hacia una "estructura socIal global, totalmente nueva" las fuerzas dominantes no son sociales, raciales o económicas "sino generacionales". En consecuencia, hace falta menos regulación y menos legislación anti-concentración para garantizar la pluralidad (Negroponte, 1995).» (Bustamante, 35-36)  

Napster.co.uk, which offers subscription services as well as pay-per-track, is iTunes’ best-known rival. Tracks cost 79p on Napster Light, a pay-per-listen service, and albums from £7.95. The songs are yours to keep and you can transfer them to more than 75 compatible MP3 players. Alternatively, Napster Membership costs £9.99 a month and gives you access to Napster’s catalogue of four million tracks to play on your PC. If you want to transfer the tracks on to another device, such as an MP3 player, you will need Napster-To-Go, which costs £14.95 a month. (...)

Peter Ruppert, founder of Entertainment Media Research, says eMusic.com is probably the cheapest site at £8.99 for 30 downloads – or about 30p for each track. “The disadvantage is that it is a subscription service and they have a limited repertoire,” he says. “They won’t let you browse before agreeing to a trial subscription, so there is a bit of an anticlimax. “Don’t expect too many major hits, but an indie fan could probably be happy here. The advantage is that they deliver tracks in MP3 format without DRM.”Meanwhile, Tescodownloads.com charges 79p a track, Wippit.com anything from 29p to 75p a song, Easy-music.com between 25p and 95p, and Woolworths.co.uk 59p to 79p. Album prices vary from site to site and by artist – current chart toppers are more expensive. »

fonte: «How to buy music online, Times, Emma Lunn February 23, 2008

«There's not much serendipity left in music today. Commercial radio stations play the same top 40 songs over and over. iPods are great, but unless you are listening to somebody else's, you won't hear any new artists. Even satellite radio channels can be redundant.
Two free Internet radio services, Last.fm and Pandora.com, aim to re-create the joy of discovering new artists -- without the pain of having to sit through songs you don't like.
Both use the music you know you like in order to select and play new music they think you will like. Both do a good job, but depending on your comfort with technology and your habits, one may be better for you.
Pandora's interface is easier to use and you don't have to download anything. It's best for people who don't have a lot of music saved on their computers and want to quickly and easily find something new.
Last.fm is great if you have a huge digital-music collection or are a heavy iPod user. It does a better job connecting you with friends or people who share your taste in music. Only Last.fm lets you type in a song and listen to it instantly.

You can add friends on Last.fm just as you would on Facebook or MySpace and listen to their personalized music. Pandora also lets you listen to other people's music.
When you listen to new music on Last.fm, you can enhance your profile by expressing your love or hatred for individual songs, just as you can on Pandora.
You can use Last.fm without downloading the program but the recommendations won't be as good. That's a key difference between it and Pandora.»

fonte: «Internet radio services help you discover new artists Etan Horowitz | Orlando Sentinel, February 23, 2008

«CBS' social networking site Last.fm is the fastest-growing online music network in the U.S., according to new stats. Last.fm features a free-on-demand music service, which has seen a 92% increase in the number of unique listeners since it was launched four weeks ago. CBS says the site got a "tremendous boost" after Last.fm received on- air promotional exposure during the Grammy Awards and a Garth Brooks concert on CBS-TV.» CBS owns the fastest-growing online music site. Inside Radio 23 (22?)/02/08

«Music recommendation website Last.fm has seen its user numbers rise by 59% after introducing a free streaming service, the CBS-owned web company claimed today. Last.fm said its new on-demand music service has been a major driver of traffic growth in the US where the site is not as well known as in Europe. The free Last.fm service was launched last month through deals with the four major music labels - Universal, Sony BMG, EMI and Warner Music Group. Last.fm now has 21 million unique users each month, based on its internal traffic figures for the last four weeks, and has seen the number of people listening to music on the site increase by 92% in one month. The site does not sell music directly, but links to services including 7digital and Amazon that allow users to buy downloads.»

Broadcast radio faces challenges from satellite radio companies for listeners, from the Internet for advertisers and even from automakers who are making it increasingly easy for drivers to turn their car stereos into mirror images of their iPods and skip the radio altogether.

Cutbacks haven’t worked out so well, serving only to speed the exit of listeners and making it harder to maintain smaller and smaller profit margins. Increasingly conservative playlists have made radio less essential to even the most casual of music fans, who don’t feel like they’re missing anything if they don’t listen every day since the same 10 or 15 songs are in heavy rotation for a month or longer.»

«With respect to digital radio, Europe is known as a 100 percent DAB Eureka-147 area, and the image of in-band, on-channel digital in Europe is very poor. Unproven arguments against IBOC are disseminated, like “technically not feasible in Europe because of many differences in the FM system,” and there is confusion of FM with AM HD Radio questions. Based on large DAB investments and a European digital FM system (DRM+) on its way to finalization, it is understandable no one is really interested in a “foreign” FM digital alternative. However, not even one European country has a commercially profitable DAB operation yet (with the eventual exception of the United Kingdom, where there is the chance to become profitable some years from now; CGap, the biggest U.K. operator predicts “digital break even” for 2010). Moreover, some thousands of local and regional (single-program) broadcasters are no longer so sure that a multiplex technology is the proper solution for them; perhaps more feasible and economically viable systems with a slow evolution path to digital should be found. That’s why the Swiss Federal Office of Communications (OFCOM) and the Association of Private Broadcasters (VSP) started to support our initiative to do some HD Radio field trials, and to follow any other kind of FM digital system that could be an alternative. The Swiss OFCOM granted the first European HD Radio test license at the end of 2005 for two years to Ruoss AG/Radio
Sunshine. This license was extended until the end of 2008, and a total of three different frequencies are now allowed to be tested simultaneously.

Since field testing began, and especially after the successful HD Radio days in Lucerne in October 2006, HD Radio has begun to gather a lot of positive interest in Europe. The “false statements” about HD Radio have started to fade away, piece by piece. A good example of such false statements was that European FM deviation will have to be reduced below 50 kHz peak deviation, and the audio multiplex power to –6 dBr, to make it work. This argument has now completely disappeared. »

fonte: «Radio Sunshine HD Tests Successful by M.A. Ruoss Publication:RWM; Date:Feb 20, 2008; Section:Cover; Page:1

«There's a new, easy-to-install program called Adblock Plus that could become what the modern day "clicker" is to TV and the seek buttons are to drivers looking to change radio stations seamlessly.

Here's how it is described in Forbes:

"Adblock Plus takes a minute to install and instantly replaces annoying banner ads and intrusive videos with pleasant white space. It is one of the most popular free downloads for Firefox, the rival browser to Microsoft's Internet Explorer. Firefox is used by one out of six Web surfers worldwide. Three million people are already using Adblock Plus, and every three months another million join them". (...) But this generation tires of things quickly. They have more control over their media than any previous generation. What other generation could steal music? It couldn't be done from a record store unless you wanted to risk arrest. It's possible today because the Internet allows users to control the delivery system.

What previous generation could have custom "radio stations" in their pockets? This generation can program their iPods without daffy djs and commercials.»

Jerry Del Collianno, Ad Blocking 22/02/08

Fala-se numa web 3.0 (semântica?), que corresponderá à terceira década de existência, e será mais inteligente do ponto de vista dos computadores na relação com os conteudos (capazes de interpretar o significado de cada página?)

«Uma tecnologia não erradica necessariamente a outra, emhora possa tomar espaços e atenções das mídias já existentes. Mas podemos tomar como exemplo os discos de vinil, que, no espaço de poucos anos, foram transformados em sucata (ou, na melhor das hipóteses, itens de colecionador), graças a um inédito acordo entre as grandes corporações da indústria fonográfica. Acordo esse que estabeleceu hábeis estratégias para conquistar a adesão do consumidor a uma nova tecnologia, digital, enbora de qualidade nem sempre superior à dos antigos long-plays analógicos.«(KISCHINHEVSK, 2007: 14).

e o DAT da sony, que não se impôs como substituto da cassete analógica, acabando por desaparecer.

(Kischinhevsky, 2007: 16)

A propósito de um capitulo do livro de Kischinhevsky (2007: 67- ), a que chama de «A lenda do ouvinte passivo» (reconhecendo que está numa posição subalterna), algumas ideias:

- defende-se neste trabalho que a rádio remete o ouvinte a uma extrema passividade. Isso por vezes interessa, para potenciar a acumulação, mas a rádio não foi capaz de tecnica e conceptualmente perceber - nem que seja pelo exemplo do controlo remoto na TV - que o ouvinte tambem quer agir, controlo.

- controlo não é procurar alternativa no caso de não gostar (quantas opções tem? a variedade é real) nem muito menos desligar - que é tornar.se não-ouvinte;

- mas não se defende aqui uma visão conspirativa da recepção passiva (motivada por interesses mais ou menos obscuros das industrias e dos governos, sobretudo dos Estados Unidos, como acontece sobretudo com Armand Mattelart ou Herbert Schiller, além de varios autores latino-americanos a expressão de Kischinhevsky, «a mesma lente de lavagem cerebral ideológica» [70], inspirados certamente em Adorno). A recepção passiva resulta principalmente da plena adequação da rádio ao seu novo papel de escuta secundária (em acumulação - correr, conduzir, estudar),. transformando-se num modelo de sucesso. Não vamos ao ponto de defender que o ouvinte é«um ser submisso, passivo, que consome qualquer tipo de emissão sem se dar conta dos engodos que lhe são impingidos» (71), mas é verdade que o ouvinte - por falta de alternativa - acomodou-se. Passivo sim, submisso não. como demonstra o interesse despertado pela internet e a quebra nas audiencias da rádio ao longo dos ultimos anos. Estamos, pois, mais proximos daquilo que defende Ciro MArcondes Filho (o  receptor mantem-se refem da ideologia veiculada pelos meios de comunicação) (71)

- por outras palavras recusa-se aqui a ideia de dominação por parte dos grandes interesses ou dos ouvintes anestisiados/hipnotizados: «teorias que fizeram muito sucesso especialmente nos anos 70, quando falar em comunicação era falar em dominação; basta substituir os horrorosos extraterrestres por gordos capitalistas e, voilá, estará caracterizada a sociedade subjugada pelo "imperialismo cultural" norte-americano. Nesses estudos, engendrados a partir das idéias da Escola de Frankfurt e renovados pelo conceito de idelogia desenvolvido por Althusser, o receptor era um ser anestesiado por mensagens sub-reptícias, narcóticas, de conformismo, conservadorismo, autoderrotismo, romantismo, providencialismo, em suma, estímulos à sujeição diante da ordem estabelecida» (2007: 68), tambem porque, como diz o autor, «a indústria da comunicação e do entretenimento está longe de ser um bloco monolítico como podem nos fazer pensar alguns dados quantitativos» (70) TEORIAS

- contra «a concepção hegemônica ainda [é a] mecânica, que pressupõe a existência de um emissor todo-poderoso, transmissor de mensagens de significado fechado, prontas, para o consumo de um receptor sem rosto, sem gosto, sem vontade, incapaz de reagir. Nesta hipótese, amplamente disseminada não há espaço para trocas, intercâmbios, interpretações» (72); ou seja, «a recepção é apenas um ponto de chegada, à própria educação ilumínista, em que o receptor é uma "tábula rasa", um recipiente vazio, pronto a ser preenchido pelos ensinamentos do professor-emissor.» (72-73)

- tambem nunca terá total liberdade de escolha, como defende Jesus Martín-Barbero (74; A america latina e os anos recentes)

Mesmo que a rádio não tenha explorado todas as potencialidades abertas por exemplo pelo uso do telefone, em articulação com a interactividade, a verdade é que a tecnologia não é potenciadora dessa interacção. ao contrário da internet, cujas potencialidades neste capitulo são - tendencialmente - infinitas.

Acontece que o facto de a tecnologia ser tendencialmente interactiva não significa que venha a ser explorada na íntegra. Os utilizadores no limite precisarão de um mediador. e a existencia de um mediador desequilibrará a relação. Poder-se-á falar em consumir-produtor, mas não só nem todos os consumidores serão tambem produtores como poucos serão aqueles que terão uma actividade regular. Ainda assim, nada será como antes. Há uma nova hierarquia, há novo sentido na comunicação, há novas centralidades a intervir, que não a do classico gatekeeper E se antes eram os meios a ignorar - muitas vezes deliberadamente (por exemplo, quantos divulgavam o seu numero de telefone para receber as queixas/contribuições dos ouvintes) - as potencialidades de interacção, neste novo cenário, são os meios (enquanto se estruturarem já não com gatekeepers mas com mediadores) a incentivar/a pedir essa participação. E haverá muitas maneiras de o fazer - de quase 'compelir' o ouvinte a faze-lo. E isso leva a que haja quem entenda que apenas muda o sentido, mas que continuam ser os meios a controlar tudo (ver por exemplo Dênis de Moraes, O Planeta Mídia: tendências da comunicação na era global, Letra Livre Editora, 1998). ou que se acentuarão as desigualdades mediáticas e sociais.

A interactividade é uma moda? «Nas emissoras de TV por assinatura, a tendência da interatividade decepcionou, até o momento, os que apostaram num meio mais democrático do que a TV aberta» (Kischinhevsky, 2007: 80 ). Mas isso só prova que haverá momentos para tudo, que o utilizador não quer ser sempre activo, que quando se senta no sofá quer ver um bom programa, e se isso significar mexer o menos possivel no comando remoto melhor. Os velhos habitos não desaparecerao, coexistirão com os novos (no caso da rádio, será relevante observar outra coisa: até que ponto os velhos habitos despertarão massa critica suficiente para continuarem a ser comercialmente viáveis).

«A indústria terá de apresentar soluções criativas para não perder audiências e/ou telespectadores, cada vez mais sofisticados» (Kischinhevsky, 2007: 81)

«Embora reconheçamos as conquistas desse novo receptor e descartemos a visão reducionista do imperialismo cultural, devemos acompanhar com atenção os movimentos das indústrias da comunicação e do entretenimento, cada vez mais imbricadas. E estas indústrias sofreram, a partir dos anos 80, um processo de concentração sem precedentes, que ameaça a diversidade na oferta de conteúdos»  (Kischinhevsky, 2007: 82) 

Pode haver outras explicações, mas os grandes planos divulgados na segunda metade da decada de 90 pela empresa WorldSpace para construção de uma rede global de radiodifusão via satélite (envolvendo gigantes japoneses da tecnologia) desapareceram. É que apostar com grandes investimentos em rádios que, embora tenham a vantagem da escala (uma emissão global para todo o planeta) significa recusar as potencialidade de intercação. «(...) a possibilidade de interação dos ouvintes nesse novo rádio digital via satélite é virtualmente nula. Com a defasagem de sinal, aé as formas convencionais de participação - debate ou entrevista ao vivo, por telefone - ficam inviabilizadas. A convergência tecnológica pelo menos de acordo com a visão atual da indústria de radiodifusão, vai de encontro aos ideais de livre difusão da geração podcaster. O que talvez explique sua lenta aceitação»  (Kischinhevsky, 2007: 124) 

«O rádio convencional, mais cedo ou mais tarde, se transformará num parente do antigo gramofone, um símbolo de um período, objecto destinado à exposição em museus» (Kischinhevsky, 2007: 126) 

The future is in relationship selling.

That is when the medium has a personal relationship with the advertiser.

And the medium has a personal one-on-one relationship with the listener or viewer.

Audiences don't hate commercials. They hate the advertising with which many companies choose to bombard them. But one day a year -- everyone loves commercials. (Jerry Del Colliano)

Uma das principais consequências daquilo que se antevê como a rádio do futuro é a mudança de paradiugma quanto à audição: aquilo que agora é sobretudo uma escuta passiva (feita em acumulação, ou antes de adormecer, por exemplo) poderá transformar-se numa escuta activa (conceito que precisa de ser desenvolvido), ligada às inumeras solicitações que a internet vai/está a proporcionar: ir à net ver a letra da musica, ouvir um arquivo ou um video, comprar determinado produto, produzir um conteúdo, etc.

Mesmo no carro, onde a escuta será maioritariamente passiva (porque feita em acumulação), as coisas vão mudar, a partir do momento em que os sistemas multimédia instalados de origem podem ser controlados por voz (e já não me refiro à partilha do espaço de consumo disponivel com leitores de mp3).

Neste texto têm vindo a ser defendidas algumas ideias, a partir de uma afirmação: a rádio não muda quando passa para o digital. Do meu ponto de vista, só não muda se considerarmos a escuta passiva, que provavelmente sempre existirá (mas cada vez menos...); a questão essencial é que o digital, seja na versão modesta do DAB ou do HD ou mega, da Internet, muda a essência da rádio, a partir do momento em que torna o ouvinte participante, em que o convida a participar em blogues, em votações, a emitir opinião. E isso não se faz no conforto do sofá ou enquanto se acumla com outra tarefa (a rádio tende, pois, a tornar-se um acto primário de consumo, mudando o paradigma).

Podem acompanhar a troca de opiniões aqui.

Success! New York to Washington DC

«I'll start with AOL, the portal I've been most impressed with because its music offerings are the best of the bunch. AOL has a link to XM Satellite Radio, where I've been listening, for free, to the best and most reliable Internet music stream I've heard. (...)
At MSN, the home page is exceptionally busy, so quickly navigating the site to find music or radio was an unnecessary challenge.
MSN has a deal with Pandora, an Internet radio service that allows people to build a music playlist based on preferences. It's similar to what you can do at other music sites, such as Last.fm, and it's the type of service I enjoy since I usually hear something from an unknown-to-me musician I'm inclined to like. Unfortunately, I could not get Pandora to play properly on my office computer. (...)At Yahoo, the radio could be customized for one's preferences, too, but it was the only portal that asked the user to register. That's not a plus. However, the radio feed worked well.
Then I downloaded the Yahoo Jukebox application. This is a robust media player that I could probably write a single column on because it is excellent. The sound is very clear, the radio stations, which I can also customize based on my preferences, come through without buffering, and the Jukebox can be synced to a digital music player and Yahoo's subscription music service.

I really like Jukebox, but Yahoo's insistence I use its other products is grating.
The bottom line: AOL impressed me the most, MSN the least, and Yahoo needs an attitude adjustment.»

fonte: Yahoo, AOL, Microsoft find ways to stay relevant, Chicago Tribune, Eric Benderoff | February 18, 2008

O podcast, mesmo feito pela rádio, não é rádio. É outra coisa. A tentação é compararmos, estabelecermos as diferenças e, no fim, dizermos que o futuro da rádio é o podcast.

MAs são coisas diferentes, como se pode ver aqui.

«Les discours d'accompagnement des technologies sont, semble-t-il, condamnés à l'amnésie. Chaque nouvelle génération d'artefacts de communication engendre son propre discours enchanteur et fait table rase des expériences et des leçons laissées par les générations techniques antérieures. (...) Pour contrer cette logique propice à l'instauration d' «un monde d'îlots de prospérité dans un océan de misère», le chef ce l'État français avait, lui aussi, proposé à ses partenaires une «Charte mondiale de la Colmunication»· (Mattelart, 2005: 22) 

«Abandonnée à ses propres outils, la révolution de l'information va accroitre le fossé entre les pays riches et les pays pauvres, entre les riches et les pauvres dans chaque pays. Si l'on ne fait rien, il, ne faut pas exclure, l' histoire nous l'enseigne, des réactions violentes contre cette révolution.» (avis de Michael Dertouzos, directeur du laboratoIre des sciences de l'ordinateur au Massachusetts lnstitute of Technology (M.I. T.)) (Mattelart, 2005: 24)

The first social network to be launched was SixDegrees.com in 1997. SixDegrees was the first site to allow users to list friends they may have in their own network. Although SixDegrees had millions of users, it ended up closing in 2000. It was unable to transform itself into a viable business. Between 1997 and 2001 there were many other systems that supported public profiles, and allowed people to show their list of friends. These included BlackPlanet, and MiGente however many of these were used as dating profiles.

It was not until the introduction of Ryze.com in 2001 that Social Networking Sites began to take off. Ryze was introduced by its founder to the San Francisco business community to people who then went on to invest in further Social Networking sites. According to Boyd and Ellison in their article entitled Social Network Sites: Definition, History, and Scholarship the people involved in Ryze, Tribe.net, LinkedIn and Friendster were interlinked personally and professionally. However in the end they all went their separate ways.

fonte: The Origins of Social Networking, COM917J2 Blog 25/02/08

A análise deste indicador ao longo da última década evidencia o elevado crescimento que tem registado entre nós, ao aumentar mais de oito vezes no período em análise. Os 5.6% de indivíduos que em 1997 acediam à internet passaram em 2007 para 46.9% - mais 738% do que então.

Neste período, o ritmo de crescimento da penetração da internet no nosso país situou-se nos 25.0% ao ano. Naturalmente, à medida que aumenta o número de utilizadores de internet, também diminui a sua taxa de crescimento anual, tendo-se observado 10.6% de crescimento de 2006 para 2007. »

fonte: 3,9 milhões de utilizadores de Internet Marktest.com, 26 de Fevereiro de 2008

“[The obvious solution is to] push some of that generation of content down to the local user level,” Gleeson says. “But in the past, customers had to create a separate instance of the network controller at each local location to feed information into the central flow of data—and that gives people angst.” Moreover, this “angst” can grow with the scale of signage networks. According to Gleeson, “it’s a complex issue” for a large retail chain or a nationwide bank to efficiently localize content without compromising the overall network’s content standards and security. “We’ve gone past the complexity of network architecture to the complexity of the information flow now.”

fonte: Simplifying Local Content Control: ‘Now, Context Is King’ Feb 26, 2008 8:00 AM, By John W. DeWitt

«Nokia is inviting radio stations around the world, and here in the UK to submit station details to make your stream available for their new Nokia Internet Radio service. People with S60 3rd edition mobile phones (N95, E90 etc) will be able to stream registered stations via wifi and GPRS. Nokia Internet Radio users will pick a station from the directory instead of manually entering links to streaming servers or browsing the web. That, Nokia say, is the main reason to be listed in order to let the audience discover and enjoy your station.

Fru Hazlitt, GCap Media chief executive recently announced details of their stations streaming via the iPhone although Apple does not encourage listening via a GPRS or EDGE connection. This service however is designed for listening via mobile phone signals, and with providers such as Nokia getting in on the action, it seems the future of radio could be online.

Any legal radio station can request a free invite, and registration takes less than five minutes. For more information click here.»

fonte: «Nokia wants to add your station Radio Today reported on Tuesday 26 February 2008

«Why do we need more discovery engines?  Time and trust.  The NPR audience is characterized by curiosity, learning, and enrichment.  They are busy people (we focus on the over-30 demographic) without as much time to freely discover music. 

- We share our discoveries via social networks for self-actualization.  It makes us feel smart to share stuff we've found. 

- You could say the same thing about the newspaper industry.  One of the issues is that the newspaper industry has to think of itself as a technology company as much as content company.  Travel, banking, all of these industries were disrupted by internet. The customer is served -- what changes is who serves them.»

fonte: Maria C. Thomas, SVP, NPR Digital Media, Wired, Social Networks and Music Discovery: What It Means for Music Businesses By Eliot Van Buskirk February 26, 2008

«If you're not living in an Apple-centric musical world, the chances are good that you get your tunes from an online subscription music service. But what about when you're not at your PC? Slowly but surely, manufacturers are rolling out portable media players (PMPs) to work with these services so you can enjoy an on-the-go listening experience. Rhapsody and Slacker have recently released innovative PMP companions that are worth a look if you're a fan of either service. If you're not familiar with them, Rhapsody is subscription-based and you pay a monthly fee for tunes (instead of by the song). Slacker is a free Internet radio site that programs stations for you based on your musical tastes. For a .50 per month upgrade, you can get unlimited song skipping and avoid the occasional commercial you'll hear in between tunes with the free version. Regardless of which service you prefer, it's now possible to take your accounts on the road with you with these PMPs.

fonte: «The Best Subscription MP3 Players 02.28.08 by Tim Gideon PC Magazine

When you enter the name of an artist, the site creates a radio station centered on that artist. (Unlike Pandora, it won't let you enter a song title.) Jango also adds other tunes it thinks you'll enjoy based on a number of criteria.(...) Jango saves an unlimited number of stations to your profile, and it allows you several ways to customize them. You can add multiple artists to a station (Jango provides suggestions, or you can plug in your own), ban certain musicians, or choose whether you want it to play popular songs, more obscure music, or something in between the two. You can also rate songs so the site knows whether or not to bother you with them.

Customizing stations certainly helped me shape the song selections more to my liking, though with only 15,000 artists and 200,000 songs in rotation, the service has limits to what it can play. (...) Since Jango follows restrictions defined by the Digital Millennium Copyright Act--and pays royalties to labels and artists--the site is perfectly legal. Jango makes money when you click on links to buy music through its partners (like the iTunes Store and Amazon.com) as well as through advertising.

Jango's real prowess lies in its social networking features, which help you hook up with people who have the same good (or bad) taste as you when you create a Jango profile. (...)Despite a few minor snarls like these, Jango is more than solid. If you dig the whole social networking scene--and want to see how it can expand your musical universe--then Jango is worth a spin.»

fonte: «Jango (Beta) Internet Radio Site» PCWorld, 27/02/08

«Have you heard about what Ford Motor Company and Microsoft are partnering to do?
They’ve come up with a new factory installed fully-integrated, voice activated in-car communications and entertainment system for mobile phones and digital players. It’s called SYNC.
Users can access their mobile phones or digital music player including access to genres, album, artist, title, song all by voice commands. (SYNC is fluent in English, Spanish or French).
Names and phone numbers in mobile address books are wirelessly and automatically transferred to your car.
SYNC works with iPod, Zune (of course – it’s Microsoft), Play for Sure players and USB storage devices. The system can be updated for whatever becomes the rage next because all it requires is a software adjustment.
It’s hands-free thanks to Bluetooth. Contains a USB port for command and control and for charging digital music players. There’s audible text messaging from you mobile phone. Your contact list. Advanced calling features. It gets better and better.
While cars will still have radios and, increasingly, satellite radios, the traditional radio could become a relic of generations past. (...)

But auto manufacturers are also looking to install hard drives in their cars so drivers can download their own CDs, digital tunes or whatever and that entertainment remains in the car. Even exotic cars are adding distractions from radio. The new Maserati GranTurismo doesn’t have satellite radio. It doesn’t have Bluetooth. But it does have a hard drive for drivers to transfer their own content from CDs – those wild and crazy Italians (...).

The radio industry, still best equipped to produce content, must see this opportunity as a chance to adapt to the marriage of new technology and changing sociology. Radio companies can continue to run transmitters and towers, but now they must become content providers for new media – even entertainment systems in tomorrow’s cars.

fonte: Jerry Del Colliano, Inside Music Media, 27/02/08

eMarketer projects that this year there will be 193.9 million US Internet users, two-thirds of the population. By 2012, 217 million Americans will be online, about 71% of the population.

Those are huge numbers. But by breaking the US Internet population down and focusing on demographics—size, gender, age, race and ethnicity, income and education—this report will help marketers make better targeting decisions.

~fonte: eMarketeer «US online population, fevereiro 08,

«JP Morgan analysts think radio ad revenue will fall 3% this year.

John Blackledge and Aaron Chew issued their outlook saying cyclical and “secular” pressures will produce a down year.

“We estimate that radio industry advertising revenue should decline 3% in 2008, driven by continued secular pressure (with continued audience losses leading to loss of ad share) as well as cyclical pressure as the soft macro trends should lower demand for advertising on the medium,” they wrote.

“We believe the radio industry is already amidst an advertising recession,” given declines in the second half of last year. The radio industry has underperformed nominal GDP by 5% on average annually since 2004, they said, but in recent months it underperformed by about 9%.

“We believe the below average underperformance will likely persist for most of 2008, offset to some degree by political spending” in the second half.»

fonte:Radio Is in Ad Recession, JP Morgan Analysts Say RWOnline, 29/02/08

«Parents are getting more and more time starved, and they treat their children more like adults than the previous generation of parents did." (Mike Gatti, executive vice president of the Retail Advertising & Marketing Association, a division of the National Retail Federation, Washington, D.C. (www .rama-nrf.org).

Marketers need to both recognize and take advantage of the fact technology is a huge part of young peoples' lives, Gatti notes (...) You need to talk to young people at their level, understanding they are very Internet savvy and they use all kinds of media simultaneously," Gatti says. "They might be instant messaging on their computer or text messaging on their phones while they're watching their favorite TV show. Mobile promotions are going to become a very significant marketing tool to reach the youth segment. »

fonte:Marketing to the future: reaching teens and young adults requires a radically different approach.By Kruger, Jennifer Barr, September 1 2005

Why do you need to attract teens and young adults to your business? Aside from the fact today's kids are future parents and businesspeople, here are some statistics to consider:

* In 2003, teens spent 5 billion of their own money and an additional billion of their parents' cash, giving the 33 million American teens spending power greater than the gross domestic product of countries such as Finland, Portugal, and Greece.

* Without the burden of a mortgage or rent, groceries and utilities, nearly all teen income is discretionary. But teens' influence doesn't stop with their own billions. With the rise of double-income families, as well as single-parent families, teens are increasingly responsible for family spending. They also influence family purchases and set societal trends.

* In 2004, teens spent an average of per week in 2004, down from 3 in 2003. This weekly spending figure includes both teens' own money and the cash they receive as gifts, allowances, and other spending money from parents.

Statistics from Teen Research Unlimited (TRU), Northbrook, Ill. (www .teenresearch.com), and from the book "Getting Wiser to Teens: More Insights into Marketing to Teenagers," by Peter Zollo, co-founder and president of TRU»

fonte:Marketing to the future: reaching teens and young adults requires a radically different approach.By Kruger, Jennifer Barr, September 1 2005

(passar 15 horas a ver televisão não abre oportunidade para mais nada; passar 15 horas na internet abre oportunidade para acumulação, para multitasking, para o audio)

A recent study by Harris Interactive, Rochester, N.Y. (www .harrisinteractive.com), and Teen Research Unlimited (TRU), Northbrook, Ill. (www.teenresearch .com), shows, in an average week, people between the ages of 13 and 24 spend 16.7 hours online (excluding e-mail), 13.6 hours watching television, 12.0 hours listening to the radio, 7.7 hours talking on the phone, and 6.0 hours reading books and magazines for personal enjoyment.

Another study, commissioned by the Carnegie Corp. of New York, New York, N.Y. (www.carnegie.org), shows 44 percent of young people visit a Web news portal every day, while only 19 percent read a newspaper daily. Twelve percent says they never read a newspaper.

fonte:Marketing to the future: reaching teens and young adults requires a radically different approach.By Kruger, Jennifer Barr, September 1 2005

«But there are some inherent disadvantages to these services. For starters, unless you want to take your whole computer with you, you can't take the services with you, because the playlists can't be offloaded to digital music players like iPods.  “So in order for these websites to be considered web radio you can only skip a certain amount of songs, so if you don't like five songs in a row you can't just skip five songs,” said Monson. “Also, the playback order is going be randomized so you can order the songs in the order you want to play them back. You have to have at least 15 songs, so you can't just pick a playlist of five songs and play it over and over again.”

fonte: News 10 now, Make your own free online radio station 29/02/08 Adam Balkin

«"Overall listening among youth demographics has stabilized."Dear Lisa Chiljean: from your lips to God’s ear, as they used to say. That would be a lovely trend to see. The Clear Channel Katz Advantage VP/Director of Media Research says radio still plays a solid role with younger audiences: "This group connects with favorite personalities and formats, and radio is the place they go to learn about new music." But "they are also the technology generation, and as this group has spent more time with new technologies, their time with radio has lessened a bit over the years." But "for the first time in years, we noticed that this trend has slowed", as of the Fall Arbitron survey. Some evidence: urban is stable at 7%. Alternative/modern rock is even at 3.1%. CHR is steady at 6.8%. Rhythmic CHR stays at 4.2%. »

Taylor on radio info, 29/02/08 "Overall listening among youth demographics has stabilized