«Roger Fidler abriu uma janela interessante para visualizarmos este impacto, partindo de um termo que pode ser muito bem aplicado ao rádio em sua nova fase digital. O autor (1998:21) define como “Mediamorfosis: a transformação dos meios de comunicação, como resultado da interação entre as necessidades percebidas, as pressões políticas e de competência, e das inovações sociais e tecnológicas.” (...) Fidler (1998:37) cita Paul Saffo, diretor do Instituto para o Futuro para explicar que a média de tempo necessária para que se introduzam novas idéias em uma cultura é de três décadas. Saffo afirma que é comum confundirmos a surpresa com a velocidade passando a considerarmos que hoje avançamos mais rápido com a tecnologia do que antes. Desta forma, não foram as tecnologias que aceleram o ritmo do mundo, ou que as ações aconteçam mais rápido do que no passado. A realidade é que aparecem mais tecnologias ao mesmo tempo causando o que ele chama de “um grande impacto cruzado” e inesperado de tecnologias dando a nós a impressão que estamos vivendo um mundo de aceleração. (...) É típico que haja grande publicidade em torno das descobertas e de novos inventos gerando uma grande ansiedade na população. Porém quando a primeira onda de entusiasmo cede lugar a decepção e aos contratempos, geralmente, vemos com ceticismo as fase futuras do desenvolvimento. Fidler (1998:41) denomina de “Tecnomiopia” o fenômeno que nos leva a superestimar o impacto a curto prazo de uma tecnologia. E quando o mundo não responde a nossas expectativas inflacionadas, damos uma virada e passamos a menosprezar as conseqüências de longo prazo. Utilizando um padrão de desenvolvimento que leva a tecnologia do laboratório para o mercado podemos identificar três fases típicas dentro dos trinta anos indicadas por Saffo: a primeira década onde temos muito entusiasmo, muita confusão e pouca penetração; a segunda com muito movimento, a introdução e a expansão do produto na sociedade; e a terceira década onde temos uma tecnologia Standard com grande penetração social (FIDLER,1998:38). (...)  A mediamorfosis de Fidler contém cinco princípios que caracterizam a transição dos veículos de comunicação de massa para o ambiente digital multimídia, o que ele denomina convergência. O primeiro é a coevolução e/ou a coexistência: todas as formas de meios de comunicação coexistem e co-evoluem dentro de um sistema complexo de adaptação e expansão. Ao surgir e desenvolver-se cada nova forma de comunicação, influencia o desenvolvimento dos demais meios. Podemos destacar como segundo item a metamorfose onde os novos meios não aparecem espontaneamente e independentes. Eles emergem gradualmente da transformação de meios mais antigos, porém com o surgimento de novos meios os anteriores tendem a se adaptar continuando seu processo de evolução ao invés de serem extintos. A história da comunicação humana apóia esse argumento quando notamos que o surgimento da fotografia não extinguiu a pintura, que o cinema não inviabilizou a foto e que a tv não exterminou o rádio. Esta situação também pode ser explicada pelo terceiro princípio que a sobrevivência, onde os meios de comunicação são compelidos a se adaptarem e evoluírem para se manterem “vivo” como qualquer empresa atuando no mercado capitalista. A quarta característica do processo descrito por Fidler é a oportunidade que esta baseada no fato que sempre há uma razão social, política ou econômica que motive o desenvolvimento de novas tecnologias nos meios. É importante destacar que estas adaptações não ocorrem somente em função da tecnologia. A última denominada de adaptação postergada caracteriza-se pelo fato das novas tecnologias sempre demoram mais que o esperado para se converterem em êxitos comerciais. Assim tendem a necessitar de pelo menos uma geração (20 a 30 anos) para a difusão de seus conceitos e a adoção generalizada. Do ponto de vista histórico, o autor destaca três processos de mediamorfosis, sendo o primeiro no surgimento da linguagem oral e o desenvolvimento das pinturas rupestres. A segunda marcada pelo aparecimento da linguagem escrita, o desenvolvimento das formas de documentação, o desenvolvimento do papel e do correio, passando pela impressão de livros chegando na Revolução Industrial. O terceiro momento está caracterizado pela linguagem digital, contendo os avanços da eletricidade e dos meios de comunicação como os jornais, o rádio, o cinema, e a tv. Somamos a este contexto os satélites, as fibras óticas, os rádios e tv digitais e a Internet (FIDLER 1998:99).» (original, Rádio na Internet: desafios e possibilidades Autor: Álvaro Bufarah Junior, 2006)

«A agregação de ferramentas conspira para que os usuários possam promover escolhas no processo de navegação na rede, alterando significativamente, a relação entre o meio de comunicação e seu usuário, possibilitando uma interação entre ambos, jamais exercitada nesses níveis anteriormente. Moraes (1998:3) relaciona interatividade a um processo bidirecional de uma mídia onde os pólos, emissor e receptor são intercambiáveis e dialogam entre si durante a construção da mensagem, o que não se consegue observar na maioria de nossas relações com as novas tecnologias, ou com outros homens através desta. E conclui (1998:8) que: ...na rede não há lugar para receptores passivos que são afogados numa avalanche de informações que percorrem uma via de mão única, necessitando-se pôr em prática a superação do paradigma do emissor, receptor, meio e mensagem (...) e que temos um ambiente comunicacional, no qual, mais do que qualquer outro os processos de feedback são vitais, pois nada acontece na WEB que não seja uma resposta a estímulo de um usuário, ou outra máquina, sendo frustrante constatar que poucos atentaram para este fato» Navegando na rede, os usuários utilizam uma interface que conduz a recursos múltiplos, abrindo novas janelas entre espaços virtuais diferentes, o que Capisani (1999:107) denomina hipermídia. Através dela, o usuário não só dispõe da união e interação de diferentes recursos (fotos, ilustrações, videoclipes, textos e arquivos sonoros e de vídeo) como da possibilidade de acioná-los de qualquer ponto, através de links (âncoras que permitem que os usuários saltem de um conteúdo para outro), que os selecionam, editam, imprimem, colam, ou ainda alteram a luz, cor, tamanho das imagens quantas vezes desejar acionando mecanismos de busca: botões, figuras, setas e/ou palavras (CAPISANI, 1999:108). Segundo Negroponte (1996:73-75) “a hipermídia é o desenvolvimento do hipertexto, designando a narrativa com alto grau de interconexão, a informação veiculada”. Trigo-de-Souza (2002:94) afirma que: ... a hipertextualidade permite ao usuário reconstruir a obra criada através das sucessivas escolhas que é obrigado a fazer em seu processo de navegação, escolhas proporcionadas pelas estruturas de links. Isso possibilita a criação de produtos radiofônicos que permitam a audição numa seqüência particular para cada ouvinte, incluindo a opção de suprimir trechos ou escolher entre dois enfoques de interesse. »(...) Kuhn acredita que o rádio na Internet autoriza o resgate de algumas utopiasadormecidas como a do rádio interativo, o rádio alternativo, o rádio educador»

fonte; Rádio na Internet: desafios e possibilidades,Autor: Álvaro Bufarah Junior, 2006 (5-7)

Moraes: http://www.facom.ufba.br/pretextos/maira.html

«Outro uso corrente, que ajuda a aumentar a confusão, é a criação de sites de emissoras tradicionais de rádio, onde além da programação ao vivo e de arquivos sonoros gravados, são disponibilizados textos, fotos, vídeos, etc., o que leva alguns a imaginar que o rádio virou ou vai virar multimídia. Ora, se quando as emissoras de rádio, antigamente, publicavam revistas para divulgação de suas programações, ninguém chamava aquilo de rádio, e sim de revistas do rádio, porque agora não se chama isto de sites do rádio e se confunde tudo?»

«Vende-se tudo hoje como interativo. Como se a simples presença desta palavra nos anúncios demonstrasse um comportamento de vanguarda; um exemplo a ser seguido. (...) Criou-se, desta forma, uma espécie de “terra de ninguém lingüística” na qual o termo interatividade e seus correlatos – interativo, interação... – passaram a ser ampla e livremente utilizados tanto pela linguagem oral e popular como pelas escrita e acadêmica. (...) Se interação significa “ação entre entes” (inter + ação = ação entre), então há de se pressupor que esta represente uma relação entre, no mínimo, dois agentes;  uma ação mútua. Porém, muito do que se tem classificado como interativo, tem se mostrado, na verdade, apenas reativo. 

Note-se que a presença marcante do prefixo inter nas palavras em questão traz consigo o “por em comum”,  o diálogo que é posto em jogo pelas palavras ação e atividade. Temos então uma “ação entre entes”; uma relação entre agentes;  uma ação mútua. 
Gianfranco Bettetini (3) define a interatividade como “un diálogo hombre-máquina, que haga posible la producción de objetos textuales nuevos, no completamente previsibles a priori”. (4) Completando o raciocínio, Arlindo Machado (5) , lembra que há que se notar a bidirecionalidade deste processo, onde o fluxo se dá em duas direções. Um processo bidirecional de um media seria aquele onde “os pólos emissor e receptor são intercambiáveis e dialogam entre si durante a construção da mensagem”, o que não se tem podido observar na maioria de nossas relações com as novas tecnologias, ou com outros homens através destas.

Partindo desta proposta de bidirecionalidade e do conjunto de definições apresentadas, pode-se sugerir a existência de três Níveis de Interação.  (1, 2 «A interatividade se dá, nestes casos, na medida em que o usuário participa de alguma atividade oferecida pelo site como cursos online, listas de discussão, salas de chats, ou outros serviços oferecidos ao visitante. Os sites que exploram os recursos multimídia da rede oferecendo, por exemplo, uma rádio online ou também a possibilidade de personalização da visita, também podem ser enquadradas neste nível»e 3) «que haja uma troca entre o produto e o usuário/consumidor. Em outras palavras, são aqueles em se pode participar ativamente da construção do produto final, sendo possível interferir em seu conteúdo»)

« Enquanto máquina, o computador, não é, pois, agente em qualquer processo.  Logo, poderia haver interação entre homem e computador?  A resposta é sim. Os softwares, a alma dos computadores, através de suas interfaces (21) é que interagem com o usuário. Nesse sentido, a interatividade digital ocorre quando um programa de um equipamento é utilizado para modificar um comportamento.» (...)
«É hora de se  por em prática a superação do velho paradigma do emissor, receptor, meio e mensagem. Temos um ambiente comunicacional no qual, mais do que em qualquer outro, processos de feedback são vitais pois, como vimos, nada acontece na Web que não seja uma resposta a um estímulo de um usuário ou de outra máquina»

fonte:PRODUTOS INTERATIVOS PARA CONSUMIDORES MULTIMÍDIA, Maira de Moraes Em PreTextos desde 25/11/1998

Recentemente foi anunciado que os receptores de rádio eram os acessórios mais requisitados para os leitores de audio digital, como iPods. Kurt Hanson descobriu a falácia:

«(...) while there was only one FM tuner in their list of top 100 best-selling iPod accessories, what appears on the list repeatedly is an assortment of a half-dozen different FM transmitters. (In case it’s not clear, these are little devices you plug into the bottom of your iPod to transmit its music to an unused frequency on your car radio, allowing you to listen to iPod music over your car stereo’s speakers.)

Amazon’s product description for Griffin Technology’s 9500-TRIPDA iTrip LCD/FM Transmitter with Dock Connector for iPod, for example, puts it this way: “It lets you avoid the hassle of bad reception and bad music on your car’s radio by transmitting your iPod’s music directly to your FM radio.” Yikes! That’s the opposite of the point they’re trying to make.

There are lots of ways that radio can get involved in the digital revolution. This particular angle, unfortunately, doesn’t seem to be a particularly promising one.» (fonte: Kurt Hanson, RAIN, Uh-oh -- the more popular iPod accessories are not FM receivers, but TRANSMITTERS! 29/02/08)

«Segundo Medeiros (2005: 03) uma rádio via Internet utiliza a tecnologia streaming, o que não é o caso do formato Podcasting. Afirma também que podcast não é rádio na internet  (...) Então podemos perceber que existem dois fatores que descaracterizam o podcast como rádio. O primeiro é a forma de transmissão, e o segundo, a estrutura da programação como vimos acima de acordo com Bufarah e Cicilia Peruzzo.» fonte: Rádio na Internet: Um espaço de Experimentação, Educação e Comunicação, Paula Marques de Carvalho, 2007 ( ?)

«as características de um podcasting são opostas às de um modelo de transmissão radiofônica tradicional. A começar pela forma de transmissão que, no rádio, é em fluxo, e no podcasting é por demanda. Depois o modo de produção que, no podcasting é descentralizado e, no rádio é centralizado e institucionalizado. E ainda, os modelos de podcast, que, como vimos, podem ser, no máximo, uma metáfora, uma referência aos programas de rádio. Ao contrário do rádio, o podcasting não é difundido em broadcasting. Portanto, estando em lados conceituais tão opostos e antípodas, não há como extinguir o modelo de transmissão radiofônico convencional ou o modelo “como nós conhecemos”! Ou seja, já que são modelos antípodas, a existência de um não acarreta no desaparecimento do outro. Afinal, se o podcasting não é rádio, então o que seria o podcasting?(...) Uma nova mídia, uma verdadeira multimídia, dentro da Internet. É o que acreditamos.» fonte: «Podcasting: Um Antípoda Radiofônico» 2006 Macello Santos de Medeiros

São estas as características imutáveis em quase cem anos de rádio – aquelas que permaneceram estruturais e que dão identidade à rádio, tal como conhecemos ainda hoje:

- um conteúdo sonoro (música mas sobretudo palavra)

Em resumo, depois de limpas as “gorduras” (as características que não são identificadoras), rádio pressupõe uma única e irrepetível emissão (para todos) sonora (de voz e provavelmente música) em contínuo (portanto não manipulável). Noutra formulação, um rígido “agenda setting” sonoro definido claramente por um “gatekeeper”. (Mas qualquer que seja a formulação, é claro que não é uma única característica que define o meio, antes a conjugação destes elementos)

«En líneas generales, la Radio, los radiofonistas, su empresa y sus gentes sufren de aburrimiento letal, desinterés total por el producto, la programación, el contenido y la audiencia. La Radio está ayuna de investigación y ciencia propias, desheredada de ideadores, abandonada de creadores, magra en inventores y encadenada por la cuenta de resultados. Estamos ante la caducidad de un sistema y de unas fórmulas históricas de narración, contenido, programación y concepto radiofónico. Resueltas estas causas, las tecnológicas o económicas se despejarán inmediatamente»

Também há razões externas: «La Radio enfrenta cambios sociales, tecnológicos y económicos, la conjunción de los cuales producirá mutaciones sustanciales en ella. Son estos factores externos al Medio los que causan mayor inquietud en la empresa radiofónica porque escapan a su control y comprensión: los analizan desde sus perspectivas económicas o técnicas y no desde parámetros propios del Medio o de la Comunicación» (...) Sobre as mudanças sociais: «En términos radiofónicos esto significa que la sociedad actual es bien distinta de aquella para la que fue pensada, hace 25 años, una radio a la medida ; radio que aún hoy hacemos. Crudamente dicho: aquella generación, en parte, ha desaparecido y el resto dará el relevo en breve. En cambio la radio de hoy vive como si el tiempo se hubiera detenido. Hay una sociedad nueva y un lenguaje nuevo en la sociedad que no tiene reflejo en los medios en general y menos en la radio»

fonte: Faus Belau, Ángel (2001), Reinventar la Radio, Chasqui 74 

«(...)  is now offering Finetune – a premium digital music service that lets anyone create their own playlists and discover new music through one of the largest online catalogs of licensed major and indie labels – to iQ Music System customers running version 4.6 software. A one year subscription is available for 0 in the USA only.
With a library of more than 2 million songs and compositions, compiled from major and independent music labels is available through Finetune. Finetune delivers powerful yet virtually effortless customization that empowers listeners to “fine tune” their streaming listening experience with impressive quality and total freedom from commercials, DJs, or interruptions.
“Finetune is a powerful new value-added feature that can only help to further ReQuest’s position in the whole house audio world,” says V.P. Sales & Marketing Bill McKiegan. “Now a customer can manage their own collection plus have access to millions of additional songs.”
Subscribers can easily create individual playlists, discover new music and revisit well-loved classics with equal ease through one of the world’s largest licensed online music catalogs. Unprecedented in the industry, Finetune also offers expert-guided editorial recommendations with community-driven suggestions further enhancing the music experience for every individual music lover, driven entirely by personal tastes. The Finetune discovery engine incorporates accumulated listener data, almost 200 million listener hours and over 600,000 user-created playlists.
(...) Finetune is the ultimate digital music service – two parts personal player, one part social network. Create your own playlists and discover new music through one of the largest online catalogs of licensed major and indie labels. Music you didn’t know you love is just seconds away through Finetune’s expert- and community-driven discovery engine. Never complicated and always free, Finetune comes with no strings attached. No downloads. No questionnaires. Lean back and listen, or sit up, spin and share. Just type in an artist and the experience begins – on your browser, on your desktop, on your blog, and beyond. What music do you love?»

fonte: ReQuest to Offer Finetune Digital Streaming Music Service for iQ Music Systems, Nicoll Public Relations, Inc. on Friday, February 29, 2008

«El análisis de la naturaleza y características de la Tecnología me llevó a anunciar, expresamente, hace más de 20 años, el momento actual. En una obra sobre la Tecnología de la Información Televisiva [FAUS BELAU, Ángel. La información televisiva y su tecnología. Pamplona: EUNSA, 1980] advertí "que el objetivo principal de la tecnología es el de derribar, una tras otra, las barreras existentes entre los distintos sectores de la industria. La tecnología no intenta unir empresarialmente los medios, sino integrar los sistemas técnicos de los medios sobre bases tecnológicas idénticas, para que, de este modo, puedan circular todos ellos a través de un mismo soporte técnico. Con ello queda garantizada la dependencia del medio y su contenido respecto de la técnica y se sientan las bases para una nueva configuración de los medios". Hoy a este efecto claramente perceptible le llamamos convergencia.  (citação tambem em La era audiovisual. Historia de los primeros cien años de la radio y la televisión Eunsa, Pamplona, 1995, 320 pp. pag 297-298?) Fonte: Ángel Faus Belau, in Reinventar la Radio, Chasqui, nº 74

ver tambem: Rostow model of development:

Este trabalho visa aqueles para quem a rádio é um importante acessório no carro e não aqueles a quem Bruce Girard se dirige no seu texto 'La Radio no está amenazada por internet' (2000); embora se pudesse argumentar que a tendencia é para o acesso à Internet crescer, para se disseminar, a verdade é que demorará até que seja um veiculo valido e alternativo, por exemplo à rádio: «En América Latina, por ejemplo, mientras la mayoría de la producción radial se genera local o nacionalmente, solo el  30% de la programación de la televisión proviene de la región, y el 62% se produce en los Estados Unidos. El Quechua, lengua hablada por 10 millones de personas en Bolivia, Ecuador y Perú, está del todo ausente en las pantallas de televisión de esas regiones. Solo en Perú un numero estimado en 180 radioemisoras ofrecen regularmente programación en este idioma.  La Radio tiene una infraestructura desarrollada que debe ser la envidia de cualquier operador de telecomunicaciones en un país en vías de desarrollo. En  Sri Lanka, una persona por cada 500 tiene acceso a la Red de Redes, pero virtualmente todos tienen acceso a la radio. Bolivia tenía menos de cinco líneas telefónicas por cada 100 habitantes en 1996, pero más de 57 receptores de radio por cada 100 habitantes.»

fonte: «Bruce Girard, 'La Radio no está amenazada por internet' (2000);

OBJECTIVOS Este trabalho parte do pressuposto de que o futuro daquilo que hoje se chamada rádio e daquilo que a rádio poderá vir a ser no futuro passa pela Internet; que a digitalização que hoje é um consenso não passa por qualquer modelo 'intermédio' mas directamente pela Internet; tanta certeza é alicerçada não apenas nas qualidades e méritos que a Internet já demonstrou como meio de recepção, mais do que de emissão, mas tambem pela falta de um modelo 'intermedio' válido e com força (DAB, Satelite, HD, etc),. como se desenvolverá em alinea propria 

Outra questão: O que é rádio (tal como a conhecemos)? quem responde? Industria, publico, publicidade? é Comunicação?

In the 1990s, the big players called that convergence. They peddled the image of multiple kinds of signals entering our lives through one box - a box they hoped to control. By 2015 this image will be turned inside out. In reality, each device is a differently shaped window that peers into the global computer. Nothing converges. The Machine is an unbounded thing that will take a billion windows to glimpse even part of. It is what you'll see on the other side of any screen.»

Kevin Kelly, We Are the Web Wired Issue 13.08 - August 2005

A proposito da sentença de Kurt Hanson: "There are lots of ways that radio can get involved in the digital revolution. This particular angle{na relação da rádio com os leitores de audio digital], unfortunately, doesn’t seem to be a particularly promising one.”, um comentário no seu blogue de Kelly:

«Not promising? There’s a lot to suggest to the contrary. While some have said that younger, tech-savvy MP3 owners have no use for radio. Clearly that’s not the case. Take a close look at the copy on the two gadget blogs below, which both praise Apple for adding radio. Mind you these are blogs for early adopters, who some believe aren’t listening to radio.

http://www.engadget.com/2006/01/10/apple-ipod-radio-remote-adds-fm-to-ipods/
http://www.gadgets-weblog.com/50226711/ipod_radio_remote_ifm_and_garmin_navi_350_at_pcmag.php

And when you look at Apple Store site, you’ll see product under their “top rated” iPod accessories. I encourage you to look at some of the reviews: http://store.apple.com/1-800-MY-APPLE/WebObjects/AppleStore.woa/wa/RSLID?nnmm=browse&mco=4D4322C9&node=home/shop_ipod/ipod_accessories

In fact the iPod is one of the only MP3 players that doesn’t include radio as standard equipment. Of those that do, the Zune finds that radio goes very nicely, hand-in-hand with downloads. In fact Microsoft’s data shows that radio is the largest source for discovering music to download. So it’s good for download sales, good for radio and great for the consumer. Look at how many Amazon reviews of the Zune cite radio as a plus: http://www.amazon.com/gp/community-content-search/results/ref=cm_srch_q_rtr/?query=radio&search-alias=community-reviews&x=6&y=8&idx.asin=B000H0QDCC

Does radio need to accelerate it’s efforts to join the digital revolution? Absolutely! No argument there. But the progress being made with integration into devices like MP3 players is the kind of thing we should be encouraging.»

(fonte: Kurt Hanson, RAIN, Uh-oh -- the more popular iPod accessories are not FM receivers, but TRANSMITTERS! 29/02/08)

ideias retiradas de um texto de Eduardo Meditsch (ainda inedito):

-No contexto digital, o discurso sonoro do rádio estabelece já não apenas uma interface com a realidade bruta. Constitui também uma das interfaces com que se relaciona com um hipertexto maior, que redefine a realidade humana e ao mesmo tempo em que a expressa. A informação da web e dos demais meios, e uma grande quantidade de saberes locais, podem ser acessados através de sua sinalização no discurso polifônico do rádio, embora este acesso seja condicionado pelo fechamento do discurso em fluxo contínuo, pelo corte epistemológico do gênero, pela especificidade retórica do meio e pela intenção do emissor, para além do interesse do receptor. Cada vez mais, a informação radiofônica tende a se tornar uma forma de navegação dirigida num hipertexto maior. (...) Desta forma, o novo rádio digital, com todas as suas limitações, preserva ainda o papel social do velho rádio no sentido de servir de ferramenta para o enfrentamento das variadas formas de desinformação, que persistem e se ampliam no coração mesmo da nova “sociedade da informação" (...) Quanto a um radiojornalismo pós-mídia, certamente ele é possível. Talvez não tenha este nome e é pouco provável que surja do rádio digital como concebido ainda hoje. A informação sonora do futuro será mais provavelmente um produto da criatividade coletiva que emerge da web.»

Eric Rhodes, Radio Ink's publisher: «Radio is a powerful medium which reaches 95% of the American population for several hours every week. Virtually every car in America is a radio on wheels and as traffic increases there is more time spent with radio. Because of its reach radio has a huge opportunity to combine its reach and strength with internet driven digital media technologies, which will give it an opportunity to offer its advertisers new digital opportunities in addition to radio advertising.  It's the direction all media is taking but many "old" media like newspapers and broadcast television are loosing significant shares due to the internet. Radio listening has not declined at the same rate and remains strong. » Corey Deitz, The Radio Borg Assimilates New Technologies: "Resistance is Futile"24/02/08, Radio.about

Listeners expect more from their radio stations than ever before. How do we accommodate them?

Eric Rhoads Eric Rhodes, Radio Ink's publisher: Give them what they want. It's the principal of all successful business... reflect the needs of your customers. Radio has usually been pretty good at this by finding out what music, what content most listeners want. This is accomplished through research, through asking them what they want. If we reflect their needs they stay with us and that is all about community... staying tuned into the things they care about in their community and reflecting content taste, whether music, talk, etc.

Corey Deitz, The Radio Borg Assimilates New Technologies: "Resistance is Futile"24/02/08, Radio.about

Corey Deitz, The Radio Borg Assimilates New Technologies: "Resistance is Futile"24/02/08, Radio.about

«Music applications have become the fastest growing services on mobile phones, acording to new market research. The TNS Global Telecoms Insight study said that the use of MP3 players on mobile phones rose by 78 per cent last year, but that radio via mobile went up by 140 per cent. Growth has occurred in all 29 countries surveyed, particularly in Latin America and emerging Asia regions, where 45 per cent of users list FM/AM radio as one of their top three choices for purchasing a mobile phone. "Radio-enabled mobiles take away the need to have a separate music device like an MP3 player and should lead phone manufacturers to win the battle for control of the earphones," said Matthew Froggatt, managing director of TNS's Global Technology sector. "The increased use of radio in the Asian markets is also extremely important. It is driving a whole new wave of customers to service providers and has huge implications for spreading media communications to a wider audience more quickly."Two thirds of people aged 16 to 21 now listen to some form of mobile music on the go, but it is also surprisingly popular with more senior generations. The study shows that 20 per cent of people aged 51 to 60 tune in to music on their handsets.» Fonte: Mobiles users tune-in to the radio Written by Ian Williams vnunet.com, 29 Feb 2008

«La promesa eran 30 millones de canciones gratis compatibles con todos los reproductores de música digital y procedentes de los catálogos de las cuatro grandes: Sony BMG, Warner Music, Universal y EMI. Pero, de momento, el lanzamiento de la web Qtrax, en la que desde ayer se iban a ofrecer los catálogos de dichas discográficas con el único peaje para el usuario de aguantar la publicidad previa a la bajada de cada canción y con código antipiratería DRM (digital right management), ha quedado en el limbo»

http://www.qtrax.com/

http://www.qtrax.com/download.html

«STOCKHOLM (Reuters) - Mobile phone maker Sony Ericsson said it had signed deals with 10 music labels to add content to its PlayNow service, which lets users download music via their mobile phones. Sony Ericsson, owned by Ericsson and Sony Corp., said the deals added 5 million new tracks to its catalogue. The venture said in a statement late on Sunday it had signed deals with Sony BMG, Warner Music Group, EMI, The Orchard, IODA, The PocketGroup, Hungama, X5Music, Bonnier Amigo and VidZone. Sony Ericsson, which made the announcement at a trade show in Cannes, France, said it was negotiating further deals with regional labels.» The company introduced PlayNow in February 2004 as a way to listen to and then purchase ringtones for mobile phones. Since then, it as expanded the service, allowing full music tracks and games to be downloaded and other features. It said PlayNow was available in 32 countries.»

fonte: Reuters, Sony Ericsson cuts deals with 10 music labels Mon Jan 28, 2008

A partir deste caso (real ou fictício, poderá muito bem ser verdade), mais uma reflexão: o consumo de leitores de audio digital nomeadamente no carro não só diminui o consumo de rádio mas tem outra consequência indirecta: afasta os mais novos do conhecimento/familiarização da própria rádio.

A unique and engaging social music service, Social.FM allows wireless customers to enjoy their favorite music anytime, anywhere, directly from their mobile phones. Social.FM is the only social music service which leverages user-contributed content, social discovery and recommendations, and 3G-optimized media streaming to deliver the ultimate music experience across the mobile and web environments. (...) Social.FM is defining the future of social media consumption by building innovative products and services that leverage social broadcasting, social networking and user-contributed content to enable consumers to enjoy their favorite media anytime, anywhere and from anyone. Founded in 2003 by McAfee.com (NASDAQ:MCAF) founder and CEO Srivats Sampath, Social.FM is headquartered in Sunnyvale, California, USA. For more information, please visit us on the web at www.social.fm.

Social.FM and Mercora are all trademarks or registered trademarks of Mercora, Inc. Handmark, Pocket Express, and the distinctive hand design are registered trademarks of Handmark, Inc. in the U.S. and other territories»

fonte: «Social.FM and Handmark Sign Global Distribution Partnership » 3/03/08

«British 15-to-19-year-olds admit spending significantly less time doing homework than they used to as a result of their use of social-networking sites such as Facebook, MySpace and Bebo, according to research published today.

While teachers and parents will be dismayed, the 2008 Digital Entertainment Survey also makes uncomfortable reading for commercial TV executives. It shows that not only does a significant proportion of the important 15- to 19-year-old audience watch less television as a result of social networking, but that the vast majority of Britain's 15-to-54-year-olds fast-forward through adverts when they watch programmes they have recorded.The report, produced by Entertainment Media Research for media law firm Wiggin, shows the way the internet has changed working, reading and viewing habits.A balance of -21% of teenage girls and -10% of teenage boys watch less TV than more because they are using social-networking sites. A balance of nearly a third of 15- to 19-year olds say they are doing less homework, -30% among boys and -32% among girls. The survey also shows the growing "digital divide" between age groups. Whereas 55% of males aged 15 to 19 regularly browse social-networking sites, only 13% of 45-to-54-year-old men do the same.»

fonte: Digital kids ditch homework for networking The Guardian, 3/03/08

SpiralFrog and Qtrax are building a reputation for delivering free, downloaded tracks, with the cost recouped through advertising revenues. I've had some previous thoughts on the subject. It would take more than traditional ad revenues to support the cost of music given the price points set by labels.

But the MySpace story is different, and raises two questions. Can MySpace actually provide even a streaming service supported by advertising when great services like Pandora and Live365 have stumbled. And even if MySpace can, who cares?»

MySpace Ad-Supported Music: Feasible or Fiasco? 22/02/08

«But of all major consumer media, radio is the least suited to an online transition. (...) Industry executives fiercely deny this point, but consider the landscape. Newspapers' ills are well-documented, and I've had much sport with them in this space. But the local paper's Web site is almost always the dominant local online entity. Newspapers churn out tons of original content daily. Radio is built to a large degree on music it doesn't own and syndicated talk shows. Both are available in countless venues online, which means radio Web sites have less unique stuff to attract audiences. And stations aren't structured like newspapers. While their profit margins are much higher—try 40% and up—they also have much smaller news organizations and fewer bodies to create new content that can be slapped up online. Ryvicker says radio companies that are doing well in the Web are getting 1% to 2% of revenues from it. Hogan says Clear Channel Radio will get 5% of revenues from its 1,005 Web sites "very soon" but isn't there yet. (Radio executives also extol the revenue potential of radio stars turning up on cable, à la Imus, or on local TV, but few can make that leap.)» fonte Requiem for Old-Time Radio by Jon Fine 28/02/08

Mark Ramsey: «Where Business Week goes wrong, I think, is in underestimating the relationship that millions of radio listeners have with their favorite stations. And underestimating the value of "permission" that those listeners grant those stations to communicate with them, whether that communication is about station content or the benefits of various advertiser partners.

This is a huge advantage for the radio industry, one that has barely been realized to date when it comes to digital content. And woe unto those (outside the radio industry or inside it) who underestimate its value.

In the long run, your radio station is the loudspeaker for your content online. The "non-traditional revenue" will be today's spot revenue, and the NEW-traditional revenue will be sourced online. Get this through your heads and we can start creating our future.»

«O serviço de IPTV da Portugal Telecom passou a disponibilizar o serviço Jukebox, com 12 canais temáticos de áudio. Com estes canais, os responsáveis pela Onda Musical, empresa do Grupo Telefónica, que desenvolveu o projecto para o Meo, acreditam ir ao encontro dos mais variados gostos musicais. Desde a música portuguesa, à música clássica passando pelos ritmos brasileiros e música romântica, do pop rock ao hip-hop, sem esquecer o disco house e o jazz&blues, todos os géneros foram contemplados, incluindo a chamada música ambiente e a infantil. (...)A partir de Abril os canais integram um pacote Premium para subscrever.»

Briefing, Jukebox no serviço Meo 2008/03/03Paula Ferreira Fernande

Wired's Listening Post scored an exclusive scoop on the Service That Embarrassed Itself, and reported that Qtrax has succeeded in signing up EMI, Sony/ATV Music Publishing and TVT Records. Not quite the big four as first claimed, but it's a good start for what's essentially a legal BitTorrent.

The files contain DRM, however can be loaded onto PMPs compatible with WMDRM, excluding iPods at this stage.

fonte: «After a wobbly start, Qtrax announces licensing deals with EMI, Sony and TVT Records», Tech digest, 4/03/08

Mais: «New York-based Qtrax generated some controversy when it claimed at the MIDEM conference in January that it would launch its service with over 25 million tracks, but later conceded that it had not yet obtained the requisite licenses from the major labels to offer their catalogs»

According to figures released today by commercial radio trade body RadioCentre, the sector had revenues of £598,199,553 in 2007 compared with £581,695,114 the year before.

In the final quarter of last year revenues increased by 7.1% on the same quarter of 2006 to reach £150,949,721.

«Facebook is reaching out to the major labels and scheduling meetings to discuss the potential implementation of a music acquisition service with the popular social networking site, Billboard.biz has learned.

Sources at multiple major labels say discussions and meetings regarding the potential service are taking place this week. The sources said they expect something similar to the music service MySpace reportedly is working on, though details of Facebook's proposal remain unclear at this point. (...) Facebook's 66 million-strong members and open development platform -- which allows virtually anybody to create an application (or widget) that pulls data from user profiles to use with it -- have attracted more than 16,000 developers to the network. Just under 1,000 are music specific, including iLike, Imeem, Last.fm, Pandora, Qloud and RealNetwork's Rhapsody.

Facebook will have to be careful how it positions its own music service against these others, as well as determine how to integrate third-party music apps with whatever it comes up with. (...) "The logical conclusion of setting music free of DRM is that every profile page on MySpace or Facebook immediately becomes a music store where friends sell friends their favorite tracks," he wrote in the report.»

fonte: Facebook music service in works», Hollywood reporter, By Antony Bruno, Billboard March 6, 2008

«“Additionally, as the process of digitization takes hold in the developed world. Both radio and television could proliferate as never before. With more choice and generally better quality (of video and audio), advertisers may find that the sheer scale of traditional media is hard to beat.” (slide 9)Deloitte, TMT Trends 2008. (segundo a newsletter da MCRadios, «Esta previsão assenta na crescente penetração do online em banda larga, redes de cabo  e outras plataformas digitais, o que permite ouvir rádio e ver televisão em alta qualidade, aumentando, deste modo, o número potencial de ouvintes e telespectadores.»); eu não acredito

«Come along and sing a song and join the jamboree, indeed.
Radio Disney has completed a licensing agreement with Gracenote that allows Radio Disney to publish copyrighted lyrics. Kids can now see lyrics and sing along to Radio Disney songs while listening via the Internet Radio Player on RadioDisney.com.
Terms of the deal were not disclosed.
Michael Peterson, executive director, digital distribution, Radio Disney, said, “The integration of lyrics into our Internet Radio Player is another way for us to leverage digital technologies to provide new and exciting user experiences for our young listeners who love to know the words to their favorite songs.” »

The totals for 2004-07 also are boosted by non-spot/off-air revenue and increased network participation in the survey in the last two years.»

fonte: radioworld newsbytes What a Difference a Decade Makes 7/02/08 

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 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. The Jango player (located at the upper-right of the Jango browser window) displays alternate songs by the currently playing artist, as well as users who are listening to the same performer or similar artists.

Clicking on a song takes you to the station that's playing it; selecting a user takes you to their Jango profile page, where you can check out that person's stations and other information (birth date, location and favorite books and movies, for example) that they have chosen to share. »

March 5, 2008 Jango beta internet radio site review, PC Adviser

« Jango.com launched in July with a preview of a social network wrapped around a personalized webcasting service. Within two months of its formal debut in November, it had attracted 1 million listeners who created 3 million customized stations. Chief Executive Dan Kaufman says he expects to reach 2.5 million unique listeners this month. An audience that size can run up big royalty bills in a hurry -- more than ,000 per collective hour of music played. (...) "We have, I don't know, 500%, 1,000% more opportunities to show a visual ad than Pandora or Yahoo or AOL," Kaufman said. "Even with a very low CPM [the fee charged advertisers each time their pitch is seen], we break even with a very small number of users, relative to the other guys." Jango's approach reflects one vision for the future of the music business. It's not about selling recordings; it's about monetizing the time people spend listening to music.
That's why Jango surrounds its webcast with social features, such as the ability to find people with similar musical tastes and listen to the stations they designed. It has many of the usual elements, such as the ability to send instant messages to friends and e-mail to other users. But it also has some nifty little touches -- for example, prompting users to send thank-you notes electronically when they stop listening to someone else's station. It also tries to keep people interacting with the site's musical content by rating songs, reading about artists, creating new stations and recommending their creations to friends. (...)Just to cover royalties obligations, a music webcaster has to generate a little more than 2 cents per user per hour this year (assuming it plays 15 songs per hour). That number, which rises to 2.85 cents by 2010, seems minuscule, but webcasters say they raise only 1.5 cents to 2.5 cents per listener per hour on average.» fonte: How to get ahead in webcasting By Jon Healey Los ANgeles Times March 21, 2008

The most obvious difference is that everyone has access to the service called Deezer which does not only provide custom radio stations with music that you (could) like but also ways to search for bands or songs and play them right in the browser. All of that is possible without creating an account at Deezer.

You will need an account however if you want to create playlists, upload an unlimited amount of mp3 that you can listen to online or participate in community matters.

Information are easily accessible. While listening to the Smart Radio feature you can open a band’s discography page which does not interrupt the music. There you have access to information about albums, related artists and community members who share your taste. Only albums with tracks available will be shown.

I had troubles creating a playlist though. The system accepted my input but did not add the playlist to the menu. Deezer is nevertheless a brilliant better Pandora.» Deezer offers what Pandora does not, 6/3/08

««The Arbitron Company, in conjunction with Edison Media Research (Arbitron Study, 1999), conducted a large telephone survey of more than 1000 Arbitron diary keepers. Among the stated goals of this "spot load" study was to probe listener perceptions toward radio advertising. (...) This study also concedes that young people (ages 12 to 24) are more likely to switch stations due to commercial avoidance» (McDowell and Dick, 2003: 52); «Furthermore, Abernathy (1 991) did not delve into other plausible motivations for switching stations. Also, the study's sample base was a "demographically homogeneous" group of young student volunteers. Based on the findings of other studies, young people tend to change stations more often than older people.» (53)

«(...)compared to older persons in this study, younger respondents were (a) more likely to switch stations (b) more likely to avoid commercials, and (c) avoid an undesirable song. On the other hand, there was also support for the idea that older people tended to avoid announcers and newscasts» (59)

A crise presente da rádio é tambem a crise de um determinado modelo comercial. «Barnouw (1970) maintained that since radio's inception in the 1920s, the notion of using program content to expose audiences to embedded advertising messages has proven to be a winning business model.» (47); «From a business perspective, Alexander (1997) maintained that the primary goal of radio programming is to maximize the size of an audience targeted by advertisers and the only way to accomplish this goal is to satisfy the needs and wants of that audience. "Uses and gratifications" has long been a popular approach to understanding audience motivations for tuning to radio and television programming. The underlying presumption is that audiences are not passive nonjudgmental receivers of media but are, rather, active seekers of program content that will satisfy specific needs. From practical considerations, such as wanting information about traffic congestion, to more abstract psychological desires, such as relief from emotional stress, listening patterns are determined by each person's expectations of how well different media or programs will gratify their needs (Rubin & Perse, 1994)» (pag 48)

««From a business perspective, Alexander (1997) maintained that the primary goal of radio programming is to maximize the size of an audience targeted by advertisers and the only way to accomplish this goal is to satisfy the needs and wants of that audience. "Uses and gratifications" has long been a popular approach to understanding audience motivations for tuning to radio and television programming. The underlying presumption is that audiences are not passive nonjudgmental receivers of media but are, rather, active seekers of program content that will satisfy specific needs. From practical considerations, such as wanting information about traffic congestion, to more abstract psychological desires, such as relief from emotional stress, listening patterns are determined by each person's expectations of how well different media or programs will gratify their needs (Rubin & Perse, 1994)» (McDowell and Dick, 2003: 48)»

«Researchers can approach these phenomena from a number of theoretical foundations, but the uses and gratifications (U &G) approach which a<;sumes an active audience ;s best applied here. Wi . With choice comes fragmentation in consumer activity and the uses and gratifications approach posits that a consumer vated to use a certain technology based on an anticipated set of need(s) or gratification obtained.» (Albarran, 2007: 93)

Katz and Foulkes (1962) clarified the concept that the media is used as an escape. Katz, Blumler, and Gurevitch (1974) argue the media is utilized by individuals to gratfy specific needs; hel Ips provide an understanding of individual user motives regarding media behavior; and identifies functions or consequences that are the result of the motivations and behavior. Katz/Haas and Gurevitch (1973) found that individs use media to connect or disconnect with themselves and others via instrumental, or integrative relations. (Albarran, 2007: 93)

In terms of U&G studies specific to radio, Mendelsohn (1964) identified several motives of radio listening: companionship, filling a void created by daily routine,altering mood, relieving boredom, providing news and information, allowing active  participation in events, and overcoming social isolation. Killing time was the only lisng motivation identified in a survey of college students conducted by lichenstein and Rosenfeld (1983 ).   Albarran, 93-94

«Paramount to uses and gratifications is the idea that peopIe are active in their selection of media and content to satisfy certain needs, and that media use comprises but one form of activity among a multiplicity of options through individuals may fulfill those needs (Katz, Blumler, & Gurevitch, 1974). Scholars subsequently argued that media activity should not be considered a singular concept. For example, Blumler (1979) posited that there are varying levels of activity in to types of media, audience motivations, and media uses. Similarly, Levy and Windahl (1985) argued that levels of activity are dependent upon the individual; both regarding the extent of activity and at what time a person exercises that activity. (...)Historically, uses and gratifications has been a fruitful approach in understanding audience uses of traditional media. (...). A few studies have considered the uses and gratifications of radio. In one such study, Towers (1985) examined the use of radio news in relation to other media and listener demographics. He found that people who listened more frequently to the radio did so for entertainment and the immediacy of news, while those who listened less frequently did so to fill time. (...) Ruggiero also argued that researchers need to expand uses and gratifications theory and to adapt the theory o the characteristics of new communication technology. This returns to Katz, Blumler and Gurevitch's (1974) notion that uses and gratifications is associated with the attributes of a particular medium» (Ferguson, 2007: 104-105)

«This study seeks to examine the relationship between young adults and radio media by applying the Uses and Gratifications approach
(Katz, 1959; Blumler, Katz, & Gurevitch, 1974) whereby audiences may select specific programming to gratify needs, desires, or to affect
mood.  However, the idea of uses and gratifications as applied to programming may also be applicable to the types of media audiences
seek for entertainment, information, or economical reasons. (...) This study suggests young adult listeners are tuning to new radio because it is convenient, provides a better quality signal or reception, there are no or few commercial advertisements, and new radio offers a better selection for stations and programming.  Listeners are more apt to stay with traditional radio to meet entertainment and information needs.» (Free, 2005)

  

«For the first time last year, nearly half of all teenagers bought no compact discs, a dramatic increase from 2006, when 38% of teens shunned such purchases, according to a new report released Tuesday. The illegal sharing of music online continued to soar in 2007, but there was one sign of hope that legal downloading was picking up steam. In the last year, Apple Inc.'s iTunes store, which sells only digital downloads, jumped ahead of Best Buy Co. to become the No. 2 U.S. music seller, trailing Wal-Mart Stores Inc.

That could be hopeful news for the music industry, which has been scrambling in recent years to replace its rapidly disappearing CD sales with music sold online. The number of CDs sold in the U.S. fell 19% in 2007 from the previous year while sales of digital songs jumped 45%, Nielsen SoundScan said. (...) Two years ago, teenagers accounted for 15% of CD sales. In 2007, the figure was 10%»fonte: «More teenagers ignoring CDs, report says», LA Times, By Michelle Quinn and Andrea Chang, Los Angeles Times Staff Writers
February 27, 2008

A rádio vai acabar?

«From its inception, radio has been challenged by a number of innovative technologies, each drawing listeners and forcing radio to update its programming in order to remain a competitive media option. The radio industry has been successful in adaptin to various forces throughout its history in order to remain successful (Albarran, 2002). Arguably, television was the first competitor in the mid-twentieth century and responded with new music formats to replace programs shifting to TV. The 1960s brought the debut of the stereo FM, forcing AM radio to embrace more talk-oriented and niche programming. As eight-tracks, cassettes and compac t discs began to diffuse, they offered alternatives in the automobile  to radio. With the introduction of Internet or streaming radio, satellite radio, and MP3s and other digital file formats  with the multi-source compatibility of these new technologies, radio is currently experiencing yet another challenge-one that shifts the way in which radio is talked about and how it is used» (Albarran et al, 2007: 92)

«Early adopters of MP3 technology have been shown to be the reatest threat facing radio (Bachman, 2005). Eighty-five percent of a sample in ñe tudy would choose an MP3 player over traditional radio as their preferred listening )ourcFifty percent listened to Internet radio and spent more time with this format than they were six month ago. Fifty-four percent claimed there is no radio station in heir area that played music they wished to hear ("How to make music more," 2005).(...) , Book and Grady (2005) found that adoption of alternate med i a forms by rad i 0 listeners occu rred mostly among those who ere highly dissatisfied with traditional terrestrial radio programm ing. Once theses I iseners adopted new media forms, they reduced their radio listening time by 61 %.» (Albarran, 2007: 95)

«A comparison of radio use between owners and non-owners of iPods yielded a significant difference, suggesting that iPod use substitutes for time spent listing to the radio (...). Radio use for respondents without iPods was about two and a half hours, (...) but radio use for iPod owners was over an hour less» (FErguson, 2007: 114) 

«CBS Radio has agreed to share online streams from all 140 of its stations with AOL's online radio service.  According to an announcement posted to CBS's Web site, the media conglomerate will now power AOL's Web radio. Financial terms were not released.  "CBS Radio will drive advertising sales for AOL's more than 200 award-winning stations," the companies said in the statement, "in addition to its own online streams of more than 150 radio stations and custom channels." In the spring, CBS plans to release a new online music player that will allow audiences to toggle between stations, song titles, and album information»

fonte: «CBS Radio to power AOL's Web radio service, CNet, Greg Sandoval March 7, 2008 12:25 PM PST

«As for listening to AM/FM radio, 50.2% of the sample reported they never listen to terrestrial radio; 26% reported they listen less than an hour a day; 8.6% indicated they listen to radio 1-2 hours a day, and less than 1% (.9) reported listening more than 2 hours a day. Respondents were also asked to rate AM/FM, MP3, streaming or Internet-only radio anda satellite radio in their ability to provide them with entertainment using a five point scale (1 = very poor; 5 = very good). Respondents rated the MP3 the highest with a mean of 3.95, followed by satellite radio (2.95), streaming via the Internet (2.86) and AM/FM last (2.67)» (ALbarran, 2007: 97)

«Respondents were asked to identify which of the four technologies they would keep for their music listening if they could only choose one. The sample again showed a strong preference for the MP3 compared to other technologies. Approximately 68.4°% indicated they would keep their MP3; 21.4% of the respondents indicated they would keep AM/FM; only 4% streaming media, and 5.6% would keep satellite radio» (98)

with nearly 50% of the sample indicating they never listen to rad io, this is extremely problematic for an industry that has a long history of cultivating young listeners. The focus groups revealed a number of negative perceptions about radio that are reflected among society: too many commercial interruptions, tooliute variety in music, and too much industry consolidation so that all stations sound the same. (...)rythjng but news, it will have major implications for the medium in terms of pro:ramming, its abil ity to attract advertising, and its long-term future. Radio is still perceived as a good second choice to the MP3, but as these audiences age will they still perceive radio as serving only these limited needs?» (99) 

ATENÇÂO Ao factor moda; que pode enviesar os resultados actuais; daqui a alguns anos esta tecnologia não será tão presente e necessaria?

«In this study, we use the term "streaming" to represent listening to music through a live stream on the Internet as well as to represent Internet or online-only radio stations. Therefore, the term streaming covers listening to music via the Internet regardless of the source.» (Albarran, 2007 100) 

A resposta a esta pergunta só se fará dentro de muitos anos, quando houver elementos estatisticos que suplantem a abordagem empírica e subjectiva.

Até agora os estudos feitos são muito recentes, mas mostram (como sugere Ferguson, 2007: 105) que à medida que a internet vai ganhando espaço na vida de cada um de nós, vai diminuindo o consumo de meios classicos; Os mesmo autor mostra como os primeiros estudos , feitos no final da decada de 90 e inciio de 2000, eram pouco 'prejudiciais' para os meios classicos

Nesta fase há ainda muita especulação e sobretudo elementos erroneos, não testados pelo passar do tempo

«Regarding online versus traditional media use, Lin (2001) suggested that media substitution is more likely to occur when one medium is perceived as offering certain benefits over existing media. This notion is especially evident in the inherent characteristics of MP3 devices. Owners can listen when they want, where they want, and to the content they want. In his study of iPods and radio, Berry (2006) concluded that this technology might not signal the demise of "the radio star" but that a "retuning" may be in order for broadcasters (p. 158). At the very least, new technologies are challenging radio (Albarran et aI., 2006)» (Ferguson, 2007: 117-118)

«An Arbitron/Edison Media Research study that included ages 12 and older found that 22% of those Americans owned an MP3 player in 2006 (Rose & Lenski, 2006). The study further noted that, between 2005 and 2006, growth of ownership of the technology was especially high among 12-17 -year-olds. Affinity for the iPod, in paricular, was also noteworthy, with 45% of all respondents indicating that they '''love' using the device" (Rose & Lenski, 2006, p. 8) (...). In comparison, less than a quarter (21%) of respondents said they loved "local AM/FM radio" (p. 8).» (Ferguson, 2007: 104) 

Um estudo de David Alan Free mostra «Most (94%) of the respondents listened to AM and FM radio, which was
labeled traditional radio; only 7 percent listened to new radio, which included satellite, Internet, and cable radio.  Males (8%) were
slightly more likely than females (6%) to listen to new radio» (Free, 2006)

Ideias a partir de um texto do M&P «Estarão os conteudos gerados pelos consumidores a perder poder?», Ana Marcela, pag 10 e 11, 7/03/08

- apostar no 'cidadão reporter', mas com cautelas (filtros para evitar fraudes e violações de direitos individuais e colectivos)

- cuidados com os comentarios (gigantesco rumor; necessidade de moderação)

- os conteudos não estão a avançar tao rapidamente quanto se poderia esperar

- os direitos de autor (sobretudo em video)

- DESCONFIANÇA: «Os media tradicionais têm tido dificuldades em admitir que basearam uma historia em material originado online. Blogues (escritos por amadores e não por renovados colunistas) podcasts, wikis - e conteudos gerados pelo consumidor - não têm sido considerados fontes de informação legítimas e crediveis», relata o estudo da Deloite TMT trends 2008" 

A rádio acaba?

Os desafios que se colocam:

«Not all old technologies are discarded, but rather their existence and function in society have been reinvented.  Thus, radio did not cause the extinction of newspapers as predicted in the early years of radio. Television did not obliterate radio as surmised, nor has e-mail made the United States Postal Service obsolete.  The utility of radio, television, newspapers, and the Internet has been altered as consumers or audience members seek out the latest and most technologically superior products, therefore, forcing the producers of content and structure in an outdated medium to scramble to find a utilitarian justification for that medium» (Free, 2005).

The speed of technology adoption is determined by two characteristics p, which is the speed at which adoption takes off, and q, the speed at which later growth occurs. A cheaper technology might have a higher p, for example, taking off more quickly, while a technology that has network effects (like a fax machine, where the value of the item increases as others get it) may have a higher q.» (wikipedia)

Early Adopters
They are younger than the average farmer, but not necessarily younger than the innovators. They also have a higher average education, and participate more in the formal activities of the community through such organizations as churches, the PTA, and farm organizations. They participate more than the average in agricultural cooperatives and in government agency programs in the community (such as Extension Service or Soil Conservation). In fact, there is some evidence that this group furnishes a disproportionate amount of the formal leadership (elected officers) in the community. The early adopters are also respected as good sources of new farm information by their neighbors. (The Technology Adoption Lifecycle The technology adoption lifecycle was originally developed in 1957 at Iowa State College. Its purpose was to track the purchase patterns of hybrid seed corn by farmers. Approximately six years later Everett Rogers broadened the use of this model in his book, Diffusion of Innovations.»

SOLIDÃO/SOLITÀRIOS «The solitary movement of people through the city each day represents a significant yet under researched aspect of contemporary urban experience. This solitariness is often imposed in the daily movement of people to and from their places of work, yet is equally often a preferable option for many as they either walk or drive to and from work (Bull, 2000; Putnam, 2000; Brodsky 2002). Yet this desire for solitude is often joined to a need for social proximity and contact in daily life (Katz & Aakhus, 2002; Bauman, 2003). For many this solitude is an accompanied solitude in which people walk to the personalised sounds of their personal stereos and MP3 players» (Bull, 2005: 343)

«iPod use, for example, appears to blur the distinction between work and leisure, between the ‘non-spaces’ of urban culture and the meaningful spaces associated with any individual’s personal narrative. If users live within their chosen musical soundtrack then I argue that they attempt to reclaim the significance of their experience of time precisely in those areas of daily life that have previously been perceived to be of little significance in the literature on time, identity and experience: the daily movement of users through the city» (bull 347)

1) Não é um estudo sobre o que leva os jovens a preferir este ou aquele meio, por esta ou aquela razão; é antes uma analise (uma extrapolação) de tendências a partir das atitudes/comportamentos tomadas face aos meios de comunicação

2) o campo de pesquisa é o presente e o futuro imediato, a partir desse comportamento (que é mensurável a partir de pesquisa industrial e académica, própria ou externa)

«(...) Internet television is unlikely to kill off traditional television in 2008 largely because Internet television, certainly in its current manifestation, is not traditional television. iTs another medium whose quality, content formats and audience differs largely from traditional television audiences» Delloite, Media Prediction 2008 (pag 8)

- The decline in sales – radio is losing advertising revenue to interactive media.

- Radio listening is down.

-Radio appeals mostly to Gen X and baby boomers.

- iPods, Smartphones and the Internet are cooler than radio.

- Gen Y doesn’t listen to radio. Their solution: try to make them think that your limited playlist station is playing the most variety.

- Too many commercials.

Se o transistor, inventado em 1947, salvou a rádio do primeiro choque televisivo (tornando-a portátil, autonoma e fazendo deslocar o eixo de escuta de casa para o carro, passando a ser um consumo secundário), os (milhões de circuitos transistorados que fazem os) computadores - e a internet - ameaçam acabar com a rádio tal como a conhecemos...;

transistor kill the radio star? 

As you might imagine, the difference in the cost of broadcasting a song on-demand and downloading the same song is striking. The RIAA recently increased the fee for online broadcasts to $.0019 per performance of a song. Compare this with an estimated $.75 that labels are receiving from iTunes for a download. Now I know broadcast music licenses are a complicated business, and the fee structures are never as simple as they appear. No doubt News Corp has been negotiating the finer points of their deal directly with labels, and we have no way of knowing what the final number is. But regardless, the big picture is clear… streaming a song is relatively cheap compared to downloading.»

fonte: MySpace Ad-Supported Music: Feasible or Fiasco?, 22/02/08, Theseminal.com

«researchers at the University of Iowa recently found that people who have only a little information about a product are happier with that product than people who have more information. "We found that once people commit to buying or consuming something, there's a kind of wishful thinking that happens and they want to like what they've bought," said Dhananjay Nayakankuppam, marketing professor at UI.» fonte: How Much Choice Do Consumers Want? emarketeer MARCH 10, 2008

The survey, commissioned by Robert Half International and Yahoo! HotJobs, examines the professional priorities of the most senior members of Generation Y or the “Millennials” -- those who have already started a career or will soon start one. More than 1,000 adults between the ages of 21 and 28 were polled for the project. The findings are available in a report, What Millennial Workers Want: How to Attract and Retain Gen Y Employees.

«Assuming our previous conclusion about that labels are asking for more per track than ads can realistically provide is correct then one of three things is happening.  Either the labels are lowering their expectations, Myspace is planning to subsidise their music service, or Myspace believes they can monetise the ads better than We7, QTrax, Imeem and the other providers in this market. I really hope it is the first of these.  Myspace subsidising the market might be good in the short term for consumers, but would be bad for the medium term health of both the music and social networking industries.  Similarly - if they are being more aggressive in their monetisation assumptions I would worry that they may end up losing money. (...)The best I have seen so far, by a mile, is Sweden’s Spotify - a company I haven’t talked about much here because they are somewhat in stealth mode.  The cat seems to be increasingly out of the bag now though.  This post from Varsavsky waxes lyrical about how great their service is. (fonte: Free ad-supported music coming closer to reality, 10/03/08)

Click here for the video that explains it all. As CNet's Brian Cooley says, BMW is "the first car company to embrace a factory-optional Internet connection." As one correspondent noted to me, imagine if BMW owners could have their own branded internet radio station with format choices. BMW rocks, Jazz on BMW, BMW plays the classics. When your brand is BMW you certainly don't need Clear Channel.»

fonte: Mark Ramsey

XM OFFERS “ONLINE ONLY” SUBSCRIPTIONS

«Lincs FM will becomes the first radio station in the UK to launch an innovative new music download service, called Catch.
From tomorrow, listeners can text a five digit number while listening to the station. The station then sends back a text identifying the name of the artist and track currently being played.
A personalised web page is created where listeners can access a list of all their favourite music. They can download their chosen songs by entering their mobile phone number on the station's website.
The new service also includes a fully searchable online music store with access to over three million songs, while listeners can browse station playlists by show, hour or day and preview presenter recommendations.
Catch was founded in 2005 to work with radio stations by providing a mixture of free and paid services to listeners. Keith Briggs, Director of Operations and Presentation at Lincs FM said: “We are very excited at being the first station in the UK to roll out this service and we believe it’s something our listeners will get a lot of enjoyment from.”
Last year UBC Media launched a similar service named Cliq, whilst GCap also previously trailed a 'Hear it, Buy it, Burn it' service.»

fonte: «Lincs FM Catches Listeners Radio Today Industry News reported on Tuesday 11 March 2008.

«GWR will supply GMG Radio with a bespoke service that will enable listeners to its JAZZFM, Real Radio and Smooth FM stations to legally download music via the internet that they hear broadcast on air.The service, which will launch first on Real Radio in Wales, Scotland and Yorkshire at the end of January 2005, will mean listeners can download thousands of songs in CD quality to their computers in under two minutes, listen to them and burn them onto a CD if they wish. John Simons, Group Programme Director of GMG Radio, said: “This service will offer our listeners a whole new and instant way of buying the music they love.”»

«UBC Media plc (UBC:L) today announces that it is to name its Instant Music Buying Service ‘Cliq’. The service will allow consumers to instantly buy the music they like as they hear it on the radio. The system works by broadcasting, in a dedicated data channel, a real-time information service with track details and a “buy” button, alongside the radio station’s audio stream.   Cliq is broadcasting in trial form on the digital service of Heart 106.2 in London and UBC is preparing to launch commercially later this year.  The service currently operates on the ‘Lobster’ digital radio mobile phone available from Virgin Mobile.» «And don’t worry, if you’re a song or two behind, CLIQ gives you the option to buy not only the track being played on air but the recently played songs as well. As soon as you buy a song, it’s sent instantly to your very own online CLIQ account for you to download at your leisure; be that saving on to your PC or downloading on to your MP3 player.» 

18-24 66,5%

25-34: 70,9 %

«Digital distribution industry leader finetunes and Qtrax, the world's first free and legal peer-to-peer (P2P) music service, today announce that they have signed a digital licensing agreement. For more than four years, finetunes has been a pioneer in creating opportunities for independent labels in the digital music markets. Initially focused on providing digital solutions for the German independent labels, the Hamburg-based company now represents more than 1,000 record labels from around the world.» CNN Money.com, finetunes and Qtrax Sign Digital Licensing Agreement March 12, 2008

«(...) the music industry is at a critical juncture: adapt or die. We7 is a music download website that hopes to set the tone for the music industry in the 21^st century. It thinks it has found a way to make music available for free and yet still generate revenue for record companies and artists. People want to be able to access and use music in an ever greater number of ways, while artists and record companies want to ensure that they get paid when people use their product. It is now accepted that DRM is too restrictive and impractical to manage, so a new way is needed. (...) We7 was founded less than a year ago, when [steve] Purdham was exploring an investment in music download company OD2. He found himself in a room with VC John Tatham (who’s idea We7 originally was) and musician Peter Gabriel, who had founded OD2 back in 1999. (...) The turning point was last Christmas, when the majors realised that DRM was dead,' said Purdham. ‘Most tracks aren’t DRM protected anyway, with CDs and BitTorrent-type downloads being the source of the majority of music.’ (...) So if you can’t make people pay for music, how do you make money out of it? 'It’s all about choice,' says Purdham. 'Our philosophy is: come to the site, listen to the track and then decide how you want to pay for it. 'We have an ad-funded alternative, which allows us to target advertising at our users, who have to register in order to access our services. This ability to target is very valuable to advertisers. We can also dynamically graft audio ads to the start of the music file, which stay with you when you download it.' Of course, HEXUS.channel wasn’t about to just take Purdham’s word for it so we created an account and downloaded BB King’s Woke Up This Morning. On playing the MP3, we had to sit through a ten second audio ad for Altec Lansing speakers and then it was straight on to BB. We have to report that we were unable to make the streaming function work, but it’s unclear where the fault lies for that. »

fonte: «Is We7 the future of the music industry? Hexus Channel Scott Bicheno - 12 Mar 08

«Os dados mais recentes do estudo Bareme Internet da Marktest mostram que, no Continente, 93% dos lares com acesso à internet navegam através de ligações de banda larga. O relatório anual de 2007 do Bareme Internet, o estudo de base do Netpanel, contabiliza 1 456 mil lares em Portugal Continental que acedem à internet em banda larga, um número que representa 41.5% do universo de lares em estudo e 93.2% dos lares que têm acesso à internet (estimado em 1 562 mil lares). Uma análise evolutiva mostra que a penetração deste tipo de ligação aumentou mais de 11 vezes nos últimos cinco anos, passando de 3.6% em 2002 para os 41.5% agora observados.»

« Radio is no longer just audio. If you want to limit yourself to that definition, you lose because the next generation is over it. They want to see, hear and read whatever they want whenever they want it. Try to imagine that someday a new age radio company (I can dream, can't I?) says, we can do this. No longer just audio. We're in the picture business. We can deliver text. Video.»

CARR, Nicolas, The Big Switch - Rewiring the World, from Edison to Google, Norton

«Carr apresenta precisamente o reverso da visão exposta nos últimos anos por livros como A Longa Cauda  (The Long Tail), de Chris Anderson, editor da Wired. Essa visão celebrava a revolução trazida pela Internet e a liberdade de criação permitida pelos conteúdos gerados pelos utilizadores, que todos os dias povoam sites como o YouTube ou o Flickr e a blogosfera. "Podemos acabar por perceber que a cultura da abundância produzida pela World Wide Computer é realmente apenas uma cultura de mediocridade" ,  escreve Carr, "com muitas milhas de extensão, mas apenas uma fracção de uma polegada de profundidade." (...) «Cada história torna-se um produto independente dentro do mercado. Vive ou morre pelos seus próprios méritos económicos". Ou seja, conclui fatalisticamente Carr, passa a depender inteiramente da publicidade: "Os artigos mais bem sucedidos economicamente são aqueles que não só chamam muitos leitores, como também lidam com assuntos que atraem anúncios caros." (SEQUEIRA, Inês, A grande mudança na Web pode não ser para melhor, Digital/Publico, 1/03/08, pág 7)  

Este momento é de transição, entre o que era - e que ainda se vê, cada vez menos puramente - e o que virá a ser; é o momento da coexistência, da crise de identidade, das desconfianças, dos entusiasmos e das depressões, das previsões impossiveis e dos funerais que nunca se realizarão; é um momento que não vai durar muito e que é um privilégio viver; por ser de transição torna-se mais necessario conhecer os caminhos que se poderão trilhar no futuro; é isso que o trabalho pretende

«A generation of new confidence, upbeat and ful of self-esteem; The most education-minded generation in history; A generation paving the way to a more open, tolerant society; A generation leading a new wave of volunteerism;» (4) 

«Demographers, unable to agree on a defining label for this generation, have called them the Millenniums, Genation www, the Digital Generation, Generation E, Echo Bomers, N-Gens, and, most often, Generation Y. Ask these young people to define themselves, though, and will hear something far more creative: the Non-Nuclear Family Generation, the Nothing-Is-Sacred Generation, the Wannabes, the Feel Good Generation, CyberKids, the Do-or-Die Generation, the Searching-for-an-Identity Generation. .»(Martin e Tulgan, 2001: xi)

«Demographers have also been unable to agree on the new generation's exact parameters. Those who refer to Gen Yers as "Echo Boomers," children of the baby boomers, identify this generation as a huge one, spanning 20 years om 1978 to 1998. Others cut the gap to 10 years, defining Gen Yers as those born between 1978 and 1988. Both views are problematic. Since a generation is an identifiable age group with a shared historical experience, the time span of each new generation shortens as the pace of change accelerates. (...) If we are to define the next generational group, or cohort, any meaningful way, the time span must be shorter still, no more than seven years. That is why we have focused this study on those born between 1978 and 1984»(Martin e Tulgan, 2001: xii)

«Techno-savvy Yers are now usurping "intectual authority" in their homes and classrooms, leaving parents and teachers both confused and awed. (...) They're proud owners of impressive electronic portfolios filled with website designs, home pages, and Internet resource guides. They know how to use the Internet as efficiently as older generations used the library, but in this case, gaining instant access to people, events, and ideas (...) Gen Yers are wired for the future. Slow, unwieldy processes are out; streamlining is in. "One size fits all" is out; customization of anything is in. Passive learning is out; interactivity is in.» (Martin e Tulgan, 2001: 6) 

«Gen Yers want technology - and everything else - right now. Gen Xers are in a hurry, no doubt; they want to know what you have to offer them next week. But Gen Yers want to know what you have to offer them right now. Remember, whereas Gen X grew up witnessing Moore's Law-"Technology doubles every two years"- in action, by the time Gen Y was entering its teenage years, technology was beginning to outpace that law. Most Gen Yers have been using computers since preschool and can dazzle the greatest techies of Gen X; with that skill comes an expectation of immediacy» (18) Of course, youthful impatience is something common to every generation as it comes of age. But Yers often exhibit distinctive, healthy impatience when their tasks and responsibilities are at stake» (21)

«Generation Y is a technological generation that takes computers, emailing, text messaging and the Internet for granted. This is particularly interesting from our point of view since the digital revolution has enabled the further expansion and diversification of popular culture» (CRay, 2006: 7)

Ninguém imaginaria, há dez anos, quando se começaram a colocar os primeiros canais de streaming em simultâneo com a emissão hertziana (simulcasting) que isso se viria a revelar o pecado capital. Meditsch já tinha avisado: quando tiver imagem deixa de ser rádio. Mas o fascinio exercido pela descoberta, o avançar muito timida e lentamente e a própria força do novo meio - a Internet - fizeram com que se tornasse inevitável: ao princípio era apenas um endereço URL onde estava a emissão online, mas quando se associa a isso um texto, uma foto, vários textos, várias fotos, estamos a criar algo de novo.

Poderia ser algo de novo mas não radicalmente novo, apenas uma evolução, por exemplo. Acontece que a rádio, pelas suas características próprias - recorre apenas a um sentido - e porque a isso foi 'obrigada' para sobreviver depois do choque televisivo, tornou-se um acto de consumo secundário, em acumulação com alguma tarefa primária (conduzir, por exemplo) e - para que isso fosse possivel - extremamente passivo.

Quando a rádio nos 'pede' que passemos a ver (textos ou imagens), obriga-nos a fazer o corte consigo própria, com a sua estruturação mais sólida: e ver já não se compadece com acumulação. à medida que mais conteúdos engrossam a página da rádio, perde-se também a passividade.

Dir-se-á que haverá sempre espaço para um consumo áudio passivo e em acumulação. Mas a ideia deve ser substituída por uma outra: haverá cada vez menos - sobretudo se nos centrarmos na rádio musical. É que a Internet não interveio apenas no mundo dos meios de comunicação clássicos. A sua afirmação fez-se explodindo em diversas áreas, uma delas a da indústria musical. A partir do momento em que a música passou a poder ser digitalizada, guardada em com,putador e enviada facuilmente por ficheiros, sugiram também os leitores digitais de áudio - que vieram disputar um espaço onde a rádio era monopolista: o da escuta portátil e em acumulação. Não interessa, neste contexto, quem vai ganhar, mas há o que antes não havia, concorrência. Mesmo no carro, templo de domínio quase exclusivo da rádio, há cada vez mais conectividade com outros aparelhos - até televisão -, sendo que não demorará muito até que o auto-rádio seja um leitor multimédia ligado à internet.

A rádio, tal como a vemos e conhecemos hoje, ou seja o consumo passivo, ficará cada vez mais restrito a determinadas situações - sobretudo quando a ideia é ouvir música. Em alternativa há um novo meio, inventado a partir da Internet, e que a rádio potenciou sem imaginar as consequências, que põe todas essas características em causa.

Depois de cometido o pecado capital, a rádio - entendida como industria estruturada - não consegue parar e acentua a tendência: é que a ambição da página na net é proporcional ao investimento realizado (não só ao nível de servidores como de meios humanos afectos a esse trabalho); e como o negócio só é viável se rentável, a ambição nos conteudos será depois proporcional às estrategias que vierem a ser encontradas para levar os consumidores para essa página, para esses conteudos; já não será possivel parar!

Dir-se-á: é como a televisão; o video não vai matar a televisão, tal como hoje a conhecemos. Falso. O video, resultado da evolução trazida pela Internet, muda hábitos de consumo de televisão, mas não significa um corte radical na forma como se consome. Ver televisão ou ver videos na internet é e sempre será um acto primário. O video faz evoluir a televisão. O video faz criar um novo meio a partir daquilo que ainda hoje se chama rádio.

(ESTE MOMENTO É DE TRANSIÇÃO, ENTRE O QUE ERA - E QUE AINDA SE VÊ, CADA VEZ MENOS PURAMENTE - E O QUE VIRÁ A SER; É O MOMENTO DA COEXISTÊNCIA, DA CRISE DE IDENTIDADE, DAS DESCONFIANÇAS, DOS ENTUSIASMOS E DAS DEPRESSÕES, DAS PREVISÕES IMPOSSIVEIS E DOS FUNERAIS QUE NUNCA SE REALIZARÃO; É UM MOMENTO QUE NÃO VAI DURAR MUITO E QUE É UM PRIVILÉGIO VIVER; POR SER DE TRANSIÇÃO TORNA-SE MAIS NECESSARIO CONHECER OS CAMINHOS QUE SE PODERÃO TRILHAR NO FUTURO; É ISSO QUE O TRABALHO PRETENDE) 

«To try to answer these questions we began a research project into the world view of Generation Y, those aged 15 to 25. (...)together analysed young people's conversations as they responded to music, clubbing, films, TV soaps and culturally iconic images.»(Cray, 2006: 3)

«As Susan Douglas says: 'The ether was an exciting new frontier in which men and boys could congregate, compete, test their mettle, and be privy to a range of new information. Social order and social control were defied' (Douglas, 1987: 214). After the first world war a new 'wireless mania' appeared. This time it concerned wireless telephony, soon to become radio broadcasting. This new device was also to create a new community feeling. The author of an article headed 'The Social Destiny of Radio' wrote: 'How fine is the texture of the web that radio is even now spinning! It is achieving the task of making us feel together, think together, live together' (Douglas, 1987: 306).» (Flichy, 2006: 192)

«Unlike radio and television on the one hand and the telephone on the other, which were quickly standardized around an economic model and a media format, the Internet is fundamentally heterogeneous. This diversity is a key asset. As a result, use of the Internet cannot be unified around an economic model or a communicational format. It is not a medium but a system which is tending to become as complex as the society of which it is claimed to be a virtual copy. »(Flichy, 2006: 201)

«(...) The music industry has been transformed since Berry's teenage years. While total album sales continue to plummet - down 15 percent last year from 2006, according to Nielsen SoundScan - music is more ubiquitous than ever, thanks to digital technology.Sales of digital-music tracks from services like iTunes and Amazon.com continue to be a bright spot for the record industry. Last year, 844.2 million tracks were purchased, up 45 percent from 2006, according to Nielsen SoundScan. (...) to reach casual fans, several Internet sites have developed easy, typically free ways for music lovers to cut through the clutter: music search engines, music-streaming sites and music-based social networks. Some musical artists are using these sites to connect with their fans on a more personal level, too.» fonte: Internet making it easy for music fans to stay tuned in By Joseph De Avila , The Wall Street Journal Monday, March 10, 2008

«the results from 2007 confirm what EMI's focus group showed: that the record industry's main product, the CD, which in 2006 accounted for over 80% of total global sales, is rapidly fading away. In America, according to Nielsen SoundScan, the volume of physical albums sold dropped by 19% in 2007 from the year before—faster than anyone had expected. For the first half of 2007, sales of music on CD and other physical formats fell by 6% in Britain, by 9% in Japan, France and Spain, by 12% in Italy, 14% in Australia and 21% in Canada. (Sales were flat in Germany.) Paid digital downloads grew rapidly, but did not begin to make up for the loss of revenue from CDs. More worryingly for the industry, the growth of digital downloads appears to be slowing.»

fonte: From major to minor Jan 10th 2008 From The Economist print edition

«New media have not replaced older media, any more than broadcasting replaced print in the mid-twentieth century. Rather, people's information and communication environments have become ever more individualized and commodified, integrating print, audio, still and moving images, broadcasting, telecommunications, computing, and other modes and channels of communication and information sharing» (Lievrouw e Livingstone, 2006: 1) 

HIBRIDIZAÇÂO«(...)Recombination, the 'continuous hybridization of both existing technologies and innovations in interconnected technical and institutional networks' (...) Recombination has two main forms - convergence and divergence - both of which are readily observable in the development of new media technologies, message forms, social practices and cultural/economic institutions. (idem, 4-5)

«However, unlike mass media, which by the late twentieth century had stabilized into a few major channels or forms (due to spectrum scarcity and the establishment of technical and formal standards), the forms and genres of new media continue to branch, recombine and proliferate. Marshall McLuhan (1964) observed that older media often become the content of newer media. Today, this has become an ongoing process of 'remediation' in which older media are appropriated, refashioned or absorbed by the new, therefore simultaneously shaping the new and reshaping the familiar (Bolter and Grusin, 1999)» (idem, 5) 

«o processo de customização tem a finalidade de proporcionar ao indivíduo a facilidade de obter uma informação necessária quando necessário. Em outras palavras, customização significa transformar a informação entrante numa informação que seja adequada às necessidades de um indivíduo num determinado instante. Assim, a customização da informação ocorre imediatamente antes do uso dela»

«a palavra "customização" resulta de um aportuguesamento, brasileiro, do verbo transitivo inglês customize, sendo a sua tradução geral "fazer por encomenda" ou "fazer à medida" (In. Porto Editora); e na área informática, onde efectivamente este termo é largamente utilizado, traduz personalizar, adaptar, customizar, parametrizar, configurar, etc.»

«The concept of mass customization is attributed to Stan Davis in Future Perfect [1] and was defined by Tseng and Jiao (2001, p. 685) as "producing goods and services to meet individual customer's needs with near mass production efficiency". Kaplan and Haenlein (2006, pp. 168–182) concurred, calling it "a strategy that creates value by some form of company-customer interaction at the fabrication / assembly stage of the operations level to create customized products with production cost and monetary price similar to those of mass-produced products".» (wikipedia)

«Projectplaylist.com is an information location tool similar to Google® and Yahoo!® but devoted entirely to the world of music. Our purpose is to help you find and enjoy music legally throughout the web in the same way that other search engines help you find webpages, images, and other media, but we also add a social /community twist»

«Our mission at Project Playlist, Inc. is to organize this rapidly growing abundance of legal music on the web for the benefit of the worldwide music community – artists, songwriters, music distributors, and listeners alike»

« we respect the rights of copyright holders and we insist that you do as well. We pay royalties to songwriters and music publishers, and we respect the performing artist’s choice»

«we do not host music files, nor do we make them available. We only enable users to find these files and listen to them»

«You can post your playlist on your social networking webpage or any other website, subject to the terms of use of those sites, or you can email your playlist to friends!»

Project Playlist, Inc. is a privately held company and is not currently seeking investors. If you are interested in the business of Project Playlist, Inc. or discussion of a strategic partnership or investment, then please contact:

KR Capital Partners, LLC
9300 Wilshire Blvd., Suite 200
Beverly Hills, CA 90212.

«Jeremy Riney - Friday, February 8, 2008 - 1:55pm: Just wanted to let everyone know that today is playlist.com's 2nd birthday! Also, we hit a awesome milestone today -- 20 million registered users!»

Apenas musica em streaming: PANDORA ou JANGO

«Pandora and Jango, for example, are commercial-free sites that let users enter an artist's name or a song title into the search bar on the Web site. Then the site creates a "radio station" that plays similar types of music. So type Miles Davis into one of these sites, and you might hear selections from Thelonious Monk and John Coltrane. You can rate songs to fine-tune what type of music is played. Since these are free streaming sites, users can't look up a specific song title and play it. And while the songs can't be downloaded, both sites have links that will take you to Apple Inc.'s iTunes or Amazon.com Inc. to buy a particular title.»

MOTORES DE PESQUISA:  SEEQPOD, SONGZA, SKREEMR

«They look specifically for audio recordings on Web sites, including personal pages and blogs. Examples include SeeqPod, Songza and SkreemR, all of which are free.They're not the best way to discover new music, but they can help you find a song you haven't heard in a while or a title someone recommended to you. (...) The search engines seek out songs available in digital formats on Web sites. Not all the songs have the best sound quality - some are recordings taped by a concertgoer.»

PAGINAS DE REDES SOCIAIS: IMEEM, LASTFM, ILIKE, My STRANDS 

«A number of music sites are integrating social-networking functions into their sites to share music. Some of the biggest players are imeem, Last.fm, iLike and MyStrands. These sites feature libraries of music and videos that users can browse through and play. Some songs are available only in 30-second snippets, while others are full-length recordings.Like Facebook, the popular social-networking site, users at these music sites can set up profile pages, add a photo, tell a little bit about themselves and declare their musical tastes. They can also make "friends" with other site users.»

fonte: Internet making it easy for music fans to stay tuned in By Joseph De Avila , The Wall Street Journal Monday, March 10, 2008

«At Boulder-based iggli Inc., 18- to 24-year-old employees occupy the driver's seat.
Musicians and social networking mavens just out of college advise equally youthful software developers about features and functions to include in the company's Web site - www.iggli.com.
That's exactly what company executives want.
iggli targets the leading edge of the "Millennial Generation" - people 18 to 24 years old - a market segment coveted by the music industry and consumer products companies.
"Employees need to represent our target market," said Holly Hamann, iggli's vice president of marketing. "We can't teach the middle-aged (people) how to be 18. We can teach 18 year olds how to do marketing and product development."»
Music, social networking site run, managed by 'Millennials' By Lyla D. Hamilton Boulder County Business Report March 13, 2008

«(...) nightmare scenario painted by many Internet radio companies who have claimed that the royalty hike would kill online broadcasting in its cradle. In fact, Internet radio is far from dead. Online broadcasters like Pandora and Live365 still serve millions of listeners. But the higher rates have driven away many small online broadcasters who say they can't afford to stay in business. And even industry leader Pandora says it's in trouble. "We're at the very end of our tether," founder Tim Westergren said. "There's a very good chance that we will shut down."

Critics of the royalty system say the result is decreasing musical diversity on the Internet. They warn of an online music industry dominated by the same giant media companies that presently dominate traditional radio broadcasting. And they point to CBS Broadcasting Inc.'s recent takeover of the Internet radio operations of Time Warner Inc.'s AOL as a harbinger of an Internet radio market rendered bland and predictable.

"They'll push all of us out of business," said Johnie Floater, general manager of media for Live365. "Your Internet radio is going to sound like your AM and FM."

Thousands of Internet broadcasters, ranging from traditional radio stations to individuals who want to share their favorite tunes with the world, pay Live365 to stream their programs over the Internet. Live365 pays their music royalties out of the fees paid by its subscribers.»Internet radio firms say royalties limiting choices By Hiawatha Bray Globe Staff / March 14, 2008

“‘Comes with Music' is a recognition that music has to be given away for free, or close to free, on the internet,” says Mr Mulligan. Paid-for download services will continue and ad-supported music will become more widespread, but subsidised services where people do not pay directly for music will become by far the most popular, he says. For the recorded-music industry this is a leap into the unknown.»

fonte: From major to minor Jan 10th 2008 From The Economist print edition

«Em 2006, a EMI, uma das quatro maiores editoras do mundo, convidou alguns adolescentes para ir à sua sede para conversar com os executivos sobre os seus hábitos musicais. No final do encontro, os directores da EMI agradeceram os comentários e convidaram os adolescentes a escolher à vontade os CD que estavam amontados em cima de uma mesa. No entanto, nenhum dos adolescentes quis qualquer CD, muito embora fossem de graça. ‘Foi neste momento que percebemos que o jogo estava completamente perdido’, disse uma pessoa que estava no encontro.» («IN 2006 EMI, the world's fourth-biggest recorded-music company, invited some teenagers into its headquarters in London to talk to its top managers about their listening habits. At the end of the session the EMI bosses thanked them for their comments and told them to help themselves to a big pile of CDs sitting on a table. But none of the teens took any of the CDs, even though they were free. “That was the moment we realised the game was completely up,” says a person who was there.»

fonte: From major to minor Jan 10th 2008 From The Economist print edition

«Taking the nature side, Pandora's recommendations are based on the inherent qualities of the music. Give Pandora an artist or song, and it will find similar music in terms of melody, harmony, lyrics, orchestration, vocal character and so on. (...) On the nurture side (as in, it's all about the people around you), Last.fm is a social recommender. It knows little about songs' inherent qualities. It just assumes that if you and a group of other people enjoy many of the same artists, you will probably enjoy other artists popular with that group. Like Last.fm, most music-discovery systems have been social recommenders».

fonte: Steve KRAUSE, Pandora and Last.fm: Nature vs. Nurture in Music Recommenders, 30/01/06

A partir do estudo A Internet em Portugal (2003-2007) , do Obercom:

-«É entre os mais jovens que os índices de utilização da Internet são mais elevados, diminuindo esta utilização à medida que avançamos pelos diversos escalões etários, ou seja, há uma forte relação linear entre a idade dos inquiridos e a utilização que estes fazem da nova tecnologia. » (pag 43)

A partir do estudo A Internet em Portugal (2003-2007) , do Obercom:

Menos 18 anos, GB: 94% (2005), 90% (2007)

15-24 anos (Portugal): 59,7 (2003), 76,1 (2006)

18-24 anos (GB): 78% (2005), 86% (2007)
(pagina 47)

A partir do estudo A Internet em Portugal (2003-2007) , do Obercom:

- quando se pergunta se ouvem mais ou menos musica desde que utiliza a net, 88,9% dizem que ouvem igual; a mesma perguntab quanto à audição de rádio:, 89,8 dizem que ouvem igual (pag 29)

-«Quanto ao multitasking, ou seja, às tarefas simultaneamente realizadas pelos cibernautas aquando da utilização da Internet, ocorre uma clara preferência pela prática de ouvir música enquanto usufruem daquela, o que se estende a mais de metade da amostra (55,1%). Muito afastada encontra-se a prática de falar ao telefone/telemóvel, apontada apenas por 20,1% dos inquiridos; bem como a prática de falar em chats ou programas de mensagens instantâneas, pelo qual optam 19,7% dos indivíduos. Ou seja, enquanto se navega na web realizam-se essencialmente actividades que requerem pouca interactividade (como ouvir musica). As actividades que apelam a um uso mais intenso dos sentidos, como ver televisão, ou que requerem capacidade de resposta, como utilizar chats e falar ao telefone, são menos utilizadas» (pag 30)

- práticas frequentes enquanto se utiliza a interent: ouvir musica, 55,1%, ouvir rádio 12,5, utilizar chats ou programas de mensagens instântaneas (ex-MSN): 19,7%, ver televisão, 10,5%, falar ao telefone/telemovel, 20,1% (pag 30)

(notas minhas: é preciso definir bem o que é que se entende por multitasting; pressupõe por exemplo uma actividade extra para além de navegar numa determinada pagina, com ou sem net? Usar a internet é simplesmente abrir o browser ou, mais do que isso, é abrir uma pagina e navegar? Multitasking pressupõe pelo menos duas actividades. Ver televisão não é compativel com mais nada - se entendida ao mesmo tempo - a não ser que a outra função seja ter apenas a internet activa ou ligada. Se é visitar o Louvre e ver videos no Youtube gera-se um problema de alcance metafisico! Já ouvir musica e visitar o louvre online são compativeis; mas em contrapartida posso estar apenas no youtube - isso é multitasking? Não. Será correcta a afirmação «enquanto se navega na web realizam-se essencialmente actividades que requerem pouca interactividade (como ouvir musica). As actividades que apelam a um uso mais intenso dos sentidos, como ver televisão, ou que requerem capacidade de resposta, como utilizar chats e falar ao telefone, são menos utilizadas» (pag 30)»?. Pelo contrário, navegar na internet é sinonimo de interactividade. E podemos estar a navegar na net concentrados apenas numa tarefa (se excluirmos que estar ligado, só por si, é uma delas); se o critério/pergunta for: ’além de navegar na internet, o que é que faz para além da net (que não dependa da net)’ então já se pode concluir isso; eu por exemplo estou a escrever este email e ouvir a minha colecção no iTunes, porque é só ouvir...»

«About 33 million Americans 12+ listen to an Internet station in an average week. That’s four million more than a year ago according to the annual “Infinite Dial” study by Arbitron and Edison Media Research. About two-thirds of online radio listeners have a profile on a social networking website. The most popular sites are MySpace and Linked-In.»

Online listeners tap into social networks, Inside Radio, 18/03/08

«* While nearly one-quarter (24 percent) of all Americans age 12 or older have a profile on a social networking Web site such as MySpace, Facebook or Linked-In, nearly two-thirds (63 percent) of online radio listeners have a profile on sites such as these
* One-third of online radio listeners with a social network profile visit their social networking site nearly every day or several times per day
* The top social networking Web sites among online radio listeners are MySpace and the business professional networking service Linked-In. Twenty-eight percent of online radio listeners have a MySpace page, while nearly one-quarter (24 percent) have a profile on Linked-In.

"Social networking is clearly not about creating exclusive, self-enclosed communities," said Diane Williams, senior analyst, custom research for Arbitron. "We found that online radio listeners are more than one and half times more likely to have a profile on a social networking site as compared to average Americans and that they tend to be power-users with one-third of online radio listeners logging on to their social networking site nearly every day or even multiple times per day."

In addition to studying the correlation between social networkers and their online radio usage, the Infinite Dial 2008 report will detail the latest data on the general online radio listening universe and will explore how consumers interact and explore radio and all of its digital platforms» Online Radio Reaches 33 Million Americans Per Week

In line with that thinking, the Playlist.com destination is peppered with iTunes buy links.  But the playlists themselves pull streaming content from all across the internet.  For example, one track within a playlist could be sourced from a music blog, another from a MySpace band profile page, and another from an artist website.  "Nothing is being hosted by us," Gold said, though he did point to ongoing label negotiations. Once a playlist is created, the distributed fun begins.  Playlists themselves are quickly turned into widgets, and can be embedded into networks like MySpace, Facebook, hi5, and Bebo.  But Gold is tying the concept more heavily into his old professional hangout, MySpace.  The networking heavyweight is actively building an integrated application component, and Playlist currently tops the list at apps.myspace.com, a beta testing ground.»

«(...) 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: «Make your own online radio station By: Adam Balkin, NY1 18/03/08

«Thirteen percent of Americans age 12 or older (an estimated 33 million people) listened to online radio in the past week; an increase of two percentage points from January 2007»

British Internet startup Songkick launched Wednesday with a vow to inspire digital-age music lovers to reclaim the joy of hearing bands play hot in real-world venues. The London-based website debuts with a free online utility that matches people's tastes in music with the schedules of bands performing in the US or UK. (...) Songkick cofounder Ian Hogarth told AFP during an interview in San Francisco."The music industry isn't dying; it is just moving to live. People really value that real-world experience. We are focused on using the web to make people get off the web and in front of a band." Songkick's goal is to make it as simple to find live music as it is to find out which movies are playing at local theaters. (...)Songkick struck alliances with all major concert ticket vendors in the United States and United Kingdom, compiling a database of scheduled performances and getting fees for each customer sent their ways. Songkick uses "symantic web" software to scan the Internet for references to bands in blogs, social-networking pages and other online commentary. (...) For example, if a blogger likens the band Linkin Park to Limp Bizkit the software notes that for future recommendations to Songkick users that enjoy either of the groups.»

Songkick website guides music lovers to real-world concerts (AFP) SAN FRANCISCO (AFP)

• Cell phones are optimized for audio, and music is an audio medium.
  
• Cell phones are essentially a beefed up portable MP3 player.
  
• Advertising supported downloaded music enables advertising to be pulled and delivered in a natural way.»

fonte: The Marriage Between Mobile and Music 29/11/07

«As crianças e os adultos querem ser jovens. E até as marcas, das mais variadas áreas, imitam a linguagem, o comportamento e o estilo dos jovens com o objectivo de influenciar este público-alvo. Esta é uma das principais conclusões do Tweens, um estudo psicossociológico realizado pela Publicis Portugal, que tem como alvo os jovens entre os 12 e os 25 anos.  (...) Os jovens, verdadeiros profissionais na arte de gerir a imagem, assumem que, mal têm dinheiro, não resistem a uns ténis de marca ou a trocar de telemóvel. Na busca pela perfeição, a beleza tornou-se numa obsessão (quase) fatal. A dependência das tecnologias ultrapassa a das drogas. Substituíram a linguagem oral pela escrita (abreviada e modificada): Directa e simples, mas profunda e autêntica, é mais fácil para os jovens escrever ou ler, do que falar ou ouvir. Criam o seu próprio “Youniverse”, uma, duas ou várias identidades virtuais no ciberespaço, onde expressam os seus sentimentos e constroem as suas identidades próprias. Substituíram o inter-rail pelo inter-plane. Criam a sua música. São os seus próprios heróis»

fonte: Estudo TWEENS traça perfil dos jovens portugueses, Sapo Mulher, Març08

O centro da vida destes «viciados modernos» é o telemóvel, instrumento que lhes permite ter acesso à sua nova mania: comunicar. A utilização massiva da internet, sobretudo o fenómeno das redes sociais, é outra das tendências deste segmento.

«Ser jovem tornou-se numa aspiração, numa pressão da sociedade ocidental, que está a envelhecer ano após ano. As mudanças demográficas estão a provocar alterações profundas em termos económicos e sociais, com repercussões nas atitudes e comportamentos dos indivíduos. Uma das alterações mais visíveis é o adulto que se comporta eternamente como jovem. A valorização exacerbada de tudo o que é jovem advém da importância desta faixa etária em termos económicos (poder de compra e faceta altamente consumista), mas essencialmente, do poder de influência e persuasão que tem junto da sua (enorme) rede de amigos e familiares. (...) O estudo da Publicis permite ver além das aparências. Os jovens manifestam comportamentos complexos e incoerentes, mas apenas ao olhos dos adultos: vulneráveis, mas poderosos (dependentes, mas influenciadores da sociedade e do mercado); intimidade no anonimato (net); saudáveis, mas pouco (rejeitam junk food e consomem drogas e álcool); críticos mas mega-consumidores; individualistas, mas integrados no todo (egoístas e altruístas). Estes comportamentos paradoxais espelham, de certa forma, uma sociedade cheia de contradições: mais eficiente devido à tecnologia, mas com menos tempo disponível; sem tabus, mas a um preço demasiado elevado (ex.: Sida). Não obstante o comportamento paradoxal, as motivações dos jovens são extremamente consistentes e duradouras.»

fonte: Estudo TWEENS traça perfil dos jovens portugueses, Sapo Mulher, Març08

Em Portugal, a taxa de utilização da Internet ronda os 68% só nesta faixa etária, bem mais que o número de jovens que vêem televisão

«Most of those in our respondent pool said that in their early days on the internet they acted largely as individuals and consumers. That is, they used search engines; got news; played games; conducted research; downloaded software and emailed friends, family and colleagues. Many of these activities consisted of serial connections -- people querying systems, communicating privately with other individuals or with highly-defined communities. It would take a couple of years (and the addition of new tools) before people in this group engaged in creative and community processes. Once they had easier-to-use online tools, faster connections, and more familiarity with the online environment, they say they began to create and share photos, pieces of writing, videos and audio files. They also began rating products and tagging content. (...) The responses of these early internet adopters suggest they saw themselves more as co-creators of the online environment than, say, car owners felt about the auto environment. There is a relationship between the internet and its user base that didn't exist with the previously mentioned technologies. Clearly, the technology itself exerted influence on users: they wrote email the way the technology allowed them to and they browsed web pages in the format that the technology afforded. (...) These early adopters are quite proud of these contributions. They see themselves as doing more than manipulating the exterior of the internet. (...) What feels old and "traditional" about the internet to our respondents is that it's a voluntary social sphere where people can give and can take. What's new about the internet to these enthusiastic users is the rate at which it is influenced by people who use it for new kinds of social purposes. People aren't waiting to figure out its proper use, or for clear "rules of the road" to be articulated, they're simply taking it for a spin.»

fonte: A Portrait of Early Internet Adopters: Why People First Went Online --and Why They Stayed by Amy Tracy Wells, Research Fellow, Pew Internet & American Life Project February 20, 2008

«Today's teens want a name that is a founding word, a word that respects their newness, a word that resets the clock of secular history around their timetable. "Millennial" acknowledges their technological superiority without defining them too explicitly in those terms. It's a name that hints at what their rising generation could grow up to become - not a lame variation on old Boomer/Xer themes, but a new force of history, a generational colossus far more consequential than most of today's parents and teachers (and, indeed, most kids) dare imagine» (Howe, 2000: 12)

«"Several thousand people sent suggestions to abcnews.com. Some thought that gen.com would be a good idea. Others said Generation Y, Generation Whatever. Gen-D was one. The Boomlets. The Prozac Generation. When everyone got talking about it online, the second-largest number thought there should be no label at all, and the greatest interest was in the Millennium Generation, or the Millennials." -Peter Jennings, ABC World News Tonight, 12/19/97.

 TOP TEN SUGGESTED NAMES (abc.com poll):

1. Millennialls

2. "Don't label Us"

3. Generation Y (or Why?)

4. Generation Tech

5. Generation Next

6. Generation .com

7. Generation 2000

8. Echo Boom

9. Boomer Babies

10. Generation XX»

(Howe, 2000: 6)

«By a margin of over four to one, the teens in our survey preferred "Millennial" over "Y".(Howe, 2000: 12)  

«Technological progress - which served as a liberating purpose to Boomers, and a diversifying purpose to Gen Xers - is serving a new unifying purpose for today's teens. Ownership of tech tools and toys has become a badge of generational membership. While the percentage of kids with their own rooms keeps rising (76 percent in 1997), those rooms keep filling up with gadgets» (Howe, 2000: 272)

«Technology always means something new to each generation. The young Silent regarded computers as necessary adjuncts to American technocracy, with mainframes at the apex of vast institutional pyramids. Young Boomers shattered the telscreen and invented the new personal computer, which allowed each person to be his own creative island. GenX hackers and IPO dealmakers have taken this new high-tech individualism and exploited its bottom line. Now Millennial teens are using computers to do group projects and communicate among networks of friends. For this generation, computers are definitely fun - but not necessarily liberating. In software ads, adults are shown solo near the monitor, but the kids are shown in groups. As more of them spend a growing share of the day at on-line computers equipped with Instant Messaging and "buddy lists", Millennials can stay in almost uninterrupted contact with each other - at home, on vacation, wherever. On-line or off, Millennials usually maneuver in teams and under adult supervision, far beyond anything Boomers or Gen Xers ever encountered with the technologies of their own child or teen years.» (Howe, 2000: 275) 

«Abroad, the leading edge of a new Millennial generation, in most countries, probably has not yet reached its teens. (...) So even if the Millennial child era is arriving later in many countries, it has recently gained real force. (...) The only significant exception appears to be in the Islamic world, where World War II did not create similar generations, and whose cultural defenses are stronger. (...) In summary, global Millennials seem to be most concentrated in societies that share a fairly similar generational constellation: East Asia, China, all of Europe, Russia, and the more prosperous nations of Latin America. Their birth-year boundaries vary. American and Canadian teens are at the leading edge. In Britain and Australia, the Post-X generation seem s to be two or three years younger) and in the non-Englishspeaking developed world, several years younger still. (...) But today's global "tweeners" (born in the late '80s) and younger kids (born in the '90s) share tighter links - from their postCold War location in history to their more protective parental nurturing style to their elevated status in the national media» (Howe, 2000: 293-294)  

«O Napster criado em 1999 foi um serviço pioneiro de troca de arquivos que permitia aos usuários o download gratuito de músicas digitais, igual ao Kazaa ou Emule. A companhia foi processada pelas maiores gravadoras do mundo, incluindo Universal Music Group, Sony Music, BMG Entertainment, EMI Group e Warner Music. A Napster acabou sendo fechada por tribunais dos Estados Unidos em 2002 por causa de violações de direitos autorais. Os ativos da marca foram comprados pela Roxio em 2002 para criar a atual Napster Inc., um serviço legal de música online. Porém os usuários do Napster acabaram migrando para outros sites, comprovando que as grandes gravadoras além de não conseguirem deter a baixa gratuita de músicas pela internet, também perderam uma grande oportunidade de dar um salto no tempo aproveitando essa tecnologia para obter ganhos financeiros»

«Napster, the pioneer of digital music, offers the ultimate in interactive music experiences, creating better ways to discover, share, acquire and enjoy music – anytime, anywhere. The company's offerings include "Napster" (www.napster.com) – the most popular on demand music subscription service in the world; "Freenapster" (www.freenapster.com) – a unique Web experience offering free on demand music legally; and "Napster Mobile" – one of the industry's fastest growing mobile music platforms. Napster is headquartered in Los Angeles, with offices in New York, Luxembourg, Frankfurt and Tokyo.» (oficial); Napster is currently available in the US, Canada, the UK, Germany and Japan.

De acordo com o Digital Millenium Copyright Act, que define os royalties que os serviços musicais pagam aos artistas,as verbas em causa são mais pequenas se um serviço for considerado «web radio», em vez, por exemplo «on-demand»,o que faz com que muitos dos serviços streaming cumpram os critérios para serem considerados web radio.

Eis os varios tipos de serviços digitais previstos:

1. Unrestricted download (The basic and well-known delivery of an encoded, compressed copy of a sound recording,)  These are typically sold in pay-per-download stores that do not carry major-label music (such as EMusic or Audio Lunchbox). 

2. CD burn – this type of delivery enables the user to make a copy of a downloaded file to a recordable CD, enabling users to take the music anywhere (or even rip the music back off the CD into another portable format).  Rhapsody offers CD burning options as part of their service.  

3. Restricted download –; These downloads include DRM (Digital Rights Management) Technologies that place restrictions on copying the file. Apple iTunes, Napster, Real and most download stores with major label content put this DRM on their files.

4. Tethered download – A type of delivery similar to renting, with users having access to the file for a limited amount of time. The limits are enabled by various DRM technologies that track information such as where files are moved to and how many times they are used.  Services such as Napster and MusicNet offer this type of download. Microsoft is currently toying with this idea as well.

5. On-demand interactive streaming – streaming delivery of music over the network "on-demand," or when the user requests it. (...) the music begins playing immediately after the user clicks. On-demand streams are available from services such as Rhapsody, MusicMatch, and Napster.

6. Interactive radio – streaming delivery of music over the network like traditional radio, but allowing the user the ability to skip songs or rate tracks and artists to influence the experience. . Can be subscription or non-subscription offerings, and separate licenses that address the specific features and value provided by each product are required.

fonte: «3. Getting Paid For Your Music Online – Digital Music Rights»

On-Demand and Downloadable Music Services — By our count there are close to 150 music subscription and download services offering a wide range of digital delivery methods including on-demand streaming, CD burning, time and/or location limited (tethered) downloads, unrestricted downloads, and a variety of interactive radio options.

Interactive radio is generally a premium service that allows the listener to skip songs, rate songs to affect your playlist, build custom stations based on your artist preferences and otherwise influence the listening experience. MusicMatch, Yahoo! Launch, Rhapsody, and Napster all offer such services.

Non-interactive radio is most like the normal radio experience, just a constant stream of music that the user cannot influence, usually programmed to a specific style of your choosing. It may come with or without commercial advertising, often depending on a subscription. Most of the services mentioned above offer a non-interactive radio option, often for free, as do products such as Realplayer, Windows Media Player, Live365, and countless other independent and small webcasters. And, of course, many traditional radio stations broadcast across the Internet.

«(...) the number of licensed radio stations has continued to creep up. It grew to 13,977 as of Dec. 31, 2007; that compares to 13,837 stations at the end of the year before. Breaking it down, there are 4,776 AMs, 6,309 FMs and 2,892 educational FMs, which the FCC lists separately. (...) there are 22 more AMs in the United States than one year ago, 43 more FMs and 75 more FM educationals.

More interestingly, how do these latest figures compare to 10 years ago? The numbers tell a 10-year story: no growth in AM signals, but boom times for FM educationals, translators and boosters. Total stations in 1997 would have been described as “above 12,000.” As of December of that year, according to FCC statistics we compared, there were 4,762 AMs — virtually no net change in AM station count from today (and down from 4,804 at the end of 2002; AMs were just shy of 5,000 in 1990). There were about 5,540 FMs 10 years ago, so that category is up about 14% in the decade since; and there were only about 1,900 FM educationals, a number that grew 50% in the subsequent decade.»

fonte: «Number of Licensed Radio Stations Grows Radioworldnewsbites 21,03,08

«Jango's approach reflects one vision for the future of the music business. It's not about selling recordings; it's about monetizing the time people spend listening to music. (...) In light of those rates, webcasters have a choice, Kaufman said. They can insert commercials into their playlists, which is fine as long as their competitors do the same. Or they can try to keep listeners glued to their websites, where they can be shown targeted ads that might seem less intrusive and tiresome than commercials.  (...) That's why Jango surrounds its webcast with social features, such as the ability to find people with similar musical tastes and listen to the stations they designed. It has many of the usual elements, such as the ability to send instant messages to friends and e-mail to other users. But it also has some nifty little touches -- for example, prompting users to send thank-you notes electronically when they stop listening to someone else's station. It also tries to keep people interacting with the site's musical content by rating songs, reading about artists, creating new stations and recommending their creations to friends.»
fonte: By Jon Healey Los ANgeles Times March 21, 2008

"Among democratic nations each generation is a new people." -- Alexis de Tocqueville

(todas as gerações são diferentes)

«They were born and raised in a global society where consumerism and capitalism are natural conditions and go largely unchallenged. To them, technology is their natural ally, a necessity rather than a luxury, the solution to all imaginable problems.» (Huntley, 2006:2)

«The interaction between technology and Generation Y has been the subject of much research and public commentary. It is clearly the most technologically savvy generation yet, a group that has never known a world without remote controls, CDs, cable TV and computers. Of course this has ramifications for the workplace and the marketplace. The future of communications companies and electronic manufacturers is certainly secure. But Gen y's understanding and early adoption of new technologies goes beyond its seemingly unique capacity to program the household DVD. Generation Y's mastery of and reliance on technology has altered the way it views time and space. » (Huntley, 2006: 17)

«They are the most media savvy, educated, and wired population to have ever walked the earth. They are also the largest trend-setting population since the Baby Boomers.»

«Even more than X, members of Generation Y are intensely tribal creatures. Young people's reliance on friendship groups is nothing new. What is new is that Generation Y expects to be committed to friends well beyond young adulthood. (...) For Yers, friends are like family only better. » (Huntley, 2006: 25)

«Communication technology-in the form of mobiles, email, online chat and of course texting-has become an indispensable tool for Gen- Yers in maintaining their friendship network (and their own status within it). (...) But everyone I spoke to used at least one of these technologies to organise their social life. (...) Yers are texting each other in movie cinemas, on buses, in cafes and under the table in university tutorials. (...) Limited access to technology means a hampered social existence for Yers.»  (Huntley, 2006: 36)

Não espanta que muitos (alguns?) dos valores, das prioridades e do que é a geração iPod se reflicta no seu comportamento enquanto consumidores. eles são como foi caracterizado em ponto anterior; enquanto consumidores há uma coerência. Por exemplo, a forte ligação à tecnologia; o valor da amizade (para além da net e na propria net), a falta de lealdade a marcas de que se queixa a industria classica; mesmo a incerteza que marca esta geração é a incerteza dos tempos de consumo (provocada pela net e pela sua evolução)

Reflexões sobre o multitasking, a partir do estudo A Internet em Portugal (2003-2007, do Obercom):

Multitasking pressupõe pelo menos duas actividades em simultâneo; multitasking não deverá partir de ter a internet ligada (o browser aberto) mesmo que 'parado'; multitasking terá de pressupor estar a ver videos e a visitar um museu, ouvir rádio ou musica e ler um jornal, ver um episodio e de vez em quando ir ao MSN, enquanto ele decorre (porque se houver pausa já só há  função);

de qualquer forma, é possivel que a partir de determinados questionários, em que as questão não fique clara, seja o respondente a revelar a sua propria representação do que é usar a internet;

«Media multitasking involves using TV, the Web, radio, telephone, print, or any other media in conjunction with another. Also referred to as "simultaneous media use," this behavior has emerged as increasingly common, especicially among younger media users, and has gained significant attention in media usage measurement, especially as a new opportunity for cross-media advertising. Much of this multitasking is not inherently coupled or coordinated except by the user. For example a user may be surfing the Web, using e-mail, or talking on the phone while watching TV.»

Os humanos (jovens ou não) sempre fizeram multitasking: estudar e ouvir musica, por exemplo; conduzir e ouvir musica; dar de mamar a uma criança e ver televisão ou ler; agora a tecnologia permites-lhes realizar, mais vezes, duas ou mais tarefas ao mesmo tempo (musica no rádio,m no iPod ou no computador, estudar e instante message com os amigos): conversar com uns auscultadores nos ouvidos (um pelo menos); diversos gadgets

ver: The multitasking generation C Wallis - Time, 2006 - fritzhubbard.org

Nunca antes , como acontece com a internet, se dá uma intervenção tão radical no sistema de comunicações; mudando não apenas emissão, mensagem mas tambem recepção.

«This attention to the forces and the subjects shaping media technologies is one of the striking features of the convergence paradigm. While the advent of new media and the digitalization process provide the conditions for widespread change within the media system, these same conditions are being actively shaped by the various actors populating the contemporary media environment: that is to say, by multimedia conglomerates (on the supply side), by public institutions (on the governance side) and by users themselves (on the consumption side). A medium, therefore, can not be defined unless one starts from its accompanying 'protocols' and "practices", which shape it on the cultural, economic and social level (Scaglioni, Sfardini, 2007).» (Mascheroni, 2008: 14)

«Other social technologies have radically changed societies in recent history such as the automobile, telephone, radio and television. However, unlike the internet, these technologies remained fairly static in many ways. For example, cars are still used primarily for transportation, telephones for voice or text exchanges, radios and televisions to receive (and not send) programs. Similarly, remember Henry Ford's quip, "[the car] can be any color, so long as it's black"? Though all cars are no longer black (...) fonte: A Portrait of Early Internet Adopters: Why People First Went Online --and Why They Stayed by Amy Tracy Wells, Research Fellow, Pew Internet & American Life Project February 20, 2008

Mascheroni et al no seu estudo Young italians' cross media cultures criam uma amostra que vai desde pré-adolescentes (11-13), passando pelos adolescentes (14-18), continuando com os jovens (19-24) e terminando nos jovens-adultos (25-35).

(ou seja, nascidos entre 1973 e 1977)

Nos Estados Unidos, a expressão Millennials é muito abundante e serve para descrever todos aqueles que nasceram depois de 1980. É uma expressão sobretudo demográfica, ainda que muitas vezes usada em diversos contextos sociais, e corresponde a um alinhamento sequencial de classificação de gerações muito tradicional nos Estados Unidos.

A expressão foi criada por «Strauss and Howe (William Strauss and Neil Howe) are authors and speakers known for their theories about a recurrent cycle of generations in history. The two have co-authored a number of books on the subject and have a publishing, speaking and consulting company called Life Course Associates» (wikipedia); «The Fourth Turning (1997) is the third book by William Strauss and Neil Howe. It expands the theory they presented in their first book Generations by examining the generations in Anglo-American history since the War of the Roses (1459-1487). It classifies every generation into an archetype explaining the function, motivation and course of each. The second half of the book specifically looks at the five most recent generations (G.I., Silent, Boomers, 13th and Millennial)»

«Meet the Millennials, born in or after 1982 (...) » (Howe, 2000: 4); nascidos até 2002 (pag 41)  

«The first Millennial babies were born in 1982, walked in 1983, talked in 1984, reached kindergarten in 1987, and entered middle school in 1994 and high school in 1996.» (Howe, 2000: 309)

Há uma dúvida que dificilmente pode ser esclarecida: é a industria que, beneficiando/empurrada pelas possibilidades tecnologicas, desafia os utilizadores a um consumo mais activo (como se esse sempre tivesse sido o seu desejo, mas limitado tecnologicamente) ou a industria apenas se limita a apresentar algo que sabe que os utilizadores querem (ou seja vai atrás)?

Contra a primeira hipotese, deve ser equacuionado o incomodo que a industria sempre demonstrou - por regra - quanto ao feed back, seja nas cartas de leitores seja no proprio exemplo de que raras são as radios que incentivam a participação e o contacto,l para além dos programas feitos pelos ouvintes (discos pedidos e phonein)

provavelmente haverá uma mistura de ambas

«Today we’re living in a changed world. The speed of change has made some industries obsolete in a moment’s time. The promises of the Internet have come true, but not exactly as predicted. Its impact is bigger and faster than anyone anticipated. Radio faces new opportunity as well as new competition. Every cell phone in the world is a portable media device that places media content in the hands of every person worldwide» (From Radio Inc 08 conference, rec.radio.shortwave, 13/03/08) 

«As the audience for AM and FM radio declines, start-up entrepreneurs and giant media companies alike search for the "next radio" -- a way to make money by helping listeners discover new music. Online music providers such as Pandora, Imeem and Last.fm provide an early glance at that next chapter in radio history. »

fonte: Name That Tune-In: Who Will Emerge as The Future of Radio? Marc Fisher Washington Post Staff Writer March 23, 2008

«The search for a user-customized music "station" started in the early 1990s, when MIT's Media Lab created Ringo, a music recommendation engine that asked listeners to grade a few tunes and then offered them songs they might like. Now, CBS's Last.fm site has become the first of the new generation of music sources to offer free, on-demand, full-length spins of any tune you want to hear -- not just the 30-second snippets available on iTunes and most other music sites.»

fonte: Name That Tune-In: Who Will Emerge as The Future of Radio? Marc Fisher Washington Post Staff Writer March 23, 2008

"They want to be the program director and they insist that the program be free," says Jerry Del Colliano, a professor of music industry at the University of Southern California and a former executive at Top 40 WIBG in Philadelphia. "Young consumers don't have that need that we older folks have to have someone knowledgeable about the music tell them what's new. They have their social network to tell them what's cool."

With increasing evidence that many people suffer from iPod fatigue -- they know too well what's stored on their player and they crave surprise -- several companies are trying to figure out what blend of user-generated content and expert guidance will attract an audience.»

fonte: Name That Tune-In: Who Will Emerge as The Future of Radio? Marc Fisher Washington Post Staff Writer March 23, 2008

«Last.fm's choices tend to be less logical and linear than Pandora's. There are more surprises, but I've consistently found that Last.fm provides less apt and effective suggestions. Last.fm's great promise may lie down a path the company is not yet traveling. Will CBS use its 0 million acquisition to change some of its 140-plus AM and FM radio stations, putting listeners in charge of what music gets played? Or is that really no answer to radio's woes? Does online crowd-sourcing really produce dramatically different playlists from the traditional market research that radio stations engage in and that listeners love to whine about?

fonte: Name That Tune-In: Who Will Emerge as The Future of Radio? Marc Fisher Washington Post Staff Writer March 23, 2008

«Del Colliano and other observers increasingly believe the radio of the future will not be a 24/7 music source, but rather a provider of short programs, such as podcasts, that appeal to an ever-shrinking attention span and work seamlessly with social networks, cellphones and laptops»

fonte: Name That Tune-In: Who Will Emerge as The Future of Radio? Marc Fisher Washington Post Staff Writer March 23, 2008

«Del Colliano believes only Apple could produce the next radio -- something providing the serendipity of radio delivered through an infrastructure that already enjoys mass acceptance»

Porquê? «In fact, Apple now controls the destiny of music because its products dominate the infrastructure. There are iPods everywhere. Apple has defined cool. Apple has used great precision in understanding how Gen Y thinks and what it wants. (...) The next generation's passion is personal mobile MP3 devices and, again, Apple controls this. Young people tell me that it isn't the iPod itself that has killed the record labels -- it is the ease of use of iTunes and the connectivity. That combination is the winner. (...) Right now (in spite of their declining stock price) Apple knows the next generation better than anyone else. They have proven it. It is likely they will for the time being at least continue to serve as facilitator of music and even radio's future.»

«And at the end of the term, it is possible that the consumers who bought these new fully-loaded iPods and iPhones would get to keep a set number of songs permanently. That number has not been determined but it would likely be more songs than the difference paid for unlimited music and what the same songs would have cost purchased separately on the iTunes store.

«Other sites are always fighting for this lucrative market, each offering similar but slightly different services. There are many that work on a monthly-fee basis rather than billing by track. And a new and slightly different concept is mercora (www.mercora.com). Here you pay a small monthly fee and share tracks - you broadcast your tracks (you can make like a DJ if you want) whilst you record the tracks broadcast by others. Mercora pays a fee for broadcast rights which makes it within the law.» 

«How do I add music to Social·fm Desktop? Please select File > Add Music Files; or Please select File > Add Music Folder. You may add individual music files or folders. Simply browse your PC for the desired music file or folder, then double-click to add to Social·fm Desktop. To view all music files in Social·fm Desktop, select 'My Library' on the left-hand column of Social·fm Desktop.»

«Social·fm complies fully with non-interactive webcasting license restrictions as per the Digital Millennium Copyright Act (DMCA). If you'd like more information, our legal policy is located here: Social·fm has a statutory license from SoundExchange® (the independent non-profit organization that represents over 500 music labels) for the non-interactive webcasting of digital audio as per the Digital Millennium Copyright Act (DMCA), 17 U.S.C. ¤ 114 (requires Adobe Acrobat plug-in). Social·fm has musical composition performance rights through licenses with ASCAP, BMI and SESAC» (aqui)

fonte: A New Boost for Digital Music? eMarketeer MARCH 25, 2008

For artists and labels, building word of mouth about an album or tour is paramount. And they're tapping into the growing music-based social networking scene to spread the word. Magazine covers and TV and radio interviews don't carry the weight of the Web, and as features evolve, R.E.M.'s website and MySpace page were not enough, Downs says. Since its beginnings in summer 2006 as a social network for finding and recommending music, iLike.com has grown to 23 million members, says CEO Ali Partovi. As the community grew, iLike added features for artists to post videos and news; meanwhile, Partovi began approaching artists and labels about providing content to iLike.

One mid-November discussion Partovi had with Bono turned into a video interview in which the U2 frontman sang a just-finished song, Wave of Sorrow. Once posted, it was viewed and forwarded by more than 1 million within a week. Then Keith Urban signed on to post weekly videos and to offer tour ticket presales and fan events.

"The Internet basically empowers consumers to get exactly what they want and artists to put out exactly what they want," Partovi says.»

fonte: «Music scene finds latest hot spots on social sites», Mike Snider, USA TODAY, 24/03/08

Overall radio listening suffered a minus 4% net negative (listening more minus listening Less) among the 14 to 24 year olds surveyed. 

There was a slight net positive radio TSL among…

• Cell phone owners
• Internet Radio users
• People who social network

There was a slight net negative radio TSL (although not above the -4 net negative radio TSL overall) among people who play video games

Youth Radio slide 16

These observations underscore that usually radio is a secondary activity.  People are still listening to radio even though the secondary activities they’re engaging in while listening may have not been prominent a decade ago.  Internet radio listening may signal someone who’s more interested in radio overall be it on-line or over-the-air.  Interestingly, cell phone ownership didn’t dent radio listening.»

fonte: «New Media and Activities That Don’t Adversely Affect Radio TSL», 24/03/08

«Remember when I said internet in your car may come sooner than you think? Well guess what, Chrysler is saying it will be the first car company to provide in-car Internet access - availability will come later this year.

The third-largest U.S. automaker will have the capability added to existing vehicles by dealers beginning this year, and later will be factory-installed on the assembly line.

The Washington Post is reporting that Chrysler will use a cellular signal and a mobile phone account to give passengers access to the web.

"We want to make the radio itself a WiFi port," said Frank Klegon, Chrysler's product development chief.» (Orbicast)

Mark Ramsey: «"The radio" is a technology device which will transform according to the capabilities of technology, assuming those capabilities are consumer-based. There is no necessity that any of these capabilities will have anything whatsoever to do with your station. Instead, these capabilities will be driven by the desire of consumers to be empowered - to control their entertainment and information experience - to have more fun in more places and to solve whatever problems they face on the open road. (...)So the strategy for your station is to think beyond the radio. You are not "the radio," you are an entertainment brand which distributes across multiple channels and has (hopefully) deep relationships with clients and hundreds of thousands of listeners.»

The subscription vs. purchased music debate presents a false choice -- a black and white view of a world without accounting for all the mess in between. While it's true that most music consumers do just fine purchasing music a la carte through services like iTunes, Destra or eMusic, the idea of a coexisting "celestial jukebox" isn't any less potent. It's like saying the iPod and FM radio can't coexist. The concept of DRM protection for purchased music is clearly dumb (and still practiced by iTunes, by the way), but the real reason iTunes will be the last service to adopt a subscription music model is because it doesn't have to. Apple's existing music retail store is already enjoying a charmed existence without a subscription music option rocking the boat. Why the hell would Apple open up an all-you-can-eat buffet in a restaurant already raking it in on overpriced entrees?» The future of subscription music By Donald Bell on 25 March 2008

«I'm coming around to the notion that an iTunes subscription model, alongside Apple's existing system, could work quite well, especially if it's sold in conjunction with a network-ready piece of hardware. Lesser players in the digital music business such as RealNetworks (RNWK), Napster (NAPS), and Microsoft's (MSFT) Zune marketplace have embraced subscriptions. I used Rhapsody for the better part of a year and was for the most part pleased with it. For .99 a month, I could play music on my Mac or PC without paying for an album I ended up not liking. I could take music I was curious about for an extended test-drive. If I liked it, I'd go over to iTunes, buy it, and keep it forever. Rather than trying to compete directly with Apple, Rhapsody has gone a different route, getting itself embedded into standalone audio hardware—notably the Sonos Sound System, TiVo (TIVO) boxes, and some high-end audio gear from Denon. It is in conjunction with audio hardware that I think the subscription model makes a lot of sense. The idea is that the user buys a piece of equipment with a ready connection to an online music store and then pays a monthly subscription fee for unlimited access to many or all of the songs. Apple wouldn't be the first to try to make this work, but it could possibly do it better.» (How iTunes Subscriptions Could Succeed by Arik Hesseldahl Business Week, 28/03/08

«So who's right?  "From our perspective, money is what counts," said Mark Kirstein, a former analyst at In-Stat and iSuppli, and currently head of MultiMedia Intelligence.  Kirstein compiled a ranking based on  annual revenues, and found both Amazon and Spiralfrog in the basement.  "Amazon may be coming up now, but they certainly weren't in the running in 2007," Kirstein told Digital Music News.  "And Spiralfrog's claimed registered user base of roughly 850,000 isn't substantially monetized." But who are the top players?  Kirstein estimated annual music revenues of .8 billion at iTunes, 5 million at Napster, and million at eMusic.  Others, including Rhapsody, Zune Marketplace,  and Musicload are all "sub- million" according to the data.»

1) USA Today called representatives of the four major labels, who declared Amazon to be only behind iTunes in sales.

2) USA Today believed that our subscription model was not relevant to the story they wanted to tell.

I’d like to address both of these points. First, allow me to point out that no sales or market share figures were cited in the USA Today piece. In fact, the article states that Amazon “won’t say how many songs Amazon has sold but will say that consumers love the experience.” Is that enough for USA Today to make such a bold pronouncement, particularly when there is plenty of widely available evidence to the contrary? While Amazon isn’t willing to make sales data available, we are more than happy to: eMusic sells more than 7,000,000 songs a month. Seven million tracks of independent music covering everything from Cat Power to Miles Davis. Since Amazon opened its MP3 store on September 25, 2007, eMusic has sold 40,000,000 tracks. Since November of 2003, we have sold almost 200,000,000 songs. These are huge numbers, and firmly back our claims to be the #1 site for independent music and the #2 digital music service after iTunes. Those declarations have not previously been disputed.»

«Radio survived TV's rise albeit in a whole new incarnation, because it served a convenient role in our daily lives and because it helped us believe in the American myths of mobility, individuality, and can-do savvy. Radio isn't what it used to be, but it never really was. Despite its troubles, radio is as much about the future as it is about the past. That future lies where. Todd Storz, Hunter Hancock, Hal Jackson, Cousin Brucie, Jean Shepherd, Bob Fass, Tom Donahue, Lee Abrams, and so many others found their inspiration - in the voices of those who open their souls into a microphone, and in the imaginations of those who feel compelled to listen.» (Fisher, 2007: 310) 

«In a nation of lonely people, when we hear music that moves us, or a political argument that sways us, or simply another human voice that tells us a story, we find company.» (313)

OU COMO SE PROVA QUE UM MEIO PODE SUBSTITUIR O OUTRO SE TIVER VANTAGENS SOBRE O ANTERIOR:

«The Pony Express operated from 1860 to 1861. It was an expensive service for letters and most people couldn’t afford the up to .00 dollar cost of sending mail. The founders always assumed the federal government would come through with a contract to provide most of their income. It never happened. The U.S. government decided a new technology called the “telegraph” would be better and eventually, The Pony Express folded. Both services were able to deliver messages – one by traditional letters via riders, the other by Morse Code via wire. Both the Pony Express and telegraph delivered the same content. The telegraph just was able to do it faster and cheaper.

Is AM and FM today’s “Pony Express” and WiMax the next “telegraph”? When WiMax takes hold, Internet Radio and Podcasting might be able to do it better than AM and FM because startup costs for stations will be very modest, no one will need to apply for a license to broadcast, the F.C.C. won’t have control over WiMax-enabled radio stations (at least as of now), and stations will be able to narrowcast to a smaller audience with more unique content because less overhead will make it easier to support niche programming.  Given that scenario, this is no time for anyone in traditional Radio to look down their nose at the upstarts and wannabes because it is only a matter of time until they are given the technological footing to compete equally. All they will have to do is come up with good content – better content than old media did.» (How Will We Define Radio in the Future?  Corey Deitz, 3/01/07)

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

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

«It's at times like these when my thoughts go to the scene of a General smiling in a foxhole with a subordinate who asks, "Sir, we're totally surrounded by the enemy. Yet, you have this big smile on your face. Why?" The General replies quickly, "Because now I can attack in any direction!"
Radio industry executives are finding themselves cowering in foxholes these days. They're embattled on multiple fronts, yet carry no strong plan of attack for any direction. While there's plenty of buzz and a few attempts to move where the crowd is going, there are no outstanding success stories to report. Radio industry trades carry very little news about internet initiatives, either locally or on a national/regional scale.

Radio Industry Has Little Time to React Audiographics Ken Dardis, 3/03/08

(fecha - o segundo choque?)

«Two thirds of young people aged 16 - 21 now listen to some form of mobile music on the go, MOBILE PHONES ARE MUSIC TO THE EARS FOR RADIO SAY TNS, TNS 26/02/08

Growth has occurred in every region with particularly rapid adoption seen in Latin America and in emerging Asia, where 45% of users list FM/AM radio as one of their top-3 choices for purchasing a mobile phone – making it a more popular application than SMS (texting), internet access or even a camera.

Matthew Froggatt, Managing Director of TNS’s Global Technology sector says, “Radio-enabled mobiles take away the need to have a separate music device like an MP3 player and should lead phone manufacturers to win the battle for control of the earphones. »

MOBILE PHONES ARE MUSIC TO THE EARS FOR RADIO SAY TNS, TNS 26/02/08

«Cox Communications [The third-largest cable television company in the United States, Cox offers an array of advanced digital video, high-speed Internet and telephony services over its own nationwide IP network, as well as integrated wireless services.] has launched the Cox Rhapsody music service to customers throughout Northern Virginia. Cox Rhapsody allows Cox High Speed Internet customers to access millions of songs for about the price of one CD per month.

fonte: «Cox Communications Launches Cox Rhapsody Music Service for High Speed Internet Customers», 27/03/08

« (...) However, something and someone is going to put radio to the death throne. Apple is in discussions with the big music companies about a radical new business model that would give customers free access to its entire iTunes music library in exchange for paying a premium for its iPod and iPhone devices. The “all you can eat” model, a replica of Nokia’s “comes with music” deal with Universal Music last December, could provide the struggling recorded music industry with a much-needed fillip, and drive demand for a new generation of Apple’s hardware. Again, what does this mean to radio? This means another stab on the chest for radio broadcasters. First, there was the mp3 player, specifically the iPod that stole terrestrial radio listeners. Then there’s HD Radio which unfortunately failed to give radio stations a run for their money. And of course, there is the satellite radio.» iPod Kills The Radio Star: Good News and Bad News for the Future of Radio, 24/03/08, RadioJingles.com

«The digital music business is here with us for good, and that means over time there's going to be more than one way to deliver music, and definitely more than one way to play it. As the industry's all-but-undisputed leader, Apple should be thinking beyond the iPod and the iPhone. Who could do it better?»

«Radio can’t win this fight on music alone. Once the WiFi abilities of the iPod Touch and iPhone are more widespread across the platform, you won’t even have to wait to sync your iPod at home to get your music. If you want to have a Megadeth marathon while waiting in line at Starbucks, you can get it with a few clicks. This idea, if it happens, could effectively nail the coffin shut on radio. If more manufacturers put plugs in cars to attach iPods, all music radio could be obsolete within a decade. Which should not be taken as a eulogy, but rather as a challenge to step up the personality on the air - an iPod may have all the music ever made, but it has ZERO personality.»

«If, in fact, this goes down, iPod owners - who have always shown a willingness to meet Apple's hardware price, no matter what it is - will have one-click access to almost every song they could ever want - for free. What do you call an infinite supply of your favorite music rotating in playlists for free? I call it "radio." Already, of course, P2P distribution provides tons of "free" music. But the iTunes platform makes all this easy. And as anyone who has ever visited a buffet knows, when it's one price for "all you can eat," you always eat more. And from what medium do you think that listening is going to come?»

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

RAIN READER FEEDBACK 25/03/08, RAIN

ONLINE AD’S SHARE PASSES RADIO’S The online “display” share of ad spending surpassed radio’s share for the first time, according to newly-released numbers for 2007. Display drew 7.6%, yet still trails other categories’ shares, such as national TV (32%), magazine (20.4%), newspaper (17.7%) and local TV (11.3%)…

MAIS:

«Internet display advertising continued its growth leadership, increasing 15.9 percent in 2007 to .31 billion in expenditures. (...) Ad spending declines in Newspaper and Radio media accelerated during the fourth quarter. For the full year, Local Newspapers were down 5.6 percent to .66 billion and aggregate Radio expenditures slipped 3.5 percent to .69 billion.»

«TNS, which provides the likes of us will sorts of useful data, doesn't actually track all of the Internet and radio ad business. TNS tracks Internet display advertising, but not search. So, um, Google's not in there. And in radio, TNS doesn't measure spending at the two biggies: CBS Radio and Clear Channel. TNS puts the U.S. radio market at .7 billion in 2007, but most other estimates put it at about twice that. Similarly, TNS put online display advertising at .3 billion, about half of the total Internet advertising market. Grouchy nitpicking aside, TNS' conclusion is still likely accurate. The Internet Advertising Bureau put 2007 Internet spending at billion, a 24% increase. The Radio Advertising Bureau estimated the radio ad market at .6 billion, a 2.5% decrease.» Report: Some Of Internet Bigger Than Some Of Radio Michael Learmonth | March 28, 2008

«Radio faces new opportunity as well as new competition. Every cell phone in the world is a portable media device that places media content in the hands of every person worldwide»

«Advertising Age predicts the end of the 30-second commercial. Some say that all commercials will be replaced by self-selection of consumers»

«Broadcasters are already aware of the effectiveness of rudimentary text displays on DAB digital radios and it is a small leap to imagine what happens when this text display expands into a colour graphics screen. For the advertiser, this offers an opportunity to display brand logos, pack shots and other information alongside the audio. It is quite simple to run moving graphics and even video clips alongside the sound commercial. If that sounds like cheap TV then think again, because that analogy is to misunderstand how radio is consumed and how the visual display is likely to be used. The other element to DAB digital radio technology is the addition of memory to radio receivers. “Rewind Radios” are already available and allow the listener to pause live listening and resume minutes or even hours later. The next implementation of this technology to appear from early 2005 adds control signals broadcast via an EPG enabling listeners to navigate and schedule their listening to taste.»

«Does online crowd-sourcing really produce dramatically different playlists from the traditional market research that radio stations engage in and that listeners love to whine about? »

(ou seja, até que ponto as playlists criadas em serviços de streaming são - feitas as contas - muito diferentes do mainstream? se sim, isso mudará alguma coisa na programação (isto é, poderão servir para ajudar a industria)? se não, o que concluir?

A proposito da compra pela CBS da Last.FM, uma pergunta feita por Marc Fisher no WP:

«Last.fm's great promise may lie down a path the company is not yet traveling. Will CBS use its 0 million acquisition to change some of its 140-plus AM and FM radio stations, putting listeners in charge of what music gets played?»

Ou seja, até que ponto a industria classica, passiva e secundária, estará interessada em interagir , em receber os ensinamentos, as experiencias da LastFm, que resultam directamente as experiencias dos utilizadores; o que é a LastFm depende em muito daquilo que os seus milhões de utilizadores fizeram, escolheram; a compra da Last Fm foi a primeira experiencia da industria junto dos novos operadores de streaming - simbolicamente é tambem muito importante.

Não há rádio comercial sem publicidade, pelo que também não há programação de rádio que, não agradando aos ouvintes, não agrade aos anunciantes (para agradar aos anunciantes, a rádio tem de agradar aos ouvintes primeiro).

Chegar ao máximo de ouvintes (pelo menos ao máximo de ouvintes do alvo definido) só se consegue satisfazendo as necessidades e os desejos dessa audiência potencial - mas como saber o que quer essa audiência, o que querem saber as pessoas?

Até agora havia basicamente duas formas: antes e depois do produto estar no ar; antes, fazendo um estudo de mercado, sondar o mercado (baseando-se tambem em experiencias anteriores) ou arriscar; depois, em função dos resultados (e, mais uma vez de estudos de mercado); a lógica da reformatação resulta quase sempre da constatação - via audiencias - de que ainda não chegou a resultar ou de que já não está a resultar;

A internet, atraves do aumento do feedback, da criação de comunidades e da logica de recomendação, permite saber - em muitos aspectos o que qué que o publico quer; os canais de streaming são disso exemplos notaveis. No LastFM pode saber-se as faixas mais tocadas, as mais recomendadas, aquelas de que o publico mais gosta. Ou seja a rádio (convencional) tambem pode tirar partido da internet, apostando em ligar-se a sites de partilha via streaming ou simplesmente usando a informação que lá está disponivel.

Assim conseguirá projectar a rádio que os ouvintes querem - ainda que isto seja uma generalização - e não aquela que os programadores acham que eles querem ou ainda - pior - aquela que as editoras discográficas querem...

«De acordo com o estudo A Day in the Life (um dia na vida), elaborado pela agência de meios Nova Expressão para a Columbus Media International e efectuado pela Netsonda, 98,1 por cento dos portugueses inquiridos sentiria falta da Internet (95,6 por cento sentiriam falta do telemóvel, 92,4 por cento da TV, 90,6 por cento da rádio e 86,8 por cento dos jornais). Os meios de comunicação menos importantes para o painel de 681 portugueses, todos utilizadores de Internet, são as consolas de jogos e os outdoors.»

«Os portugueses estão entre os consumidores internacionais que mais horas diárias dedicam à Internet,(...) revela uma pesquisa efectuada pela empresa Columbus Media International. Em média, os portugueses passam cinco horas diárias na Internet, ou seja, um em cada três utiliza serviços on-line cerca de 11 vezes ao dia. Os valores lusos só são ultrapassados pelos Estados Unidos, onde o tempo que se passa on-line ultrapassa as cinco horas durante a semana e as seis aos fins-de-semana.»

de acordo com um estudo A Day in the Life (um dia na vida), elaborado pela agência de meios Nova Expressão para a Columbus Media International e efectuado pela Netsonda; Lusa, 12/12/07 («Media: portugueses entre os consumidores com mais horas de Internet mas tempo de leitura de jornais é baixo - estudo»)

«the study, “Kids on the Go: Mobile Usage by U.S. Teens and Tweens,” includes “insights from more than 5,500 teens and tweens and dissects how these demographic segments are engaging with mobile and traditional media.”

"In addition to the differences between adult and youth media consumers, there's an important gap between the media behaviors of teens and tweens," said Herrmann. "This report, which includes insights from more than 5,500 teens and tweens, dissects how these demographic segments are engaging with mobile and traditional media."
 

Teens vs. Tweens
• 48% of tweens spend less than one hour per day online, and the majority use online for gaming.
• 81% of teens spend more than one hour per day online, and the main usage is for email.

«António Mendes(...), o director de programas da RFM, estação do grupo Renascença líder de audiências em Portugal, conclui que “a rádio está viva”. “Sente-se que há uma muito menor preocupação com aquilo que antes era percepcionado como ameaças (IPods e todas essas ferramentas) e uma forma mais inteligente de ver a coisa, que é “como é que a rádio pode integrar todas as novas tecnologias?'”, explica o responsável. Uma opinião igualmente partilhada por Nelson Ribeiro (...) diz o responsável da estação generalista, “o digital vem trazer novas oportunidades para a rádio e temos de aproveitá-las»(...) Pedro Ribeiro encara de forma positiva.(...) A rádio tem o enorme desafio de se adaptar ao mundo digital não tendo medo desse mundo digital, porque o meio rádio é o que tem mais a lucrar em termos de possibilidades de expansão e de diversificação de oferta para os ouvintes com a adopção do mundo online”, defende. (...)  Pedro Tojal(...) “Aqui [na NAB European Radio Conference] percebe-se que, ao contrário do que se passa em Portugal, a rádio não está a cair, mas sim a encontrar novos caminhos para evoluir”,(...) Nelson Cunha não hesita em colocar o digital no reino de oportunidade para o meio rádio. “É obviamente uma oportunidade para a rádio”, diz o director de programação da Mega FM, (...) “O digital é o futuro e a rádio tem de olhar para o digital muito mais como um aliado do que como um adversário. Se não o fizer perde a guerra, porque as coisas estão a evoluir nesse sentido quer na rádio, quer na televisão”, começa por dizer José Mariño,(...)»

fonte: O fim da rádio FM? Meios e Publicidade 19 de Novembro de 2007, por Ana Marcela

«the large record companies are also seeking to turn the Internet to their advantage by exploring links with new companies that are trying to exploit a niche in the on-line market. These are subscription-based companies, and include firms such as Listen.com, Fullaudio, OD2, DX3 and Rhapsody. Their business models vary: some permit downloading and burning, while some are merely streaming or jukebox type services. All these companies are reliant upon signing licensing deals with the major companies to ensure that they have content to offer in exchange for their monthly subscription fee. Global Records has signed numerous deals with such subscription companies, and is adopting a wait-and-see strategy to determine which business model proves most effective» (Leishon, 2005: 191)

 In August 2003, Listen.com became a subsidiary of RealNetworks, Inc., the global leader in digital media services and software for consumers and businesses

«More than half of all online teens who go online create content for the internet. Among internet-using teens, 57% (or 50% of all teens, roughly 12 million youth) are what might be called Content Creators. They report having done one or more of the following content- creating activities: create a blog; create a personal webpage; create a webpage for school, a friend, or an organization; share original content they created themselves online; or remix content found online into a new creation.» fonte: Amanda Lenhart e Mary Madden,Teen Content Creators and Consumers, Pew Internet & American Life Project, 2005, pag 1

«Overall, one-third (33%) of online teens report sharing their own artwork, photos, stories, or videos with others via the internet.» (pag 2)

«Payola - gifts and payments to deejays made as inducement for playing records - wasn't illegal. Nor was payola new - in the heyday of sheet music, song pluggers handed out cash to get barroom pianists to play their tunes, and in the 1930s and '40s, promoters paid bandleaders to push their songs» (Fisher, 2007: 79)

«Others stuck to legal forms of persuasion. "I never gave a disc jockey money in my life," says Frank Falise, a promoter who worked the mid-Atlantic states for Universal, MCA, Capitol, and other record companies. "But you took care of those jocks very well. You made sure they got plenty of records, backstage meets with the artists, photos with the artists, great tickets. If they can take their listeners backstage to see Elton John, that builds their audience and helps them make more money at their station. There's no payola the way it was forty years ago, but the business was always based on relationships. "» (Fisher 2007: 288) 

That may have more to do with the process than the content. The two-step process required to hear podcasts — accessing and downloading — may be the reason the digital platform has not caught on. According to Bridge Ratings, the main reasons people skip podcasts are because they just are not interested (46%) or they think it is “too complicated” (39%).^{(25. Bridge Ratings Group, “Digital Media Growth Projections – Updated 4/25/07.”}Not surprisingly, younger audiences showed more interest in the technology. More than half (52%) of those who have ever listened to an audio podcast are under the age of 35. (Arbitron, “The Infinite Dial 2007: Radio’s Digital Platforms,” April 19, 2007.)

State of the news media 2008

«Virtually everyone in radio believes the medium has become less fun, less creative, and just plain less worth listening to than at any other point since its birth» (Fisher, 2007: 294) 

«Stories about "why radio sucks" and "why radio stinks" popped up in the press. When Prince opened a concert at New York's Lincoln Center by asking, "How do y'all like your radio stations, New York City?" the crowd responded with a booming chorus of boos. At FCC meetings, activists favoring radio diversity dogged commissioners, urging them to defy the big corporations and return control of the airwaves to the public. And on the radio, Tom Petty, recently inducted into the Rock  the Rock and Roll Hall of Fame, sang "The Last DJ": 'And there goes the last DJ

Who plays what he wants to play

And says what he wants to say»

(Fisher, 2007: 295) 

«As for listeners, it depends on who's asking. When the National Association of Broadcasters commissioned a survey, it found general satisfaction with radio; about two-thirds of those polled liked what they heard on the air. But when the Future of Music Coalition, a Washington lobby fighting against further deregulation on broadcasting, asked similar questions, it found radio listening on the decline, especially among younger people.» (Fisher, 2007: 294)

«Will the public turn against corporate radio? Can a popular rebelion restore creativity and fun, pushing radio back to its local roots? Or will we simply adjust to the loss? What's happened in radio in the past decade also happened to bookstores, drugstores, supermarkets, and hardware stores. The mom-and-pop stores that once lined downtown streets have given way to Borders, Walgreens, Wal-Mart, and Home Depot. American consumers have voted with our feet and our dollars: as much as we may grumble about mega-companies or wax nostalgic for the lost community of the old ways, we cast our votes for the big boys.» (Fisher, 2007: 294-295)

OU SEJA, O PROBLEMA, COM CARACTERISTICAS PROPRIAS À REALIDADE DA RÁDIO, NÃO É ESPECÍFICO DA RÁDIO

a grande questão que se deve pôr é outra: perante isto, que saída para a rádio? o que resta, o que pode fazer a rádio perante determinada constatação negativa?

«Rather than rebelling in protest, many Americans find music elsewhere: Internet radio, satellite radio, downloading, fIle sharing» (295)