«US Internet users ages 10 to 15 flocked to social networks last year as if getting a MySpace account would increase their allowances. Harris Interactive said in its April 2008 issue of Youth Trends that more than half of US girls ages 13 to 15 used social networking Web sites in 2007, roughly the same as in 2006. Social networking jumped among other boys and girls surveyed: more than twice as many children ages 10 to 12 reported using social networking sites in 2007 as did in 2006.»

fonte: Teen Social Networking Still Growing eMarketeer, MAY 1, 2008

«Conversely, many artists have rallied in favor of the performance right, saying that they are being denied payments in the U.S. that they receive in most other countries. In February, more than 6,000 artists from more than 15 countries delivered a petition to Congress urging the prompt enactment of the legislation. Artists from Australia, Argentina, Finland, Greece, Hong Kong, Ireland, Mexico and more signed the petition and added their names to a coalition within the U.S. music community – the musicFIRST Coalition – which advocates the change in U.S. policy.» More House Members Oppose Radio Performance Fee, 1/05/08, FMQB

«For those with even more free time between now and May 8, pandora.com is running two VW radio stations called, not surprisingly: ‘Music for the People.’ Listeners can vote for which artists they want to hear and Pandora will collate all requests into a democratic playlist. Selling cars used to be so much simpler.» fonte: VW polls the people 28/04/08 LA TIMes

A necessidade de um editor (de um gatekeeper) poderá ser anulada pela informática na rádio musical - é possivel estabelecer prioridades, grelhas, pré-requisitos que, uma vez cumpridos, irão determinar por exemplo o que é que cada um pode definir para uma antena. Imagine-se uma emissão (hertziana ou streaming, embora no primeiro caso seja mais dificil de conceber) em que a música que passa é a mais votada pelos utilizadores.

Da mesma forma, se falamos em personalização (playlists) o editor - alguém que tem a última palavra sobre o que vai ser transmitido - é desnecessário. E se a ideia é personalização de conteúdos, mesmo para a rádio de palavra, este editor não faz sentido.

Onde o editor tem de aparecer é numa emissão de palavra, mesmo que com contributos dos utilizadores, porque é preciso hierarquizar, definir, escolher - não entra qualquer coisa...

Por muitos que estudos digam que «

«In 2006 Bridge Ratings' consumer analysis began to reflect a slow reversal of attrition by both groups. 12-21 year olds were less likely in these 2006 studies to abandon terrestrial radio as they were in the 2004 studies. This behavioral change hinged on two factors: 1) renewed interest in terrestrial radio and/or its Internet simulcast and 2) "iPod fatigue" among a significant number of 12-21 year olds who in 2004 consumed much less terrestrial radio because nearly 80% of their time-spent-listening to traditional AM/FM radio stations had transferred to MP3 player use. By 2006 our panel had greatly reduced their weekly use of their MP3 players returning to terrestrial radio listening patterns similar to those this group used in 2004.»

é importante esperar para perceber primeiro se existe realmente uma fadiga do iPod e, mais importante, se isso se reflectirá num regresso (ou numa descoberta) da rádio

MARTÍNEZ COSTA, Maria del Pilar (2004) ,La radio digital en Europa: perspectivas y evolución, Quaderns del CAC, Nº. 18, págs. 3-12

«estamos assistiendo a la configuración de un nuevo concepto de radio» (3)

«encrucijada tecnológica» (3)

«Es ’una radio que lee y se ve’, como han señalado repetidas veces otros autores. Aparecen otros servicios y sonidos que no son radio en el sentido tradicional del término» (4)»

«Internet no puede ser considerado como uma competencia directa de la radio tradicional ni de la radio digital en DAB. Internet es un nuevo soporte que facilita la integración digital de la radio y la oferta de nuevos servicios. Cuando se habla actualmente de radio en internet, por tanto, hay que entender que se trata de una nueva forma de comunicación y no exclusivamente de un nuevo soporte» (9)

«La radio deja de definirse por su suporte técnico, o por la tecnología que lo sustenta, e impone un concepto basado en sus contenidos y funciones: la radio no se define de ahora en más por lá técnica sino por las ofertas» (9) [DESDE QUE SUGIRAM CANAIS ALTERNATIVOS PARA DIFUNDIR NÃO HERTZIANAMENTE O MESMO CONTEUDO CONVENCIONAL, COMO A TV CABO - EUA - QUE O CONCEITO FICOU EM CRISE; É DUVIDOSO QUE «LAS OFERTAS» DEFINAM UM MEIO. OFERTAS SONORAS?]

«El modelo de programación de la radio actual está caduco desde antes del inicio del debate digital. Lo que ocurre es que, a pesar de ello y a corto plazo, sigue siendo rentable para las empresas. Pero no a medio plazo» (11)

Martinéz-Costa, 2004

Um objectivo indirecto deste trabalho é ajudar a perceber qual é afinal - se é que é possivel chegar desde já a certezas - o papel que a Internet está a desempenhar junto da rádio. É apenas um suporte, um novo suporte, como defende por exemplo Martinéz-Costa, que se limita a facilitar «la integração digital de la rádio y la oferta de nuevos servicios» (2004:9) ou afinal «una nueva forma de comunicación», como também defende a mesma autora?

«I’m not a typical listener: nor a typical music fan. Listen to my music choice (that’s my music collection in one big playlist), while looking at my most-played tracks of the last 3 months, and you’ll see that my most played track in that three months is The Divine Comedy’s “Absent Friends”, which I’ve played just four times. A typical commercial radio station will play their top tracks eight times a day - once every three hours. Assuming I listen to music for a total of two hours a day (in commutes and desk-bound working), commercial radio would have had me listen to that track 60 times in three months.Indeed, over the last week, my 210 different artists, and a total of 323 tracks means that, in just 18 hours, I’ve listened to more tracks than many commercial radio stations play per week. I’m singling out commercial radio here, by the way, not because of a misplaced loyalty to my employer, but that commercial radio’s music choice is, by and large, far more tightly musically formatted - and that, for whatever reason, only commercial radio runs nonstop music services.»

is all about music, James Cridland, 4/05/08)

«There's no mistaking who benefited from a federal-court decision to set licensing fees that three top Web services must pay songwriters and publishers for the right to stream their music. But the question left unanswered is whether the losers also include consumers. AOL, RealNetworks, and Yahoo may end up paying the American Society of Composers, Authors, and Publishers (ASCAP) 0 million as a result of a decision by a U.S. district judge to set the licensing fee for streaming music at 2.5 percent of adjusted music-use revenue. "(The court's decision) is a victory for songwriters, composers, and publishers, and something they have been looking forward to for a long period," said John LoFrumento, ASCAP's chief executive. "In the past, we've settled with (Internet companies) at low rates. We wanted to encourage the growth of these businesses, but these businesses have matured...they have been using our members' music to attract people to their Web sites...it's time to compensate (our members)." »

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

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

«"We want to be the greatest radio all around the world, broadcast or online," he said. "We think eventually that Clear Channel's ownership is going to be ours. We believe we can be there."

«The Daily: Do you worry that the end of traditional radio could also bring the end of the radio DJ personality?

TW: Yeah, but I would like to find a way to bring them into Pandora, frankly. I think those people are really important as well, and we're certainly not helping their cause.

The Daily: Does every single artist featured on Pandora get paid when their song pops up on someone's station?

TW: Yes, it's a percent of the revenue. We pay a fraction of a penny per song for publishing and performance, to the songwriters and the performers. And once our revenue grows enough, we will be paying artists whichever is higher - a certain minimum or a percent of the revenue.

The Daily: Right now Pandora is illegal to use outside of the U.S. What stands in the way of Pandora being legal everywhere?

TW: Licensing, licensing. We operate in the U.S. under a statutory law, and that is not available in any other country. So no other country has actually put that one-stop licensing in place. So as soon as they do that, we are going to be able to jump right in, hopefully this year.»

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

«When public radio has to consider making its programs shorter because young listeners won’t listen, we officially have a documented attention span problem.
Of course, it doesn’t take any more than a few minutes in the company of the next generation before you realize that the number one problem going forward isn’t too many commercials or too little new music or stupid djs or lack of social networking. That, too. (...) In NPR’s case listening is up but for shorter periods. NPR is the last frontier of taking the time to do it right. If NPR is feeling the heat, commercial stations have a big problem they may not care to know they have. Break the programming down into smaller chunks. That is, one hour of music is fine if you're in the mood to listen for an hour. You'll rarely find a young person doing that. (...) One more thing -- you win the short attention span battle one minute at a time -- not one show at a time.This is something we definitely can do.»

«Play to multitaskers. Everyone seems to be a multitasker today even older demographics. So content should be created with that in mind. Broadcast to them and ask them to do something else -- pick up a Blackberry and text in to win a mortgage payment. This cooperates with the inevitable. Too frequently radio programming is created under the misguided belief that the station has the full attention of their listeners. They don't. They won't.»

«Dan Mason, CBS Radio’s president and CEO, claimed that " billion in ad dollars were telling you that the iPod and satellite radio will lead to the death of radio. That’s a myth. Like when you were told the eight-track tapes, cassettes and the CD would sign radio’s death warrant. To say that an iPod or satellite radio, with little or no human connection will ever replace radio is absurd." Mason’s second goal was to call attention to CBS Radio’s intention to make use of digital distribution, even as CBS Radio and its peers struggle to cope with the additional competition from those platforms»

@ CBS Radio Presentation: New Play.It Media Player Offers Personalization, Contextual Ads»,  David Kaplan paidContent.org Monday, May 5, 2008

«David Goodman, president of the digital media group, tried to make the case that CBS radio was in the wireless business 80 years and therefore, has seen all kinds of challenges meant to bury radio. But he insisted that internet radio is more friend than foe and hopes CBS can tout the ad advantages over other platforms. "Internet radio is more popular than mobile audio streaming or satellite. Initially, we were nervous about cannibalization. What we found was it amplifies our listenership. People go from their car to their office and put on their media player. They're listening more and for longer periods."»

@ CBS Radio Presentation: New Play.It Media Player Offers Personalization, Contextual Ads»,  David Kaplan paidContent.org Monday, May 5, 2008

The ongoing success of DAB has continued to drive a resurgence in the UK Portable Radio market. Since the launch of DAB, approximately 9.4 million Portable Radios, of all types, have been sold. This has resulted in the yearly market value growing from a consistent annual turnover of around £30m (2000-2002) to just under £78m in 2007.   

In the first quarter of 2008, sales of DAB compatible models accounted for 81% of the value of the Portable Radio market. With the average price of a DAB radio now dropping below £50 (March 2008), it is the continued unit growth of DAB Portable radios that has resulted in the sectors' current value performance.

«You type in an artist or song title, and the engine plays that song, or one similar, and then sets the bar for all upcoming tracks based on an analysis of your original pick’s “music genome.” As the songs play you have the option to give a yea or nay in order to perfect your personalized radio station» (se se pode escolher o que se ouve, já não é rádio...)

«If the equation of "music + brief personality + we pick for you + having to sit through commercials" still works best for listeners above age 30, it may be because they were the ones who were most likely to hear that type of radio done right. And because the programmers who are still inclined to offer it to them are the ones who grew up hearing radio well executed. It has been in the last 10 years that our relationship with listeners has been repeatedly breached by stations too many commercials, too much repetition, and either obtrusive companionship or none at all. And while you can't be sure that the generation that would rather text than talk will respond to that formula, you can say that it has rarely been offered to them, and that the WCBS-FM experience shows it is not inherently inferior.»

«Welcome to MOG, your personalized gateway for music discovery. With MOG, you can find, share, and talk about the music you’re into, from Abba to Zappa. Whether you’re a die-hard music junkie, or just looking for inspiration for your latest party playlist, MOG is your essential online music source. Created by a passionate community of music lovers and powered by cutting edge music discovery technology, MOG makes it ridiculously easy to find new music, watch music videos, and read news and reviews that match your personal taste in music. (...)Completely free, anyone can create a MOG page and browse posts, MP3s and videos by visiting www.mog.com.  One of the first online communities built exclusively for music lovers, MOG was founded in June 2005 by CEO David Hyman. David is a veteran entrepreneur, digital music pioneer, and self-proclaimed music freak, who has held key executive positions at Gracenote, MTV, and Addicted to Noise. MOG has been funded to date by Angel investors and is headquartered in Berkeley, CA»

http://mog.com/about

«Some of the biggest music labels could soon allow free legal downloads, after an ambitious ad-funded file-sharing service, Qtrax, signed a deal with Universal, the world's largest record label and home to U2, Kanye West and Mariah Carey. (...) When it emerged that several deals were not yet fully in place or had lapsed, analysts expected the service to disappear in the ensuing backlash. But it has since signed deals with Beggars, the UK's largest independent label, home to Dizzee Rascal and the White Stripes, and the publishing arms of EMI and Sony/ATV.The contract with Universal is the first with a major label to cover both publishing and recording rights, meaning that it should be able to offer music by its artists within the next month or so. The Universal deal is initially understood to cover only the US. Qtrax is just one of several sites trying to make money from the concept of free, ad-funded downloads and streaming. Earlier this year We7, backed by Peter Gabriel, began offering downloads with embedded audio adverts and signed a deal with Sony BMG to offer its catalogue on a streaming basis. Other sites such as Imeem and Last.fm have also signed deals with leading labels to offer streaming services that act as vast, ad-supported online jukeboxes. Adverts are displayed during the search and downloading processes. Spiralfrog, a New York-based site that has been striving for two years to establish a user base in the US and Canada, also has a deal with Universal. Qtrax has promised that tracks downloaded through its browser can be kept by users for ever as long as they regularly log in to renew the rights management software. It will also enable iPod users to transfer the tracks to their audio players, which could hit sales of downloads through Apple's iTunes Music Store. In addition to sites offering ad-funded music, labels are also exploring new licensing models for subscription-based or bundled offerings such as Nokia's Comes With Music and MusicStation and beginning tentative discussions with internet service providers about packaging music downloads into monthly broadband subscriptions» (fonte: Universal to allow free music downloads, Owen Gibson, The Guardian, Thursday May 8 2008»)

«"This generation functions differently. They’re able to multitask and bounce around," (...) Millennials are accustomed to collaborating; remember, these are the kids who even went to school dances in groups rather than one-on-one dates. They’re used to working on group projects and approach new technologies with confidence rather than anxiety, Kang told conference participants. This age group is at ease with the constant communication afforded by e-mail, instant messaging, cell phones and BlackBerries/Palm Pilots. They also expect computers to facilitate daily life, both personal and professional, in a way that’s still a little off-putting to other generations. Boomers wore book bags or backpacks to school, while Millennials, wearing iPods and carrying cell phones, lugged laptops.» The Attention Span Problem  Inside Music media, 6/05/08 

«(...) no human connection, will ever replace radio is absurd.»

«I agree with Dan that the idea that new technologies will replace radio is -- to use his word -- "absurd" if you're talking about older Gen X'ers and baby boomers. This group loves radio and will appreciate receiving something they already like on their computers or mobile devices.» (Jerry del Colliano)

«Once the present economic downturn ends -- still a long way off -- there won't be enough new young listeners to help radio continue to grow. It becomes a losing proposition. More radio listeners die and fewer new radio listeners use traditional radio»

(intro - os desafios que se colocam à rádio musical)

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

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

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

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

«(...) a quebra de barreiras vai permitir que o comunicador Yahoo Messenger atualize automaticamente dados como foto e "música favorita" tendo como base o perfil do MySpace. O compartilhamento de dados também vai acrescentar fotos, vídeos e dados biográficos do usuário em seu perfil do eBay, assim como enriquecer o Twitter com um perfil mais completo.
O anúncio foi feito por Chris Wolfe, diretor-executivo da rede social. "Os sites não serão mais ilhas na internet. O objetivo é reforçar a troca de informações entre os serviços on-line", disse em entrevista. "Com isso, seu perfil no MySpace vai virar seu endereço de internet, sua identidade", completou. 
O usuário terá o perfil padrão do MySpace e poderá compartilhá-lo com todos esses outros sites. São quatro níveis de compartilhamento: informações básicas, fotos, vídeos e lista de amigos. Uma das principais preocupações dos envolvidos na iniciativa é dar ao internauta total controle sobre quais informações serão divulgadas, em que sites ele fará isso e para quais contatos.» Parceria entre MySpace, Yahoo e eBay cria perfil único na web Globo 08/05/2008 - JULIANA CARPANEZ E RENATO BUENO 

«When public radio has to consider making its programs shorter because young listeners won’t listen, we officially have a documented attention span problem. (...) Break the programming down into smaller chunks. That is, one hour of music is fine if you’re in the mood to listen for an hour. You’ll rarely find a young person doing that. In the past radio worked well with block programming -- variable length shows at different times. Growing up I remember "the adults" listening to WOR, New York that had, say, a 15-minute newscast, then a 45-minute program with the legendary Jean Sheppard. There was a different standard for program length. You just had to stay tuned. Maybe it’s a 45-minute show. Maybe a 55-minute program on health. The all-night show tended to be one long block figuring that the station was providing company for night owls. Back to the future. Even a top 40 station can break into a five song countdown anywhere on its clock -- say, featuring the five newest releases in the genre.»

 The Attention Span Problem  Inside Music media, 6/05/08 

pode beneficiar? Pelo menos ao nivel dos podcasts...

(conclusão):

« New iPod models Continue To Fuel Growth of Portable MP3 Players: The introduction of the iPhone and new iPod models continue to propel growth. Nearly four in ten Americans now own an iPod or other portable MP3 player. Continued growth and ubiquity means media companies need to have a podcast and iPod/MP3 player strategy.»

«Infinite Dial 2008», Arbitron e Edison Media Research, Abril 2008 [http://arbitron.com/downloads/digital_radio_study_2008.pdf]

Muitos dos estudos citados neste trabalho são realizados online, pelo que a amostra fica enviezada (a favor da tecnologia digital); Gustavo Cardoso demonstra-o no estudo E-generation (2007: 27-31);

muitos são pagos pela industria (nos EUA), directa (rádios e associações de rádios) ou indirectamente (consultoras que trabalham nesse mercado, agências de publicidade, fabricantes), o que pode enviezar, apesar da credibilidade das instituições que os realizam;

- muitos têm amostras reduzidas

- tambem se pode questionar a forma como alguns são construidos, colocando por exemplo uma questão contra outra, não permitindo outra opção (entre este e este, prefere...») possibilitando resultados que de outra forma não apareceriam.

como é que se combate esta situação: por um lado eliminando aqueles estudos que oferecem mais dúvidas e por outro tendo a consciência que, se os seus autores estão directa ou indirectamente ligados à industria (EUA) e os resultados são maus para essa industria, então apenas devemos desconfiar se não deveriam ser piores

mais do jogos ou venda de imagens

«Mobile social networking stands a good chance of jumpstarting mobile Internet adoption because mobile social networking is based more on communication than content. Time and again, communication services have led the way for content and advertising to follow. In the case of the Internet, it was e-mail and discussion boards—not Web pages—that triggered the explosion from early adoption to mainstream consumer use. SMS services drove mobile data use and they still account for the majority of mobile data revenues by carriers. It is not surprising, therefore, that mobile carriers and mobile content providers have warmed to mobile social networking as a new opportunity to ramp mobile Internet use. In truth, they have little choice. Their attempts to convince the mass market to sign up for mobile Internet have proved moderately successful, at best. According to February 2008 research by Informa, the global market for all current forms of paid mobile entertainment should reach .7 billion by 2012. Back in 2006, the same forecast optimistically predicted billion by 2011. »

«Jumpstarting the Mobile Internet», eMarketeer, MAY 12, 2008

«The perception of radio is bad. That's what has to be turned around first - and you do that by improving the product. Repackaged you-know-what is still you-know-what.
This is the end result of delivering poor product to young people for over a decade.
Radio used to be a soundtrack to popular culture. Today, radio, especially formats appealing to the young, aren’t even close.» (Radio Heard Fear, John Gorman, RBR.com, 4/05/08)

«“We are seeing a renaissance in radio with respect to programming – programming that has become
more versatile, more experimental and of a higher quality than ever before,” said Jeff Haley, President and CEO of RAB. “This is an industry that is being bold, taking risks and engaging audiences in a variety of creative ways. And listeners are taking note. More than 90% of Americans say that radio continues to play an important role in their lives.”» Radio 2020 Next Phase Debuts: Radio Heard Here!, Radio2020, 15/04/08)

Não, a LASTFM!

«Ahead of the official re-launch of its European online radio platform, Internet service provider America Online (AOL) has announced that the returning service will be powered by none other than popular Internet radio and music community Last.fm. Set for an initial rollout in the United Kingdom, France and Germany -- with more European regions to follow in the coming months -- AOL Radio users are bound to benefit from the association with CBS-owned Last.fm, which currently boasts a worldwide visiting audience of around 21 million. Specifically, the new AOL Radio will include various new features and engaging multimedia options for users to familiarise themselves with, including the ability to search for favourite artists through the service before then listening to a continuous stream of their music.»

«Imeem is now becoming a serious contender in the streaming music space, at least according to data points surfacing Tuesday.  In a ranking of streaming music destinations compiled by Boston-based Compete, Imeem topped heavy-hitters Yahoo, AOL, MySpace, and Last.FM.  "As the music industry seeks to reassemble in the wake of digital distribution, it should recognize social streaming communities as the fastest growing opportunity in its evolution," explained Compete analyst Alex Patriquin. 
During the month of March, Imeem grabbed a unique visitor tally of 10.3 million, a bump of 58 percent from last year.  Yahoo Music (music.yahoo.com) was not far behind at 9.7 million, though AOL Music, MySpace Music and others trailed considerably. Specifically, AOL Music (music.aol.com) pulled 4.6 million uniques, down 30 percent, while MySpace Music (music.myspace.com) earned 4.5 million, down 3 percent.  That was followed by Project Playlist (playlist.com), MSN Music (music.msn.com), Pandora, iLike, Last.FM, Live365, and others.  Compete aggregated its data based on ISP, toolbar, and survey information»
Alex Patriquin, "Music Industry Downfall, Part II: The Rise of Social Streaming"

«Following up on its erockster Internet radio initiative during Coachella, Clear Channel is expanding its online presence with a number of new services -- including a personalized radio player, lyrics page, and widget strategy, among others.
Clear Channel is not yet providing many details about the new personalized radio feature, only that one is coming by the end of the summer. But Billboard has learned it is negotiating with Pandora to offer the company’s customized radio service across all its Web properties nationwide, but no deal is finalized at this time. Pandora allows users to build a custom playlist of sorts based off the characteristics of one song. The system recommends songs that sound similar to the one first chosen, based on a catalog of about 500,000 titles.
The partnership should prove a major boon to Pandora, which is struggling with how to remain operational under the weight of the new Webcaster royalty rates. The exact details of the deal between the two parties have not yet been disclosed, and Clear Channel declined to comment on the specifics.
But adding such a feature is considered essential for Clear Channel to stay competitive in the online space. Competitor CBS Radio earlier this month unveiled plans for a similar custom DJ feature called Play.It, working in conjunction with sister company Last.fm. Both efforts show how terrestrial radio stations are responding to listeners' increasing demand for more control of their listening experience.
"Online, there is a lot of variety and choice," says Evan Harrison, Clear Channel executive VP and head of the company's online music and radio unit. "If we don't expand our offerings under our umbrella, people will just go elsewhere for it."

In other news, Clear Channel has added a lyrics service provided by Gracenote. Available immediately, the service adds a lyrics link to each song profile streamed online which takes the listener directly to a page providing the lyrics. Lyrics links also now appear on the home page of individual stations, artist pages and more, and will be promoted via on-air house ads from its many terrestrial stations. Gracenote has compiled the myriad of publishing rights required to post the lyrics, and provides it as an outsourced service to other customers such as Yahoo Music. Finally, Clear Channel is creating widgets of it member station Web sites allowing fans to stream the station from social networking profiles. Widget syndication firm Clearspring is providing the backend technology. The effort starts with widgets of the "Stripped" live performance series, and will eventually expand to incorporate streaming stations, erockster and other Clear Channel applications.

fonte: «Clear Channel Expands Online Plan, Eyes Pandora Link Bilboard Biz May 12, 2008  By Antony Bruno

«According to a study by the Centers for Disease Control and Prevention, 22.3 percent of U.S. households with both landline and cell phones receive almost all of their phone calls on their mobile phone. That's 13.1 percent of all households in the United States. Combined with wireless-only households, 28.9 percent, or nearly 3 out of every 10 households, are reliant or almost completely dependent on cell phones. Now obviously Arbitron is aware of this problem. And, as they often tell us, coping with it is difficult and expensive. But what does it mean for these people to be - as a group - potentially stripped of qualification for your ratings? What does it mean for radio's effort to target younger audiences in particular? What does it mean when the 100 shares in your Arbitron rank don't include the one in four households who opt out of landlines?» Mark Ramsey

Depois de ter comprado a Last.FM, a CBS comprou agora a CNet, que - entre outros activos - tem a mp3.com, um site com «Artist-provided content from both independent and major-label acts including customized artists pages with songs, videos, similar-artists lists, photos, bios, news, blogs, and forums. Fan-generated content such as ratings, reviews, videos, blogs, forums, and favorites lists. Exclusive coverage, editorial features, and original programming including web shows, artist interviews, concert webcasts, event reports, video album reviews, and more. Thousands of free MP3s, plus streams of popular music videos and selected new albums.».

a CBS, um dos operadores mais importantes de rádio convencional, parece ser a que melhor se posiciona para liderar na nova tendência de consumo activo.

Sobre a «guerra» CBS - Clear Channel pelo dominio da rádio online: «It only took them about three years to catch up with their traditional media counterparts, but the big radio groups are finally embracing digital in a major way. Now two of the industry's biggest players, CBS Radio and Clear Channel, are in an arms race to see who can build the most scale the fastest. Clear Channel wants to lure more, younger listeners to its weekly listener base of 1.4 million by creating its own indie-rock online music app, eRockster, to bring a catalog of 5,000 indie, alternative and electronica songs to its music library by the end of May. And, later this summer, Clear Channel will launch its own personalized radio station, with a best-of-breed partner».

«XM's first quarter numbers are out, and what do you know?  Its losses widened to nearly 6 percent, even though revenue is up.  For the quarter, XM hemorrhaged 9 million, and their customer acquisition costs rose to a subscriber (up from last year)» (Jacoblog). Mas para quê pagar quando «According to data released by Digital Music News and media tracking firm BigChampagne, one-third of all PCs worldwide have LimeWire installed. For those who are among the other two-thirds, LimeWire is the top P2P file sharing software - the iTunesitunes-overtakes-wal-mart-in-music-sales Apr-4-2008 of "stealing" music so to speak. Usage comes in at exactly 36.4% of all PCs according to the survey, and of course its the target of a multi-year RIAA lawsuit (no doubt a side effect of its popularity)».

«Cornetto cria concurso de bandas no My Space, de acordo com o M&P.

“A Cornetto lançou um concurso de música no My Space, o Auditions, que vai permitir à banda vencedora subir ao palco do festival Optimus Alive”. [ler]

A tendência é clara e está instalada: o consumidor é cada vez mais volátil e saltita entre meios diferentes. As marcas têm de ir ao seu encontro, procurá-lo, acompanhá-lo, servi-lo e surpreendê-lo em novos ambientes, com novas propostas e novas abordagens. A rádio deveria seguir o exemplo da Olá, ou em alternativa, associar-se à Olá e lançar iniciativas que liguem o meio às comunidades que os mais jovens (e menos jovens, a avaliar pelos e-mails que recebo de comunidades como o hi5, Orkut ou Linkedin) utilizam e nas quais estabelecem ligações que podem potenciar o consumo de produtos culturais e da rádio» (Paula Cordeiro)

«(...) many consumers don’t pay for music at any price. The chart below, based on Compete’s data on more than 1,000 music sites, shows how the most popular options for listening to music online are free.

Despite lawsuits against illegal download sites, the fastest growing category in online music last year was P2P downloads, which shot up 140%. Nearly ten years after Napster raged through college networks, online music piracy continues to grow.»

fonte: Music Industry Downfall, Part II: The Rise of Social Streaming by Alex Patriquin Compete.com May 12th, 2008

«These social streaming communities have risen rapidly in popularity. iMeem recently overtook Yahoo! Music as the most popular streaming site on the web.

*The Hypem1500 presents aggregate traffic to the more than 1500 music blogs tracked by the Hype Machine, a popular blog aggregator. The Hype Machine itself is ranked separately from its network at #16.

fonte: Music Industry Downfall, Part II: The Rise of Social Streaming by Alex Patriquin Compete.com May 12th, 2008

O que factos como este (A popularidade da música via streaming (e grátis)) ou este (prejuizos na rádio satélite: as pessoas não querem pagar?) demonstram é que, podendo existir outras formas de viabilizar a musica na internet, o negócio tende a ser gratuíto.

Poderemos falar realmente de um novo consumidor (marcado por palavras/caracteristicas como 'produtor',  'inconstante', 'individualista', 'multitasking') ou na verdade não irão aumentar significativamente os indices de participação e estaremos a falar sobretudo de uma moda (de um capricho)? O consumidor maioritário continuará a ser como antes, passivo (por conveniencia ou por custo)?

«Right now I'm playing with MeeMix Internet Radio. Meemix is a browser-based player which offers both an audio and video mode. MeeMix thinks of itself as an Internet community which offers members the ability to create and listen to personalized radio stations. MeeMix uses a "taste prediction algorithm" which tries and figure out what you will want to hear - not unlike what Internet stations like Pandora or Last.fm pioneered. I started by typing in "Abba" (It's just my default music search term) upon which MeeMix began playing "Take a Chance on Me" - a big 1978 hit for the band. MeeMix then decided I should hear Donna Summer's "Bad Girls" followed by a 1979 disco hit by Cameo. (...) MeeMix has a "Mood Control" with three controls: Surprize Me, Pulse, and Volume. (...). I definitely was surprised. MeeMix has a Not or Hot slider control which let's you tell it whether or not you like what it's picking for you to hear. MeeMix provides a lot of other controls to promote interaction, too: a favorites tool, another to block cuts, the ability to buy the CD you're listening to, recommendation tools, and more. MeeMix is fun to play with and free to use. First time visitors can try it out before registering and create up to 3 radio stations that allow you to listen to 5 songs on each one.»

Corey Deitz, Make Your Own Radio Stations with MeeMix Internet Radio 12/05/08 

«"We think the future of radio is just really, really bright.  One of the reasons...is the opportunity to serve local communities.  As long as we do our job of providing local information and local news to our communities, we know that there are going to be people who listen and who care about their communities.  So, as long as we do our job, we think there's going to be a lot of listening and, if there is listening, we are going to be in great shape," Friesen [Lyndon Friesen, President of Golden West Radio] concluded» (New President at Golden West Radio, discovermoosejaw.com, Maio 08)

- tem características que a tornam importante e quantitativamente também é relevante

«The Bedroom Project» (2007) , Arbitron e Jacobs Media

- todas foram verificadas em setembro de 2008

- todas são de acesso livre (sem necessidade de registo prévio ou pagamento)

- quando uma ligação deixou de estar operacional (por já não existir ou exigir inscrição), é usado o endereço respectivo do blogue de apoio, O Segundo Choque

«In a world where more and more people seem to be turning off their radios and turning up their iPods, radio giant Clear Channel Communications Inc. found a way to profit from that trend. Clear Channel offers a service in which listeners with specially designed radios can, with the push of a button, "tag" a song they hear on their favorite station and then download that song later onto their Apple iPod. "It’s a simple technology," said Jeff Littlejohn, executive vice president of distribution and development for Clear Channel. "What it does is just merge these two [radios and iPods] together." As technology advances, people who traditionally have spent time listening to the radio have a lot of new choices competing for their attention. Besides iPods, they can also download music and other entertainment on their cell phones, or listen to music streaming through their computers. And some listeners have turned away from traditional over-the-air radio stations in favor of satellite radio. (...) The HD technology also allows stations to offer new data services, such as Clear Channel’s iPod tagging feature. The HD signal includes an identification code that is embedded into each song. Using an HD radio that includes an iPod docking station, a listener who wants to buy a song can push a button to tag the song, which sends the ID code into the iPod. The listener can then connect the iPod to a personal computer and download the song from the iTunes music store.»

fonte: BASCH, Mark «Radio is working with, not against, iPods», Jacksonville.com,  18/05/08

Um estudo sobre o universo geral de ouvintes (e não os mais jovens) [já usado em 4.3.3.1]:

«Despite the wide popularity of portable music sources, consumers prefer to listen to some form of radio more than MP3 players and CDs, according to a new survey. A total of 560 respondents spend 16,814 hours per week listening to audio entertainment. Thirty-nine percent of that time is spent on FM radio, followed by 23 percent on MP3 players / iPods and 18 percent on CDs, to round out the top three audio sources. In an age of portable media devices like the iPod, individuals still satisfy their audio cravings with the longest-standing format, radio. The findings were a result of a survey commissioned by sonoro audio, manufacturer of distinctive, high-quality audio products. Collectively, 57 percent of the time is spent listening to some form of radio, AM, FM or Internet. Internet radio alone is becoming a premier audio medium for US consumers. (...) "Even with the advent of MP3 players, consumers are still largely turning to radio for their music needs as it is easily accessible and free," said Marcell Faller, founder and CEO of sonoro audio. "However, consumers’ expanding, elaborate music libraries have created a demand for all-in-one audio systems that let them integrate the functionality of MP3 players, CDs and radio in a single compact device." »

fonte: MarketWire.com, «Radio Still Number One Music Source Over MP3 Players, CDs» 19/05/08

«"Even with the advent of MP3 players, consumers are still largely turning to radio for their music needs as it is easily accessible and free," said Marcell Faller, founder and CEO of sonoro audio. "However, consumers' expanding, elaborate music libraries have created a demand for all-in-one audio systems that let them integrate the functionality of MP3 players, CDs and radio in a single compact device." Spreading audio libraries across several formats reassures users that their carefully-compiled collections are not lost, if a laptop full of digital content is stolen or CDs are damaged.»

fonte: MarketWire.com, «Radio Still Number One Music Source Over MP3 Players, CDs» 19/05/08

«O que a Web 2.0 nos traz é a mudança de paradigma de relação com a informação e isso encerra problemas maiores, porque não nos atinge apenas individualmente, atinge-nos individual e colectivamente em todas as dimensões da nossa vida. É óbvio que as novas dimensões da acessibilidade da informação, em quantidade e em mobilidade são uma mudança fundamental para as nossas sociedades e, trata-se, de uma mudança positiva. Essa mudança quer dizer, em teoria, mais liberdade de pensamento, maior reflexividade e maior democraticidade entre os sujeitos comunicantes, isto é: nós. No entanto, importa questionar se essa mudança não está também a mudar as regras do jogo sem que nós nos apercebamos e, como tal, podendo colocar-nos fora dele. Não por nosso erro, mas por desconhecimento de que as regras mudaram algures ao longo de um jogo em curso.Na Era da Comunicação de Massa, a “verdade” (algo sempre subjectivo, como convêm relembrar) costumava estar associada àquilo que era dito pelos jornalistas (também aos professores e autores publicados e encadernados em papel, mas o que esses nos contavam tinha normalmente menos impacto na nossa vida diária). O que diferencia, em última analise, o jornalista do contador de histórias (algo que todos somos, melhor ou pior) é a dimensão ética. Não é a sua capacidade de escolha e selecção, pois essas são, tão só, ferramentas ao serviço da ética.» fonte: CARDOSO, Gustavo, WIKIS, BLOGUES E YOUTUBE. E AGORA?, Maio 2008

«A Web 2.0 é muitas vezes apresentada como uma Web diferente da imaginada pelo seu criador Tim Berners Lee e como tal merecedora do alias 2.0 . Ou seja, de uma Web assente no hipertexto de informação teríamos evoluído para uma Web cada vez mais assente na comunicação e sociabilização. No entanto, o título desta análise é "Web 1.5 – as redes de sociabilidades entre o email e a Web 2.0". A escolha desse título reflecte as conclusões desta análise, pois por um lado o email continua a ser a ferramenta mais usada na Internet, seguida pelos diferentes tipos de chat, por outro lado a Internet sempre foi, desde o seu início, um campo de sociabilidades. O que há de novo hoje é o facto de o hipermedia (páginas com texto, som e imagem) se terem casado com a comunicação oferecendo produtos como o hi5 e Myspace em vez das mailing lists, Newsgroups e IRC dos anos 90. A Web em Portugal, em termos da sua utilização, ainda não é 2.0 mas é possível que o venha a ser a breve trecho, por enquanto, trata-se de uma Web entre o email e algo mais completo, uma Web 1.5, talvez»

fonte: OBERCOM, «Web 1.5: As redes de sociabilidades entre o email e a Web 2.0», Flash Report, Maio 2008, pág 17

«SOE (social online environments, social networking sites, por ex. Hi5, Facebook, MySpace, Friendster, Linkedln, Orkut, Ringo, etc), são ferramentas de software social disponibilizadas num website de redes sociais, que permitem a cada utilizador criar um perfil de si próprio (através de descrições, fotos, listas de interesses pessoais) e construir uma rede pessoal de relacionamentos sociais que o conecta intencional e selectivamente com outros utilizadores pertencentes à sua rede pessoal ou outras redes pessoais e de interesses pessoais comuns, através da troca de mensagens privadas e públicas entre si. Sites sociais actualmente muito populares como o Hi5, o MySpace e o Linkedln lançados em 2003, ou o Orkut e o FaceBook em 2004, constituem uma actualização e melhoramento das primeiras gerações de software social de comunicação mediada por computador como, por exemplo, o IRC dos anos 90. O actual software social da Web 2.0 constitui, todavia, um incremento inovacional, possibilitando a conversação em tempo real, a partilha de ficheiros personalizados de imagens, música e vídeo, a videoconferência online com utilizadores de outras redes pessoais. Estas ferramentas oferecem um enorme potencial enquanto espaço dinâmico de sociabilidades, convívio e partilha de interesses, gostos e estilos. E, à semelhança dos seus antecessores, enquanto espaço de convívio e partilha, o software social fomenta quer a manutenção das sociabilidades pré-existentes offline quer a expansão das sociabilidades puramente online»

fonte: OBERCOM, «Web 1.5: As redes de sociabilidades entre o email e a Web 2.0», Flash Report, Maio 2008, pag 3

«From today Orange will be selling its LiveRadio device, which connects to a home broadband line and allows consumers to listen to up to 4,000 internet radio stations. Recent figures from Rajar showed that about eight million people in Britain listen to internet radio stations at least once a week. So-called wi-fi radio sets have been available for some time but LiveRadio gives listeners the chance to buy tracks that they like after hearing them on the radio as it connects with Orange music store. Tracks bought online are instantly downloaded to both a user's computer and their mobile phone. The radio can also play MP3 music files - although not tracks bought through iTunes - and podcasts. (...) LiveRadio was launched last year in France and sold over 10,000 in the first few months.» (Wray, Richard, «Orange turns to internet radio in fight with rivals», The Guardian, 19/05/08)

mais um avanço da Clear Channel: «Clear Channel Radio has struck a deal with Reciva, the largest provider of Internet radio modules for use with broadband applications, to stream all of its stations on Reciva-powered receivers. Clear Channel officials said the new deal represents further expansion of the company's ever-growing distribution platform. (...) Reciva-enabled Internet radio devices can play back online radio in almost every format, including MP3, Microsoft Windows Media Player, RealAudio Player and AAC (iTunes). Reciva's Gateway technology delivers regularly updated and verified Internet radio station lists to its Internet radio products, allowing listeners access to many thousands of online radio broadcasts without the need for a personal computer. Meanwhile, the Reciva Radio Portal, www.reciva.com, enables listeners to access the same stations via their personal computer. (...) Jeff Littlejohn, executive vice president of distribution and development for Clear Channel Radio, said: "We're working with a best-in-breed partner with Reciva, the largest Internet radio module manufacturer, allowing listeners to receive all of our streamed content via a single mobile device." » Monday, May 19, 2008 - 1:20 PM EDT, Clear Channel Radio broadens streaming reach with Reciva deal Washington Business Journal - by W. Scott Bailey

Em face disto, Mark Ramsey diz: «As the big groups make digital deals to keep their content alive across multiple platforms, where does that leave the smaller or less sophisticated groups? If you're out there working for one of these groups are you reading these announcements with bemused puzzlement? Or are you seeing a trend taking shape and working to place you and your stations are on it?What I see happening here is the separation of groups which are positioning themselves for the future - and groups which aren't.Trust me, you do not want to be on the wrong side of these trends. To let these opportunities slip by is to sell buggy-whips when your customers want horseless carriages.What are you and your group doing to step up to the plate today?»

«(...) Pandora is certainly a viable brand that some terrestrial broadcaster should take advantage of. (You could also see some less interactive version being one of the things that might actually drive listeners to an HD-2 channel.) (...) With the two major groups [CC e CBS] locking down two of the major Webcasters [Pandora e LastFM], what are other broadcasters doing along similar lines? What implications do these or other Webcaster tie-ups have for broadcasters' HD-2 multicast channels, particularly in light of recent years' proof that it's not as easy to create this type of content as broadcasters thought? Is there a way to use Pandora or Last.fm to reinforce radio's strong, but eroding authority in the music discovery area? "Here's a new song that you helped us discover through Pandora.com" has potential cachet on the air. "Here's a song that tested well in a similar market" does not.» fonte: Surprise! The Majors Discover Discovery, May. 13, 2008  Sean Ross, The Inifinite Dial

No caso da Grã-Bretanha o problema é ainda mais grave, porque aquilo que há 15 anos parecia uma óptima ideia – o DAB -, é hoje parte do problema e não da solução. Visto a esta distância, o DAB é apenas um FM melhor, mas na Grã-Bretanha têm sido gastos milhões nessa tecnologia – e há ainda um novo e ambicioso projecto, do Channel 4, para nascer. É verdade que se vende(ra)m muitos rádios DAB por lá, mas as audiências são ainda minoritárias e a publicidade atribuída a esses canais não compensa. O DAB continua a ser um mau negócio. Além do mais, enquanto pensam – e gastam, tempo e ideias – nessa tecnologia, não estão a investir em conteúdos para a Internet. Não é por acaso que, à excepção da BBC, o panorama do web-conteúdo é fraco na GB. Mas também não é por acaso que a BBC tem 60 por cento das audiências, contra 40 por cento da rádio comercial.

A verdade – por muito que custe admiti-lo – é que a industria não sabe o que fazer. Dá alguns passos tímidos, proporcionais ao desconforto, e vai vendo como evolui. A questão é que esse ritmo é muito mais lento do que aquele que é imposto por outros operadores, sem ligação à rádio, e que estão a fazer diversos negócios – como mostrou um dos fundadores da Last.fm (um dos maiores jornais da Europa, o Bild, tem um canal de rádio na net. Com quem? Com a Last.fm, claro).

De uma forma muito básica, diria que a rádio britânica está num buraco chamado DAB. O problema é que, em vez de encontrar a saída no local onde entrou, continua a escavar, à procura da luz ao fundo túnel. O túnel está cada vez mais escuro, e a rádio cada vez mais desorientada. Na conferência, um responsável por uma empresa de pesquisa ligada à bolsa, a Dresdner Kleinwort, aconselhou a investimentos de longo prazo, porque a rádio é resilenta (ou seja, a velha ladainha de comparar a Internet com a televisão e a fé de que a história se repetirá).

Por isso, a conferência que se chamava ‘radio 3.0’, foi sobretudo sobre o que fazer com um problema chamado DAB. (notas sobre a conferência 3.0 realizada ontem em Londres)

Com a internet e a fragmentação da oferta, o conceito de audiência, de grandes massas, nunca mais será o mesmo. A oferta está dispersa, o utilizador já não tem 50 opções (nem 500) mas 50 mil. Irá gostar mais de uns do que de outros, mas nunca com a fidelização anterior; estaremos perante um conceito de fragmentação de audiências, que obrigará a novos modelos de negócio (oferecer muitos canais, e não um) e mais atenção da publicidade - que terá de encontrar nichos dirigidos (vai ter muito mais trabalho de procura e análise)

(ideias a partir da conferencia 'radio 3.0' realizada ontem em Londres, 22/5):

- vive o presente, a pensar a partir do passado; olha o futuro com muito receio; o passado repetir-se-á no futuro? A resilência do passado

- «o futuro é ameaçador»; tambem pelo desconhecimento; a rádio está por exemplo a tentar descobrir o que é uma plataforma multimedia, para além das palavras; pensam que a Internet é mais uma (há excepções, a BBC); na net isso não é possivel, não há uma transferencia pura porque não há apenas uma emissão streaming, a net exige/impõe uma adaptação, o aparecimento de novos serviços;

- a televisão digital resultou; a rádio digital (DAB) não; porquê? passaram as programações de FM para o DAB, sem qualquer adaptação; na televisão há conteudos novos

- a existencia de varias plataformas (net e dab, fm e telemoveis, por exemplo) não ajuda a clarificação, tal como não obrigatoriedade de fazer o switch off analogico («o mercado é que decidirá»)

- a maior parte dos conteudos na net é irrelevante (falam de dentro para fora, não de fora para dentro), não há podcasts 

- é aconselhada a redifinir-se, introduzindo e prestando novos serviçois

Primeiro assistiu-se a um desinteresse por parte da industria aos novos fenomenos de audio na internet; nos últimos tempos tem-se assistido a uma aproximação, a uma conjugação entre convencional e disruptivo (CBS com Last.fm, Clear Channel com Pandora?, HD permite comprar faixas no iTunes; orange lança portal para comprar músicas ouvidas em streaming) mas a verdade é que estes negocios não põem a rádio a controlar todo o processo. São os novos operadores quem tem as bases de dados (com endereços, com os gostos dos utilizadores, e este activo é fundamental, uma valiosa mercadoria); O projecto Cliq, ontem apresentado, procura dar à rádio o controlo total dos utilizadores, dando-lhes musica, o que faz aumentar o tempo que cada um passa ligado ao site e a ouvir.

Estudar esta faixa etária em concreto assume uma especial importância na medida em que as caracteristicas desta geração são muito particulares: se por exemplo se assiste a alguma erosão das audiências em varios paises (erosão nas facturações e nas cotações em bolsa é objectivo) isso não resulta tanto do desconhecimento por parte desses ouvintes. Eles conhecem a rádio, certamente já ouviram (porque gostavam ou porque não tinham alternativa em situações de mobilidade e/ou acumulação) mas por varias razões - que tambem veremos - deixaram de ouvir. Com os ouvintes mais novos passa-se algo diferente: eles não conhecem e quando conhecem, a rádio já compete com outros serviços; eles pedirão aos pais um leitor de mp3 (de preferencia um iPod) em vez de um rádio; não há programações para eles ou as que existem não se revelam adaptadas aos seus gostos e as alternativas (musicais) parecem ser mais atraentes

«Gen Yers are "Influencers" by nature, and they will influence younger and older decision-makers. New devices and services will be bought by/for them, they will encourage older populations to "get with it" and join them, and they will be emulated by younger generations trying to be like them»

«’Gen-Y’ Media Use & Attrition», Bridge Ratings, 14/03/07

Um dos maiores equivocos - tipicos de uma mentalidade em transição do analógico para o digital - é comparar rádio, jornais ou televisão com internet, como se esta fosse mais uma, ou mesmo um concorrente. A internet tem caracteristicas proprias ao nivel tecnologico e tambem permite idiossincrasias nos conteudos, mas a principal caracteristica é poder reunir os meios convencionais num só espaço. Ou seja, internet será o resultado de uma equação onde os factores são: televisão/imagem/video + texto/imprensa + rádio/audio/musica + caracteristicas proprias. A internet sem os conteudos mediaticos classicos seria bem mais interessante; a internet não é rádio, mas rádio pode ser internet.  

se não se define rádio através da caixa nem do meio de transmissão, resta o conteúdo. Sim, rádio é contéudo. [o que se assiste nesta altura é a uma profissão de fé nos conteudos como decisivos para o 'triunfo' da rádio; rádio é humanidade não é tecnologia, disse o presidente da GCap Richard Eyre; a questão é se, confundidos pelo passado - televisão, etc - não estarão a ver mal a internet, encarando-a apenas como tecnologia; o futuro não será decidido por sistemas de distribuição mas pelo conteudo e pela criatividade, ouve-se) 

Mas não é possivel entender esse conteudo como musica, voz ou efeitos (e silencio) nem apenas como audio (caso contrário, um animador num carrossel seria rádio). Rádio pressupõe tambem uma forma de programar esses conteudos audio (o tal fluxo continuo pré-programado e não manipulável)

Neste contexto, redifinir é, com este ou outro nome (provavelmente mantendo este durante muito tempo), é construir a partir do existente. é acrescentar, é evoluir a partir do existe, mas mantendo uma espinha dorsal, que - com o tempo - se irá perdendo. É continuar a chamar rádio a uma coisa bm diferente, faltando saber se a ideia central se mantém;

Reinventar é mudar, é romper, é falar de um novo meio - esse sim, a exigir um novo nome.

Curiosa a forma como o presidente da UBC Simon Cole apresentou (ontem) o seu projecto Cliq: «não se destina à geração iPod», mas há (na GB) 30 milhões que não têm leitores de mp3, que são ouvintes de rádio; este projecto é para eles. Ou seja, com os outrros já não há nada a fazer, a ideiá é tentar evitar que estes fujam antes que...

«’Gen-Y’ Media Use & Attrition», Bridge Ratings, 14/03/07

«Reaching this mobil generation through marketing has become a challenge and building relationships with them is the key whether the product is an energy drink or media. Some of the keys to unlocking access to this generation are: Creativity - New generations are considered "digital natives"; text and graphics are a bigger part of their digital world than even audio and video content. Marketing/Advertising will need to evolve so that it can deliver dozens of targeted creatives instead of a few "one size fits all" commercials.

Language - Gen-Y uses instant messaging (IMing) as their primary communication choice. Email is no longer a factor for this life group - it's just too impersonal and not immediate enough. Language of abbreviations and slang fill their text messages. Marketers must learn this language and use it to communicate.

Content - Developers of media content are ignoring the interests of this generation and they cannot understand why. News, for example, is commonly believed to be of little or no interest to Gen Y, but to hear members of this life group tell it, there is nothing further from the truth. More realistically, Gen Y is bored with the same old presentation and news stories that don't cater to their tastes.»

«’Gen-Y’ Media Use & Attrition», Bridge Ratings, 14/03/07 

«(...) Stritch, like many colleges and universities, is targeting Generation Y, the collective term for the 71 million Americans born between 1980 and the late 1990s, that is notoriously difficult for advertisers to reach. They shun their parents' brand loyalties, consume traditional media in smaller amounts than previous generations and are skittish of being directly marketed to. But Stritch, which is in Fox Point, and some other Milwaukee-area advertisers have found several key strategies they say are reaching the iPod set. Tools like podcasts -- broadcasts for iPods and other MP3 players -- and Web logs -- better known as blogs -- are popular because they combine technology in which students are versed with a more subtle marketing message. (...) Katie Fleming, a search marketing specialist for Germantown Web site developer Trivera Interactive, said Generation Y doesn't appreciate gloss and filters. "They just want to know the truth," she said.

fonte: «Advertising for the iPod generation», October 13, 2006, The Business Journal

«Além de questionar sobre os tempos livres, perguntei especificamente quais os media actualmente mais importantes na vida dos jovens. Nos dois primeiros lugares surgiram os mesmos que se destacavam na ocupação dos tempos livres a seguir a sair com amigos: televisão (76,8%) e Internet (72,7%).
O telemóvel surge em terceiro lugar (39%). A identidade e a sociabilidade de uma parte dos jovens passa pelo telemóvel. É mais nomeado do que os jornais (30,7%), a rádio (27,0%) e os outros media incluídos na pergunta. Os livros (11,6%) aparecem acima das revistas (10,8%) e do cinema (8,8%). Este aparecera como algum destaque nas escolhas dos tempos livres (23,7%) e como um dos géneros preferidos da TV (54,1%). Verifica-se assim uma versatilidade social semelhante à da TV, pois "ir ao cinema", um fenómeno juvenil inscrito com muita força na vida social dos jovens há mais de meio século, é em boa parte mais importante do que o próprio "cinema", que se pode ver na televisão em directo ou pelo DVD. Os media só de leitura (livros, jornais, revistas) somam 53,1% das escolhas, menos de metade dos 122,6% de media exclusivamente áudio e audiovisuais (TV, rádio, cinema, iPod, consola, DVD, CD).

Os media mais
Em 1.º, 2.º importantes e 3.º lugar para mim (%)
Televisão 76,8
Internet 72,7
Telemóvel 39,0
Jornais 30,7
Rádio 27,0
Livros 11,6
Revistas 10,8
Cinema 8,8
iPod 8,5
Consola 4,2
DVD 4,1
CD 2,0

Ainda quanto à televisão e à Internet: outras respostas apontam para uma curva descendente da TV e uma curva ascendente da web enquanto se é jovem. Dois terços (64,9%) dos jovens concordaram totalmente ou bastante que estão mais tempo na Internet do que à frente do televisor. Noutra questão, 67,2% concordaram totalmente ou bastante que vêem hoje menos TV do que há alguns anos. Este valor é consistente com um resultado dum estudo da Fundación BBVA divulgado esta semana em Espanha: 27% dos espanhóis disseram que vêem menos TV desde que usa a Internet. Mas, de novo, é preciso considerar quão resistente é a televisão: no meu inquérito, 81,3% dos jovens concordaram pouco ou nada que a TV esteja ultrapassada, que seja, uma perda de tempo. Acontece que os jovens a usam como querem, acham-se no comando: 84,4% disseram ser totalmente ou bastante selectivos nos programas que vêem. »

(resultados do inquérito realizado em Março com os  alunos de Eduardo Cintra Torres na Universidade Católica por amostra de conveniência junto de 1086 jovens dos 15 aos 34 anos, 2008)

TORRES, Eduardo Cintra Torres, «O uso versátil dos media pelos jovens portugueses», Público/P2, 10/05/08, pág 14, in «O uso versátil dos media pelos jovens portugueses», Netprof, 2008 [http://www.netprof.pt/netprof/servlet/getDocumento?id_versao=19219]

«

In 2008, this is all going to change.  We are now starting to see the next generation of music apps hit the web that no longer are beholden to the rules of Internet radio. These  music apps allow you to play any song you want, at anytime for free. Some notable next generation music apps that offer play on demand are Finetune, Jango, The Hype Machine, Grooveshark, and  seeqpod.  Spotify (in private beta) is extremely nice.  Over the next 6 months, we will see even more music apps released that let you listen to any song you want.

In the book ‘The future of music', authors Kusek and Leonhard write about a future where music 'flows like water'.  Where all songs are playable, on demand, anytime.  This is the Celestial Jukebox - the great jukebox in the sky that is ready to play any song you want.  2008 will be the year of the Celestial Jukebox - at least if you are sitting at your computer, You will be able to listen to virtually any song that you want, on demand.  The only time you will need to pay for music is if you want to listen to it on your iPod or your living room stereo.  And of course, in the not too distant future,  all of our devices will be connected to the net - when this happens, the Celestial Jukebox will really exist.  We will be able to listen to any song, at any time, at any place, on any device. » (ALBINIAK, Matt, The Celestial Jukebox is here May 24, 2008)

«The BBC has commissioned a new internet radio set that would allow listeners to see when their friends are online and what they are listening to. Olinda, a prototype design, could also be customised allowing listeners to make VoIP (Voice-over Internet Protocol) calls and send audio clips to their profiles on sites such as MySpace or Facebook.
The interactive radio is part of a drive to integrate social-networking tools with digital radio sets Olinda features a panel of six lights which notify listeners when a friend is tuned in, using Radio Pop, a BBC website set up for sharing listening information. Listeners simply press a button to tune in and listen to their friend's station. Other features proposed for the new radio include a 'Push to talk' button for Skyping friends and a 'Klippit' button for recording audio files.» BBC commisions 'interactive' radio Web User May 23, 2008 JJ O'Donoghue

«Terrestrial stations are (rather amazingly) still asking whether or not they should stream. When in fact the real question is how do you propose to make your stream easy and convenient to find and dramatically different from millions of alternatives?» More Internet Radio coming to a portable device near you 23/05/08

May 22: The latest digital radio sales figures are in - and they show that after 10 years there are now seven million DAB sets sold in the UK. After a very slow start, the DAB digital radio sets are now being bought at a rate of two million per year, thanks to a growth over the Christmas period of 28 per cent.

«(...) when I see a research conclusion stating this: "Those who listen to digital radio platforms do not spend less time listening to AM/FM radio," I question whether we're reading the truth or reading a sentence which is intended to promote comfort. (...) First, change always comes at the margin. So the conclusion that most folks DON'T do something obscures the obvious trend - that more folks DO do something. As the study notes: "Thirty percent of Americans age 12 and older own an iPod or other brand of portable MP3 player; this figure has risen from 22 percent in 2006 and 14 percent in 2005. More than half (54 percent) of those age 12-17 own a digital audio player." It is inconceivable that this statistic will not impact radio listening and Arbitron's own TSL data (along with my research data) indicate that these demos are the most at risk. Second, listeners do not consciously consider trends in their listening so it is invalid to ask such questions and make sweeping conclusions about the impact - or lack thereof - of new audio options on radio listening. Let the results - the behaviors - speak for themselves. And those behaviors are clearly recorded in Arbitron diaries and via PPM.» Mar Ramsey, "Relax, iPods don't hurt Radio" 20/04/07

«Millennials are hungry for more control over when and where they access rich content. The ability to time-shift with DVRs and have access to HD programming were both highly desirable features: (...) "Millennials are now looking to make their connectivity more personalized and take experiences from 'primetime' to 'my time.'" (...) Millennials further expressed their "on demand" mind-set, indicating they prefer to watch programming or access content on their own terms and timeline, regardless of where that content originated: »

«Grooveshark was founded in 2006 by three University of Florida students determined to accomplish what the music industry couldn't - make purchasing music online easy, enjoyable and worthwhile. Grooveshark is the ability to find and listen to any song, share and receive personalized recommendations and purchase music at a fair price with the knowledge that the copyright holder will be paid. Today, Grooveshark has grown to a team of 40 passionate employees dedicated to creating the best online music experience possible - a goal that doesn't end, but instead will allow us to grow and evolve with our users.»

(este não é nem pode ser um espaço de recomendações ou mesmo de análise do que pode fazer a industria; há muitas coisas que escapam ao âmbito deste estudo; um exemplo:)

«What Should You Be Doing Now?
1. Create a new level of client intimacy. Be generous with your time and your ideas. Show clients step-by-step plans to grow market share.
2. Increase internal sales training. Teach critical principals to your sales team until they can do them in their sleep.
3. Focus on the creative message of the client. Increased frequency won't make as much difference as a strong message.
4. Practice what you preach. Increase your station visibility in the marketplace to your audience AND your advertisers. Give clients good reason to have you on their short list of places to advertise.
5. Create more product offerings. Seek new and fresh products to create interest from clients previously not engaged.
6. Set up client training retreats. Bring in outside experts to teach them how to grow their business now.
7. Be different. What can you do to be undeniable?
8. Do the math. More sales calls equal more sales. Increase activity.
9. Increase the size of your sales organization. More sellers make more sales.
10. Increase management involvement. Get out from behind the desk and out on sales calls. Your expertise is valuable to clients.
11. Increase learning. Read more, study more, train more.»
Eric Rhoads, Expecting The Unexpected: Recession Strategies For Radio Radio Ink, April 15, 2008

Jerry del colliano acha que sim:

«But what if -- while technology is feeding the growth of the next super-iPods -- radio broadcasters increase their playlists on their terrestrial stations and streams.
What if -- instead of receiving only the iTunes Tuesday new music email, WXXX or KXXX sends me all the new music in their genre. I can click and listen. I can buy (it might be so convenient I'd actually pay). I can get lots of info about the band, the singer, the inside story.
What if -- instead of trying to get young people to listen to streaming radio on their cell phones (isn't going to happen), they get in the business of -- dare I say it -- Helping young consumers to load their content on Apple's 500,000 song iPod when it arrives.
There's no time to waste.
Instead of cursing the dark. Light a fire.
The best thing that can happen for the radio industry -- the greatest entertainment content providers in the world -- is to have a new MP3 player on the market that stores a half million songs or 3,500 movies.
See what I mean?
This is an opportunity to form another stream of income. A good one.» The 500,000 Song iPod 15/04/08

Primeira nota: rádio é conteúdo, é o conteúdo que define a rádio (não é a tecnologia). Rádio é, portanto, um conteúdo sonoro programado de certa forma e transmitido num único fluxo (emissão síncrona ou linear).

Enquanto existir esse fluxo (de voz ou musica) transmitido linearmente estaremos a falar de rádio (não há, portanto, rádio personalizada, o Last.Fm não é rádio, o cotonete não é rádio); isto não significa que um operador clássico de rádio convencional não possa, além do seu ’core business’ que é o tal fluxo linear, ter outras ferramentas, assíncronas, que tanto podem resultar da emissão linear (hertziana ou streaming) como de novos conteúdos: podcasts, arquivos ou mesmo de ’smart radio’ (last.fm ou cotonete).

A partir do momento em que não haja um fluxo sonoro contínuo e único já não será correcto chamarmos rádio. Da mesma forma que ninguém diz que está a ver televisão quando vê videos no Youtube, tambem não fará sentido chamar rádio a conteudos de personalização ou assíncronos. Chamar-se-á o quê? Ninguém está em condições de responder.

Se a tendência de personalização se confirmar, é claro que as emissões de consumo passivo (a rádio convencional) serão cada vez mais minoritárias. Continuará a haver ouvintes interessados (por várias razões) mas se as receitas publicitárias são cada vez menores, a partir de um certo momento deixarão de ser rentáveis (suficientes). Não haverá uma massa crítica ao nivel da quantidade de ouvintes e das receitas suficientes para viabilizar o negócio.

A industria da rádio terá, portanto, de encontrar alternativas. Ao nível dos conteudos, proporcionados pela digitalização.

Existirá rádio enquanto o fluxo existir; deixará de existir rádio quando o fluxo de programação sonora for desactivado.

«Channel 4 is reportedly in talks with electronic manufacturers to create a small branded DAB digital radio plug-in for iPods and mobiles phones, and hopes to makes them available for no more than £20.
A similar device is already available for the iPod and iPhone from Roberts Radio for around £50, but a Channel 4 branded device, launched with the marketing power of national television stations, could help DAB secure a long term future».

de Tim Westergren (Pandora):

«Hi, it's Tim,
I hope this email finds you enjoying a relaxing Memorial Day weekend. I’m sorry to intrude on your holiday, but Pandora urgently needs your help.
As you may know, the future of Pandora and all of Internet radio is in jeopardy because of astonishingly unfair royalty rates that the RIAA has fought for in Washington. To fix this problem we urgently need the intervention of Congress.
I'm sending this specifically to you because your Senator, Charles Grassley, is on the critically important Senate Judiciary Committee, but has not yet become a sponsor of the Internet Radio Equality Act (S. 1353) which would set Internet radio royalties at the same level as satellite and cable radio. Over 150 members of Congress have already sponsored this bill but we really need your Senator's support.»

«SIMPLE AND STRAIGHTFORWARD: CC LAUNCHES MUSIC PORTAL ‘IHEARTMUSIC’: Clear Channel beta-launched its new music portal last week, (interestingly) named IHeartMusic.com. It’s in the traditional of large media music portals (think AOL Music or Yahoo!Music), with photos, music news, lyrics, ringtones, and interviews (plus there’s a surprising amount of free “on-demand” music). The site also serves as a gateway to the streams of Clear Channel’s massive roster of broadcast stations, easily searchable by format or market (and there’s lots of links to CC’s eRockster too). Edison Media’s Sean Ross, in “The Infinite Dial,” correctly points out (here), that the simple navigation doesn’t convey significant differences among stations with similar formats (“Right now there’s no additional guidance on which Kiss is which, or whether somebody casually scrolling through the Classic Hits pages might want the older skewing WOKY Milwaukee or its newer leaning and very different sister WRIT.”). But IHeartRadio.com does make it easy to “get to the listening” quickly.» MALONEY, Paul, Clear Channel music portal review; Hanson reprises intern gig for "Big 89 Rewind "RAIN, 23/05/08

«Skip Pizzi, in a Radio World Online article titled “Lead, Follow, or Get Out of the Way,” eloquently explains why the digital future needn’t mean certain demise for radio’s old guard, but rather is an opportunity for experts with “considerable experience and existing infrastructure to develop well-crafted new services that cannot be easily matched by less skilled operators or automated processes.” As technology allows consumers to “program” their own music via playlists, “scrobbling” (Last.fm), and user-feedback shaped programming like Pandora’s, some see human radio programmers becoming redundant. But Pizzi suggests that by combining the effectiveness of new tools with their expertise, broadcast professionals can do an even better job (he makes the parallel with electronic drum machines, which didn’t replace human drummers; it helped drummers do more).»

MALONEY, Paul, Clear Channel music portal review; Hanson reprises intern gig for "Big 89 Rewind "RAIN, 23/05/08

«Desde meados de Março até ontem que o endereço www.myspace.com digitado a partir de um Internet Protocol nacional estava dirigido para uma versão experimental. O suficiente para captar 300 mil utilizadores portugueses registados e activos, garantem os responsáveis nacionais da comunidade "online".

Esta é uma gota de água num universo de 115 milhões de perfis registados a nível mundial mas, mesmo assim, um começo considerado "promissor", até porque também foi essa base de partida da versão espanhola da plataforma. "O nosso objectivo é ter conteúdos dirigidos a cada comunidade local e Portugal já regista um número de utilizadores que se justifica", afirma James Fabricant, "director of entertainment and video" para a Europa»

28-05-2008] [ Catarina Carneiro de Brito, Jornal de Negócios ]  MySpace Portugal capta 300 mil registos mesmo antes de existir

«Discover new tracks and build your music library with Radiotracker Platinum 4 from Avanquest Software
Avanquest Software, a leading developer and global publisher of best-selling personal and professional software, has launched the latest version of its award-winning* music finding software. Radiotracker Platinum 4 legally^ retrieves your favourite music from internet radio stations, downloading files directly to a PC in MP3 format for free.
Find your favourite music
Searching over 15,000 web radio stations, Radiotracker will identify, target and deliver music to create a collection tailored to the user’s preferences. The ‘MusicFinder’ wish list allows users to select their desired tracks from a self-updating catalogue of over 100,000 artists from 15,000 Internet radio stations. Radiotracker Platinum 4 will then target the stations that play the desired tracks and deliver them automatically to a PC.

«Podcast audience is growing “tremendously.” That’s according to Edison Media Research, which found the number of Americans who downloaded and listened to an audio podcast grew from 13% to 18% in the past year. Edison Research VP Tom Webster says stations should create as much "podcast-able content" as they can. Report HERE.» Inside radio, 28/05/08

De acordo com o estudo: 12-17 anos 15%, 18-24: 13%; 25-34: 21%; 35-44: 21%: 4-54: 20% (slide 12)

38 free/cheap music sites — Welcome to the fray, Qbox!

- «No single strategy for listening to music online has come to dominate the market, as record labels, managers, artists, fans, Apple’s music offering, Internet radio and recommendation companies all jockey for position. But one thing is clear above all the din: Fans will not be denied their music — and most want it free.

- We tell you what the service does, what its business model looks like, and whether it lets users stream or download, among other things. The most useful categories may be 1) what we’ve termed “musicability,” or how easy can you find the song you want (this may be the best way to pick a potential favorite), and 2) “genre,” or how easy it is to search through a particular genre of music. Both are rated on a scale of 5.

-despite copyright restrictions, many of the sites manage to share music legally; others are dubious but are surviving anyway. We’ve most definitely missed several — we haven’t included most torrent or peer-to-peer (P2P) companies because there are simply too many of them and the majority operate illegally.

NOTAS essenciais:

- duas formas de difusão: streaming ou downloading (alguns tambem em telemoveis, iPhone

- Modelo de negócio: publicidade (audio ou banners), versões premium e vendas associadas (amazon, por exemplo

- A legalidade de alguns espaços é discutivel

A grande diversidade é na classificação destes sites: tanto são music search engines (ou search and discovery music engine ou jukebox/music search engine), como «music storage space», social music downloading, social music service, social music site, social network media site (ou social network service), music store, social media radio site, social music locker, social music blogging, online music locker, music storage locker, music radio, online music service

«“The days of the ‘lineup’ are numbered,” Mr. Wolf said. In other words, with fewer viewers watching linear over-the-air television, networks can’t assume that a heavyweight lead-in like “Dancing With the Stars” will keep viewers watching all the way to the late local news, a pattern that has helped networks introduce new shows.

It may also mean that matching up programs becomes less important, or at least less potentially damaging. Last fall’s powerhouse Thursday at 9 p.m. match-up — ABC’s “Grey’s Anatomy” versus CBS’s “CSI” versus NBC’s “The Office” — was a scheduling move influenced by time-shifting. All three shows are popular among the young, upscale viewers who record and stream shows most often.

“I think that scheduling decision would have been a lot harder to make in a non-DVR world,” said a senior network executive who spoke on the condition of anonymity in order to be candid about the issue. “It would have been more of a zero-sum game then.”»

New York Times, In the Age of TiVo and Web Video, What Is Prime Time? Brain Stelter, 12/05/08

 The Control-Variety-Choice architecture of TiVos/DVRs and the Internet, especially due to the growth of network television sites that offer shows like The Office and Lost whenever you want to see it.

We saw this in our Tech Poll IV in a new question that revealed that four of every ten Rockers now have a TiVo or DVR.  The implications of this are obvious if you're in the TV business.  But what if you're in radio?

At what point will "morning drive" not hold its traditional lead over all other dayparts (aside from PPM)?  When will radio have a podcasting model that makes it convenient for fans of morning shows to be able to easily time-shift their listening?  (And keep in mind that if a PPM respondent listens to a podcast within 7 days of its original airdate, it "counts" in the ratings.)

«Young people consider online video content more of a necessity than cable television. They love their Macs. Content piracy is not as prevalent as you may think. And digital video advertising is a necessary evil. (...) 48.2 percent of teens 15 to 17 say they occasionally or frequently watch television programs online (53.5 percent male, 42.9 percent female); 41.8 percent of adults 18 to 24 say they occasionally or frequently»

fonte: Young People on Digital Content Jack Myers 28/05/08

Ideias a partir do artigo MORAIS, Maria João, «As novas faces da rádio», Meios & Publicidade, 23/05/08, pags 30-31:

-  «diversificar a oferta, segmentar os ouvintes, e alargar o alcance do meio são alguns dos motivos que os players ouvidos pelo M&P destacam»;

- transferência dos ouvintes provenientes dos suportes tradicionais para a Internet (Jorge Alexandre Lopes, RDP/RTP)

- a internet permite que as rádios não estejam reféns do formato que possuem na antena; ir ao encontro de nichos de interesse musical; a internet alarga a oferta e tambem o espectro de ouvintes»; canais temáticos são encarados sobretudo como um 'complemento da estação' (Pedro Ribeiro, Comercial) [PORQUÊ, porque é que não podem ser independentes, marcas novas?]; canais da Comercial sem spots; consumidor estará receptivo a mensagens de teor publicitário? [alguma forma de publicidade terá de haver]

- grupo Renascença aposta em 'canais temáticos musicais, montados a partir de marcas muito conhecidas e emblemáticas do grupo renascença' (JLRPinheiro)

- Cotonete: desde 2001 380 canais temáticos, 60 mil rádios pessoais, um milhão de utilizadores unicos por mês, inclusão de conteúdos próprios, particularidade 'inovadora a nível mundial'; é um sucesso em termos comerciais; o portal tem apresentado diversas soluções ao mercado que não se cingem ao tradicional banner, mas englobam o video, audio e imagem (Carlos Marques, director geral)

- mais do que o lucro, nesta altura é o retorno da infuência; duvidas quanto à viabilidade tem atrasado lançamento;

10% dos ouvintes escuta a  rádio atraves da Internet (JAL); internet permite conhecver o perfil dos ouvintes, bom para os anunciantes (que podem focar-se nos alvos pretendidos)

- a fragmentação tenderá para o limite, que é o individual(...) os programas mais populares  serão aqueles que forem escolhidos individualmente por mais pessoas' pelo que o enfoque vai passar a estar em cada um dos conteudos' (JAL)

- apesar da existencia de canais feitos à medida de cada um, muitas pessoas vão continuar a precisar de um programador que faça a selecção do que ouvir' (CM)

«What are you doing with Clear Channel and why?
It's a trial that we'll be running on some of their Web sites this summer, where they'll be offering personalized Pandora playlists. Companies like us are always wise to look at new distribution partners. If we can get Pandora in front of more people, that's nothing but good. I would be surprised if Pandora's future doesn't have a fair number of distribution partners like this.
CBS Radio is offering a similar personalized DJ service. Any concern about terrestrial radio companies offering more interactive features on their Web sites?
All the terrestrial broadcasters are very actively beginning to implement or planning online extensions. That's all competition for listeners. We pay attention to that and need to react to it. The Clear Channel implementation is run by them-they pay the licensing, they handle the economics of it. The only reason it works is because it's not their main business-they don't pay royalties on over 90% of what they broadcast. So all this leads to a discussion of royalty payments.»

Six Questions With Pandora Founder Tim Westergren Billboard May 27, 2008 - Digital and Mobile By Antony Bruno, Denver

«But today, "media r us." Media are people. People aggregating and collaborating and interacting and discovering and discussing - wherever they want, wherever they can. Media are no longer radio and TV and print. When the audience, not the broadcast-industrial complex, is the media, then where does radio fit in? What is our role in this new math?It is not simply to add the Internet to our solutions and call it a day. It is to fundamentally reconsider the world from the perspective of the consumer, the listener - not from the perspective of the broadcaster. In other words, it’s not about what you want, it’s about what they want. And it’s about what you have that uniquely fits into what they want. I have yet to see any major radio organization consider the world from this perspective. But that’s going to have to change.»

fonte: RAMSEY, Mark «Media r Us» Hear2.0, 28/5/08

«My view is that terrestrial radio is now a destination entertainment medium for available listeners – older members of Gen X and the baby boomers (...) Beyond that – radio has little future as of this moment. That is, if radio is defined only as a 24/7 terrestrial signal. On the other hand if radio content providers, marketers and sales people can embrace alternative ways to entertain Gen Y – not as easy as it sounds – terrestrial radio operators could be the fortunate drivers of mobile, Internet and WiFi entertainment for a youth generation that rivals baby boomers in population. (...) The future of broadcasting without the next generation -- options, strategies, challenges. There is no better content provider on planet earth than radio talent for producing content. But there is no need to produce 24/7 programming online. I am not saying that there won’t be streaming stations on the Internet to replace radio for Gen Y – there will. But the radio station of the future may only provide three hours of programming a day – that’s right, a day – and deliver it on a cell phone or mobile device. And, yes, there will be ancillary ways to monetize this concept.»

COLLIANO, Jerry del, «The Next Generation of Radio – On-air, Online, on Mobile Devices  29/05/08

«In the Spring of 2007, if one aggregates all of Arbitron's diary markets (essentially the whole country except for Philadelphia and Houston), the weekly listening was as follows:

Not a College Grad: 18 hours 45 minutes
College Grad: 15 hours 45 minutes

Incredibly, I've never seen this talked about before, despite the fact that it has been possible to find this data all along. But this finding actually understates the difference. That's because the 'non-college-grad' group includes all the teenagers, who have always given significantly less Time Spent Listening (TSL) to radio. So look at the numbers if we look at listening among 25-54 year olds:

Not a College Grad: 21 Hours 15 minutes
College Grad: 15 hours 45 minutes

Wow. As you can see in Figure 1, below, college grads listen to five and one-half fewer hours of radio per week, on average, than those who have not attained a college education.

Figure 1

Is it that the programming available from commercial radio is just not appealing enough to college graduates? Has our programming simply chased college grads away from the dial? Or is it that college graduates just have less time available for radio listening and more income to buy replacements like iPods and Satellite Radio, and it is not a function of the programming?» fonte: «Has Radio Lost the College Grads?, Edison Media Research, Larry Rosin, Maio (30?) 2008

«There are opportunities for radio to begin to close this gap. Technology offers us the opportunity to evolve our relationship from one to many to one to one. There are several companies out there that offer radio-centric applications that allow you to engage your audience one listener at a time. The best ones allow you to track that engagement across different platforms like text and streaming. Every radio station needs to have a direct relationship with as much of its audience as it possibly can. Permission is the asset of the future and radio’s unique relationship with the audience, if respected, can be utilized to build a tighter, more relevant, one to one bond. Eventually, this bond and the engagement created by it will yield more advertising revenue than running spots», AGOVINO, mike, Thoughts On Radio’s Reinvention—Part II, rbr.com 29/05/08

A LAst.fm é provavelmente a melhor colocada para ocupar na musica o espaço que a Google ocupa relativamente aos motores de busca, o YouTube no video, a amazon e a ebay nas compras ou a wikipedia no conhecimento. Mas não há um lider claro. A Last.fm vai à frente.

Fundamentalmente esta nueva radio desarrollará nuevos formatos especializados con una gran sinergia e interactividad de contenidos y servicios entre los diferentes soportes digitales. De lo contrario ocurrirá lo que ya presagió Bertolt Brech en su Teoría de la radio en 1932, que teniendo todos los canales disponibles, no tengamos nada que contar: "[la radio] tiene la posibilidad de decirlo todo a todos, pero, bien mirado, [hay que tener] algo que decir". O aún peor, que lo que la radio cuente, no interese a los oyentes de la era digital (Martínez Costa 2004:11).

Brecht é provavelmente o autor mais citado da história da rádio, porque junta - fundamentalmente - duas qualidades; o seu pioneirismo histórico e uma perspectiva disruptiva face à rádio do momento, que foi alias a rádio durante muitas décadas. Isso fê-lo manter actual sem que nada do que disse alguma vez tivesse acontecido (!). finalmente, faz sentido cita-lo, porque aquilo que disse há 80 anos está a acontecer. Brecht sem ser um académico (?) foi sobretudo um visionário que desenhou um projecto de interactividade para a rádio que basicamente se mostrou impossivel durante 80 anos (de rádio) (ou 50 desde que escreveu). O tempo na rádio pode ser medido antes e depois de Brecht. Com uma particularidade: depois de brecht não é depois de brecht ter escrito sobre a interactividade em rádio, é depois de ter acontecido o que Brecht escreveu...

Isto significa que tudo o que Brecht disse é hoje actual ou, mesmo, válido? Claro que não: «A utopia de Brecht, de que todo o receptor de rádio deveria ser um potencial emissor, depara-se, desde logo, com um limite: saber quem vai ouvir tamanha cacofonia.
De resto, algumas das posições de Brecht sobre a rádio merecem ser sujeitas a uma análise crítica como o fez, por exemplo, Nicholas Garnham: “Brecht argued (demonstrating his technological ignorance) that it was a mere capitalist conspiracy that radio sets were not designed and marketed as transmitting as well as receiving devices, without realizing that he was talking about the telephone, which already existed on the market”
Garnham, N. (2000: 6 Emancipation, the media and modernity».

Concordo em parte, no que respeita à análise técnica de Brecht, pois aquilo que o autor também refere, não respeita ao público apenas enquanto emissor, mas essencialmente enquanto produtor de comunicação, o qual estaria sujeito à mediação profissional. Ou seja, colocar nas mãos do ouvinte a possibilidade de produzir conteúdos para a rádio representa uma abertura que o meio só aparentemente tem tido. Ainda que estes sejam depois submetidos à apreciação e selecção dos gatekeepers na rádio, na actualidade, o potencial multimédia e as plataformas de difusão digitais permitem gerir a cacofonia a que o Vitor se refere, e deixar nas mãos do ouvinte-utilizador, a escolha da cacofonia que pretende escutar…
Mas sim, a análise de Brecht é compreensivelmente limitada. Afinal, estavamos ainda na década de 1930 e meios como a rádio, eram ainda uma novidade. Tanto técnica, do ponto do vista da emissão e da recepção, como especialmente, um meio de comunicação social. Além de que, pespectivas posteriores, com maior ou menor influência de um pensamento economicista ou crítico, analisaram este incontornável contributo à sua maneira, tal como cada um de nós, tendencialmente faz.» (fonte: 2 respostas para “Play.it (continuação/update)” NetFM, 7/05/08

Não há nem haverá um YouTube para o áudio.

O áudio não tem competências suficientes para ser - por si só - um conteúdo primário.

O áudio tenderá a ser sempre (ou quase sempre), como hoje acontece com a rádio e genericamente com a música, um conteúdo secundário, de acompanhamento, de acumulação.

Por isso quando se fala em consumo activo não se está a comparar áudio com o vídeo (a pôr no mesmo plano), está a querer dizer-se duas outras coisas:

- que mesmo sendo apenas áudio, e resultado da vontade do público de intervir, o consumo será MAIS activo do que acontece hoje (que não nos limitaremos a ligar e a desligar e a escolher as estações, mas também a seleccionar conteúdos, a criar perfis, a actualizar programações em funções de gostos);

- que ao áudio, podem juntar-se outros conteúdos, esses sim mais primários, que permitem uma participação mais activa.

Ou seja,o consumo pode ser activo e secundário, globalmente. É secundário em resultado duma intervenção activa.

«Blogues e Blogosfera.pt», coordenação editorial Rita Espanha, Obercom Março 2008