«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)

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

«"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 

«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.»

«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

«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.»

«"What the concept of private-label Internet radio allows businesses to do," Lassoff says, "is reach very narrow demographics with the messages that are most attractive to them. If you want to target only young women living in condos, you could never do that with traditional radio. Private-label Internet radio allows you to do this with laser-like precision."
Meanwhile, private-label Internet radio gives advertisers complete control over not just the content of their ads, but the programming paired with that content.
"A financial company could produce talk-radio programming that delivered not just financial news, but special coverage and promotion of that company's family of funds and services," says Josh Epstein, sales manager at Internet Broadcasting Group.
Internet Broadcasting Group can launch a new Internet radio station for just a few thousand dollars, while a federal license for a new traditional station costs hundreds of thousands of dollars. Similarly, a new traditional radio station typically takes years to develop, but a new online radio station can be established in just a few weeks.»

fonte: 'Traditional radio is dying,' firm says

«Radio stations have embraced the reality that reaching an audience means going where that audience is.  And today, that audience is online.  The Internet has transformed radio into a visual medium where listeners can more accurately be referred to as users.  And by implementing social networking media, like personality websites, blogs, MySpace pages, and Facebook profiles, radio stations are reaching audience members with an unprecedented level of interactivity»

«la llegada de Internet a la radio ha multiplicado las oportunidades tecnológicas con que cuenta la audiencia para participar en el medio. De esta forma, a las tradicionales cartas, teléfono, buzón de voz y participación a través del vox pop (Herrera, 2003: 145-166), se suma hoy todo un abanico de nuevas posibilidades gracias al uso del correo electrónico, el chat, el sms, los foros, los encuentros virtuales, las encuestas o los blogs» (Herrera, 2008: 3) 

A autora estudou as novas modalidades participativas em rádios jovens (para publicos jovens): «En concreto, esta preferencia está motivada por el mayor entusiasmo con el que éstas han venido incorporando estas nuevas modalidades participativas, algo a su vez muy relacionado con la especial predilección que estas emisoras muestran por los cambios en general y por el uso de las nuevas tecnologías en particular» (2008,6-7).

e concluiu que:«en el último año y medio, todas las emisoras de radio para jóvenes están haciendo una mayor incorporación de las nuevas modalidades participativas. En algunos casos, esta acogida se está haciendo de manera muy intensa y entusiasta si bien el planteamiento queda un poco diluido al estar estructurado por programas en lugar de por modalidades. (...) parece que la tendencia de dar cada vez más espacio y posibilidades para la participación de los oyentes se incrementará y dotará de nuevos contenidos. Por lo demás, se prevé que los nuevos planteamientos no sólo acojan las nuevas modalidades para la participación que permite Internet sino también las posibilidades participativas que surgen con la llegada de la denominada web 2.0» (11)  

«No cabe duda de que los últimos avances en este terreno han hecho de la interactividad un elemento fundamental en el surgimiento de una nueva forma de entender la comunicación, el ocio y las relaciones interpersonales.» (Herrera, 2004b: 12)

«De entre las numerosas encrucijadas a las que deben hacer frente hoy los medios, hay una especialmente grave. Se refiere a la relación entre los medios y los públicos. El laberinto parece tener los siguientes extremos: por un lado, parece aceptado que la audiencia es uno de los elementos más importantes en las profesiones de comunicación. Por el otro, sin embargo, sus profesionales huyen de un contacto demasiado cercano y comprometedor[ citando o antigo Director Adjunto y ombudsman de The Washington Post, Charles Seib, recogidas en Dader, J.L., “El acceso crítico a los medios”, en AEDE, núm. 7, 1983, p. 89.  ]. Así, con frecuencia, la intervención del público en los medios se acepta cuando se realiza para efectuar felicitaciones, aplausos y ayudas y sólo ocasionalmente fuera de estos propósitos. (...) es frecuente que los directivos y programadores argumenten que ellos son empresas privadas y que si hay alguien que tenga que juzgar su actividad, que sea el propio mercado el que lo haga. De esta manera, la participación del público en los medios queda reducida a los datos de rating y las cifras de audiencia son invariablemente utilizadas por los programadores como sinónimo de aceptación popular de su oferta. » (Herrera, 2004b: 1)

A industria do consumo passivo quer a vertente quantitativa do publico (as audiencias), A industria do consumo activo quer uma participação qualitativa;

«(...) las posibilidades de participación del público en los medios van mucho más allá de su mera presencia en un dato de audiencia, con el que es posible estimar de manera aproximada el número de audiencia al que llega un mensaje pero que resulta claramente insuficiente para conocer aspectos más cualitativos. Por si fuera poco, en los últimos años todo este repertorio se ha visto multiplicado a partir de la interactividad que posibilitan las nuevas tecnologías, a través por ejemplo del correo electrónico, las áreas de charla, las encuestas y los foros» (Herrera, 2004b: 12)

Existirá, neste contexto, a tentação quer para sobrevalorizar a importância do consumo activo quer para subvalorizar esse mesmo consumo.

Uns dirão que tentados a controlar os conteúdos ou, apenas, pressionados pela adesão dos operadores (que incentivarão a esse 'activismo') cada vez mais gente quererá ter papel activo, se não produzindo, pelo menos seleccionando ou, no mínimo, interagindo*. Ainda assim, é correcto dizer que serão nos próximos anos uma minoria?

Outros dirão que há uma moda e que os indices de participação não aumentarão consideravelmente; o publico maioritário limitar-se-á a ouvir, à comodidade, à opção mais barata; que o consumo activo é um capricho;

Em que ficamos? Haverá cada vez mais gente a usar essas ferramentas.

Uma coisa parece certa: devemos colocar em dois planos a analise - a rádio hertziana convencional e a utilização da net;

* Fará sentido equacionar três níveis de consumo activo:

- mínimo, que corresponde apenas à interactividade (responder a um passatempo, pedir uma musica, emitir um comentário, sugerir a um amigo); é um passivo-activo

- médio, que corresponde à 'customização' ou personalização (escolher, recusar, intervir no produto); criar uma playlist ou uma selecção de podcasts/tags não significa o passo seguinte, da produção; ele limita-se a organizar, à sua maneira, os conteudos disponibilizados; é um activo-passivo, porque não cria, mas não aceita tudo o que lhe dão;

- máximo, que corresponde à produção (além de consumidor, também cria conteúdos, aproveitando ou não materiais disponibilizados pelos operadores, conteúdos que faz girar por diversas plataformas e que podem ser aproveitados pelos operadores e por outros consumidores - podcasts, por exemplo, mashups, etc); é um activo 

«(...) streaming would foster entirely new consumption habits for radio, first by making more stations available to listeners and then by changing the hours when people listen» (Evans/Smethers, 2001: 14-15)

«The radio Web site should be used to enhance the station’s image and make a further bond with the core audience. Much as Lind and Medoff (1999) suggested, the visual information that accompanies the audio signal at a station’s Web site is an important factor for drawing and retaining potential audience members. Moreover, a station’s Web site design may even be used to build new relationships with listeners. As one subject offered in commenting on this question,"The station’s Web site is not going to be just an enhancement, it will become the core of the station." (...) Other panelists suggested that an Internet presence offers much more than just serving as an extension of the station; rather, the Web site offers the potential to develop entirely new services and branding opportunities and, in the process, entirely new audiences» (Evans/Smethers, 2001: 14)

«Content will remain a crucial determinant of success for streamed radio stations. Each of the study's 50 participants agreed that content, specifically the programming offered via a station's streamed signal and the information and features presented on the accompanying Web site, will determine the success of streamed stations, just as programming composition determines the success of conventional broadcasting. As one participant noted, "Content is always the most crucial component. In radio, we say, 'You can't listen to a 'watt.'" You can only listen to programming. The carrier is a [minor] detail to the consumer/listener." (evans/Smethers, 2001: 9)

«Existing media companies have traditionally been in the best position to invest in the development of novel technologies. This advantage has customarily resulted in a pattern where the content and business operations of newer media forms mostly reflect those of the ancestral technology, (...). Consequently, because many Cyber enterprises have been launched by terrestrial broadcasters, the resulting Internet-delivered stations operate much as their over-air counterparts and largely reflect traditional radio content.» (Evans/Smethers, 2001: 6)

«The concept of interactivity has been the topic of considerable study, particularly regarding the Internet and multimedia (for example, van Dijk and de Vas 2001; Hanssen, Jankowski and Etienne 1996; Jensen 1999; McMillan and Downes 2000; Rafaeli 1988). Regarding web radio, Lind, Medoff and Rarick (2001) suggest that one of the factors for visiting web radio stations is the possibility of interaction with others. Other factors they mention include enhanced reception, the passing of time, information acquisition and entertainment.

A general description of interactivity has been proposed by Rafaeli and Sudweeks (1997) as 'a process-related, variable characteristic of communication settings. Like face-to-face ommunication, computer-mediated communication has the capacity of enabling high interactivity. One postulated outcome of interactivity is engagement'. Jensen (1999) has extended this description to a typology of communication patterns and has applied it to forms of Internet communication. He builds on the four information traffic patterns identified by Bordewijk and van Kaam (1982): transmission, consultation, registration and conversation» (van Selm et al, 2006: 267-268)

«According to the radio staff interviewed, the main distinction between web radio and conventional radio is the incorporation of interactive features into programming. Both interactive tools provided by BuZz, the archive and the chat box, were considered valuable by the staff of this programme.» (van Selm et al: 2006: 272) 

[EST ESTUDO, ENTREVISTANDO GENTE QUE TRABALHA NA RÁDIO E UTILIZADORES/OUVINTES, MOSTRA UMA GRANDE DIFERENÇA ENTRE AMBOS 273-274: «The above statements suggest a discrepancy between radio programme hosts and 'chatters' regarding the value assigned to interactions during the web shows. The focus group members expressed a degree of disappointment with the way in which the hosts incorporated the chat box into the web-based radio programme.» 274«This lack of enthusiasm for the contribution of chat box by programme hosts did not go unnoticed by listeners» 275)

«In summary, interactive media can facilitate two-way communication. It remains uncertain, however, whether radio programme hosts are adequately aware of the implications of programme hosts are adequately aware of the implications of this for their work. Their status as radio 'stars' is, in a sense, duced to that of facilitator or moderator of a website where lies are discussed and music played. » (van Selm, 275)

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

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

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

«The first experiment with web radio is attributed to the campus station at the University of Kansas that began continuous broadcasting via the Internet in December 1994 (Kaye and Medoff 1999). Commercial radio stations in the United States followed suit about a year later, and since then the number of stations with a web presence and form of Internet broadcasting has multiplied substantially» (van Selm et al, 2006: 266) 

[On Dec. 3, 1994, students working at the University of Kansas’ student radio station, KJHK, became the first radio station in the world to provide a live, continuous programming signal on the Internet.]

«Radio must loosen up control on content. Understand the true importance of mashups and consumer control of content. To proceed by building interesting channels based on topics and music genres will not be enough to win a meaningful market» (Jerry Del Colliano)

«They want to be your program director. In the past year I've observed how much this generation wants to "mash-up" or contribute to the entertainment they listen to. Hell, YouTube is the "mash-up" capital of their world. You can shoot it, add music, collaborate, stage it, fake it, steal it -- and you never need a PD (As a former PD this hurts me to write that line). Any radio strategy that doesn't include listener participation and active input will fail. Back in the 60's when stations first started playing "Instant Gold requests" on-air, listeners burned up the phone lines to call in a request. Radio hasn't gone very far beyond that.»
COLLIANO, Jerry del, Gen Y Consults Radio Inside Music Media, 14/04/08

O estudo Radio Next perguntou aos inquiridos qual a mais-valia da rádio AM/FM relativamente a outros concorrentes audio.

40 por cento responderam a facilidade/conveniência da distribuição, sendo que entre os 18-34 a afirmação ainda é mais clara (46%); em segundo lugar aparece os beneficios oferecidos pelos conteúdos exclusivos (30%), menos valorizados pelos 18-34, depois os beneficios dos conteudos não-exclusivos (20%) e em ultimo lugar o argumento da relação com a localização (13%) (slide 17).

Leitura a fazer: «For the moment at least, terrestrial radio continues to be valued by most Americans. This value hinges not so much on content but on a distribution advantage that may soon disappear. This points terrestrial radio in two strategic directions: 1. Aggressively develop and secure unique content. 2. Use its current distribution advantage to drive audience and advertisers to new platforms.» (slide 29)

«Universal WiMax would make it seamless for consumers to have Internet-based music, information, communication with them everywhere. The advantage that radio transmission now has -- it's everywhere and it's free -- would be reduced to one thing. It's still free. But consumers would likely pay a premium to get Internet on-the-go» (Jerry del Colliano)

«Arturo Artom, founder and CEO of Netsystem in Milan, concurred that the 1990s notion of convergence—the idea of a single box containing a television, computer, and telephone—is dead. “The future is making niche devices that perform tasks exceptionally well,” Artom said. At the same time, Warrior added, mobile phones serve as a “sharp multiplier” of access devices as increased digital functionality is integrated into them.Many new cell phones come bundled with features such as digital picture-taking, e-mail, MP3 music playback, video, and so on. Those kinds of feature add-ons are likely to continue in the years ahead.» (LAsica, 2007: 15)

«Aunque la interactividad no es algo nuevo en radio, la llegada de Internet ha venido a multiplicar las posibilidades con las que cuentan hoy los oyentes para dirigirse al medio. (...) Estas posibilidades - que se prevé se consoliden en un futuro cercano - ofrecen ventajas tanto para los oyentes como para los profesionales. La principal aportación que las nuevas tecnologías han supuesto para la participación de los oyentes ha sido el fomento de una mayor interactividad.(...) [83] En las disciplinas comunicativas interesa destacar sobre todo la denominada “interactividad conversacional” que, en la práctica, es la más relacionada con la participación del público en los procesos y productos comunicativos. Esta dimensión se encuentra presente, por ejemplo, en la definición que Jensen (1999: 59-60) propone para la interactividad, a la que define como “la habilidad potencial de un medio para permitir que el usuario ejerza alguna influencia en el contenido y/o en la forma de la comunicación mediada”. En similares términos se expresa Sádaba (2000: 148) para quien la interactividad es “la potencialidad de un sistema tecnológico de favorecer procesos comunicativos eficientes al permitir la presencia de elementos que hacen análoga la comunicación mediada por la tecnología al diálogo”. (...) En concreto, la interactividad se vehicula a través del correo electrónico, los foros, las encuestas o las áreas de charla. [84] Así, entre 1940 y 1980 la participación perseguía una finalidad lúdica, divulgativa y de entretenimiento, era numéricamente reducida y sólo se ubicaba en algunos tipos de programas como los concursos, los consultorios, los programas de discos dedicados y la denominada radio de beneficencia.(...) Desde los años 80, la participación de los oyentes ha experimentado una transformación sustancial. A las tradicionales finalidades lúdica, divulgativa y de entretenimiento, se añade hoy una finalidad diferente: la de que las llamadas sirvan para interpretar la realidad.[85] (...) en los últimos diez años, la llegada de los sistemas digitales a la radio ha otorgado un fuerte impulso a la noción de interactividad. Nuevamente, el mayor desarrollo está teniendo lugar gracias a la generalización del uso de Internet, ya que, al menos hasta el momento, la red aparece como el nuevo soporte de integración y convergencia en la era digital. En la defensa de Internet frente a otros soportes digitales algunos de los argumentos más citados son: la mayor sencillez ya que no se requiere concesión administrativa, el menor coste, la ausencia de fronteras y la existencia de un mercado potencial amplio y en expansión creciente [86]» (Herrera,2006:  )

Jensen, J. (1999) ‘The concept of interactivity in “interactive television” and “interactive media”’, en Jensen, J. & Toscan, C. (eds.) (1999)

Interactive Television. TV of the Future or the Future of the TV?, Aalborg: Aalborg University Press, pp. 59-60.

Sádaba, M.R. (2000) ‘Interactividad y comunidades virtuales en el entorno de la World Wide Web’,

Comunicación y Sociedad, XIII, 1: 139-166.

«In the US, eMarketer projects that the number of user-generated content creators will rise from 77 million in 2007 to 108 million in 2012. The content is being read, seen and heard, too. The number of consumers of user-generated content will increase from 94 million in 2007 to 130 million in 2012. “US Internet users are creating and consuming user-generated content in record numbers,” says Paul Verna, eMarketer Senior Analyst and author of the new report, User-Generated Content: In Pursuit of Ad Dollars, “across an ever-expanding range of online content that includes video, audio, personal profiles, avatars, photo sharing, Wiki entries and product reviews.” (fonte: «Can User-Generated Content Generate Revenue? eMarkeeter APRIL 17, 2008

«And of course, anyone can make great radio: from newspaper companies, tv, even banks and restaurants. The only difference with this form of great radio… is that you’ll not hear it on the radio.»

«According to the Radio Next study, released today at RAIN’s Las Vegas Summit, 38% of time spent listening to “radio” is via delivery modes other than terrestrial AM and FM broadcasts. That is, listening to satellite radio, cable radio, Internet-only webcasts, online simulcasts of AM/FM programming and podcasts accounted for well over a third of the total time spent with radio among respondents. Sponsored by Solutions Media Group, Ando Media, and this publication, the study also indicates all of online streaming (Net-only webcasters plus AM/FM streams) accounts for 16% of total radio listening (split evenly between the two); satellite radio and cable radio each account for 11%. Given that the study was conducted online and based on self-reporting, “the results are certainly a bit more ‘ahead of the curve’ than we’d see today in a study of the general population as a whole,” RAIN publisher and research vet Kurt Hanson admitted. “Nonetheless these results can certainly be considered a bellwether of where radio is headed in the near future.” And while AM/FM listening levels may be declining year to year, when growth of other modes of radio listening are taken into account, “listening to radio in all of its forms is almost certainly growing significantly,” Hanson also said.»

fonte: «RADIO NEXT STUDY: 38% OF RADIO LISTENING IS INTERNET, SATELLITE, OR CABLE RADIO”», RAIN, 14/04/08

«A grande idéia da web 2.0 é a troca de informações e de conteúdo entre os internautas. Mas aí há também uma armadilha: graças a essa facilidade, se perder na internet é a coisa mais fácil. São tantas as redes sociais que lembrar-se de atualizar seu perfil em cada uma já complica. Pior para quem é seu “seguidor”, que se desdobra para acompanhar o que você anda lendo, escrevendo, fotografando ou assistindo (perdoe o gerundismo).

Hoje há vários serviços que prometem desembaraçar esse imenso novelo. São sites que agregam várias redes sociais e programas de mídia social em um único espaço. Exemplo: junta-se em uma só página o seu blog, seu microblog, seu perfil no YouTube ou na rádio online Last.fm. A cada vez que se atualiza um desses serviços, essa mesma página também o fará, mostrando, de forma organizada e cronológica, todas as suas atividades digitais.»

«It wasn’t that long ago that terrestrial stations which stream crossed the 30% mark, and then the 33% level, and now John Blackledge at JPMorgan says “traffic at the terrestrial operators’ sites grew 3.8%” in February. While “traffic was down at all but six of the Internet radio operators.” Remember that we’re not talking about “listening”, or hours tuned or other measurements. This is unique visitors to Internet radio sites, sourced to Commscore Media Metrix and JPMorgan’s own estimates, and there are probably other sets of numbers out there. But Blackledge says the trend is clear: “We continue to expect unique visitors [to AM/FM-based station sites] to continue to post sequential and year-over-year growth in 2008.” Looking at all traffic: CBS-owned Last.fm jumped 39%, to hit 1.9 million unique visitors. (Expect more to come from closer ties between the CBSRadio stations and cousin Last.fm.) CBS sites grew 7%, Citadel/ABC sites grew 15%, NPR slipped 9% (“after record traffic in January”), while Clear Channel was off 1%. But Clear Channel still commands “an 18% share”, all by itself. Live365 was off 14%, Windowsmedia.com slipped 6%, though Pandora was 2% better».

«Nearly One In Four Americans Have A Profile On A Social Networking Web Site» (slide 37)

«Weekly Online Radio Listeners Much More Likely to Have a Profile Page on Social Networking Sites (38)

«Nearly 4-in-10 Weekly Online Radio Users With a Social Network Profile Page Visit About Once a Day or More» (39)

CONCLUSÂO:

«Take Advantage of Connections To Social Networking Web Sites» (56): Social networking Web sites are where younger music fans are now going to discover music and to interact with one another. Those who listen to online radio are much more likely to participate in social networks. Offline radio, as well as Internet-only radio, need to realize they are now part of an even broader world of online options and respond accordingly.»

«the medium is the message," and when you change the medium you change the message because, in part, you change what consumers can do and expect to do with that medium.

Take, for example, the world of TV as it adapts to the online world.

TV is chunked in programs just as radio is (In talk radio, a program is literally a show. In music radio, a "program" is really a "song.")

In most if not every case, the distribution model for TV programming online is by-the-chunk. Browse over to NBC.com and you "watch videos," you don't stream the network feed in real time.» Mark Ramsey

«Some have argued that the answer is Internet radio. So how does terrestrial radio respond? By streaming their radio feeds online. This is not the future. Developing new content for the Internet -- including new radio content -- could be the answer and yet few radio companies will spend the money or hire the talent to do so.
Can you imagine where a consolidator like Clear Channel would be today if when they closed on its 1,100th radio station they also decided to invest in 1,100 more "stations" -- totally new, totally different -- with podcasting and social networking options -- online. (...) Radio broadcasters are the best providers of content on this earth.

They're just providing it in the wrong place to reach future audiences.

Radio broadcasters can do more than format programming.

The next generation needs prolific podcasts on a myriad of subjects.

The Internet is a delivery system.

Radio is a content business»

Radio vs. The Internet Inside Music Media, 8/04/08

«The latest American Media Services telephone survey finds one-third of Americans have listened to radio online, and 53% of them have tuned in within the last month. 83% say they’re likely to use a home computer while listening online, while 43% say they tune-in at work. One out of ten also say they would use a cell phone or mobile device.»

fonte:Americans turn up the radio — online Inside Music 9/04/08

«Os consumidores de informação procuram mais do que palavras nas notícias on-line, preferem vídeo, áudio, conteúdos interactivos e infografias. Esta foi uma das conclusões do 9º Simpósio de Jornalismo On-line, realizado no fim-de-semana em Austin, no estado norte-americano do Texas.  (...) «Já não é só o áudio e vídeo. As pessoas precisam de algo para fazer», disse Alberto Cairo, professor da Universidade da Carolina do Norte, na sua intervenção no painel «Algo para as pessoas fazerem: Multimédia e Interactividade». O mesmo professor indicou que são as infografias que enriquecem conteúdos e fazem-no em três níveis: «instrução, manipulação, exploração», mas reconheceu que, embora os «sites» encham as suas páginas de funcionalidades gráficas, que estimulam o leitor, ainda há espaço para a narrativa linear. A directora de projectos interactivos da MSNBC.com, Paige West, afirmou que já nem se coloca a questão da interactividade. «Toda a gente o faz. Se não o fazem, deviam fazer», disse Paige West, acrescentando que a actual questão que se deve colocar é «como fazer» e integrar todos os componentes de uma história.«As palavras, o vídeo e o conteúdo interactivo necessita de ter um contexto. Tem de ser uma narrativa integrada», explicou ainda a responsável do MSNBC.com. Deste painel concluiu-se que o importante é ter algo novo e diferente para o leitor, uma ideia que se repetiu em vários outros painéis do simpósio. Numa ronda dedicada aos videojogos, Paige West explicou que para apresentar on-line um assunto «aborrecido» pode recorrer-se a um jogo. «Pode não ser algo muito interessante em texto, mas se deixarmos as pessoas controlar as variáveis, é extremamente estimulante», disse a mesma responsável. No painel «Os videojogos são importantes», os intervenientes concluíram que pequenos jogos podem ajudar a moldar o futuro do jornalismo. (...) A participação activa dos leitores foi também abordada ao longo dos dois dias em Austin, com a BBC, por exemplo, a apresentar a sua adaptação aos «blogs», ou a MTV a explicar como integrou o contributo do público numa rede social da estação.»

fonte: Internet: Leitores preferem conteúdos multimédia, Briefing, 8/04/08

A rádio parece ser propícia ao novo meio que a internet está a desenvolver/criar, a partir do momento em que o consumo d internet é multitasking (sobretudo entre os jovens); o audio, pelo facto de ser o único meio a depender apenas de um sentido (ler na net?), gera espaço para transmissão acumulativa (que pode ser rádio, sobretudo musical - a campanhia). Por exemplo, estar a enviar mensagens instantâneas (IMPs) e ouvir música; ouvir rádio?

Mas é preciso que a rádio musical se adapte; escuta secundária sim, mas nunca mais escuta secundária como antes (passiva);

[A INTERNET ABRE ESPAÇO/CRIA UM NOVO MEIO DE COMUNICAÇÃO, COM CARACTERISTICAS PRÓPRIAS, ALGUMAS NOVAS, OUTRAS EM RESULTADO DOS MEIOS CLASSICOS; MAS TAMBÉM PODE CRIAR CONDIÇÕES PARA A COEXISTENCIA DAQUILO QUE HOJE CONHECEMOS COMO RÁDIO, AINDA QUE EVOLUINDO E ADAPTANDO-SE; O CENARIO QUE SE ANTEVÊ É DE COEXISTÊNCIA E - SOBRETUDO - DE RIVALIDADE ENTRE OS DOIS, NA DISPUTA DE UTILIZADORES E DE RECEITAS PUBLICITÁRIAS; A GRANDE DUVIDA É SE O NOVO MEIO, MUITO MAIS PESSOAL E INTERACTIVO (E BARATO NA PRODUÇÃO), DEIXARÁ MARGEM/MASSA CRITICA AO VELHO MEIO, QUE MESMO ADAPTADO PODE NÃO CONSEGUIR GERAR AS RECEITAS SUFICIENTES PARA SOBREVIVER] 

A proposito da questão aqui colocada sobre o que será a web 3.0, imagine-se, perante a oferta de milhares (cinco mil, dez mil?) rádios on line, um software que funcione como alertas/tags para nomes de artistas, palavras-chave em (nome de) musicas, etc.

A partir de uma lista de termos pré-definida (e constantemente editável), posso saber não só que músicas (que me interessam) estão a tocar em qualquer site do mundo como - quando essa informação estiver de tal maneira organizada/generalizada - as que vão tocar e as que me interessam.

Dificil? «Mediaguide currently tracks the real-time airplay of more than 2,700 terrestrial radio stations in every state in the U.S. This allows Radio Companion users to see what is playing right now on any of their favorite radio stations with just a few quick clicks on their BlackBerry smartphone. They can then select the music track to have its details sent instantly to their email account, with a direct link to click-through and purchase the song online.»

[este cenário faz equacionar diversas questões:

- excesso de escolha exige uma forte capacidade de selecção (a busca avançada do Google já não chega...), sob pena de se tornar ingovernável; o utilizador também vai ter de se adaptar para esse consumo activo

- acentua-se a capacidade de controlo do utilizador (ele só ouve o que e se quer)

- é uma forma de valorizar os conteúdos classicos da rádio, ainda que já alterados; isto mostra que o consumo activo pode basear-se, pode partir da rádio clássica, desde que ela esteja na net, tenha o seu streaming organizado e anunciado e entre nas diversas redes de procura); isto mostra também que a escuta FM/AM é um anacronismo e que não tem condições para continuar a vigorar; que há espaço para uma emissão programada de rádio desde que se adapte às exigencias.

OUTRO EXEMPLO de como a rádio convencional pode tentar resistir, desde que se adapte - DESDE QUE EVOLUA (sem ser necessário transformar-se noutra coisa que não rádio): a rádio pode avisar os interessados das musicas que vão passar, de acordo com escolhas/opções/tags definidas por esses interessados previamente. 24 horas antes? 12  horas antes? cinco minutos? quando o utilizador quiser... Além de conquistar utilizadores que não estarão a consumir essa emissão (caso contrário não teriam subscrito os alertas - por email? por SMS?), conquista uma poderosa base de dados com os gostos desses utilizadores; gostos que não deve negligenciar se quer fazer uma emissão que se adapte aos gostos desses ouvintes. Além do mais, está a dar importancia, poder ao utilizador, seguindo aquilo que parece ser uma tendencia evidente.

«New technology continues to rapidly move into radio listeners’ lives. This year, the "big gainers" in terms of occupying their time includes streaming video, iPod ownership (and podcasting), and text messaging. Almost the entire sample now owns a cell phone and has access to a hi-speed Internet connection. Never have radio audiences had so much access to so many different entertainment and information sources. The notion of "Control-Variety-Choice" that we identified in last year’s "Bedroom Project" manifests itself throughout Tech Poll IV.»

«TechSurvey 2008», Jacobs Media, Março 2008

«A staggered rollout of CBS Radio’s webstreams to Last.FM is underway and includes all formats, including music, news/talk and sports. The announcement follows last month’s agreement that saw AOL tapping into CBS Radio for content, and Last.FM CEO Felix Miller hopes it will lead to more collaboration» (2/04/08)

«Now, the company is starting to inject its presence within Last.fm, acquired last year by parent CBS Corporation for $280 million.  On Tuesday, the parties confirmed that all 140 CBS Radio stations will soon be streamed within Last.fm.  A radio player will offer the range of stations for US-based Last.fm users, a selection that includes WCBS-FM (New York), KROQ (Los Angeles), WXRT (Chicago), and WVEE (Atlanta).  Content from the stations will also be "scrobbled" into the personal profiles of Last.fm users. 
The move is part of a broader initiative to integrate the merged properties.  "The content and distribution power between these brands is incredible, and we're tapping into that strength to greatly expand our digital footprints while significantly improving the user experience on all our platforms," explained Felix Miller, chief executive and cofounder of Last.fm.» (Digital Music News) 

«What's being missed in this announcement but is very much between the lines is this: CBS Radio listeners will be able to create customized versions of their favorite CBS stations online. Undoubtably, KROQ (for example) will soon enable you to create "myKROQ, powered by last.fm." This will usher in an era where there is no such thing as a "station stream," per se, since the stream will vary based on the tastes of the listener that "programs" the stream. There will be as many "streams" as there are listeners interested in hearing them, each branded by your station. Further, it's only a matter of time before this capability is shopped to groups outside CBS - by last.fm and others. For your consideration, what does "radio" mean when one station can have infinite flavors?» (Mark Ramsey)

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

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

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

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

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

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

There was a slight net positive radio TSL among…

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

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

Youth Radio slide 16

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

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

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

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

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

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

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

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

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

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

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

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

provavelmente haverá uma mistura de ambas

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

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

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

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