«O poder que tem o rádio de envolver as pessoas em profundidade se manifesta no uso que os adolescentes fazem do aparelho de rádio, durante seus trabalhos de casa (...)» (Meditsch, 2005: 144)
«Hoje, o rádio propicia intimidade ao jovem (...)» (idem, 148)
According to the latest study by Arbitron and Edison Media Research, The Infinite Dial 2007: Radio’s Digital Platforms:
«* iPod/Portable MP3 player ownership continues to rise. 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.
* Fewer than 10 percent report less time with over-the-air radio specifically due to time spent with their iPod/portable MP3 player. Seventy percent of Americans age 12 and older do not own an iPod/portable MP3 player, and an additional 15 percent report the device has had no impact on radio listening. Nine percent say they are listening less to over-the-air radio due to time spent with their iPod/portable MP3 player.
Among its others findings, Deloitte found that 71 percent of people 13-24--folks it calls Millennials-- still enjoy reading magazines, even though they know they can find the same information online. Of this group, 58 percent say they use magazines to find out what’s cool. “They prefer the [print] magazines because they are highly targeted and they are getting specific information they want, whether it’s fashion, star news or whatever it happens to be,” says Kern. “There is also a group that says ads in magazines are generally more effective than ads on the internet.” That's consistent with another Deloitte finding, that ads in traditional media are effective among all age groups, from 13-year-olds to folks of 75. Says Kern: “A lot of people thought consumers weren't paying attention to traditional media but they are.” One thing the Deloitte study did discern about young people that sets them apart from their elders is their power to influence others by word of mouth in the choice of media outlets and presumably advertised products. This 13-24 demographic tells 18 people on average if they find a web site or television show they enjoy, compared to only 10 people among all survey respondents. “We call that amplification,” says Kern. “Word of mouth and viral marketing are very important for this [13-24] age group. They are very fast at communicating. And one of the things they talk about most is TV shows.”»
fonte: «For young folks, old media's still cool», Apr 17, 2007
«Formats allow us to seek out a monotone mood with only the tiniest surprises. (...) those, especially young people, who are looking for community-building communication technologies that allow for independent, unconventional expression, are deserting radio for the Internet. . . . But I, and millions like me, don't have a radio station to listen to anymore. (DOUGLAS, 1999: 347, 356)
«(...) audiência mais ampla, que passa tanto tempo na Internet e jogando videogames quanto dedica à televisão, e não quer mais se incomodar com quando e onde um programa será exibido.»
fonte: «06/03/2007, MTV Networks reforça ação na Web para reconquistar espectadores»
, Por Kenneth Li
- Radio is a powerful vehicle for reaching kids and tweens. Radio reaches 90 percent of children each week, and they spend eight to nine hours per week with radio.
- Kids and tweens find radio commercials informative and entertaining. Spot load or annoying commercials aren’t an issue with this group.
- Kids and tweens respond to commercials. They are interested in the products and services being advertisedand frequently request that Mom or Dad make purchases on their behalf.
- Kids and tweens are very involved with radio. They listen with their friends, attend events, play contests and seek out music on the Internet.
- Radio listening fits in with children’s lifestyles. They get ready for school with the radio and go right back to radio when the school day is over. Nights and weekends also deliver strong numbers for children.
- As Children Grow, So Does Their Time Spent with Radio
(Kids 6/8; tweens: 9/11;
(«How Kids and tweens use and respond to radio»; Arbitron, Inverno 2000; Survey Dates: 2/3/00 - 3/29/00; In-Tab: New York 476, Los Angeles 537, Minneapolis-St. Paul 328. (...) During the placement call there was an initial screening question as to whether any children 6-11 lived in the household. If yes, the interviewers would proceed with a standard placement interview; if no, a thank-you and good-bye; Methodology for Callback Study: In-Tab: 358, Survey Dates: 6/23/00 - 7/12/00 Survey Methodology: The sample for the Children’s Measurement; Callback Study was drawn from the Winter 2000 Arbitron Kids’ and Tweens’ Listening Study. All in-tab households from New York, Los Angeles and Minneapolis were selected for recall)
«44% of the consumers under 24 years of age that we interviewed consider the Internet to be the primary way to listen to music. That number falls to 39% of those over 24 and only 18% of those over 35. The greatest potential for growth in this area comes from this over 35 group where 22% believe that the Internet will become their primary way to listen to music in the future.
Não há uma uniformização das classificações etárias.
Uma é esta: Kids - 8-12 anos; tweens: 9-14; teen(ager)s: 12-17
Outra (usada no State of the News Media 2007): teenagers: 12-17; young adults: 18-34
Outra (arbitron): kids (6-8) e tweens (9-11).
«For now, the new digital forms of audio are not only expanding the potential for listening beyond that of traditional radio, they are also attracting a different audience. Some of these differences are to be expected, but others are more surprising and subtle. To begin with, contrary to popular conception, teenagers are not necessarily the most avid consumers of new technology, at least not with new audio devices. Young adults, for instance, those between age 18 and 34, are the most likely to listen to Internet radio. Nearly 1 in 5 does so at least once a week, compared with closer to 1 in 10 of 12-to-17-year-olds.35 Teenagers, though, are more likely to listen to podcasts — 21% of people under 18 report doing so — but listening to podcasts is equally as popular with 35-to-44-year-olds, followed closely by people 25 to 34, at 20%, and 45 to 54, at 17%.36 The listening device that reigns supreme with youth is the MP3 player. A majority of U.S. teenagers (51%) now report that they own an iPod or some other brand of portable digital music player, according to Arbitron.37
Of the new audio formats, satellite radio attracts the “oldest” crowd, though it isn’t really old at all: those between 35 and 44 are most likely to listen to satellite radio. Of those surveyed in that age group, 24% said they listened to satellite radio, followed by 20% in the 25-to-34 age range and only 6% of those 18 to 24.38
2005 |
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Source: Arbitron, “The Infinite Dial: Radio’s Digital Platform”, April 13, 2006» (The State of the news media 2007) |
«Radio, in other words, is being used by teenagers as an escape route from family life and into what is described as the 'privatism' being sought for at a particular moment in their psychological and social development. This chimes with the observation by Barnett and Morrison that for all of us: «Television has become the 'social' medium, allowing the family to share a leisure activity in its own living room; radio, on the other hand, has become 'asocial' - a solo medium which is isolationist rather than communal. (1989: I). There are two important caveats to this casting of radio listening as somehow more 'private' or 'asocial' than watching television: first, it underplays the changing relationship between the way we use various media in the home, and secondly, it underplays the sociable dimensions of radio listening itself... First, then, the question of competing media in the home. In the years since Barnett and Morrison made their observation the number of television sets per household has risen considerably throughout the western world. Specifically, many teenagers are now just as likely to have a TV set in their bedrooms as a radio. (...) At the same time teenagers are no longer quite so dependent as they once were on the transistor radio as their means of withdrawal from the family: the better off among them are now likely to have their own CD players, computer games, even Internet access. These offer entry to a whole range of 'asocial' activities other than radio, and their presence in households appears to be making teenagers more discriminating - sceptical even - about the radio output on offer (Carroll et al. 1993)» (Hendy, 200: 127-1289)
«The other big audience challenge is youth. Most of my generation grew up with radio. Memories of that first car, that first cigarette, that first pint of heavy, are for many of us inextricably bound up with particular pieces of music, particular radio programmes or DJs. Today, while television can still capture children up to their early teens and the challenge is simply getting them back in their twenties, for radio, is there a generation growing up who are simply not introduced to the habit and may thus not get the point as they mature. Two thirds of today’s young mobile users have their phones on and within easy reach for between 21 and 24 hours a day. I earnestly hope that radio- possibly using the mobile as delivery medium - can capture at least some of that time.»
fonte: The Radio Festival - Certainty or Security? The Path to Digital, Stephen A Carter, Chief Executive, Ofcom, 4/07/05
«A new research study about emerging video services, conducted by Leichtman Research Group, provides important clues about what 18-34 men really want. While 4% of 18+ adults watch video online daily, it's 18-34 guys who make up a whopping 41% of that viewing. And these same young men account for over two-thirds of adults who view video on sites like YouTube every day. This is another key reason why morning shows aimed at these 18-34 men need to seriously be integrating video into their shows. Whether it's via webcam, YouTube-type collections of videos, or user-generated pieces, we're dealing with a new generation of guys that really enjoys this form of entertainment. Morning shows and other personalities that tap into that desire can really set themselves apart in a big way, growing their male fan base in the process.»
fonte: Jacoblog, Vidiots, 13/03/07
«iPod Generation» aparece (pela primeira vez?) num relatório da Ofcom com o título «The iPod Generation; Devices and Desires of the Next Generation of Radio Listeners», elaborado por The Knowledge Agency e com data de 23 de Julho de 2004. Nesse relatório não é dada qualquer informação sobre a expressão, mas é uma feita uma caracterização desses ouvintes:
- a média dos possuidores de rádios digitais é de 51 anos. «Younger people are listening to the radio noticeably less than their parents» (18-30 anos)
- «Youth” defined as 18-30 year olds;› Old enough to make their own independent choices and have their own listening patterns;› Old enough to be able to afford at least some of the relevant technology; • Moderate, but not bleeding edge technophiles; – Interested in new technology; – Internet and mobile phone users; – All personally own two or more examples of new technology (MP3, digital camera, PC, Interactive TV, digital radio, etc). • All listen to at least 1 hour of radio per day (mix of stations)»
- “I gave up on radio quite a while ago... I’d much rather listen to my own music... because there’s far less chance of hearing music that I’m going to want to listen to on any radio station”. (20-30 year old working man, Cardiff)
Berry fala em «wirefree' generation» (Will the iPod Kill the Radio Star?, Richard Berry, Convergence 2006; 12; 144)
«(...) at the Radio Festival 2005.6 A presentation on research carried out for the BBC by Sparkler not only discussed a fall in radio listening amongst 16–29-year-olds in the previous two years but, like OFCOM, gave radio’s lost audience a name: the ‘digi-life generation’: an audience which has grown up knowing digital choice, computers, the internet and mobile telephones (Gallie and Robson, 2005).7 This is an audience which communicates via text messages (SMS) and instant messaging and for whom using technology is easy and second nature. It is clear that for radio as a business to develop it should recognize these fundamental changes in the lifestyles and expectations of the audience. My own conversations with students reflect what the industry is hearing in their research. Young people are disconnected by contemporary broadcast radio and seek out new forms online or choose their own music over radio. Most cite poor commercials, overly tight playlists and stations that do not target them directly as their reasons for not tuning in as often as the previous generation did. It would seem that the notion of audiences choosing the least objectionable – or the least worst – is over, with no radio being preferable to unsuitable radio (MacFarland, 1997: 17).» Berry, 149
Trata-se de um conceito mais cultural do que demográfico, ou seja descreve mais um período cultural e não tanto todas as pessoas que nasceram depois de um determinado período de tempo ou numa geração. De qualquer forma, insere-se numa certa tradição, com origem nos EUA, de catalogação de pessoas com determinadas características. Douglas Coupland escreveu «Generation X» em 1991 para descrever aqueles que tendo nascido depois de 1970 viveram a sua adolescência nos anos 80, com determinadas características agregadoras (ao nível das experiências, da música, etc). Sucedeu-se a Geração Y, para os nascidos a partir da década de 80.
Não fax sentido falar por exemplo em geração Xbox se a XBox não marcou uma geração
«Ratings for rock radio stations have been languishing for years. The share of the 18-to-34 age group that is tuning in to alternative stations has shrunk by more than 20 percent in the last five years, according to Arbitron, while stations playing rap and R&B or Spanish-language formats have enjoyed an expanding audience. As a result, many rock programmers aren't sure what to play. "The format in the last couple of years has gone through an identity crisis," said Kevin Weatherly, program director of KROQ, a closely watched alternative powerhouse in Los Angeles. "You have stations that are too cool, that move too quickly and are only playing the coolest music, which doesn't at the end of the day attract enough of the audience. Or you have the other extreme, dumb rock, red-state rock that the cool kids just flat out aren't into." (...) Some analysts fear that, when radio stations switch from alternative rock to programming aimed at older listeners, they may be making a sacrifice. "Radio has ceded the younger demographic to other media," said Fred Jacobs, president of Jacobs Media, a radio consulting company in Southfield, Mich., specializing in rock. "I just don't know how we're going to get back people who didn't get into the radio habit in their teens," he said, adding, "It really becomes problematic down the road."».
fonte: New York Times, «Fade-Out: New Rock Is Passé on Radio», By JEFF LEEDS, April 28, 2005
«Encouraged by available bandwidth and interactive multimedia possibilities, consumers are now clamoring for new roles. Those Gadgetiers and Kool Kids* that we just mentioned are not only interested in consuming content in new ways – they also want to create, manipulate and mash it. Between July 2005 and July 2006, five of the ten fastest growing Web sites were portals for user-generated content: imageShack.com, Heavy, Flickr, MySpace.com and Wikipedia [“Social Networking Sites Grow 47 Percent, Year Over Year, Reaching 45 Percent of Web Users, According Nielsen//Netratings.” PR Newswire. May 11, 2006]. Consumers are clearly passionate about being editors, producers and directors. The falling prices of sophisticated media editing and recording equipment and software have put the tools of the trade within reach of almost any aspiring talent or wannabee. The result is a blurring and merging of the roles of producer and consumer, or a “prosumer,” as coined by Alvin Toffler [Toffler, Alvin. The Third Wave. Bantam Books. March 1980]».
fonte: «Navigating the media divide», IBM Institute for Business Value, 2007
* Expressão usada inicialmente num estudo da IBM, «Berman, Dr. Saul J., Niall Duffy and Louisa A. Shipnuck. “The end of television as we know it: A future industry perspective.” IBM Institute for Business Value. January 2006» cujas características essenciais são:
«Kool Kids, who also prefer interactive and mobile media experiences and rely heavily on content sharing and social interaction. It is these last two groups of consumers – the Gadgetiers and Kool Kids – that will likely lead the way with multichannel entertainment consumption.» (...) «Kool Kids think and act much differently than the other two segments. To them, devices and services are all about fashion and making a statement. Form matters more than function. However, they’re young – and their wallets are much skinnier than those of Gadgetiers, making price an issue. Their social networks tend to be faddish, rising and falling out of favor quickly». Ou «Kool Kids. Marcus, age 13, and Semana, age 15, are brother and sister. Both were exposed to high bandwidth networks as very young children and they experiment unflinchingly with media and platforms. While they have little disposable income, they follow all the latest gadget crazes. The mobile device is the centerpiece of their lives and they text message while doing one, two or three other tasks. Though their parents refuse to allow it in their presence, Semana and Marcus even do instant messaging on the TV set while watching favorite shows. Marcus uses his tech-savvy to try to bypass network blocks and content encryption in order to rip and share content. Likewise, Semana doesn’t worry about piracy warnings as she trades copies of CDs with her friends. Without thinking about it, both are heavily invested in media experiences and spend much time seeking TV episodes, current films and hard-to-find, cool niche content. Like practically all their friends, these teenagers have posted detailed profiles to several social networking sites, relying on those connections for media recommendations and most other aspects of their lives»
« (...) two trends as particularly disruptive to mainstream media: the rising popularity of user-created content and the move toward open distribution platforms. In fact, these two axes of change clearly delineate the old and new worlds of media. In the traditional world, content produced by professionals and distributed through proprietary platforms still dominates. But in the new world, content is often user-created and accessed through open platforms. These polarized tendencies mark the clear and present conflict between incumbents and new entrants.»
fonte: «Navigating the media divide», IBM Institute for Business Value, 2007
«A new media world has arrived. Pioneered by teens and gadget-savvy professionals, it has quickly spread into virtually every consumer segment, and started to encroach on traditional media. The number of unique visitors to MySpace.com has now surpassed the 50 million mark – something akin to the number of U.S. households that tune into the Super Bowl. Every day, consumers around the world watch about 100 million videos on YouTube – putting that number in context, the top 15 British primetime television shows combined attract about 100 million viewers, as do the top 4 U.S. shows.»
fonte: «Navigating the media divide», IBM Institute for Business Value, 2007
«Headline writers and cultural critics talk of an 'iPod Generation.' This can mean a number of things - sometimes it's just a shorthand way of saying "young people" - but generally it's used to depict a mind-set that demands choice and the means to scroll through ideas and ideologies as easily as a finger circles the wheel on the iconic front panel of an iPod. "It seems to me that a lot of younger listeners think the way the iPod the iPod thinks;' wrote Alex Ross in The New Yorker. "They are no longer so invested in a single way of seeing the world". (Levy, 2006: 4)
Alex Ross: «I have seen the future, and it is called Shuffle—the setting on the iPod that skips randomly from one track to another. (...) It seems to me that a lot of younger listeners think the way the iPod thinks. They are no longer so invested in a single genre, one that promises to mold their being or save the world.» («LISTEN TO THIS»,by ALEX ROSS, New Yorker, Issue of 2004-02-16 and 23)
«Some examples include Radio Arte in Mexico, an all-youth-produced bilingual community radio station that trains and encourages youth to develop self-expression through the broadcast medium (see http://radioarte.org); the South African show Youth Network Television (YNTV), created in 1995 by Ubuntu Television; Blast, a British Broadcasting Corporation initiative encouraging 13- to 19-year olds throughout the United Kingdom to get involved in media production, and Chat the Planet, a television show and Internet community that connects groups of young Americans aged 15 to 25 years with their peers around the world, via satellite, for honest dialogue (see http://www.chattheplanet.com).» http://www.un.org/esa/socdev/unyin/documents/wyr05part2.pdf