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Transistor kills the radio star?

3.0.2 O consumo passivo

Equivoco sobre a internet

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.  

A rádio não está a tomar conta do negócio

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.

O que pensa a indústria da rádio sobre o futuro

(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

DAB: parte do problema e não da solução

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)

A Internet pode ajudar a rádio musical (convencional)?

«(...) 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

 

 

Os grandes operadores de radiodifusão começam a chegar à net

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?»

 

O uso digital cria novas exigências à rádio

«"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

  

 

Clear Channel (EUA) «junta-se» ao iPod

«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

 

CBS compra mp3.com

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».

 

Pandora aproxima-se da rádio convencional?

«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

A AOL escolheu a rádio para relançar o seu serviço de música online?

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.»

A criatividade (talento) será a solução?

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.

Mesmo em casa a escuta está a passar para o computador

(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

As rádios da CBS (EUA) na net

«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))

Rádio EUA lança serviço na net

«CC TARGETS YOUNGER DEMOS WITH ONLINE MUSIC PORTAL/SOCIAL NETWORK: Clear Channel has launched an online music service and social network called eRockster, targeted to 13-34-year-olds. The service was actually introduced over the weekend at the California rock festival Coachella by the actor Eric Szmanda (from the CBS show “CSI”), who is credited as “producer and inspiration” for the service. Beginning May 2, eRockster will reportedly be made available from Clear Channel station sites including KYSR-FM/Los Angeles, WWDC-FM/Washington, D.C. and WRFF-FM/Philadelphia. ERockster content may also be ported to HD2 side channels and as an on-the-air syndicated show. “We want to be be playing everything from indie rock to hip-hop to classic rock to soul to dance rock,” Szmanda explained in a press statement.« fonte: «CLEAR CHANNEL LAUNCHES eROCKSTER FOR YOUNG ONLINE LISTENERS·Apr 29, 11:46 AM by: Paul Maloney»

Observação: é um serviço limitado à América do Norte; permite escolher entre varias opções, tem musica, tem videos, tem blogues, tem comunidade. É um compromisso face à emissão clasica, mas é tambem um avanço (permite selecionar, a partir da oferta existente, e construir a sua lista personalizada

«Clear Channel’s new radio station, or The Arrow, or Virgin Xtreme, or any number of other “music jukebox” channels, just play a mix of music which is suboptimal, for me, to that available from a computer program or a website - or, even, from a tightly tuned iTunes. Surely the future of radio isn’t just non-stop music jukebox channels? Can’t one-to-one technology do that job better? Or is the job of a programme director really just the job of a music scheduler these days?» (is all about music, James Cridland, 4/05/08)

«In addition to the streaming player, listeners also can use an on-demand feature and choose individual songs or entire CDs. The erockster playlist currently weighs in at more than 800 tracks, and will eventually feature a library of more than 5,000 songs»

Nem toda a gente quer ser utilizador

«Not everyone wants to spend time messing with configuration settings and preferences. We do enough of that stupid computer stuff already, right? Even geeks like me just want to be blown away by something fresh and new. Asking us to invent, quantify or define that for a Radio service provider is plain stupid. We like stuff, or we don’t. Maybe we can be persuaded something is good. That’s the battleground»

O recurso a redes sociais (estar ligado com os 'ouvintes')

«(...) 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.  A recent survey conducted by News Generation among the top-20 radio markets collected more information about which type of social media stations are using and the function they serve. (...) Among 36 stations surveyed, virtually every station reported that they use a webpage to provide extra publicity for the station and to stay connected to listeners.  Websites appeal to the active listeners/users who visit the radio station site almost as often as they tune to its frequency.  In order to satiate an ever-growing interactive appetite though, station websites must give their listeners more than what they can get on the air.  Dana Hall from Radio-info.com states, “Social networking through your favorite station is one arena where broadcasters should be taking their websites.”  Hall urges stations to go beyond their on-air format by offering web-only contests, expanded interviews with core artists, DJ blogs, systems for listeners to chat amongst themselves, and featured podcasts.  By utilizing more interactive tools, a station website can help define and sustain a station’s brand. (...) almost half of the survey respondents utilize DJ blogs, and several offer links to a DJ’s MySpace page or Facebook profiles.  Why throw listeners to external sources outside the station realm?  Again, that’s where the audience is.  MySpace currently services 110 million users and Facebook houses 59 million.  These users post their favorite photos, contacts, videos and songs and so naturally, their favorite radio station and DJ fall right in line. »

fonte: Station Listener Turned Station User, by Megan Heffernan, News generation newsletter, Volume 11, Issue 1 Primavera 2008

Com audiências mais fragmentadas, as comunidades de utilizadores são preciosas

«Stations will need to create their own communities of listeners, which will be defined by program, lifestyle, and consumer interests. The Cyber radio revolution may promote further audience fragmentation (Ganchiff, 2000), an understandable prediction, considering that Web distribution could potentially bring about the birth of thousands of new stations competing for listeners. Radio’s natural ability to program to narrowly defined audiences will fit nicely with the Internet’s established ability to develop and cater to online "communities" of users. Therefore, the successful Cyber stations will be the ones who  can further identify and develop relationships with targeted groups» (evans/Smethers, 2001:13) RAZôES COMERCIAIS

O consumo passivo em momento de transição (industria resiste)

(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) 

«Although we would not want to exaggerate the suggested relation between web radio and communIty media features, we do feel the use of interactive Internet tools has implications for both programmers and listeners. Consultation of audio archives demands a more active stance than many conventional radio listeners may be willing to accept. And web radio programmers that incorporate chat services into their repertoire of listener-oriented activities will have to take input from listeners more into account than they normally may consider appropriate. These developments create, in fact, a dilemma for both prorammers and listeners. The more radio stations make use of the interactive and multimedia potentials of the Internet, the less the programming resembles conventional radio fare. (...) In our study of the radio programme BuZz suggests that this transformation is problematic and tends to be resisted by all involved.» (280) 

«Lind and Medoff first concluded that at the time of their study, most broadcast executives were guilty of not realizing the potential of their streaming efforts. Specifically, the researchers found that although stations understood the value of using the Web's interactive capability to establish better interaction with listeners, Webcasters largely failed to utilize information and design features capable of attracting the psychographically unique Internet user. Moreover, stations were especially lax in offering visual information with their streamed signals (information that was offered was primarily local in nature), sites were not well maintained, and stations seemed surprisingly slow to develop additional revenue-producing opportunities from this new medium.» (Evans, Smethers, 2001: 7) [The Lind and Medoff research provides an important snapshot in the development of Cyber radio in the late 199Os, although the data, while highly relevant at the time of the study, have been rendered somewhat dated with the passage of time, an inescapable risk associated with studying rapidly evolving media technology -pag 8].

'Demasiado esforço' - manter-se consumidor passivo (recusar o controlo)

«Listeners of web radio who participated in the focus group interviews also emphasised that on-demand music services provide a degree of individual control and may become an important characteristic of future Internet-based radio prograrnming. In contrast, the focus group members did not make use of this feature themselves. (...) One of the focus group interviewees expressed this position as follows: ’You just do not always feel like chocsing between alternatives or formulating your own preferences. That’s too much of an effort.’(...) there was limited interest in becoming an active user of the interactive tools made available.   (van Selm et al: 2006: 272-273) [Interviews were held in 1999 with five website radio staff: four programme hosts and one web master. The online survey was held amongst visitors to the website and was completed by forty-one respondents. Focus group interviews were held survey respondents who indicated they were regular participants of the BuZz chat box. Two  focus group interviews were held, each with four persons» (271)],

[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)

«Traditional gratifications associated with listening to radio programming, such as being entertained and informed (see, for example Lind, Medoff and Rarick, 2001), suggest that listeners of web radio programming would be reluctant to seek to exercise control over the content of web radio shows. In this case study it appears that listeners appreciate being entertained by a mixture of web radio items and music selected by the programme hosts» (van Selm et al 279)