The Hispanic Radio Market

 Coming up is the 6th annual Hispanic Radio Market to "  bring together leaders in the Hispanic radio community and experts in Hispanic advertising and media for a comprehensive overview of opportunities and strategies within this rapidly transforming sector". The hispanic market is growing exponentially with "more than three-quarters of Hispanic Americans/Latinos living in the West (41 percent) and South (36 percent)." In 2010," 37.6 million, or 75 percent, of Hispanics lived in the eight states with Hispanic populations of one million or more (California, Texas, Florida, New York, Illinois, Arizona, New Jersey, and Colorado). Between 2000 and 2010,the Hispanic population grew by 43 percent, or more than four times the growth in the total population at 10 percent." For these reasons the Radio Industry must account for the Hispanic Market in order to reach their fullest potential. 

The Hispanic Radio productions would extend further than just hispanics. By creating productions that represent different cultures it allows consumers to experience different viewpoints catalyzing greater cross-cultural acceptance. 

WORKS CITED

A Letter From Eric Rhoads. (n.d.). Retrieved February 27, 2015, from http://www.hispanicradioconference.com/A-Note-From-Eric-Rhoads/12033907

Spotify and Russia

"I regret to inform you that Spotify refused to launch in Russia in the foreseeable future," Alexander Kubaneishvili said, according to a BBC Russia report. "There are several reasons -- the economic crisis, the political situation, the new laws governing the Internet." Spotify, one of the most potent streaming services did not directly comment on the exact reason why they delayed their release in Russia. However, with the country's political turmoil causing the devaluation of the ruble, it is not a surprise. "Since early 2014, the ruble has lost 50 percent of its value and is trading at 66 rubles for a US dollar as opposed to 33 rubles for a dollar in January 2014. Standard & Poor's recently downgraded Russia's credit rating to junk for the first time in a decade."

The current situation of Spotify choosing to not release in Russia shows how distribution of a product must account not only for how it will be accepted or the level of marketing put into it, but also in the present state of politics in each area. The research prior to release, needs to not focus on one topic but on a whole spectrum which includes the political state of the desired place to distribute. 

http://www.billboard.com/biz/articles/news/digital-and-mobile/6458224/spotify-reportedly-cancels-launch-in-russia

Our City Radio

Our City Radio presents an interesting case. Esseentially they are, a "Global Internet Radio Network, Focused on Local Indie Artists; Where Indie is Mainstream." They attempt to create a platform for the unrepresented artists to gain exposure through the websites impact on the internet market. They focus on local artists in different areas, so consequently they have separate subdivisions for varied important countries (U.S.A, Canada, Australia, Europe, and Guatemala) and key cities within them. 

There's a flaw in the realization of their actions however. If the companies goal is to expose these artists with true "exposure for all", shouldn't that company be recognizable themselves? In order to successfully market emerging bands, the company must first market themselves in a way that attracts listeners looking for that underground sound. 


Works cited

About page. (n.d.). Retrieved February 13, 2015, from http://miami.ourcityradio.com/about.htmlhttp://miami.ourcityradio.com/about.htmlhttp://miami.ourcityradio.com/about.html

Pandora

During a majority of Pandora's conferences the question of who their greatest competitor is comes into play. Is it terrestrial radio or Spotify? They seem to always come to the same conclusion that they should seek to capture traditional radio listeners. " Pandora CEO Brian McAndrews told investors that they see terrestrial radio's "17 billion dollar opportunity" as being the real target for the company. " In order to do this they will attempt to shift to local radio advertising. "Pandora clearly does not see Spotify as their large direct competitor in that space, it's radio."  

Pandora by directing their energy to radio advertisements they are directly communicating to a their target audience of music listeners. By focusing on attracting these listeners to more modern methods of listening to their favorite genres, artists, and songs, they are taking care of both competitors (traditional radio and Spotify) since this is an innovative direction which Spotify has yet to attempt. 

-Radio Ink

Radio Ink - Radio's Premier Management & Marketing Magazine. (n.d.). Retrieved February 6, 2015, from http://www.radioink.com/Article.asp?id=2891802&spid=24698

Radio Ink

Within the radio industry exists a magazine for its radio management sector, Radio Ink, "a radio-industry trade publication that is published bi-weekly". It provides information, tips, and ideas for operation radio companies. Radio Ink creates a medium which practices convergence by presenting radio issues through a printed magazine and online news articles and blogs. Additionally, it promotes these practices by sharing the stories of success or failure of other companies which employes them. 

By distributing a reliable, constant source of the industries development Radio Ink creates "change within the radio industry through the exposure of fresh ideas and leadership". Promotion these practices is what ignites innovation and growth which is much needed in today's ever evolving radio presence. 

works cited
Radio Ink - Radio's Premier Management & Marketing Magazine. (n.d.). Retrieved January 22, 2015, from http://www.radioink.com/Article.asp?id=934909&spid=28011

If NPR was a person it would probably be that neighbor that bakes you pies.

NPR focuses on "great storytelling and rigorous reporting". The foundations of its mission are to provide a medium of unbiased, insightful, invigorating, quality reports and stories to its listeners. Many times in large companies their products are based around the requirements of the companies that sponsor them. Since NPR's funding comes mainly from the listeners, they produce products simply for the listeners with no third party compromise. 

"Dues and fees paid by our Member Stations are the largest portion of NPR's revenue." 

This is how I believe most media should be, though sadly it's not. What is consumed in the majority of media is largely influenced by its funders, and many times those funders are not the consumers; consequently, creating a product which is looking to take advantage of the consumers rather than insight them. NPR has a platform which ensures that the listeners truly get what they want and deserve. This platform should be implemented to many more companies. 

Works Cited
 http://www.npr.org/about-npr/178660742/public-radio-finances

Radio Lab

RadioLab has emerged in an era of blind media consumption. It's unusual for a one hour program which demands conscious consumption to be so successful in the radio business during these times where most turn on their radios simply for background noise. 

So why is it that Radiolab has been so successful in engaging such a large audience with their "unconventional approach to both the medium and the message of radio?"  Radiolab through their productions aspire to create thoughtful, timeless shows that that acoustically seduce the listener. Their productions actually stimulate and move the listener in ways that others don't. And this is what separates them from conventional radio. They don't simply provide programs for revenue, for a large audience to hear, and then be forgotten about; they aim to create a product that transcends time. They thoroughly believe that  "the value of a media product does not come from being fast. It comes from being timeless."

The concept behind their production changes their listeners consumption of their media. "This approach — a smaller number of shows, painstakingly assembled and treated more like small movies than like regularly scheduled programs — addresses a different tension, around new habits of media consumption." Since Radiolab programs require attention, require the listener to thoughtfully process information, it is more commonly consumed in the form of podcasts rather than on aired radio shows.  In this form, the listeners can more attentively listen to quality productions full of ideas and concepts that generate a greater understanding of the world and oneself.  

Yes, radio drifts by or washes over you when it comes out of a box on the other side of the room — but remember, a majority of “Radiolab” listeners actually take in the show via podcast, and there’s something different going on when it enters your head through earbuds at the exact moment you have chosen to hear it, while you’re commuting with nothing else to think about, or cleaning the kitchen, or lying down for the night. 

On ‘Radiolab,’ the Sound of Science 

Walker, R. (2011, April 9). On ‘Radiolab,’ the Sound of Science. Retrieved January 9, 2015, from http://www.nytimes.com/2011/04/10/magazine/mag-10Radiolab-t.html?pagewanted=all&_r=0