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

What Clear Channel (iHeartMedia) doesn't want you to know...

     Clear Channel's practices are monopolistic in nature.  Only three major companies own the majority of radio airwaves in the United States-EMMIS, Radio One and Clear Channel-, but out of these three Clear Channel is the one most infamously known. "Prior to the Telecommunications Act of 1996, a radio company could only own 40 stations nationwide and only four in a particular market. Since that has changed Clear Channel now owns 1,170 radio stations nationwide". Clear Channel owns 1 out of 10 radio stations in the U.S., determining what listeners consume on a daily basis. This explains the constant repetition of the same music on different radio stations. Along with this Clear Channel bought SFX allowing them to completely manipulate and dictate concert tickets prices of many well known artists. 

 Clear Channel poses such a great threat because of its vast ownership of many products. Imagine if they attempted to create their own record label. They would be able to promote their own artists through their own Clear Channel Outdoors billboards and radio stations, present them in their own venues. This whole concept of one company owning all the products we consume is a bit frightening, but it's a serious reality. If we are only exposed to what one company is producing, we are completely controlled and manipulated by them. Just Clear Channel stations alone "take to the airwaves across all 50 states, in almost every major market, reaching nearly every demographic." So all 50 states and nearly every demographic is being controlled by Clear Channel to consume their products because there really isn't a choice to choose otherwise. 


Works Cited

One, J. (2012, January 6). How The Music Industry Monopoly Really Works. Retrieved December 12, 2014, from http://raprehab.com/how-the-music-industry-monopoly-really-works/

Online radio poses a threat

 Online streaming has extremely impacted the radio business. The ability for a consumer to customize their music diverges them from using the conventional, original form of radio. In order to adjust to this shift cars are beginning to have Internet access within their systems. This shift to online streaming is largely due to the effects of convergence in products, such as smart phones. Now, consumers are constantly able to access the Internet, and online streaming sites and apps.

 The introduction of online streaming and society's total participation in online services allude to  a rebirth of radio, not its death. Radio stations are adapting to the change “We’re not trying to dictate where people connect to us,” says Evan Harrison, an executive vice president of Clear Channel Radio. “We need to be everywhere." Adapting to these changes will cause a reform in the products that radio stations put out, such as more online websites and the welcoming of online streaming. "Ultimately, the incursion of Internet-based music services and radio station streams may be less about annihilating yet another business model than it is about breaking down barriers."

• Quain, J. (2010, May 8). Will the Internet Kill Traditional Car Radio? Retrieved December 5, 2014, from http://www.nytimes.com/2010/05/09/automobiles/09RADIO.html?_r=