August 2011 || The Magazine of the Community Broadcasting Association of Australia
community
australian music
Australian Music || Playing it Loud! || CRN Special Broadcasts
One way to think about the music scene CBX is the triennial magazine of the Community Broadcasting is as a highly complex Association of Australia.
eco-system, with each CBX is mailed to CBAA members component connected and stakeholders. Subscribe to CBX by emailing: into and supporting [email protected] CBX is also available online at: and nurturing www.cbaa.org.au/cbx
the other. Follow us on Twitter: @_CBX_ Like us on Facebook: By > Adrian Basso CBX
CBAA President Editor: Ellice Mol Ph 02 9310 2999 Music plays a big part in many people’s lives and so it is no surprise Email [email protected] to see music strongly reflected at community stations across Australia. Graphic Design: Our sector supports local music at a station level, which is reinforced birdcreative in our Codes of Practice, and, more broadly, by the fantastic work that Judith Martinez is performed by the CBAA-managed Australian Music Radio Airplay & Kasia Froncek www.birdcreative.com.au Project (Amrap), which facilitates distribution and promotes Australian music to and through community radio stations. Submissions: Email articles and images One way to think about the music scene is as a highly complex eco-system, to [email protected] with each component connected into and supporting and nurturing the other. Advertising: A forest has tiny plants, shrubs, creepers, established trees, insects, For all advertising enquiries mammals, birds, seeds and the like. It provides shade for itself, please contact the Editor. propagates the next generation, fertilises the old and nurtures the young. CBX content is CBAA In the music scene we have emerging artists, established artists, old and copyrighted. All rights reserved. Articles may be used by CBAA powerful record labels, young start-up companies, music festivals, new members without permission, and old venues, promoters, audiences and, of course, media outlets such provided credit is given. as community broadcasters. CBX is printed on: To have a truly thriving and diverse Australian music scene with a guaranteed ecoStar bright future ahead of it, community broadcasting is critical. At the CBAA, we support radio stations in bringing music to the people in the knowledge that the contribution to the cultural life of Australia extends far beyond those listeners who happen to be tuned in at any time. Cover image: The Trobes, Winners of BLU FM's 2011 Battle of the Bands. Photo: Mike Stone
The 2011 Community Broadcasting Station Census IN THE FIELD NOW! For the first time conducted on behalf of the CBOnline Project for the community broadcasting sector by McNair Ingenuity Research. For more info contact [email protected]
2 The Magazine of the Community Broadcasting Association of Australia • August 2011 12 page4 9 contents
President’s Column...... ifc CBAA Update...... 2 Community Radio: A Powerful Platform for Australian Music...... 4 Project News...... 7 Across the Sector...... 9 By Invitation...... 10 On the Cover: Playing it Loud!...... 12 17 Discovery Services? Try Community Radio ...... 15 Radio Days:...... 16 15 Community Cup ...... 17 CRN Special Broadcasts...... 19 Out of the Box...... 20 At the CBAA...... ibc
Community Radio Broadcasting Codes of Practice www.cbaa.org.au/codes By > Kath Letch Please feel free to ring the CBAA and provide any feedback or suggestions CBAA General Manager for the conference – we’re very keen to make it as relevant and worthwhile for stations as possible. CBAA UPDATE This edition of CBX features some SOCIAL MEDIA articles on community radio You can now keep up to date with and Australian music including news, information and the occasional the sector’s Australian Music joke or two from the CBAA via our he he CBAA Radio Airplay Project (Amrap). social media presence. We decided to t It’s a relationship that spans the extend the CBX name into the social m entire development of community media space for ease of use and broadcasting and a very central consistency. part of what attracts community To find us on Facebook, just type radio listeners and supporters. in CBX into the Facebook search The community broadcasting sector and “like” the page. On Twitter look has played a pivotal role in supporting for the user _CBX_ and follow us. emerging and established Australian artists as a natural outcome of being d Views fro CONVERGENCE REVIEW local broadcasting services, whether The Federal Government’s
an that’s in regional and remote areas or the major capital cities. It’s hard Convergence Review is underway. to reflect the full scale of that in a The Convergence Review is an independent review established to small magazine like the CBX with examine the policy and regulatory News over 300 stations nationally so this frameworks applicable to a converged edition is simply a small snapshot of media and communications just a few of the stories that could be environment in Australia. told about community stations and their engagement with both local and The CBAA submitted an initial Australian artists. submission and highlighted how community broadcasting contributes CONFERENCE 2011 unique characteristics and benefits to the media landscape by ‘enacting Planning for the annual CBAA diversity of media ownership and National Conference is well underway content, participation in media for November. We’re pleased to operations, production and be working again with conference programming, providing public organiser Heidi Jephtha from 2EM interest outcomes, and the provision Event Management. Heidi cut her of meaningful local content’. Conference teeth last year in Hobart and we’re delighted she’s on board The CBAA submission calls for the again for 2011. A draft program of role of community broadcasting to be sessions and workshops will be ‘clearly articulated and affirmed in any available soon on the CBAA website. new legislation’.
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2 The Magazine of the Community Broadcasting Association of Australia • August 2011 The Review has now issued an broadcasting and more information CMTO Emerging Issues Paper and an open will be available on the CBF website call for submissions in response to for the September funding round. Giordana Caputo has also joined the paper by October 28. the CMTO, taking up the position CBAA STAFFING of Training Manager. An experienced The full CBAA submission can be broadcaster, producer, journalist found at http://www.cbaa.org.au/ Rhonda Byrne has joined the CBAA and trainer, Giordana was a long- news/convergence-review as the Administration & Operations term worker and management team Manager. Rhonda replaces Alexandra member of Brisbane’s 4ZZZ where CONTENT FUNDING Sabastian and joins us from Fairfax she managed community development The Minister for Broadband, Media where she led an administration and training projects. Communications and the Digital team with responsibilities for Economy, Senator Stephen Conroy administrative, logistical and financial STATION CENSUS support to over 300 staff. announced $12.5 million content The CBOnline Project’s Station Census funding over four years for community We have also welcomed Ellice is now in the field with some revised radio as part of the 2011 Budget. Mol ‘back’ to the CBAA. Ellice questions in the survey this year. The The funding will support specialist had previously held a temporary key findings from the Station Census content in the Ethnic & Multicultural, communications role at the CBAA will be presented at the annual CBAA Indigenous, and Radio for the Print before heading to Afghanistan to Conference in November. Handicapped sectors as well as learn documentary making. Ellice Keep up to date with other CBAA and the establishment of a new Content has also completed a Deutsche Welle sector news at www.cbaa.org.au and Development Fund. It’s a very positive Internship and is currently splitting the fortnightly CBAA Email Update step that the Federal Government her time between the DDN+ support (register on the website). has allocated new content funding role with CRN and working on CBAA at this point of time for community communications.
culture&content community media in 2011 CBAA CONFERENCE 17-20 November 2011 Holiday Inn, Gold Coast www.cbaa.org.au
www.cbaa.org.au/cbx 3 acomm powerfulunity radio platform FOR AUSTRALIAN MUSIC Amrap Manager Chris Johnson on promoting Australian music in a turbulent media landscape.
(ACMA) for an exemption from Australian Amrap is devoted to assisting both music quotas on the digital radio sectors to fully realise their potential. platform. As a result, commercial digital Four opportunities the Australian radio is not required to broadcast any radio and music sectors can Australian music content until 2013. embrace together: Commercial radio’s move suggests they regard Australian music as an 1. Develop business models that imposition to their business model and support the listener’s interest will proactively jettison local content in Australian music in favour of international content that Independent national listener surveys has already proven its popularity in the indicate that community radio has overseas market. attracted more listeners than ever The Australian music sector should before. Hearing Australian music engage with every legitimate media is the second most popular reason why Australians listen to community platform to promote its music, but radio after hearing local news and the above examples are cautionary information. tales for Australian musicians. As new media platforms are developed and This research inspires stations to further sold, control of music and the ability to develop programming that gives priority In 2005 News Corporation bought connect with fans can be compromised. to Australian music. In support of this MySpace for 580m. In 2011 it sold Investing too much energy in untested Amrap has created a ‘Music Mission it for just 35m. or unwilling media outlets is risky, Model’ to show stations how they can After five years of record losses especially if you ignore proven and use Australian music to attract and and a massive 40% reduction in site established media platforms. maintain loyal audiences. visits, News Corporation re-launched Amrap regards community radio as the Australian labels and unsigned MySpace in November 2010 by forcefully most credible of all community media musicians recognise the growth of standardising the layout of artist platforms. Community radio stations community radio listenership, and its profile pages. Thousands of MySpace maintain a not-for-profit structure, strong support of Australian music. They pages broke down; music players and a commitment to established codes use Amrap to reach stations nationally were moved aside for weight loss and of practice and objectives that support via AirIt and Amrap’s CD Mailout service. alcohol advertising banners, alongside Australian content and culture. It’s MySpace’s own ads proclaiming 2. Treat community radio fascinating that alongside the rise of “MySpace: Where Music is Free”. broadcasters as super fans & online and digital media, community This exacerbated the mass exodus their listeners as willing fans radio’s monthly audience rose to 54% from Myspace to other social networks. Music careers are often built on the of Australians aged 15 and over . endorsement of fans who recommend The MySpace ‘friends list’ that musicians Over the past 40 years community radio their favourite music to others. Amrap use to stay in contact with fans became has fostered a ready-made music-loving regards community radio music useless, because their fans were simply audience. They increasingly rely on broadcasters as super fans: they are no longer there. community radio as a trusted source often experts in their genre, are a A few weeks before, commercial radio amongst the media chatter. I believe trusted source for listeners, and are successfully lobbied the Australian the music sector has only scratched usually connected with their music Communications and Media Authority the surface with community radio and scene on and off air.
4 The Magazine of the Community Broadcasting Association of Australia • August 2011 community radio Community radio can use Amrap’s new content for their hungry audiences, It successfully lobbied for inclusion AirNet service to help their broadcasters and in 2011-12 will inspire stations to on the new digital radio spectrum to spread their influence even further. Since give listeners even more of what they keep the Australian music flowing and March Amrap has assisted hundreds of want (www.amrap.org/inspire). successfully lobbied to fund Amrap to broadcasters to use AirNet to easily find support Australian music. 3. Support great music and promote online content that matches regardless of trends Community radio can deliver the best the music they air. AirNet is drawing of all worlds to the Australian music listeners (and broadcasters) back to Many community stations broadcast a range of specialist music shows and sector by enthusiastically adopting the stations’ websites to promote music in best features of new media platforms an engaging and responsible manner. air that genre regardless of mainstream trends. Conversely, many commercial or to enhance radio services with the aim Amrap helps labels and unsigned government stations stop airing an artist of supporting great musicians, so they musicians understand the influence of because they no longer fit the sound can continue to produce great work. community radio to advance their music. that’s on trend at the time. Community Both sectors need infrastructure that They use Amrap’s distribution services radio enables musicians to sustain their is mutually beneficial and supports to get their music to the radio programs careers beyond the trend cycle. Australian musicians. As the MySpace and broadcasters who are most likely to and commercial radio examples become their super fans. Community radio is not simply a pathway for music; it is a platform have proven, it’s dangerous to expect Many community stations devote in its own right. Amrap works directly commercial platforms to provide countless hours to educating listeners with the community and music this with consistency and integrity. on new music, interviewing artists and sectors to strengthen this platform Australian musicians deserve more, providing latest music news and gig so great Australian musicians can and community radio has proven it is guides. This content clearly interests use community radio to help sustain a willing, responsible, transparent, listeners. By contrast commercial radio their careers. accountable and influential Australian broadcasts very little of this content and music platform. Labels that are genuinely committed gives high rotation to a smaller playlist With the support of Federal Government to building their artists’ careers value of artists. funding Amrap has consulted and community radio’s commitment to Musicians need committed fans who developed infrastructure that connects great music. They forge long-lasting will invest their ears, leisure time community radio with the music sector. relationships between their artists (and hopefully some cash) into their Our services and platforms are unique and community stations. favourite music. They need fans who and have been designed and built in- want to discover new music, and are not 4. Create and innovate for house to meet the needs of both sectors. satisfied listening to a small collection mutual benefit With our knowledge and commitment of songs on repeat. Community radio has a long standing combined, community radio will become Amrap firmly believes that community history of innovation. It pioneered an even more powerful platform for radio listeners want to be fans, and we the FM band to broadcast music with Australian musicians. aim to connect musicians with receptive higher fidelity to listeners. It developed www.amrap.org broadcasters who have receptive live music recording facilities and listeners. Amrap's Grants to Stations outside broadcast resources to support Fund has helped stations create music the promotion of Australian music. ap services Amr at a glance
AirIt: Community radio’s exclusive catalogue of Australian music. 100% free to approved musicians, labels and community radio. During 2010-11: Over 100 Australian labels added 3,000+ tracks to AirIt 3,000+ unsigned musician tracks were approved & added | 1,000+ broadcasters & music directors from 200+stations ordered 35,000+ tracks for airplay, airit.org.au CD Mailout Service: distributes ‘radio ready’ CDs of new releases by Australian signed and independent musicians. Amrap matches and mails the CDs direct to stations that are likely to air the music. During 2010-11: 19,667 CDs from 397 Australian music CD releases were distributed by Amrap to over 300 community radio stations. Amrap packaged and posted these CDs direct to stations and tracked results on behalf of musicians, amrap.org/mailout. AirNet: Draws radio listeners online to interact with music that is aired on community radio stations Australia-wide. AirNet is a program webpage creator that finds artist images videos and information to match music aired on the program.
www.cbaa.org.au/cbx 5 Digital radio hits home Congratulations to Community Radio on the move to digital. Now you can enjoy your favourite stations in crystal clear DAB+.
In the kitchen In the bedroom In the bathroom
Out & about In the garden In the lounge
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CBX_range_ad_full-page_Oz_Mar11.indd 1 11/03/2011 14:24:31 Digital radio hits home Congratulations to Community Radio on the move to digital. project Now you can enjoy your favourite stations in crystal clear DAB+. News
The CBAA manages three projects on behalf of the community broadcasting sector: Australian Music Radio Airplay Project (AMRAP) • Community Broadcasting Online Project (CBOnline) • Digital Radio Project (DRP)
In the kitchen In the bedroom In the bathroom
Out & about In the garden In the lounge CBONLINE CENSUS establishment of community digital and participation in, media production The 2011 Station Census, which is radio services in five capital cities. and station management. being conducted on behalf of the The event took place at Triple R’s Community radio stations provide CBOnline Project by McNair Ingenuity Performance Space; it was attended news, information and culturally research, is now in the field.The data by Adam Bandt, Federal Member for significant programs to a range of gathered is the only insight we get Melbourne, The Hon. Tony Staley AO communities. They also provide into the day- to-day operations of the and community broadcasters and services for distinct audiences with stations in our sector and is vital for sector representatives from around programs dedicated to indigenous planning and lobbying purposes. Your the country. Speakers included CBAA communities, the vision impaired, cooperation in completing the Station President, Adrian Basso and CBAA religion, education, youth and specific Census is very much appreciated. General Manager, Kath Letch. The music genres. event was hosted by Bryce Ives with a In the car With your iPod/iPhone Special editions In the 2011-2012 financial year, Access to digital radio services Welcome to Country delivered by Aunty the CBOnline Project will begin work for the community-broadcasting Joy Murphy Wandin, Senior Wurundjeri + on a range of online developments sector has been made possible for We’re the UK’s #1 company for digital radio, with over 25 models in our range, from simple DAB portables elder of the Kulin alliance in Victoria. including an Open Source database metropolitan–wide community radio Entertainment was provided by The with easy tuning, interference free sound and scrolling text, to music systems with digital radio pause and to be offered to Sector Representative broadcasters thanks to Federal Tiger and Me. rewind, internet radio, music streaming and iPod/iPhone docking. However you want to enjoy community Organisations and stations alike; testing Government funding delivered via the radio, we’ve got it covered. Drupal based web sites and hosting The national digital launch was a Community Broadcasting Foundation options for stations; and a mobile phone significant moment in the history to the Community Broadcasting radio player that stations can use. and development of community radio Association of Australia’s Digital 1 800 781 114 in Australia. Radio Project. [email protected] Digital Radio National Community radio broadcasting has Launch DRP www.pure.com/au helped shape the media landscape Photos. Top Left: NSW Governor Marie Bashir On Friday May 13, Senator the in Australia, with its focus on localism with station managers at the Sydney Digital Radio Hon. Stephen Conroy, Minister for and independence, it distinguishing Launch. Centre: Senator Stephen Conroy & CBAA GM Kath Letch. Right: CBAA GM Kath Letch, Broadband, Communications and the itself from other media by providing MP for Melbourne Adam Bandt & CBAA President Digital Economy officially launched the local communities with access to, Adrian Basso.
All PURE radios are covered by a two year warranty. www.cbaa.org.au/cbx 7
CBX_range_ad_full-page_Oz_Mar11.indd 1 11/03/2011 14:24:31 Never miss Visit www.cbf.com.au to subscribe to the CBF Update, A CBF grant the CBF’s monthly e-newsletter. Community Broadcasting opportunity! Foundation helping community broadcasting reach its full potential
CBF KEY DATES Contact a CBF Grants Administrator with any questions about your grant application: CURRENT CBF GRANT OPPORTUNITIES Barbara Baxter – Ethnic and Transmission grants Grant Category Due Date Georgie Boucher – General, Indigenous and RPH grants Jo Curtin – Training grants General Grants 22 August 2011 Jon King – Amrap, CBOnline and Digital Radio grants Transmission Grants 22 August 2011 Indigenous Grants 2 September 2011 Contact the CBF: Phone: 03 9419 8055 Ethnic Grants 2 September 2011 Fax: 03 9419 8352 Training Grants 19 September 2011 Post: PO Box 1354 Collingwood VIC 3066 CBOnline Grants 30 September 2011 Email: [email protected] Amrap Grants 30 September 2011 Web: www.cbf.com.au
8 The Magazine of the Community Broadcasting Association of Australia • August 2011
acrosssector the The community broadcasting sector is made up of the following peak representative bodies: Australian Indigenous Communications Association (AICA) • Australia Community Television Alliance (ACTA) Christian Media Australia (CMA) • Community Broadcasting Association of Australia (CBAA) National Ethnic and Multicultural Broadcaster’s Council (NEMBC) • Radio for the Print Handicapped Australia (RPH) In addition, the Community Broadcasting Foundation (CBF) is the sector’s funding body.
CMA into the community radio sector. The funding will be provided as $1.5m for Christian Media Australia Conference Ethnic, Indigenous and RPH content 2011 - Being Effective In a time development and $1.5m for a community of Change. radio Content Development Fund. Packed full of inspiring and exciting The CBF has undertaken a process content, the 2011 CMA conference of consultation with peak national included sessions on marketing, community broadcasting sector branding, fund raising, sponsorship representative organisations (AICA, sales, music programming, leadership, CBAA, CMA, NEMBC and RPH Australia) social media, new technologies and Ajak Kwai. Photo: Steve Demchinsky in relation to the administration and more. Keynote sessions included disbursement of the new funds. Content speakers from the USA, UK, New NEMBC development grants are expected to be Zealand and Australia. available later this year. Amrap has partnered with the NEMBC The conference was an opportunity to assist musicians from emerging Community television (CTV) content for the CMA to launch ‘SPARC’ communities to get airplay on production funding support can now – Screen Producers Arts and Culture, Australian community radio stations. be provided. CTV content funding will a new initiative for those who believe Ajak Kwai, a Sudanese-Australian be drawn from the General Grants fund that what they’re doing professionally performer arrived in Tasmania and is expected to be available later this and creatively has an intrinsic 13 years ago as a refugee. After moving year following consultation with the CTV relationship with their faith. Following to Melbourne in 2006, Ajak continued sector. The Foundation welcomes this the official launch at conference, her work in the community services opportunity to provide a broader level SPARC events were held in Sydney, sector as well as focusing on her music. of support to the CTV sector. Melbourne and Brisbane. Ajak has to date released two albums Changes to training support - Training Other highlights included awards to and recently co-wrote with Sarah grants will be offered in two rounds honour people for their services to Blasko for the Asylum Seeker Resource in 2011/12, closing in September and the sector and also Australian Music Centre fundraiser compilation CD, April. The Training Innovation Projects showcases, including a breathtaking ‘The Key of Sea’. category will not be offered. This category is considered to have served performance from Australian Idol Ajak’s music is now included on the its purpose, providing the sector with winner Stan Walker. AMRAP AirIt catalogue under the opportunities to trial new delivery ethnic-multicultural category. Stan Walker methods targeting priority trainees. CBF These training funds will now be directed towards the Training Delivery An additional $3 million of annual grants category. funding has been made available for community radio content development Visit www.cbf.com.au for more by the Australian Government. Access information and to sign up to the CBF to new content funding will provide a Update e-newsletter for monthly long overdue injection of resources reminders of grant opportunities.
www.cbaa.org.au/cbx 9 ommunity radio Comments on the role of c
Community radio is, for many competitive than ever with very tight of Australian country acts so without APRA members, the source of their formats, community radio’s role has the efforts of the Amrap AitIT team and first broadcast performances and become more pertinent than ever the dedication of all the people that represents a significant milestone before. We love them and real artists work at community stations we would in their careers. Accessible, diverse love them!” be lost! The Australian music industry with urban, regional and remote reach, Michael Gudinski in general owes a lot to these people community radio is central to the (Mushroom Group of Companies inc in helping break new independent national media landscape in fostering Frontier Touring, Liberation, Illusive, undiscovered artists.” Australian songwriters and composers. Ivy League & Liberator labels) Will Osland Sally Howland Managing Director, WJO Distribution - Head of Member Services Checked Entertainment. APRA|AMCOS ••••Community radio has long provided local recording artists with an avenue for their music to be heard, allowing ••••“Community radio gives Aboriginal ••••“Community radio has always been for the continued development of their and Torres Strait Islander (ATSI) an essential outlet in particular for creative work, fan-base and ultimately music artists an invaluable outlet for Australian recording artists whether their career. Not only have many of the their music to be heard across a wide they are grass roots, established, most recognisable artists from the demographic and helps to sustain their independent or signed to a major Australian recording industry first had ongoing career development. Without label. Community radio offers their voice heard on community radio, community radio Australian music, more cost effective sponsorship and it has also launched the careers of especially emerging and ATSI artists, localised promo as well as being a many music industry professionals would struggle to get heard at all. vital alternative to the commercial including music programmers, radio Community radio is absolutely vital networks; they allow for airplay announcers, publicists etc, all of whom for the ongoing development of opportunities for recording artists contribute to make the Australian the Australian music industry.” of ALL music genres that may not music scene one of the most vibrant Michael Hutchings otherwise be programmed. Community in the world. Music Coordinator and Label Manager radio is an important part of our artist’s Dan Rosen Gadigal Music Record Label and promotional schedule. As commercial CEO ARIA Recording Studio radio is driven by commercial realities, and is more ••••“As we deal mainly in country music, ••••“Community radio is, and will continue community broadcasting is an to be, one of the bedrocks of the essential tool that we use as part of independent music scene here in our promotion on all new releases. Australia. It’s not only the accessible Mainstream radio seem to steer clear support through airplay they offer local
“Community Radio has been a great contributor to my career for the simple reason that country music in Australia does not get main stream air play, so the coverage we receive from our community stations have been a life blood for our music over many years . They are also big supporters of our live shows and tours which keep people in the loop as to our movements around the country... Big Love.” Troy Cassar-Daley
10 The Magazine of the Community Broadcasting Association of Australia • August “I am, and always have been, a great fan of building communities. Community radio does just that, in a musical way. We are very grateful for the support we have received in the early stage of our career. As Mama Kin, I have toured to some pretty remote parts of Australia and I am constantly amazed that people know the music. This is obviously testament to the fact that community radio stations have been playing the tunes and spreading the love. It’s great to see that an alternative to commercial radio can prosper and influence.” Mama Kin
“Community radio makes the world go round. It’s fair to say that our music will never be played on commercial radio stations, and despite some play on the national youth radio station (JJJ), community radio is, by a wide margin, the primary point of exposure for us. Support from community radio stations in all states is not only extremely powerful in terms of reach, it’s also very affirming and we have great respect for the quality and the commitment of the presenters. On top of it all, our independent record label relies heavily on the relationship it has with the community stations - without that I’m not sure we’d be doing much at all! Des Miller, Magnetic Heads
artists and bands but importantly the great, they play it. Tapping into that 4ZZZ, 3CR and 3PBS are unified in their way they present new music to their network of stations has become passion for music and their belief in listeners. The latter is one of an invaluable tool for artists looking independent music as an integral part the perhaps overlooked but key aspects to tour nationally and connect with of Australia’s social and cultural fabric. of what community radio does. audiences in every pocket of the When it all comes down to it, that is the It puts local upcoming artists alongside country. We should count ourselves same reason that AIR exists. I think established international indie artists very lucky.” a vibrant community broadcasting and in doing so levels out the playing Craig Spann sector is the first ingredient needed to field and says to the listener "this Australian Music Industry Network encourage the diversity, creativity and is all important music". Integration, (AMIN) involvement which ultimately leads to rather than isolation! We owe a great the success of our music industry.” debt to a whole number of community Nick O’Byrne radio stations that have gotten behind •••• “Community radio gives our artists General Manager our releases and not only given them vital air time by playing their music, Australian Independent airplay but also had the brains and conducting studio and phone Record Labels Association passion to understand them.” interviews, live-to-air performances Cam Merton and recordings. Without the support General Manager of community radio across Australia, ••••“Community radio is an important Hidden Shoal Recordings Rice Is Nice would lose a direct link partner to the Australian music to music lovers and true supporters industry. Community radio and the of the independent spirit. It is a very music industry are linked inextricably ••••“Despite the power of ‘online’, radio important communication platform in that both our talent pools can grow plays a critical role in helping expose for our business.” together both in their crafts and in their Australian artists to new audiences. Ben Shackleton appreciation of art and the breadth of And you would be hard pressed to Rice is Nice Records culture in the Australian community.” find a stronger network than this Stephen Green country’s community radio stations. SGC Media First and foremost, they are stations ••••“At AIR we’ve found community radio run by music fans that are committed people the BEST people to deal with. to finding and supporting our most The people we’ve had the chance to ••••View more comments on the role of exciting new artists. If the music is deal with from Edge, SYN, 3RRR, FBi, community radio on the CBAA website
www.cbaa.org.au 11 playing iT
receive. Many acts go on to bigger and better things, but we often find a platform for emerging musicians that they still have a fond place in to perform in front of their peers as By > Danny Chifley well as alongside more seasoned their heart for the station that helped It’s an excellent get their music out there long before CBAA Admin Assistant performers. “ opportunity for them to showcase anyone else cared.” their talent,” says Blu FM President 4MBS in Brisbane and 3RRR in Community radio in Australia makes a Ken Quinnell. Melbourne have both built live riple H vital contribution to the development Home Brew Radio, aired on T performance areas that are regularly ornsby and networked via of the Australian music industry. Many 100.1 FM in H used for music broadcasts and stations surpass the 25% Australian the Community Radio Network (CRN), performances, as well as arts events. music quota set out in the Community plays 100% Australian music, 100% of Radio Adelaide developed a Live Music Radio Broadcasting Codes of Practice.Bi Radio the time. Its regular live segment, Festival as a way of celebrating the To give just a few examples, F ‘The Brewing Room’, features a mix of diversity of live music performance. plays 50% Australian music, with half both established and emerging artists. It features artists live in the studio of that from Sydney, where the station for every single radio program across ur commitment to breaking artists is based. Brisbane’s 4ZzZ is renowned “O a full week of broadcasting as well for supporting local music and is to provide another avenue for airplay as live crosses to gigs at Adelaide’s artists, with presenters required to R other than commercial radio,” says favourite live music venues. Producer Phil 'Brommers' Bromley. meet its quota, and Melbourne’s 3C Another vital contributor is the CAAMA favours a minimum of 55% Australian Melbourne stations have long held Radio network, which broadcasts content in its music programming. a solid reputation for supporting Aboriginal radio to remotets focus and is on Not only do many stations exceed Australian artists across a broad regional Australia. I Australian music quotas, they also range of genres including 3MBS with Central Australia, where the station
remain dedicated to supporting new new classical compositions, 3RRR, is situated. Australian talent through programs 3CR, 3PBS and youth broadcaster on air and initiatives off air. SYN FM. Since it began broadcasting, “CAAMA gives a voice to those who 3PBS has featured local live music as don’t have one,” says Station Manager, Community radio and the Australian part of ‘ The Easey Street Sessions’ Gerry ‘G-Man’ Lyons. music scene have developed hand program. “We’ve had thousands of This voice is not to be underestimated, in hand since the ‘70s with stations bands come through the station over either, as it reaches an audience all around the country playing and the last 32 years,” says 3PBS FM greater than one third of the country. supporting local music whether Music and Interviews Coordinator, Perhaps CAAMA’s most unique that’s in the capital cities or small Chelsea Wilson. commitment to local music is the many regional areas. Of course, there’s strong support classes run by the station that help Blu FM in the Blue Mountains organise for Australian music all throughout foster the careers of local artists. several initiatives to support local Australia. “We love local music!”TR FM, says These regular workshops include tips music, including a songwriting Music Director of Perth’s R on how to prepare for radio interviews, challenge and battle of the bands. Adam Trainer. “Between a quarter how to promote your music and how Acts that perform in the Battle of and a half of all of our musical content to develop an online presence. the Bands get exposure on Blu FM across the station is from local artists. throughout the competition. “RTR airplay is often the very first The annual Blue Mountains Singer-s exposure that a lot of local artists Songwriter Challenge provide
12 The Magazine of the Community Broadcasting Association of Australia • August 2011 playing iT essions'. Photo: Bill Bates. Photo: S essions'. S treet S . 'The E asey ome perform at 3PB H ome perform D ownhills
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www.cbaa.org.au/cbx 13 M's 2011 Battle of the Bands F M's 2011 Battle in BLU Bones and All, a finalist from Lucy H arte ervices? Discovery S UPSKILLING FOR BROADCASTERS
14 The Quarterly Magazine of the Community Broadcasting Association of Australia • ervices? ty radio Discovery S Try communi
role of the major label, and the cloud than that, they help to foster entire By > Nathan Jolly model: where music will be accessed scenes that would crumble without Editor of The Music Network not owned, with the wonders of the this support. world beamed in on-demand. But “Back in the ‘90s, community radio there still needs to remain a way in stations like 4ZZZ and 3RRR were Community radio does not offer up icy which to find out which of this infinite highly significant in feeding the cold cans of Coke. It does not boast a influx appeals to the individual, and as genuine grassroots of musical growth thunder-truck, give away wads of cash the world becomes smaller and access in Australia. Sure Triple J had just or promise no-repeat workdays. becomes easier, the sheer amount gone national and thus a notable of options can leave the uninitiated Too often it is, however, falsely seen contribution as well” concedes Curtis. heading towards the hills. Which as a siphon in which the lower-end of “But without the support of these leaves community radio sitting in the industry dumps its varied wares, community network stations it would the same space it always has, serving for the finest to filter through to the not have helped extend the interest the same purpose and remaining holy grail of commercial radio play to the core local music scenes.” and major labels. For many artists, a reliable, steady companion. More than being a simple conduit, community radio isn’t seen as a rite “Even with the advent of new media these stations offer up, for want of of passage, a lower rung of the airplay circles, community radio offers a better term, a sense of ‘community’. ladder or an easy way to be heard a persistent glue to local music Best knows more than most the draw before making “the next step.” It is communities and the development of the community radio sector, having a vital promotional tool, and often of ongoing music clusters,” offers approached it from various angles: as houses the largest concentrated push up Paul Curtis, long-time manager an artist/label manager looking for of many genres of music. Specialist of Regurgitator. While Regurgitator on-air support, as a presenter and shows focusing on niche markets are did climb the aforementioned rungs as a wide-eyed music lover. often the best way for many artists towards commercial and major label to be heard, and these programs can success, at the time of their initial “Ever since I was a teenager doing often be a focal point for various signing to Warner, the band were graveyard shifts on 3CR, from a long music scenes. very much a niche band in Brisbane, stint at 3PBS and now the occasional “Without community radio, so much playing a heady mash of noise-rock 3RRR fill, the thrill of community radio of the music we work with would be in and electronica. Not surprisingly, for me is always the sound of fangirls the wilderness,” explains Sophie Best, community radio stations were key and fanboys sharing their musical founder of the popular touring company in the rise of the Brisbane alternative discoveries with listeners, the same and label Mistletone, who have scene (the success of Nirvana saw way we share music with friends,” released records from internationally major labels clambering to sign explains Best. “No other format can acclaimed artists such as My Disco, anyone with a guitar and a distortion ever be that intimate and real.” Ross McLennan, The Bats, Beaches and pedal). These same stations still act Royalchord; artists who will never have as a launch point for acts, but more an easy home at mainstream radio. “Our community stations are worth their weight in gold,” Best explains. “We are forever grateful for the radical power of community radio to get so much amazing music ‘out there’ into our world.” We’ve heard all the tired talk about the changing model of the music industry; music piracy, the move to digital downloads, the perceived fall of the
Regurgitator
Beaches 15 Paradise FM Celebrates 10 years
It was a beautiful sunny afternoon SYN Training Videos at Ballina’s Missingham Park on SYN has launched a set of training resources on its website syn.org.au the banks of the Richmond River for Paradise FM’s 10th birthday Designed to help young people across Australia and around the world create their celebrations on 18 June. own media, the SYN video tutorials and downloadable fact sheets that explore radio, television and digital media are available free. Paradise FM was born in a small, windowless office, licensed to serve The online training space has been developed as part of the Youth Make the Media a mature audience in the Ballina project funded by the Youth Development and Support Fund through the Federal Shire, a music format which to this day Office for Youth. Access resources at syn.org.au/training is extremely popular with their loyal listeners. In addition to playing the ‘best music of all time’, Paradise FM is a vital source of news, community Light FM information and entertainment.
89.9 LightFM is using Instagram, an online photo-sharing Birthday celebrations included a free application, to market their station. The application can jazz concert from local high school be downloaded to smart phones and allows the user to bands and the Northern Rivers Big share images using various filters via social networking Band, as well as the drawing of the sites such as twitter and facebook. “It helps add the ‘vision’ 10th birthday raffle. part to what we do in radio, and shows another side of the "What a great feeling!" said Station personalities behind our station. We also get to see our city Manager, Jenny Ellenbroek. "It is through others’ eyes” says Tim Malone, LightFM’s Online just so good to be out there with Content Manager. our listeners in the heart of our community!" CBX photo competition Paradise FM has achieved much in ten years and is now a well respected CBX would like to thank the following stations for their submission to the voice for and in its community. There CBX photo competition: 2NVR FM, todayscountry94one, OCR FM, Hope 103.2, are great plans ahead to grow and 104.9 Lime FM, SWRFM, 4ZzZ, RTR FM and Blu FM. The winner of the photo improve what is already a great radio competition is Blu FM with its picture of The Trobes, a band photographed station. Paradise FM is a shining during the stations annual Battle of the Bands competition. This photo is example of the power of radio as featured on the front cover. Congratulations Blu FM, and thank you to all the a positive and cohesive force in Reclink Australia is a charitable organisation whose mission is to provide sporting, stations that sent in their pictures. our communities. social and arts activities to enhance the lives of people experiencing disadvantage.
16 The Magazine of the Community Broadcasting Association of Australia • August 2011 Community o stations Melbourne community ra di team up to play the f Cup ield for charity! Since 1997, the Community Cup has By > Danny Chifley been a fixture on the Melbourne CBAA Admin Assistant amateur sporting calendar, raising funds for a variety of charities and cultivating a sporting rivalry for the The latest chapter in the eternal ages. The Rockdogs were out for struggle between the Megahertz and vengeance after their controversial the Rockdogs has concluded with a 2010 loss and wasted no time in resounding victory to the musicians. stamping their authority on the game. Under the expert tutelage of the legendary Paul Kelly, the Rockdogs ran In keeping with Community Cup “The 2011 Community Cup was a out winners 11.10.76 to the Megahertz tradition, the match shared top billing blinder,” says Megahertz Forward 4.17.41. 2011. Success was not limited with performances by sleazy pop Pocket, Georgia Webster. “The elusive to playing the field as charity partner punkers The Mercy Kills, the world’s Melbourne winter sunshine was out, Reclink managed to raise $200,000. biggest girl group, The Rebelles and the bands were in form and the kids, recently reformed rock legends, dogs, and general rabble loved the A crowd of 12,000 gathered at Tumbleweed. In addition to putting in half-time kick-to-kick.” Elsternwick Park on Sunday 26 June the hard yards as part of the Rockdogs to watch the motley assortment of forward line, veteran campaigner Despite the end result, it is safe to say Melbourne Rock ‘n’ Roll elite that Tim Rogers backed up post-game to that fundraising for Reclink was the is the Rockdogs, led by sultry crooner front You Am I as they tore through a winner at the end of the day with public Dan Sultan, take on the Megahertz, collection of their greatest hits. Brian nudity a close second. a team comprising the finest athletes Nankervis of RockWiz fame refereed the Above: Victorious Paul Kelly & Dan Sultan of of Melbourne’s 3RRR, 3PBS and SYN match in a costume that paid tribute to 'The Rock Dogs'. Below: The winning team FM, helmed by debutante co-captains Nick Cave while organ enthusiast Barry 'The Rock Dogs'. Jess McGuire and Maddy Mac. Morgan performed the national anthem.
Reclink Australia is a charitable organisation whose mission is to provide sporting, social and arts activities to enhance the lives of people experiencing disadvantage.
www.cbaa.org.au/cbx 17 THE CENSUS HELPS SHAPE A BRIGHTER FUTURE FOR OUR COMMUNITIES
Everyone in Australia must participate in the Census on 9 August. You can fill in the paper form or complete eCensus online. eCensus is fast, secure and easy. A Census Collector will deliver eCensus materials to your home, but won’t need to come back if you use eCensus. Census information is used by governments, businesses and communities to help plan for a brighter future. To use eCensus go to www.census.gov.au or for more information call 1300 338 776.
18 The Magazine of the Community Broadcasting Association of Australia • August 2011 omadelaide omadelaide live broadcast omadelaide live W adio Adelaide crew at W adio Adelaide crew
R ...We try and include as many genres of music as we can so there is something that appeals to everyone.
CRN SPECIAL BROADCASTS A different approach is taken at the Brian King has some tips for producing By > Martin Walters Woodford Folk Festival, where the OBs for community radio. “As executive Satellite Operations broadcast producer, encourage and Coordinator 4ZzZ crew presents a mix of live and pre-recorded festival content. motivate the team, and most of all, Community radio is often championed Producer Gemma Snowdon says the ensure everyone feels at the end of for the diversity of music it brings to biggest challenge is deciding which the OB that they have done a good job,” the people. Through live broadcasts, content to use. “After recording a week he says. it also plays a significant role bringing of breathtaking performances it’s Coming soon to CRN is the Applecore the people to the music. Through always difficult to have to cut one from Festival. This annual celebration of rock the Community Radio Network the program. We try and include as ‘n’ roll was recently recorded by 3CR (CRN), stations are sharing their live many genres of music as we can in an ordinary backyard in Thornbury, broadcasts with listeners across so there is something that appeals and is going national for the first time, Australia. Approaches are many and to everyone.” albeit on delay. While featuring a host varied, from individuals recording of nationally recognised bands, it’s DIY-style, to sizeable production These two broadcasts sit on the hard to envisage something more teams managing complex real-time CRN calendar alongside long-time broadcasts. community oriented than a festival community radio favourites like from a residential backyard. Plenty Valley FM’s broadcast from Womadelaide, Tamworth, and the Whittlesea’s Victorian Country Music Mildura Country Music Festival. Other Wherever you are in Australia get Awards requires a high level of recent contributions have come from out your eskies and BBQs, and allow coordination. There are live crosses SWR FM, ArtSound, Beau FM and yourself to be transported to festivities and live music events through to multiple locations, a combination Heart FM in Poatina. CRN Technical community radio. of stage and radio presentation, Coordinator Ben Feggans would like and windows for local sponsorship to see even more stations contributing The Community Radio Network is announcements for end-user stations to the landscape of live broadcasts, a satellite/online audio distribution to manage. Executive producer Brian service managed by the CBAA and King commences planning four months “Outside Broadcast (OB) and recording prior to the event, but admits it never equipment is more accessible than available as a subscription service ends, “The biggest challenge is being ever. If stations have an idea for a to all Australian community stations. able to handle last minute running nationwide program we’d be keen sheet changes,” he says. to hear from them.” www.cbaa.org.au/cbx 19 People still want to create and make music, and want it to be heard. I’m never short of discovering a new artist or record and I get excited about presenting it to listeners.
By the end of the month, I had Program Committee. Currently I help By > Neil Rogers presented my first Australian music out the Music Co-ordinator by sorting Presenter of The Australian Mood, show and continued to do a monthly out the weekly music mail and CD’s. 3RRR program at 3PBS until mid 1987, before I’m fortunate to have a friend, Aaron being offered a weekly show at 3RRR, Jones, who volunteers his time each The term ‘bowl me over with a feather’, by Stephen Walker. week to look after all the behind the is an apt one in my case. I was a very Since 1987 my program, The Australian scenes administrative work for my shy teenager, and if someone had told Mood, has been on air every Thursday program (greeting guests, answering me at 20 years of age that within a few night, followed by Max Crawdaddy’s phones, putting the play list on the years I would be on radio and would ‘Son of Crawdaddy’. We have been net, taking care of giveaways etc), still be presenting an Australian music a double act for nearly 25 years! an amazing effort! I also have a regular program nearly 30 years later, then you volunteer guest, Jeff Jenkins, a well could have literally ‘bowled...’! Of course, the way that music is presented and delivered to radio has known music writer who comes in once I was given a small transistor radio for changed in that time. However, one a month and presents a 30 minute Christmas when I was 11. The first song thing has not. People still want to segment of music news and new artists I heard playing on my new radio was create and make music, and want it to he has discovered. It is great to have ‘Black and Blue,’ by Chain. In my teens be heard. I’m never short of discovering Jeff’s knowledge and passion involved I was introduced to 2JJ before moving a new artist or record and I get excited in the program. to Melbourne in the late ‘70s. about presenting it to listeners. One I love local Australian music! Being I completed my University degree of the great things about radio and a presenter of an Australian music in 1981. One of my fellow students, its immediacy is the interaction and program has allowed me to get to Leonie Dickinson, who worked for feedback, suggestions and comments know and meet so many talented and from listeners. Ian Stanistreet, manager of 3PBS creative people and introduce their at the time, knew that I had a keen Radio for me is more than just pres- music to listeners. I firmly believe interest in local music. She pestered enting a program on air. I love hanging Australia makes some of the best music me to come into the station, to help fold around the station with other like minded in the world. It is only the tyranny of their monthly magazine. Within a short people and being able to help out in distance that often holds some of our period, I had been trained on the panel other ways. I have held a variety of off musicians back from becoming globally and in January 1983 presented my first air roles at 3RRR including volunteer’s acknowledged. In short, 3RRR has given graveyard program. representative on the Board and me more than I can ever hope to repay.
20 The Magazine of the Community Broadcasting Association of Australia • August 2011 THE CBAA SATELLITE ADVISORY SECTOR PROJECTS The Community Broadcasting COMMITTEE On behalf of the sector, Association of Australia Chair the CBAA manages three is the national peak body John MacInnes; 3WAY sector-wide projects: for community broadcasters, SAC Members Amrap, CBOnline and the providing leadership, Rob Meaton; 2BOB Digital Radio Project. advocacy and support Ken Westerman; 2TRR for our members and Geoff Pegler; 5EFM SECTOR PROJECTS the sector as a whole. GGAC Representative CONSULTATIVE COMMITTEE Bob Rau; 3NOW (SPCC) CBAA membership Terry Mather (alternate); 7THE Chair/ CBAA President A full list of the CBA Adrian Basso membership can be found CBAA STAFF CBAA General Manager at www.cbaa.org.au General Manager Kath Letch Kath Letch RPH Australia Chair CBAA BOARD Operations Manager Peter Luckett OF DIRECTORS Rhonda Byrne AICA President President IT Coordinator Jim Remedio Adrian Basso; 3PBS Andrew Devenish-Meares NEMBC President Vice President Radio Finance Coordinator Victor Marillanca JP John MacInnes; 3WAY Robin Carter CMA CEO Board Directors Administration Assistant David Turrell Phillip Randall; Danny Chifley Observers: HOPE 103.2 CRN Technical Coordinator CBF Executive Director Ian Stanistreet Danae Gibson; Ben Feggans 3JOY DBCDE Satellite Operations Judy Hiscox Jonathan Brown; Coordinator Radio Adelaide Martin Walters DIGITAL RADIO Peter Rohweder; Communications CONSULTATIVE 4EB & DDN Assistant COMMITTEE (DRCC) Women’s Representative Ellice Mol Chair Leeni Fabri; Executive Assistant David Melzer 3JOY Tracey Savage Sydney Rep/ 2CBA Youth Representative Technical Consultant Phillip Randall Bradley Duence; David Sice Melbourne Rep/ 3MBS Edge Radio Cameron Paine Brisbane Rep/ 4EB FINANCE STANDING Peter Rohweder COMMITTEE Adelaide Rep/ 5RPH President Hans Reimer Adrian Basso; 3PBS Perth Rep / 6RPH Peter Luckett Finance Director Phillip Randall; CBAA Hope 103.2 General Manager Kath Letch General Manager Kath Letch; Project Manager CBAA Philip Shine Technical Consultant YOUTH ENGAGEMENT David Sice COMMITTEE Project Assistant Chair Alex White Jonathan Brown; Observers: Radio Adelaide Ian Stanistreet YEC Members CBF Executive Director Bradley Duence; Edge Radio CBAA SECTOR Nik Tripp; PROJECTS STAFF 3RRR Amrap Project Manager Rubina Carlson; 5EBI Chris Johnson Communications & CD Mailout Coordinator Brigitte Dagg Distribution Coordinator Brooke Olsen IT Coordinator Ben Briedis CBOnline Project Manager Stephen Hahn Digital Radio Project Project Manager Philip Shine Project Assistant Alex White Technical Consultant David Sice