Radio Airplay and the Record Industry: an Economic Analysis
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Analysis of the Attractiveness of the Commercial Radio Industry in Kenya
ANALYSIS OF THE ATTRACTIVENESS OF THE COMMERCIAL RADIO INDUSTRY IN KENYA PATRICK N O OGANGAH U-, A Management Research Project submitted in partial fulfillment of the requirements for the award of Master in Business Administration Degree, University of Nairobi November 2009 DECLARATION This research project is my original work and has not been presented for a degree in any other University. 061/7376/06 This research project h^s been submitted for examination with my approval as the University supervisor Signature \ \ \ *\ DR. ZACKB AWINO LECTURER DEPARTMENT OF BUSINESS ADMINISTRATION SCHOOL OF BUSINESS UNIVERSITY OF NAIROBI ii DEDICATION This research project is dedicated to my wonderful parents, Peter and Grace Ogangah without whose support and belief in me, I wouldn't have achieved my MBA. AKNOWLEDGEMENT My sincere gratitude to my supervisor Dr. Awino, who guided me through this project from topic formulation to the end and making It a success. Not forgetting my fellow MBA students at the University of Nairobi, other lecturers and faculty staff. Forever thankful to Morin Chacha and my colleagues at work who provided valuable and timely advice whenever consulted hence made this project successful. Last but not least, thanks to the Almighty God, who has made it all possible. Table of Contents CHAPTER ONE: INTRODUCTION........................................................................................................................................................1 1.1 Background of the Study............................................................................................................................................ -
Katie Goldberg
K A T I E G O L D B E R G E X P E R I E N C E TICKETING MANAGER FOR GLOBAL TOURING AEG PRESENTS | JAN 2019 - PRESENT Act as liaison between promoter, artist team, and theater/arena box office staff; communicating on-sale timelines, pricing, scaling, and all necessary tour holds, and validating that each show of 50+ date tours are set up correctly based on all guidelines Monitor ticket holds, track sales, and project future sales for all dates of various theater and arena tours in the United States and Canada, including Maggie Rogers, C O N T A C T Morrissey, Nick Cave & The Bad Seeds, and JoJo Siwa (410) 227-0296 Coordinate with all internal and external tour partners for all operational ticketing aspects including fan club [email protected] and VIP packages, presale offers, Platinum, and internal HTTPS://WWW.LINKEDIN.COM/IN/KATIE- sales and guest lists. GOLDBERG/ TICKETING ASSISTANT THE BOWERY PRESENTS | JUN 2018 - JAN 2019 Manage ticketing for Rough Trade NYC and Music Hall of S K I L L S Williamsburg, including building events, coordinating Microsoft Office Suite with booking, marketing, and venue contacts, creating AXS, Ticketmaster, and and processing all holds and buys, and communicating Paciolan ticketing systems guest lists with general managers and record label or Customer service artist management contacts Time management Compile and distribute ticket counts reports for all venues in The Bowery Presents North East division MARKETING AND MANAGEMENT INTERN CRUSH MUSIC | JAN 2018 - MAY 2018 E D U C A T I O N Manage SubmitHub submissions (earning over $1,000 in BACHELOR OF SCIENCE, MAJOR one month) IN BUSINESS ADMINISTRATION, Compile social media statistics on monthly basis for 17 MINOR IN COMMUNICATIONS artists and bands DELAWARE VALLEY UNIVERSITY Compile press reports on new releases by artists, 2012 - 2016 compile reports for artist managers, proof ad-mats and GPA: 3.9 other marketing tools, observe social media for marketing team during new releases. -
Audio Today a Focus on African American & Hispanic Audiences April 2014
STATE OF THE MEDIA: AUDIO TODAY A FOCUS ON AFRICAN AMERICAN & HISPANIC AUDIENCES APRIL 2014 STATE OF THE MEDIA: AUDIO TODAY Q2 Copyright © 2014 The Nielsen Company 1 GROWTH AND THE AUDIO LANDSCAPE NATIONAL AUDIENCE HITS ALL-TIME HIGH Growth is a popular word today in America, whether you’re talking about the stock market, entertainment choices, or census trends. Through it all, radio consumption continues to increase; nearly 92% of all Americans 12 or older are tuning to radio in an average week. That’s 244.4 million of us, a record high! 244 MILLION AMERICANS LISTEN TO RADIO EACH WEEK This growth is remarkable considering the variety and number of media choices available to consumers today over-the-air and online via smartphones, tablets, notebooks/desktop computers and digital dashboards. Radio’s hyper-local nature uniquely serves each market which keeps it tied strongly to our daily lives no matter how (or where) we tune in. The radio landscape is also a diverse community of listeners from every corner of America, who reflect the same population trends of the country as a whole. Radio is one of the original mass mediums and as the U.S. population grows and the makeup of our citizens change, radio audiences follow suit. Alongside the national growth headline, both African American and Hispanic audiences have also reached a historic high with more than 71 million tuning in each week. Source: RADAR 120, March 2014, M-SU MID-MID, Total Listeners 12+/Hispanic 12+/African American 12+ 2 STATE OF THE MEDIA: AUDIO TODAY Q2 RADIO’S GROWTH CHART IS DIVERSIFIED Weekly Cume (000) March 2013 June 2013 Sept 2013 Dec 2013 March 2014 All Listeners 12+ 243,177 242,876 242,530 242,186 244,457 Hispanic 12+ 39,586 39,577 39,506 39,380 40,160 African American 12+ 30,987 30,862 30,823 30,742 31,186 71 MILLION AFRICAN AMERICANS AND HISPANICS The focus for this quarter’s Audio Today report is the African American and Hispanic listener; combined these listeners account for nearly a third (29.6%) of the total national audience. -
Adult Contemporary Radio at the End of the Twentieth Century
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century Saesha Senger University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2020.011 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Senger, Saesha, "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century" (2019). Theses and Dissertations--Music. 150. https://uknowledge.uky.edu/music_etds/150 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
The Future of Copyright and the Artist/Record Label Relationship in the Music Industry
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Saskatchewan's Research Archive A Change is Gonna Come: The Future of Copyright and the Artist/Record Label Relationship in the Music Industry A Thesis Submitted to the College of Graduate Studies And Research in Partial Fulfillment of the Requirements for the Degree Of Masters of Laws in the College of Law University of Saskatchewan Saskatoon By Kurt Dahl © Copyright Kurt Dahl, September 2009. All rights reserved Permission to Use In presenting this thesis in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis. Requests for permission to copy or to make other use of material in this thesis in whole or part should be addressed to: Dean of the College of Law University of Saskatchewan 15 Campus Drive Saskatoon, Saskatchewan S7N 5A6 i ABSTRACT The purpose of my research is to examine the music industry from both the perspective of a musician and a lawyer, and draw real conclusions regarding where the music industry is heading in the 21st century. -
Warburton, John Henry. (2010). Picture Radio
! ∀# ∃ !∃%& ∋ ! (()(∗( Picture Radio: Will pictures, with the change to digital, transform radio? John Henry Warburton Master of Philosophy Southampton Solent University Faculty of Media, Arts and Society July 2010 Tutor Mike Richards 3 of 3 Picture Radio: Will pictures, with the change to digital, transform radio? By John Henry Warburton Abstract This work looking at radio over the last 80 years and digital radio today will consider picture radio, one way that the recently introduced DAB1 terrestrial digital radio could be used. Chapter one considers the radio history including early picture radio and television, plus shows how radio has come from the crystal set, with one pair of headphones, to the mains powered wireless with built in speakers. These radios became the main family entertainment in the home until television takes over that role in the mid 1950s. Then radio changed to a portable medium with the coming of transistor radios, to become the personal entertainment medium it is today. Chapter two and three considers the new terrestrial digital mediums of DAB and DRM2 plus how it works, what it is capable of plus a look at some of the other digital radio platforms. Chapter four examines how sound is perceived by the listener and that radio broadcasters will need to understand the relationship between sound and vision. We receive sound and then make pictures in the mind but to make sense of sound we need codes to know what it is and make sense of it. Chapter five will critically examine the issues of commercial success in radio and where pictures could help improve the radio experience as there are some things that radio is restricted to as a sound only medium. -
The Music Industry in the Social Networking Era
THE MUSIC INDUSTRY IN THE SOCIAL NETWORKING ERA By Xi Yue A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Telecommunication, Information Studies and Media 2011 Abstract THE MUSIC INDUSTRY IN THE SOCIAL NETWORKING ERA By Xi Yue Music has long been a pillar of profit in the entertainment industry, and an indispensable part in many people’s daily lives around the world. The emergence of digital music and Internet file sharing, spawned by rapid advancement in information and communication technologies (ICT), has had a huge impact on the industry. Music sales in the U.S., the largest national market in the world, were cut in half over the past decade. After a quick look back at the pre-digital music market, this thesis provides an overview of the music industry in the digital era. The thesis continues with an exploration of three motivating questions that look at social networking sites as a possible major outlet and platform for musical artists and labels. A case study of a new social networking music service is presented and, in conclusion, thoughts on a general strategy for the digital music industry are presented. Table of Contents List of Figures................................................................................................................................ iv List of Tables................................................................................................................................... v Introduction.................................................................................................................................... -
History of Radio Broadcasting in Montana
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1963 History of radio broadcasting in Montana Ron P. Richards The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Richards, Ron P., "History of radio broadcasting in Montana" (1963). Graduate Student Theses, Dissertations, & Professional Papers. 5869. https://scholarworks.umt.edu/etd/5869 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. THE HISTORY OF RADIO BROADCASTING IN MONTANA ty RON P. RICHARDS B. A. in Journalism Montana State University, 1959 Presented in partial fulfillment of the requirements for the degree of Master of Arts in Journalism MONTANA STATE UNIVERSITY 1963 Approved by: Chairman, Board of Examiners Dean, Graduate School Date Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number; EP36670 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Oiuartation PVUithing UMI EP36670 Published by ProQuest LLC (2013). -
The Music Industry and the Fleecing of Consumer Culture
The Music Industry: Demarcating Rhyme from Reason and the Fleecing of Consumer Culture I. Introduction The recording industry has a long history rooted deep in technological achievement and social undercurrents. In place to support such an infrastructure, is a lengthy list of technological advancements, political connections, lobbying efforts, marketing campaigns, and lawsuits. Ever since the early 20th century, record labels have embarked on a perpetual campaign to strengthen their control over recording artists and those technologies and distribution channels that fuel the success of such artists. As evident through the current draconian recording contracts currently foisted on artists, this campaign has often resulted in success. However, the rise of MTV, peer-to-peer file sharing networks, and even radio itself also proves that the labels have suffered numerous defeats. Unfortunately, most music listeners in the world have remained oblivious to the business practices employed by the recording industry. As long as the appearance of artistic freedom exists, as reinforced through the media, most consumers have typically been content to let sleeping dogs lie. Such a relaxed viewpoint, however, has resulted in numerous policies that have boosted industry profits at the expense of consumer dollars. Only when blatant coercion has occurred, as evidenced through the payola scandals of the 1950s, does the general public react in opposition to such practices. Ironically though, such outbursts of conscience have only served to drive payola practices further underground—hidden behind co-operative advertising agreements and outside promotion consultants. The advent of the Internet in the last decade, however, has thrown the dynamics of the recording industry into a state of disarray. -
Linda Baun's Dedication Will Leave
SEPTEMBER/OCTOBER 2020 CHAIR’S COLUMN Prepare for election season Baun takes bow after 14 years at WBA We are now entering the election window. One very WBA Vice President Linda Baun will retire from the important heads up: You must upload everything organization in September after 14 years. to your Political File (orders, copy, audio or video) Baun joined the WBA in 2006 and led numerous WBA as soon as possible. As soon as possible is the catch events including the Broadcasters Clinic, the WBA phrase. Numerous broadcast companies, large and Awards for Excellence program and Awards Gala, the small, have signed off on Consent Decrees with the Student Seminar, the winter and summer confer- FCC for violating this phrase. What I have been told is, ences, and many other WBA events including count- get it in your Political File by the next day. less social events and broadcast training sessions. She Linda Baun Chris Bernier There are so many great examples of creative pro- coordinated the WBA’s EEO Assistance Action Plan, WBA Chair gramming and selling around the state. Many of you ran several committees, and handled administration are running the classic Packer games in place of the of the WBA office. normal preseason games. With high school football moved to the “Linda’s shoes will be impossible to fill,” said WBA President and CEO spring in Michigan our radio stations there will air archived games Michelle Vetterkind. “Linda earned a well-deserved reputation for from past successful seasons. This has been well received and we always going above and beyond what our members expected of her were able to hang on to billing for the fall. -
Listening Patterns – 2 About the Study Creating the Format Groups
SSRRGG PPuubblliicc RRaaddiioo PPrrooffiillee TThhee PPuubblliicc RRaaddiioo FFoorrmmaatt SSttuuddyy LLiisstteenniinngg PPaatttteerrnnss AA SSiixx--YYeeaarr AAnnaallyyssiiss ooff PPeerrffoorrmmaannccee aanndd CChhaannggee BByy SSttaattiioonn FFoorrmmaatt By Thomas J. Thomas and Theresa R. Clifford December 2005 STATION RESOURCE GROUP 6935 Laurel Avenue Takoma Park, MD 20912 301.270.2617 www.srg.org TThhee PPuubblliicc RRaaddiioo FFoorrmmaatt SSttuuddyy:: LLiisstteenniinngg PPaatttteerrnnss Each week the 393 public radio organizations supported by the Corporation for Public Broadcasting reach some 27 million listeners. Most analyses of public radio listening examine the performance of individual stations within this large mix, the contributions of specific national programs, or aggregate numbers for the system as a whole. This report takes a different approach. Through an extensive, multi-year study of 228 stations that generate about 80% of public radio’s audience, we review patterns of listening to groups of stations categorized by the formats that they present. We find that stations that pursue different format strategies – news, classical, jazz, AAA, and the principal combinations of these – have experienced significantly different patterns of audience growth in recent years and important differences in key audience behaviors such as loyalty and time spent listening. This quantitative study complements qualitative research that the Station Resource Group, in partnership with Public Radio Program Directors, and others have pursued on the values and benefits listeners perceive in different formats and format combinations. Key findings of The Public Radio Format Study include: • In a time of relentless news cycles and a near abandonment of news by many commercial stations, public radio’s news and information stations have seen a 55% increase in their average audience from Spring 1999 to Fall 2004. -
Insideradio.Com
800.275.2840 MORE NEWS» insideradio.com THE MOST TRUSTED NEWS IN RADIO THURSDAY, MARCH 5, 2015 Infinite Dial 2015: Radio’s Money Demo is driving online radio growth. Online radio gained ground in 2015 as listeners aged 25-54 tuned to the medium in record numbers. No longer just a habit for 12-24 year-olds, half of Americans aged 25- 54 listen weekly to AM/FM radio stations online or to streamed audio content available only on the internet, according to new findings from Edison Research and Triton Digital. Weekly listening among 25-54 year-olds increased by over a third during the past year. Online radio is now a majority activity and the gap between monthly and weekly listening is closing. Over half of the U.S. population (53%) now listens to online radio monthly and 44% tune in weekly. In fact, the percent that listen weekly has doubled during the past four years. As the medium matures, the impact of a new crop of older, more casual listeners may be impacting average time spent with it. For the first time since 2008, Edison reports a slight decrease in weekly time spent listening to online radio, from 13 hours, 19 minutes in 2014 to 12 hours, 53 minutes in 2015. However the total time consumed continues to rise. Usage is continuing to shift from desktops and laptops to smartphones. Nearly three quarters of weekly online radio listeners tune in on a smartphone, up from 66% last year. As listening on desktops (61%) and tablets (32%) declined slightly, streaming audio consumption on internet-connected TVs rose sharply, from 12% to 18% during the past year.