Showing posts with label hypebot. Show all posts
Showing posts with label hypebot. Show all posts

12/11/08

Top 10 Reasons Radio Stations are Bleeding Money

*As featured on Hypebot

In The Social Music Evolution I wrote about the commercialization of radio due to Clear Channel's growth from owning forty five stations in 1995 to a staggering fifteen hundred by 2003. Noting this as a contributing factor that has increased the complexity of the music industry. The idea of commercialization was great at the time, because after all, what's better than owning five stations locally? Of course, owning hundreds nationally.

Commercialized radio may not die out entirely, but it will bleed money in the meantime. The local radio stations stand a better chance because they have the advantage connecting with their audience and being more able to adapt to the needs of their market. Here are the top 10 reasons why radio stations are bleeding money:

1. Loss of community - They're not losing their listeners, they're losing their communities. Remember when you got on the air and talked with the host? Then, later that night, your friends called you because they heard you on air. Dying. You retell the stories from the morning show with your coworkers later that day. Dying. We've all lost our sense of community and are finding somewhere else to belong everyday.

2. Generalization to specialization - We've developed very diverse and complex listening habits. The problem is that radio plays music based on genre and the different the eras of its success. If I'm listening to current alternative and want to hear some classic rock, they lose every time. Switching back and forth between stations isn't good for driving, but for those who are still listening, they're doing it more and more.

3. Localization to nationalization - Loud and local was the mantra of the station...

I used to listen to. Broadcasting from some place I've never heard of just doesn't work. Big name radio, takes the passionate guy out of the booth that injected life into the airwaves. Listening to something local meant being a part of something, if your somewhere else or too big to talk to your audience, then it isn't clear what I belong to.

4. Satellite radio and the road - Drivers bored in their cars are a big part of your audience, but its hard to prevent those who travel nationally from switching to satellite radio because retuning stations just doesn't work.

5. Promoting not playing - The good stations used to play music, but now most of them make more money by promoting music. Who would've thought that if you promoted the same music all the time and replayed some songs every hour that listeners would turn away?

6. Programed to personal - If someone buys an iPod, you lose. Instead of you delivering your listeners play lists, they make their own. They put new songs into rotation all the time and no commercials. They can also teach Pandora how to help them discover new music, but they can't teach you.

7. Advertising based on budget significance not audience relevance - Its obvious that people flip through stations anyways, but if most of your adverting has no relevance to your demographic, then you lose. You used broadcast to be for the masses, but now that you have a pretty idea who your targeting, why not make the messages relevant to them?

8. Issues to no issues - As Bruce wrote, “(People want) broadcasting that is not afraid to express a point of view and talk about issues facing listeners.” Where can your listeners find the cheapest gas and what's the latest news on the economy? Better yet, do you know of someone who's hiring? 550,000 people are searching.

9. Morning show to morning show gimmicks - Recycling noise and shock humor can only go so far. Your local morning show has a feel to it that a syndicated show lacks. If you make noise you'll raise your ratings for bit, but if you make meaning they'll stay longer.

10. Instead of beating out, they bought out - If Clear Channel couldn't beat out programing that was better then theirs, instead of making something worth talking about, they started making bids on the station and (usually) wrecked what was worth talking about in the fist place.

-Kyle Bylin
Share/Save/Bookmark

11/25/08

The Social Music Evolution

50 Records intern, Kyle Bylin, continues his contributions to Hypebot.com with an in-depth look at the evolution of music business. Read his article "The Social Music Evolution" (Part 2 to be posted tomorrow).
Share/Save/Bookmark

11/18/08

The Evolution of Tribal Curiosity

*As featured on Hypebot*


Yesterday on Hypebot, Bruce raised the question, “What fans should artists listen and pay attention to?” My answer is: all of them, but there's a big difference between listening and truly caring. Tribes_circlesBe approachable, start doing something, and answer those emails. If you are leading a tribe of followers, you have to pay attention to all of them, but the key is to empower the curious.

There are many types of followers, but it's the curious fans that count. Not because there are a lot of them, but because they are the ones who talk to the fans that are stuck. They're stuck on your last album, stuck on what everyone else is listing to, and stuck somewhere in the mid-1990's. Whereas the curious fans are trying to find out when the album is going to be out and when your going on tour next. The curious fans are the mavens who are driven by the desire to discover and champion new music.

The Evolution of Tribal Curiosity

Anthropologist Elman Service defined four classifications of the stages of social evolution: hunter-gatherer, tribe, chiefdom, and state. It is my belief that these four categories also provide insight into The Evolution of Tribal Curiosity in music fans and the power of influence they acquire over time.

1. Hunter-gatherer: Fans who are generally egalitarian or characterized by their belief in the equality of all bands. They relentlessly search for music in all territories and don't discriminate against anything. Up to almost 80% of their music is obtained by gathering, but they have very little social influence.

2. Tribe: Communities of fans in which there are some limited instances of social rank and prestige. For instance, some of the members become more established opinion leaders, and emphasis is placed on who was first to discover a new artist. They gave a broader reach then the hunter-gather.

3. Chiefdom: Stratified tribal societies with...

established opinion leaders or chiefs. Think about music blogs (pitchfork, stereogum & brooklynvegan), where new artists are brought forward by a single source, and echoed down through different ranks and layers. Embraced by certain tribes, but not by all. Their reach differentiates, but wider spread.

4. State: Civilizations, with complex social hierarchies and organized, institutional governments. Examples: MySpace, Billboard Charts, Rolling Stone, and Top Radio. High rates of discrimination of what makes “good music.” They are influencing and reaching the masses far and wide.

In a world where people now have way more choices and far less time, the obvious thing happens, people start ignoring you. But, no artist should ignore any fans, because they are more connected than ever. You have to be constantly empowering curiosity and amplifying faith of your followers, because that is the only way you will rise above the the ranks and gain their acceptance.


Share/Save/Bookmark

11/13/08

The Rihanna Challenge

*As featured on Hypebot*

It's easy to say, “No one will care about Rihanna in five years." But it's important to note that this isn't about Rihanna's career, it's about the careers of many.

It's the difference between the support of crowds and tribes. It's the difference between blind faith and something to believe in. Do you truly believe that if piracy ended and your CD had an end-cap display that your career would magically be different? Or do you believe if you keep making remarkable music, engaging your audience, and building your tribe that over time you can make a change?

Four questions illustrate this reality:

* If Rihanna left her major label, could she sustain her career in The Musical Middle Class?
* If radio stations slowly quit playing her singles, how long would it take for you to notice?
* If Best Buy, Target, Wal-Mart quit selling her CD's, could she rely on digital distribution?
* If she had to rely solely on the support of her fans, would their relationship be able to last?

When you take away three pillars that a major artist's career is build on, it's hard to imagine...

their place without major label budgets, massive radio play, and big-box retail distribution. The reality is that major labels are in the same economic storm as the rest of us, radio is slowly losing it's audience, and that music floor space is shrinking everyday in favor of more profitable items. If you think about it, five years is a long time in music.

It's hard to destroy the status quo; if that's what you are. If no one cared when you weren't being played on radio, if no one noticed your CD wasn't on display, then it's not clear that you have a tribe. In The Musical Middle Class, it's hard to rely on crowds, because they come and go with passing trends as they get older, but the followers of a tribe grow together. Rihanna is great with the members of music crowds, but with music tribes it's unclear if she resonates.

Two general examples of a much larger segmentation:

The members of music crowds:

* Still consume major label music
* Still hear about new music on the radio
* Still buy music off the end caps at Best Buy, Target, and Wal-Mart

The members of music tribes:

* Develop complex tastes and has a hard time digesting mainstream
* Hears about new music through friends, recommendations like Amazon, and music blogs
* Buy music from Indie stores, iTunes, Amazon, CD-Baby, or TuneCorner

The crossover members of music crowds who do use iTunes don't know what to do when they can't buy your single. They heard Kid Rock's “All Summer Long” on the radio, went online to buy it, and didn't know what to do. The Hit Masters provided an answer to that demand, overtook the original on The Billboard Hot 100, and peaked at #19. The publicity from refusing to be a part of iTunes and leading a strong music tribe allowed him to take Rock N Roll Jesus 2X Platinum, but it took 19 years and 9 albums to do it. Five years from now, people will still care about Kid Rock because despite his mainstream success, he still connects and leads a music tribe.

The Rihanna Challenge:

*What artists do you think won't be around in five years?
* What artists could survive on their audience without the three pillars ? (larger budgets, radio play, and store distribution)
Share/Save/Bookmark