It is currently Fri May 24, 2013 4:36 pm
Radio is still one of those sources and I'd lay money that one of the reasons it's slipped down the scale is that a generation has been so sorely abused by it.
Yes they go on YouTube but it tends to be to watch videos of songs they've already discovered via radio or TV.
Ian M wrote:While I understand Nigel's argument...
Ian M wrote: [ . . . ]
Of course what makes them great, and inspires listeners and musicians in way which enriches the music scene in this country immeasurably, is what controllers hate. They are independently minded, they don't do 'formats' (the be-all and end-all of many managerial conferences), and they want to play their own choice of music (heaven forfend!). In other words they can't be conformed to the 'brand' (another great managerial shibboleth). Or in short, they are uncontrollable - and that's not a good situation for a controller. Everything the audience loves and makes them long term listeners and fans is everything the controller hates and can't see the point of, especially when there are any amount of bland minor celebrities who will happily be scripted and use playlists (and who won't have any real commitment to music or artists).[ . . . ]
Jonathan E. wrote:But, today, given new tech etc., there is nothing to stop Mark or anyone else so inclined from presenting a show without the Auntie Beeb's say-so. He could launch an internet presence without any restrictions on what he plays and with considerably more contact with the audience. I'm not saying it's easy; obviously, the finances are a bit more challenging than just getting a cheque from Auntie.
Rob Hall wrote:Can someone clarify for me please: how are performing rights, etc., handled with small community stations such as Resonance FM. How are they handled on fRoots radio? I imagine that the situation is somewhat different in other parts of the world. How does that work when stuff is (effectively) broadcast via the internet?
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