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Tony Currie

Radio Six International has not been a full-time shortwave broadcaster for some time. But after two recent live broadcasts on 6070 kHz prompted by the pandemic, it says it will continue monthly broadcasts at least for now.

Radio World visited electronically with Tony Currie.

Live music session

RW: Is this a new offering? What has been the response to it?

Tony Currie: We thought that during the COVID epidemic it might be nice to reach out to our former shortwave listeners; and after the first live show in June, which had many emails while we were on the air and letters afterwards, we thought we’d give a monthly show a try, at least until the pandemic is over. If that’s ever the case.

Radio World: For those who don’t know, what is Radio Six International?

Currie: An international station based in Scotland, with regular listeners in 201 countries.

It began as a schoolkids’ hobby way back in 1963 and never quite went away. It expanded to provide a wired service to neighbors and a care home next door … then started making a few syndicated programs, first for a station in Dubai, then KPFK in Los Angeles.

Radio Six International publishes a monthly newsletter, here with Thea Newcomb on the cover. (You can read it here.)

Then it turned into a place where professionals could play and try out new ideas. Then in 1985 it was the first commercial cable radio network in Europe … made syndicated programs for all sorts of stations including the BBC and Ukrainian state radio … and in 2000 launched a 24-hour service on cable, where it has remained ever since.

We are noncommercial and not-for-profit; I fund the operation. The station is run by a small team of professionals for the fun of it and the joy of radio, rather than as a money making exercise.

We play unsigned and indie music with live sessions and a fantastic team of very experienced specialist music professionals including John Cavanagh, Kenny Tosh, Ewan Spence, Todd Gordon, David Belcher, Thea Newcomb, Susan Fisher and Denis and Rose Blackham, as well as myself.

RW: On what platforms is it heard, and where?

Currie: Online at www.radiosix.com 24 hours a day (mp3, Ogg and AAC+ streams). Via World FM in New Zealand daily simulcasts (1 hour a day weekdays and between four and six hours on weekends); simulcasts on PCJ FM in Taiwan for four hours at weekends, plus syndicated to 58 AM/FM/digital stations in the UK, Australia, USA, and Singapore. [Find more about tuning in.]

RW: Where are the studios and where are the transmission facilities?

Disgruntled listeners crowd the door to the studio in Glasgow.

Currie: Main studio and playout center are in Glasgow, Scotland, and a brand-new facility on the Isle of Lismore in Scotland. The shortwave transmitter is at Rohrbach, Germany.

We also use studios in Edinburgh and London and have broadcast programs from Washington; Los Angeles; Reykjavik in Iceland; Sydney, Australia; and many live location broadcasts including one from a former pirate radio ship at sea, which was broadcast live on shortwave.

RW: What role does shortwave play in your overall strategy?

Currie: It’s a bonus — our main outlet is the internet, followed by syndication, but it’s nice to broadcast live to people who still use analog radio sets.

We launched on shortwave in December 2003 with monthly programs, and for a period from August 2004 until July 2005 we were broadcasting on shortwave daily, followed by weekly transmissions until the end of 2008.

Since then there have been a few sporadic shortwave broadcasts.

RW: What impact has COVID-19 had on your own operations?

Currie: None at all

RW: You mentioned that you’ve had interest in QSL cards, what should readers know about that?

Currie: We are always delighted to receive reception reports, and send an e-card free of charge or a printed QSL card on receipt of a dollar or euro. Email letters@radiosix.com for an e-card or write to Radio Six International, 21 Sherbrooke Avenue, Glasgow G41 4HF, Scotland for a printed card and a free copy of our program schedule.

The post Radio Six Pops Up Again on Shortwave appeared first on Radio World.

S-Class MBUX display. (MBUX stands for Mercedes-Benz User Experience.)

Mercedes has been in the headlines this summer for upgrades to its MBUX infotainment system, available in the S-Class vehicles. (As a CNET automotive website puts it, the S-Class is Mercedes’ flagship so it gets the first of any “latest and greatest innovations” before they reach the rest of its lineup.)

Watching such developments with interest is Jeff Jury, who leads the Automotive Group at Xperi.

He posted on social media that the MBUX “offers a good example of how car companies are innovating around their infotainment offerings, and looking to provide a personalized look and feel in the vehicle.”

Radio World checked in with Jury for an update on dashboard trends and how they play with Xperi’s HD Radio and DTS Connected Radio offerings.

Radio World: What do you see in the Mercedes photos that you think radio industry folks need to pay attention to?

Jeff Jury: There are two very high-level points that are relevant to the radio industry.

Jeff Jury of Xperi

First, Daimler [the parent of Mercedes] is not just handing over the dash to Apple or Google. They are innovating for their customers. This is a great outcome for the radio industry because it means not all entertainment needs to be behind a car play or android for auto wall.

Second, the main screen has radio as a separate icon (and apps as a separate icon). This shows that radio is compelling, and importantly, a standalone infotainment source for Daimler buyers. Again, good for the radio industry because radio is a main option, not one of many apps in the dash.

RW: What other recent car model or infotainment system introductions are notable to you?

Jury: A number of the e-vehicle manufacturers are innovators in the dash. I know that companies like Byton, Karma, etc. all had a very user-friendly, and radio-friendly, dash experience. A number of these may not come to market soon due to economic issues. But it does show the trend towards in cabin environments which look more like phone screens than traditional car dashes.

For cars available today, I believe systems such as Audi MMI (below) and BMW iDrive and ConnectedDrive also represent the look and feel of the future.

Audi MMI screen

RW: What features are coming that will further change how consumers interact with audio or radio in the car?

Jury: I believe the move towards personalization will accelerate in future car generations. In addition to setting up the dash with icons based on your preference, the car systems will also have recommendation systems for content. So the dash look and feel can be personalized, and the content delivery can be personalized.

And, as long as radio has compelling content, this is a good news story. Those great stations people love will be recommended, and great content on stations can be discovered.

Audio MMI touch response system

RW: Xperi and DTS are active in the evolving hybrid radio space. How close are we in the United States to consumers having ready access to these hybrid kind of systems?

Jury: I believe we are very close. We continue to work with most car companies on developing hybrid systems for deployment around the world, including the USA.

I am happy to report that many car companies see the value in upgrading radio. In fact, many work with us on deploying HD Radio, and they are working on us with various version of Connected Radio. They see value to the consumer in both the digital broadcast capability, and the “hybrid” nature of delivering broadcast content back by IP metadata.

[Related: “Hybrid Radio Picks Up Momentum”]

RW: One radio engineer told me he thinks hybrid radio is just a transition or gateway to 4G/5G delivery. Thoughts on that?

Jury: First, let me confirm that linear content, such as radio and TV, is still extremely popular. And even with new systems that enable many new services and content platforms, people still want TV and radio.

Regarding technologies, we believe there is still quite a bit of life in traditional broadcast technologies. There is no more efficient data pipe to deliver one-to-many content into vehicles than radio. Yes, 4G/5G will grow and more cars will have built in modems, but that does not chance the efficiency of broadcast delivery.

In a world where the automobile will be getting inputs and sending data to multiple sources, you still have needs for additional, efficient means of delivering content into the vehicle.

RW: What should radio and media companies be doing that they’re not already, to be better prepared for changes in audio systems in the car?

Jury: We started out talking about personalization. The key to that is accurate metadata.

We spend a lot of effort within Xperi making sure we have accurate station metadata for our systems. This is essential so that as consumers’ increasing use voice to call up stations and use personalization capabilities to find what they like, that a radio station can be found.

Over the years with HD Radio, we have worked with stations on making sure station information, artist images, song titles, etc. are accurate during broadcasts. In the future, this becomes even more important in the connected world, with personalization.

RW: Anything else we should know from your part of the technology world?

Jury: Yes, one topic that doesn’t get a lot of attention when talking hybrid radio is system security.

Hybrid means “connected’ radio in various forms.” This means the connection has to be secure. For both HD Radio and our DTS Connected Radio system, we have had third-party network specialists do audits to validate the security of the system.

It is important that whatever system is interfacing with the car, that it has state-of-the-art overall system security. While this may not have been a big issue years ago, as car become extensions of eco-systems, it is an important requirement. And I am happy to say that we focus on this for all radio-related services we deliver.

Comment on this or any story. Email radioworld@futurenet.com.

The post Jeff Jury Highlights Further Personalization of the Dash appeared first on Radio World.

GENEVA — Switzerland is embarking on the next phase of its digital radio switchover strategy. In May René Wehrlin, media specialist at Switzerland’s Federal Office of Communications (Ofcom) announced the country’s next steps toward the country’s total transition to DAB+.

Ofcom officially confirmed in 2019 that the nation would say “adios” to all FM radio programs by the end of 2024 at the latest. At the time, the “Digital Migration” (DigiMig) working group, set up by the Swiss private and public radio sectors and Ofcom in 2013, stated that 68% of radio listening was digital, 37% of which was via DAB+ and 15% exclusively via FM.

The Right Moment

René Wehrlin

According to Wehrlin, with 10 regional/language-based multiplexes and 15 local multiplexes, a total of 124 stations are now broadcasting via DAB+ in the country. This includes public broadcaster SRG SSR, private broadcasters as well as local and regional broadcasters.

This means DAB+ is now the most used radio reception platform in Switzerland, and Wehrin says the Swiss radio industry is “convinced it’s the right time to prepare for the switch off of FM services.”

[Related: “Broadcast Digital Radio Endures With DAB+”]

Wehrin points to cohesion of the nation’s public and private broadcasters as a major factor in allowing Switzerland to keep pace with its digital switchover plans.

“They are collaborating on the switchover and costs, while competing on content,” he said. “Private radios, public broadcasters and Ofcom have come together in the digital migration through DigiMig to secure a healthy and strong future for the digital future of radio in Switzerland.”

What’s more, Switzerland is diving head first into the digital radio pool. Unlike Norway, which finalized its digital switchover in 2017 but allowed some local stations to remain on FM for five years longer, Switzerland aims to have all stations transitioned to digital by the end of 2024, when FM radio licenses expire.

“It’s possible to switch off FM earlier, but either way we are sure that from 2025 onward — and the radio industry is in absolute agreement on this — there will in all probability no longer be any FM radio in Switzerland,” he said.

Particular Landscape

While Switzerland followed the Norway transition closely, each country in Europe has its own radio landscape and must adjust their individual approach.

“In contrast to Norway, we have four language groups in three parts of the country that must be served equally,” he said. “And we don’t have many large private radio groups. Most private radio stations are not national, but at most have a regional focus.”

That said, he admits the experience of his distant Nordic neighbor provided Switzerland with important insights ahead of its digital switchover.

“For example, we learned that migration would only be successful if all actors — private and public — work toward a common goal,” he said. “This includes all stations switching off their FM services.” He adds that it was also important to learn that DAB+ coverage must be at least equivalent to FM. “For us this also means perfect coverage in highway tunnels. We’ve invested a lot of money in tunnel equipment.”

But of course transitions never come without a few challenges. One area to which Ofcom is paying particular attention remains DAB+ in the car. He says the regulator continues to work closely with the automotive industry to advise existing drivers to install DAB+ in their cars.

Challenges

Today some 96% of new cars sold in Switzerland come equipped with DAB+, but there are still more than 3 million cars on the roads that are not yet compatible with DAB+. This, emphasizes Wehrin, is why it’s important to raise awareness on DAB+ with current drivers.

“With the vast majority of new cars sold in Switzerland now being factory-fitted with DAB+, we have now shifted our attention to the aftermarket sector. Educating the automotive industry and existing drivers on the importance of DAB+ for aftermarket cars is crucial,” he said.

“With this in mind, public broadcaster SRG and our advertising agency have been organizing and running number of automotive workshops, to inform the automotive industry on the opportunities related to DAB+ in aftermarket cars, and offer retail training.”

The campaign, which sports the slogan “More Programs, More Sound, More Radio,” is divided into two phases. The first phase is based on raising awareness and highlighting the benefits of DAB+, as well as preparing the public for the digital switchover. The second phase of the campaign will communicate the official date for the switch off of FM services, and serve as a call to action for the B2B sector.

“Dabsy” is the official mascot for Ofcom’s digital radio campaign.

Wehrin explains that “Dabsy,” the campaign’s official mascot will be the mouthpiece for both stages of the campaign. He adds that marketing efforts based on the digital switchover will also begin one year prior to the switchover.

He stresses that Switzerland’s DSO is the result of an industry decision, not of the authorities. “We have only established the legal basis and assured financial support if the industry wants to take the step.” Also, he says, in order to strengthen media diversity and motivate new players, in recent years Ofcom has subsidized up to 80% of DAB+ transmission costs. “I think this measure has contributed significantly to the success of DAB+ here.”

While the ultimate FM shutoff date is slated for the end of 2024, Wehrin says there are ongoing industry discussions about an even earlier switch off date.

“But this decision has not yet been taken,” he specifies. “Private radio stations will carefully weigh up this decision. They worry they would lose listeners and thus advertising revenue if there isn’t enough DAB+ equipment in circulation at the time of the switch off. And we all need to take this seriously.”

The post Switzerland Inches Closer to FM Switch-Off appeared first on Radio World.

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Lawo’s Radio software V6.6 adds a new licensing package for the Lawo Power Core Edge digital processor/mixing engine/router. A release explains: “provides an entry-level configuration designed specifically for deployment as a high-capacity audio gateway, where mixing surface control is not required. It’s perfect for NOC and TOC installations where plenty of audio ingest is needed, or for large-scale conversion of legacy baseband signals to AES67 networking.”

[Check Out More Products at Radio World’s Products Section]

Additional upgrades include improved Ravenna/AES67 stream locking; integration of de-essing and automix functions within main tool set; and Power Core support new AES-id I/O card.

Lawo Senior Product Manager, Radio, Johan Boqvist said, “This upgrade gives users new tools to tailor their Lawo radio equipment to meet their unique on-air and production workflows. And they will benefit not only radio clients, but TV production and audio infrastructure users as well.”

Lawo says that Radio software V6.6 is compatible with al Lawo radio products.

Info: www.lawo.com

 

The post Lawo Releases Radio V6.6 appeared first on Radio World.

Raphael Obonyo

Vernacular radio stations broadcast in local languages and have become increasingly critical in Africa for passing essential information to people about the fight against COVID-19.

Such stations have become a key tool during the crisis, especially in the absence of community meetings.

Local radio channels are considered an effective way of reaching target audiences. Stations reach their communities better since they understand the information being shared and can present it in the simplest from.

Vernacular stations are entertainment outlets but also seek to promote different cultural values and ideologies through the content they disseminate. The programs they air have a positive impact in their communities and on nations at large.

Cultural Advocacy

Ramogi is a popular vernacular station among the Luo-speaking audience. Luo is the fourth-largest ethnic group in Kenya. As the pioneer dholuo radio station on the FM spectrum, the station prides itself on its advocacy for cultural protection and interaction, helping pass this from one generation to the next.

This programming has nurtured talent. Artists from far and wide in the lake region have an opportunity to showcase their works through airplay of music, which exposes them for business.

The station also has given voice to the voiceless. Call-in programs like “Ohigla Mnayien” and “Ramogi Baraza,” where cross-cutting topical issues take center stage, offer a platform for public discourse in any matters that affect the population. It also holds leadership to account, championing for good governance. It has broadened the democratic space and the liberties enjoyed by the masses.

Initially this space was locked because of language barriers, with mainstream media pegged to English and Kiswahili, thus locking out millions of people.

The vernacular station has provided an alternative platform to the masses premised on three key pillars of media: Information dissemination, education and entertainment. In the time of pandemic, the station has been a viable platform for discussions and a source of information and updates on ways of preventing the spread of COVID-19.

The station has a highly popular talk show and phone-in program known as “Kaka Wanene,” meaning “the way we see it.” As one of its listeners remarked, the show touches a special nerve. Ramogi has continued to use it to sensitize listeners and disseminate important information on ways of stopping the spread of the coronavirus, and it is one of the vernacular stations on which the Ministry of Health in Kenya has chosen to run informercials about COVID-19.

“First language”

Ukhozi FM, a Zulu-language station in KwaZulu Natal, is the single largest station in South Africa. With over 7.6 million listeners, it is the top radio station in the country.

Zulu South Africans represent the largest ethnic group there. The station caters to one of the country’s major geographical and cultural areas, and has played a pivotal role in the fight against the pandemic, providing health updates alongside its entertainment and educational programs.

The station derives much of its power from the ability to reach a large population of South Africans, many of whom still get their news and information from the country’s most readily available technology platform: the radio.

Meanwhile, in Lagos and Abuja in Nigeria, Wazobia FM, a popular vernacular radio station, has been hosting insightful programs on the effect of the pandemic on various aspects of the society.

Similarly, Dandal Kura Radio International broadcasts in Hausa and Kanuri language in the Lake Chad basin region. The station has been running shows to sensitize listeners to effective measures to take to prevent the spread of COVID-19.

Charles Odhiambo, radio program manager with the Royal Media Services in Kenya, said vernacular radio stations play a crucial role and can help people make informed decisions about important issues. “The first language of any population is key” he says, “As the late Nelson Mandela once said, if you talk to a man in a language he understands, that goes to his head; if you talk to him in his own language that goes to his heart.”

Indeed, vernacular radio stations across Africa have become increasingly popular because they have emotional resonance that lack in other stations: They simply talk to their target listeners in their own language and reflect their own culture back to them.

Also by this author: “In Africa, Stations Spread Lifesaving Information.”

Raphael Obonyo is a public policy analyst and writer who has served as a consultant with the United Nations and the World Bank. An alumnus of Duke University, he has authored and co-authored numerous books, including “Conversations About the Youth in Kenya.” Obonyo is a TEDx fellow and has won various awards.

The post How Africa’s Vernacular Radio Stations Are Helping Right Now appeared first on Radio World.

As anyone who has worked the content end of radio knows, many interviewees are keenly focused on whatever book, movie or album they want to plug, and they try to mention it as often as possible. As a disc jockey at WOHO(AM), Toledo, Ohio in the early 1970s, I usually tried to subvert this tendency, often to the consternation of my guests.

There existed in our town a notorious topless restaurant known as The Jolly Trolley. The city council hated the place. The zoning department fought it constantly. But a certain desperate, mostly-male contingent of our town found The Jolly Trolly irresistible. Frankly, the thought of naked women grinding against a pole just above the diners was never appealing to me, but judging by the place’s parking lot, business was brisk.

I got a call from the manager of this adult establishment who thought that an on-air interview about his business might be mutually beneficial, and I agreed to it. We’ll call this character “Sid.”

[Read: Adventures in 1970s AM: Helloooo, Punkie!]

He showed up looking exactly as I expected: middle-aged and overweight with a bad comb-over. Around his neck he sported gaudy jewelry which was visible through his partially-open shirt. But when we got on the air, he was all business, never taking his eye off the prize.

Ken: The city wants to close you down but your restaurant seems to be thriving. What do you think is the main appeal of The Jolly Trolley?
Sid: Ken, I’ll be honest with you. It’s the sandwiches.

Ken: What? People come for the “sandwiches”?
Sid: That’s right. We got a hot pastrami on rye that people just love.

Ken: You would think that all those girls running around with no tops on would have something to do with it.
Sid: Not really. That’s a side issue. Let me tell you about our grilled cheese. Delicious!

This continued for the allotted time and not once would he discuss the naked women. The city finally managed to shut down The Jolly Trolley as a nuisance after several drunken brawls on the premises; one teensy shooting; and numerous citations from city health inspectors, who I guess were not fans of the pastrami.

As I gained experience as an interviewer I got a little bolder and pushed my guests a little more out of their comfort zones, mind you, as politely as possible. While their agendas were centered on promoting a product, mine was compelling radio.

All the Best Parts

Jimmy Dean was a huge star, having recorded a number of hits including “Big Bad John,” “P.T. 109” and many others. In 1969 he turned his attention to his newest venture, Jimmy Dean Pure Pork Sausage. Even those who eschewed food products made of the embarrassing parts of pigs were still forced to see his folksy commercials on TV at all hours.

Someone from Mr. Dean’s office in Nashville had called and told my talk show producer that Jimmy and his entourage would be driving through Toledo on their way to Detroit to promote the sausage, and asked if we would like to interview him. Those were the circumstances that in November of 1972 brought me face to face with a tall man in a cowboy hat who took his place seated across the big desk from me in the WOHO talk studio. Fortunately, I had a piano at hand for just such occasions. Since I recorded our conversation it was an easy matter to transcribe it and obtain these excerpts.

Ken: So I guess you’re going around the country hawking your sausage.
Jimmy Dean (with thick Texas drawl): Hawkin’ my sausage? I don’t know why that sounds dirty but it does. Well I guess you could call it that. It’s in all the stores and that’s just what we want to tell people.

Ken: Well let’s talk about something different.
Jimmy Dean: Either we talk about the sausage or I come across the table and give you a little shot in the chops, you got it kid?  (Laughter)

Ken:  Let’s talk about the records you make.
Jimmy Dean: I don’t like those. And that’s along with about 90% of the public in the United States. But we just finished a session for Columbia, and the new single is out now.

Ken:  What’s the name of it?
Jimmy Dean: It’s called “You Don’t Know What Lonesome Is Until You Start Kissin’ Cows.” It’s an old ballad. (Laughter). Naw, actually it’s called “Your Sweet Love Keeps Me Homeward Bound.”

Ken: Can you remember what your first record was?
Jimmy Dean: That was a police record in Arlington, Va.! (Laughter). The first song was called “Bummin’ Around” and Dean Martin had a hit with it. The second one I wrote was “Release Me,” and I gave that one away to Englebert Humperdinck who did all right with it. But now I have a little TV show from Nashville, and it’s broadcast in all the areas where we sell Jimmy Dean Pure Pork Sausage. That includes the stores in Toledo, Ken.

Ken: You did it again! You snuck in another plug! Well listen, you’re a big-time star, so I’m going to let you play the piano in a second.
Jimmy Dean: I don’t want to play the piano.

Ken: Well, if you play, I’ll let you give another commercial for your crummy sausage.
Jimmy Dean: Now you listen! I’ll tell you the dang truth! It’s the finest quality pork sausage. Most people who make sausage are full-line factories but all we sell is Jimmy Dean Pure Pork Sausage and we use all the best parts. So there! (Sticks tongue out)

Ken: And now you’re going around selling it out of the back of your limousine out there.
Jimmy Dean: Naw… (Laughter)

Ken: Listen, I’m going to audition my latest tune for you. It’s called “Sooner or Later,” a tender love song.
Jimmy Dean: Get over to the piano, kid. Here he is, Ken Deutsch, let ’er rip.

(Ken sings a few bars of a horrible country song)

Jimmy Dean: (after song ends) If you’re a singer, the woods is full of ’em!
Ken: OK, now you get over to the piano and play.

(Jimmy Dean plays a beautiful country ballad written by Merle Haggard called “Someday We’ll Look Back.”) Then he sits back on the piano bench and says “And that’s all now, son.”

Ken: Well listen, I could give you a couple of pointers.
Jimmy Dean: I wish you would, you got one on top of your head!  (laughter)

Ken Deutsch looks back on his brief radio career fondly which is more than can be said for his listeners. Buy his books on Amazon!

 

The post Adventures in 1970s AM: Interviews Gone Wild appeared first on Radio World.

In a wholly unified effort, broadcaster associations from all 50 states, as well as Washington, D.C., and the Commonwealth of Puerto Rico, have sent a letter to House and Senate Leaders that urge them to provide relief for local media in any upcoming bills or legislative measures addressing the COVID-19 pandemic.

Specifically sending the letter to House Majority Leader Rep. Nancy Pelosi (D-Calif.), House Minority Leader Rep. Kevin McCarthy (R-Calif.), Senate Majority Leader Sen. Mitch McConnell (R-Ky.) and Senate Minority Leader Sen. Charles Schumer (D-N.Y.), the letter echoes the efforts and needs local broadcasters have been dealing with since the start of the pandemic.

[Read: NAB Applauds HEROES Act]

“[L]ocal media outlets have been providing critical and essential service to their communities—working around the clock to ensure that their viewers, readers and listeners remain informed, connected and safe,” the letter reads. “Unlike other businesses, who have had the option of temporarily closing their doors, local broadcasters and news publishers have maintained their operations, which have become more important than ever to their communities.”

The continued operation comes even as the stations have been hit hard in revenue because of the loss of advertising. The letter details that some local broadcasters have seen advertising decline more than 50% compared to 2019, while others are reporting as much as 90% of their advertising buys have been cancelled. This could lead to revenue losses of more than $14 billion, the associations claims.

As a result, the state associations are calling for two measures to be enacted by Congress:

The first is to ensure that local media can seek relief under the Paycheck Protection Program. Many media outlets have already been helped by PPP, but the associations hope that Congress will allow them to apply for additional funds under their existing PPP loans. Some, however, have not been able to apply for PPP loans because of their place as part of a larger business or ownership group — a point of contention among different groups. These associations are asking that Congress adopt the provisions contained in the Local News and Emergency Act in the House-passed HEROES Act, which would ensure PPP eligibility is determined on a local, per station or newsroom basis.

[Read: NAB Campaign Targets Coronavirus Aid, Federal Ads for Local Stations]

Second, they want federal funds to support advertising. They ask that Congress include provisions in upcoming appropriations measures and COVID relief legislation that would direct U.S. government advertising campaigns to fund and prioritize local media for the promotion of important federal priorities; an action that had large bipartisan support earlier this year. In addition, the associations want any relief legislation for local communities should include provisions that would prioritize and incentivize stimulus recipients to spend a portion of those funds on promotion through advertising on local media.

The U.S. Department of Health and Human Services announced earlier this week that it was planning to spend advertising dollars on local media.

“We urge Congress to act swiftly to ensure that local radio and television broadcasters and local newspapers can continue to serve their vital roles in informing Americans and keeping them safe,” the letter concludes.

The full letter is available online.

 

The post State Broadcasters Push for Local Media Aid in Future Relief Bills appeared first on Radio World.

In an unusually frank posting, “NPR Radio Ratings Collapse as Pandemic Ends Listeners’ Commutes,” a writer for National Public Radio says, “Broadcast ratings for nearly all of NPR’s radio shows took a steep dive in major markets this spring.”

Author David Folkenflik continues, “… as the coronavirus pandemic kept many Americans from commuting to work and school. The network’s shows lost roughly a quarter of their audience between the second quarter of 2019 and the same months in 2020.”

[Read: Big Podcasters Generate Big Numbers]

Whether the trend might be reversed is unclear but Lori Kaplan, NPR’s senior director of audience insights, warned, “We’re experiencing a sea change. … We’re not going back to the same levels of listening that we’ve experienced in the past on broadcast.”

There was one ray of amelioration, stations in many markets, including Chicago, Detroit, Miami, Minneapolis, Philadelphia and Austin, Texas, saw rises in listenership.

As bad as the broadcast news was overall engagement is up. “Podcast downloads and the usage of NPR’s listening apps are up nearly a quarter, and there is a 76% increase in users of NPR.org as more people access the network’s content from home.”

Read the whole thing here.

 

The post NPR Sees Big Drop in Broadcast appeared first on Radio World.

Kongsue Xiong

Kongsue Xiong is the owner of Asian American Broadcasting, licensee of KFXN(AM) in Minneapolis. It is heavily involved with local Laotian immigrants and citizens of Hmong descent.

In this Q&A he discusses how the station is approaching the coronavirus, especially in providing timely and useful information to its listeners. He was interviewed by Suzanne Gougherty, director of MMTC Media and Telecom Brokers at the Multicultural Media, Telecom and Internet Council. MMTC commentaries appear regularly in Radio World, which welcomes other points of view on industry issues.

Suzanne Gougherty: What has your station been doing to keep Hmong listeners informed during the continued pandemic?

Kongsue Xiong: KFXN has invited Minnesota attorney general, health department experts, and other city officials come to talk about the governor’s executive orders, health regulations, and many other issues related to the pandemic which is dangerous for the Hmong community.

Gougherty: Have you been doing any live interviews with health officials in your community?

Xiong: KFXN has invited many medical doctors and other health officials from the city come to talk about the COVID-19, what is it, how to prevent it, and what to do if you get infected.

[Read: MMTC Seeks Donated Gear for Broadcaster Hit by Protest]

Gougherty: What special news coverage have you been airing during the coronavirus outbreak?

Xiong: KFXN is a minority news source agency, we went after the major news outlets such as, ABC, CNN, KMSP(TV), KARE(TV), and international news organizations that are reliable news sources. Also we had daily updates locally and nationally what is happening so the Hmong community we serve was kept informed, this practice is ongoing.

Gougherty: Have most of your clients continued to support you during this difficult period?

Xiong: KFXN is having a difficult time keeping all of our clients because many advertising agencies and businesses are not totally open because of the state response to the pandemic.

Gougherty: What is your message to your audience regarding COVID-19?

Xiong: KFXN is constantly trying to educate the community about health issues, social distancing, and how to obtain resources that are available locally and how to reach out to help others. It is a difficult time for everyone but we have to deal with it carefully and seriously.

Gougherty: Have you been securing political advertising revenue for the next election?

Xiong: KFXN doesn’t have or get any political advertising at the moment.

Gougherty: What do you see as the new normal for your station operations since the pandemic?

Xiong: KFXN is a vital resource to help the Hmong community and especially the elderly to cope with their stress and make them feel more connected and alive each day. Our programming to our community is a great source of hope, and our audience knows that we are of reliable place for news and information, plus entertainment. We will continue this practice well after the pandemic.

 

The post Community Broadcaster Confronts Coronavirus appeared first on Radio World.

Photo credit: Ali Majdfar/Getty Images

Broadcasters in the United States are implementing a number of COVID-19 safety protocols as they resume radio station operations. But the process has been both tentative and uneven, given the dynamic national health and economic situation.

Industry leaders say safe return of employees is their priority as they evaluate when to reopen facilities and reimagine what new workplaces will look. Many broadcasters closed facilities at the onset of the coronavirus, and it’s very likely many will continue to have some employees work from home, according to those familiar with the situation.

Return-to-work scenarios shared by several executives with Radio World are wide-ranging and include safety protocols like social distancing along with mitigation efforts to prevent further virus outbreaks.

One challenge facing broadcasters is the varying reopening requirements set by local jurisdictions. As of early July some parts of the country had reopened even as other states were seeing spikes in the number of COVID-19 cases.

Many broadcasters are following the guidance of the Centers for Disease Control and Environmental Protection Agency for cleaning and disinfecting workplaces and other common areas. Radio station lobbies remain closed to the public in many cases, according to sources with direct knowledge of discussions.

Like a number of companies, Cox Media Group, which operates 54 radio stations in 10 markets, declined to discuss its specific re-entry approach for this story. However, a spokesperson said the company is moving ahead with caution. “We are doing everything we can to create a safe work environment and ensure our employees’ well-being.”

Practical concerns

The pandemic processes described by those who spoke with us include drastic measures like limiting free movement of employees inside buildings, avoiding the use of large meeting spaces, and even limiting the return of employees considered at high risk of contracting the virus. In many cases sales people will continue working off-site.

Those new work routines for employees are still being carved out, with new guidelines being adopted as office spaces and studios are realigned. Work models are still being fine-tuned by many large broadcast groups but work from home for some employees is expected to be extended.

A top-market public radio executive noted that companies not only must create their own rules but abide by those of the buildings where they lease space. This may raise additional issues involving maximum building occupancy, new “traffic patterns” such as one-way stairwells, and additional security card readers to support those patterns.

Also, if more air and IT staff are expected to work permanently from home, their employers may need to provide those homes with uninterruptible power supplies for conditioning and backup power — and have plans in place for “passing the mic” to backup talent or support people if the home is hit by an extended power outage.

The experience of U.S. radio stations echoes that of broadcasters around the world. In Spain, a worker at RAC1 disinfected a radio studio this spring in Barcelona, Spain. Credit: Xavi Torrent/Getty Images

Longer-term, a high-ranking corporate executive at one major radio group foresees a major shift to more centralized broadcast operations.

“It is pretty clear that corporate radio is trending to more centralized operations in general, similar to what iHeartMedia is doing. If anything, this pandemic proved remote operation could be achieved much more easily than first thought,” he said. “I think we will generally see facilities with fewer people and more on-air content being generated centrally instead of locally.”

iHeartMedia announced earlier this year plans to create AI-enabled Centers of Excellence in order to consolidate some operations at its radio stations, according to those familiar with the development.

Toolkit

NAB Executive VP and Chief Technology Officer Sam Matheny said radio CEOs and other senior leaders he has spoken to have been pleasantly surprised at how well the shift to remote work has gone.

“In many cases 75 to 80% of the workforce is now, or was at one point, remote. The technology and engineering is there to enable it,” Matheny said.

[Related: “New Ebook Explores Broadcasting From Home”]

For some broadcasters, returning employees to the office may sound easy, but working from there could be hard, he said.

“I think a really important thing broadcasters can do right now is to have a plan for what happens when someone in their organization is diagnosed with COVID-19. This is especially true for stations that operate with a small staff where a single infection could cause a major disruption due to quarantine of multiple employees,” Matheny said.

The NAB has a Coronavirus Toolkit that offers station operation resources, educational resources and a link to the CDC’s guidelines on reopening.

“When it comes to returning to the office, the size and configuration of the broadcast facility and team will drive the physical considerations,” Matheny said. “Face masks are a major area of focus and were deemed the most needed Personal Protective Equipment item by broadcasters and others in the communications sector for critical employees.”

Hand sanitizer, gloves and supplies for regular cleaning of studio or other shared equipment are critical, Matheny said. “And an item that I believe is unique to broadcasters is the increased need for changeable microphone screens,” he said.

Other strategies being considered by broadcasters to maintain social distancing include barriers, modified work hours, alternating days in the office as well as people working remotely, Matheny said.

Cleaning crews will be necessary since wiping down all surfaces will be critical, he said. “And even staggered building entry times might be necessary since using elevators will be difficult while maintaining social distancing.”

Limited occupancy

One engineering executive at a major broadcast group said remote work for his company will continue for some time.

“Occupancy of air studios will be limited based on size,” the source said. “All air staff who are in the building will be at least six feet apart with clear dividers installed where necessary.”

Break rooms are likely to remain closed for some time, he said, and companies will do regular cleaning and sanitizing of touch points throughout broadcast facilities.

Many broadcasters are operating with fewer employees after furloughs; the industry has also seen recent job cuts that predated or were not specifically tied to the health crisis. One open question is how many such jobs might be recovered.

Big and small broadcast groups tell Radio World they are facing similar economic and operational issues during the pandemic.

Smaller and medium-sized groups are affected as much as the biggest ones. Art Sutton, president/CEO of GA-Carolina Broadcasting, said his company furloughed nine employees and closed stations to the general public. “We won’t consider bringing our employees back before July 31, when the federal government’s $600 weekly unemployment benefit expires,” he said.

The broadcaster, which has 16 radio stations across five small and medium markets, saw major revenue declines the past several months.

“Since we are operating with fewer people, that helps to offset our revenue declines of 5% in March 2020 compared to March 2019,” he said. Sutton reported a “brutal” 33% decline in April, 20% in May and a projected drop in June of 15-16%.

What’s your own experience? Email radioworld@futurenet.com with “Letter to the Editor” in the subject field.

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