Industry News

Over the last two years, Spotify has taken great strides to “modernize” digital audio advertising and, in turn, “drive growth for creators and publishers while delivering impact for advertisers.”

This included the November 2020 acquisition of Megaphone, enabling Spotify to offer podcast publishers new ways to monetize their content. In 2021, new features for Streaming Ad Insertion, podcast ad buying in Spotify Ad Studio and the introduction of the Spotify Audience Network came to fruition.

With a commitment to continuing to help publishers around the globe grow their podcast businesses, Spotify has moved forward with the acquisition of an Australian podcast technology platform that the company says gives independent creators, publishers, broadcasters and brands “a cost effective, end-to-end platform to host, distribute, monetize and track on-demand audio.”

What does the purchase of Whooshkaa mean for publishers and advertisers, or for broadcast radio eager to thwart technology companies for stepping on its toes?

“With the integration of Whooshkaa’s broadcast-to-podcast technology into Megaphone, radio broadcasters will be able to more easily and quickly turn their existing audio content into a podcast and access Megaphone’s industry-leading, differentiated suite of tools and technology,” Spotify explains.

Thus, there is a big opportunity for broadcasters to grow their NTR through a platform powered by an on-demand audio source.

Megaphone is the podcast platform of choice for AdLarge Media, as well as The Wall Street Journal.

“Integrating Whooshkaa’s innovative broadcast-to-podcast technology means we’ll be able to bring even more third-party content into the Spotify Audience Network, helping advertisers to connect with even more audiences,” Spotify notes. “We believe we’re on the precipice of immense growth for the entire digital audio industry.”

So maybe you think you need to invest your entire brand advertising budget in digital/online/social platforms only. The music industry knows better. The new cutting-edge platform being used for many top-tier artists? Billboards!

It seems counterintuitive that great billboard advertising can get fans talking on social media, but it is a fact that the music industry noticed years ago.

Example: Drake’s album releases and concert appearances have been promoted regularly on billboards since 2011. The campaigns are clever and sometimes only understood by his legions of fans, which adds to his allure and makes one feel as if they’re part of a special club of insiders.

More than ever, it’s important to recognize that big billboards require big thinking. Out-of-home has always had the potential to be sexy, controversial and cost effective, but radio stations advertising their own product too often view billboard creative as a branding exercise.

Times-Shamrock Communications ran this series of billboards to highlight its Rock 107 format in a pandemic context.

To get the most out of your creative, it may be necessary to contract an advertising agency that specializes in getting attention.
You should consider testing your creative. The message must be so simple that it can be understood from a moving car in just a few seconds and yet it still should generate some emotion as soon as it is seen. Fortunately, it’s not difficult or expensive to test creative, either online or through in-person focus groups.

One challenge with billboards is that it’s difficult for some folks to see the creative on a computer screen and then try to imagine what it will look like when it’s blown up to huge proportions and seen from a distance. When in doubt, make one board, put it up, and rethink before making 20 of them.

[Read More Promo Power Here]

If you’re still not sold on the relevance of outdoor advertising, consider the success of Apple’s and Amazon’s recent campaigns. “Shot on iPhone” shows rotating selfies on digital billboards. The creative shows off Apple’s smartphone camera features and the quality of the imagery is gorgeous, proving without a doubt that new iPhones take terrific photographs.

The hashtags are taking the campaign from the boards to social and back to the boards to see more. Amazon is using motion to grab attention. Passersby in New York are now seeing otherworldly creatures appear to jump out of gigantic billboards in promotion of Amazon’s new “Wheel of Time” series.

You won’t be able to afford to cover your entire city by buying up boards everywhere, but you can place ads on boards where you have the most potential for growing audience.

Or maybe your entire goal with a board or two is to gain the attention of a specific company, media outlet or even individual. The movie industry is famous for placing boards where stars and producers can see them so that the star will do more appearances to promote the film, or the producer will see that the studio is actively advertising the product.

Billboards are the perfect place to launch stunts and fortunately, digital boards can go up and come down quickly. Capture reactions of social media and amplify on-air and all your platforms. If your stunt is good, the action will catch fire. Putting out that fire is a topic for another day!

The post Build Some Buzz Through Billboards appeared first on Radio World.

Doug Ferber is vice president of sales for the Americas at Tieline. This interview originally appeared in the free ebook “Streaming for Radio 2021.”

Radio World: Does streaming need to be a bigger part of the radio business strategy?

Doug Ferber: If you believe that you have to be where the listeners are migrating to, then yes, streaming needs to be a bigger part of a radio company’s strategy. At least 10% of a station’s listening is done online, and growing rapidly, right? I think it would be a careless decision to ignore this trend.

RW: What are the problems radio managers need to solve to become successful streamers?

Ferber: Define successful for me. If success means higher listenership, then programmers should be promoting their streams and creating unique content to capture online listening. If driving increases in revenue from online listening is the measure, I’m afraid I don’t have the answer to that question. If I did I’d likely be speaking with you from a big boat on a big lake near a great golf course.

Last I heard nobody makes a profit that is directly attributable to streaming. This is the biggest challenge presented by streaming.

RW: It seems that many radio managers still question whether they can monetize their streams. What advice do you have for them?

Ferber: They should support the NAB and hope that their trade organization can negotiate better music royalty deals. Otherwise they will have to treat the streaming as another necessary cost of doing business.

RW: What misconceptions do many people have about streaming that you’d like to dispel?

Ferber: There are still radio operators out there that don’t believe it to be a critical distribution channel for their content. Remember cable TV in the ’70s? How many people do you know today that watch television using an over-the-air signal?

RW: Do streaming and podcasting benefit or conflict with one another in a media strategy?

Ferber: I think they are complementary. While I’m not convinced of the commercial efficacy of streaming and podcasting (yet), radio should be seen as a platform … over-the-air, streaming, podcasting, live events, digital, etc.

Package these up for advertisers and they will reach your listeners no matter which element of your platform that they are using.

RW: There was an article in Variety with the headline, “As Streaming Dominates the Music World, Is Radio’s Signal Fading?” I’m interested to hear your take on this bigger question of radio’s future in this world of so many audio choices.

Ferber: The effect of competing media is significant, but what some don’t know is that people are consuming more audio in general. Another thing … not everyone has access to the internet. No internet? You won’t find them online. Radio a fading signal? Not yet … it is still very important to hundreds of millions of people in the U.S. market.

RW: Is there a major difference between how commercial and public radio strategize streaming?

Ferber: Public radio is much better at streaming mostly because they offer more local and original programming. Content is king.

RW: What does your company offer for streamers and what sets it apart?

Ferber: Tieline specializes in distributing high-quality broadcast audio between remote locations, studios and affiliates with best-in-class AoIP audio codecs.

These codecs currently integrate Icecast client support as one of several fail-over options when distributing broadcast audio signals over all IP network types. In recognition of the importance of streaming, Tieline Gateway and Gateway 4 codecs will also deliver support for HTTP streaming to servers in 2021, e.g., Icecast.

Along with a range of other IP innovations, this will deliver greater streaming flexibility to broadcasters employing a range of streaming applications across diverse radio network infrastructure.

The post Radio Should Be Seen as a Platform appeared first on Radio World.

Carl Davis is retiring after a 50-year career in broadcasting.

For the past decade he has been radio account manager for the eastern United States for Electronics Research Inc. ERI has named Angela Gregory to manage accounts in the region starting Jan. 1.

“Davis’s career has included senior management roles at commercial and public television and radio stations and equipment sales at ERI and Harris Corp. (now GatesAir),” ERI wrote in the announcement.

“In 2018 he was inducted into the North Carolina Broadcasters Hall of Fame. His professional activities have included participation on the National Association of Broadcasters Engineering and Advisory Committee, the North Carolina Emergency Communications Committee and holding leadership positions for his local chapter of the Society of Broadcast Engineers.”

[Read Radio World’s 2018 interview with Carl Davis.]

Davis grew up in Hickory, N.C., where got his start in radio at WIRC and WXRC, according to an earlier Radio World story. He studied sociology at East Carolina University in Greenville, where he worked at campus station WECU(AM) and local station WOOW(AM) as chief engineer and program director.

Earlier roles included assistant general manager of PBS-NC, vice president of engineering for Voyager Communications and director of engineering for Durham Life Broadcasting.

“In retirement, he will continue to reside in Greenville, N.C., and has indicated he will remain an active participant in the East Carolina University’s Alumni Association and the ECU Foundation and its scholarship programs,” ERI said.

ERI also announced that Angela Gregory will become Eastern Region account manager for radio.

“Gregory joined ERI in 2019 in its Quality Assurance Department in roles that exposed her to all aspects of ERI’s design, fabrication and installation processes and procedures,” ERI said. She will be based at the company’s headquarters in Chandler, Ind.

Send your people news to radioworld@futurenet.com.

The post Carl Davis Retires from ERI appeared first on Radio World.

He has spent the last 10 years as Electronics Research Inc. (ERI)’s Radio Account Manager for the Eastern United States and has been in the radio technology sector for nearly 50 years.

Now, Carl Davis is retiring, and his successor has been selected.

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The SVP of Distribution and Government Affairs for Hearst Television has been named to the NAB Television Board of Directors.

The appointment of Nick Radziul was made by Television Board Chair Perry Sook in accordance with NAB by-laws. The appointment is effective immediately.

Radziul joined Hearst in 2016 and is responsible for the broadcaster’s distribution rights agreements with all programming and distribution partners, including national program networks, multichannel video programming distributors, and television and digital syndication partners. He also serves on the Board of Governors of the ABC Television Affiliates Association.

Before joining Hearst, Radziul was VP/Strategic Transactions for CBS Corporation and served previously as Senior Counsel/Programming at Cablevision. He has also served as an associate at Davis & Gilbert LLP, focusing on media, advertising, corporate and entertainment clients, as well as an associate at Davis Polk & Wardwell LLP.

Radziul assumes the Board seat of Patrick McCreery, President of Meredith Corporation’s Local Media Group, which was recently acquired by Gray Television.

MANHATTAN BEACH, CALIF. — “From the desert to the sea, to all of Southern California” was a trademark phrase used by the late news anchor Jerry Dunphy. It signified the vast size of the Los Angeles DMA, which includes such High Desert communities as Barstow and Ridgecrest and Beach Cities bearing the names Manhattan, Redondo and Hermosa.

Now, everyone in the nation’s second-largest market has access to NEXTGEN TV, the ATSC 3.0-powered digital broadcast standard. Making it possible across the Southland: Nexstar Media Group and FOX Television Stations.

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The U.S. Ad industry lost billions of dollars in potential ad spend during COVID-19 lockdowns, with the worst impact — to little surprise — coming in Spring 2020.

Now, an analysis by Standard Media Index illustrates just how steep the decline was.

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What appears to be a last-ditch effort by Urban One Broadcasting Network to salvage a radio station construction permit in Florida has failed. The FCC this week denied a Petition for Declaratory Ruling by the broadcaster to reinstate Urban One’s forfeited permit to construct an FM radio station in Cross City, Fla.

Urban One’s efforts to resurrect the CP for WURB(FM) date back to 2014 and its acquisition of an expiring construction permit from Alex Media Inc., according to FCC documents. Urban One filed an application to modify the construction permit just months before the expiration and proposed a new tower site. However, Suncoast Radio filed an objection to the modification saying it did not comply with the commission’s rules.

The FCC agreed and, in a subsequent notice sent on July 17, 2014, gave Urban One 30 days to amend its modification application. At the same time, the commission noted the CP permit for the proposed station was due to expire days later on July 21, 2014.

The FCC told Urban One: “This letter does not extend the expiration date of that construction permit or provide any additional time to construct.”

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According to FCC documents, Urban One followed up by filing two petitions for reconsideration — one asking for Special Temporary Authority to operate the FM at the new site — which were filed following the CP’s expiration. The FCC denied both in early 2015, determining “the construction permit automatically expired and was forfeited.”

What followed has been years of petitions and appeals filed by Urban One seeking return of the CP. The broadcaster’s most recent Petition for Declaratory Ruling was filed in June 2021 and sought reinstatement of the CP with an additional 18 months to construct the facility.

Albert Shuldiner, chief of the FCC’s audio division, perhaps ended the back and forth for good with a letter sent Wednesday to William Johnson, managing member, Urban One Broadcasting Network, which stated: “In short, then, there remains no construction permit for us to reinstate, as it was forfeited by its own terms on July 21, 2014. The call sign WURB was deleted, and the unbuilt Cross City FM channel assignment was deleted and designated as a vacant allotment in the Table of Allotments, from which it was subsequently added to the Auction 109 inventory.”

The FCC says channel 249C3 at Cross City, Fla., was included in the inventory of the recently completed Auction 109.

Cross City, Fla., is a city of 1,689, according to the 2020 Census, located about an hour west of Gainesville, Fla., on the state’s Gulf Coast.

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

The post FCC Denies Request for Reinstatement of Florida CP appeared first on Radio World.

In late September, Diponti Communications was handed a Notice of Apparent Liability from the Audio Division of the FCC’s Media Bureau seeking a $7,000 fine.

Why? The Rhode Island licensee apparently willfully violated section 73.3539 of the Rules by failing to timely file a license renewal application and for apparently willfully and repeatedly violating Section 301 of the Act by engaging in unauthorized operation of its FM translator after the license had expired.

The Media Bureau has ruled on the matter. A fine is being handed to Diponti, but it’s been reduced.

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