In my third installment of my Internet radio in my car diary, I admit that I have tuned in to Pandora in my Honda Civic while driving on the freeway. You probably think this isn’t much of a confession. But I found the experience distracting enough toPandora while driving? Safety may depend on your listening gear
From the March, 1942 WQXR Program Guide:
Irwin Edman, Professor of Philosophy at Columbia University and author of Philosopher’s Holiday, Fountainheads of Freedom, and other books, has on various occasions spoken over WQXR and is, as the following indicates, one of its devotees. Read his entire article here: p://wny.cc/18SJanR
I only realized last summer how much the schedule of WQXR had become what philosophers might call the frame of reference of my day. For I was in one of those “pockets” of the New England mountains where even the increased power of my beloved station did not enable its programs to reach me. Only a giant neighboring chain station came in and that —-! But I am writing about WQXR and of my discovery, during my excommunication from it, of how much it had got tangled into my being.
photo: Irwin Edman in 1942 (Bachrach Photo, WQXR Archive Collections)
Music is a foundation of radio programming, therefore the future of radio is bound up with the fortunes of music and musicians. For the big radio owners like Clear Channel and the big labels they make deals with there’s isn’t much question. Major label hitmakers will have a home on radio, as commercial stations ram the same 12 songs down listeners’ throats all day long.
But it’s a much bigger question for independent artists, new bands and the mostly non-commercial stations that highlight them. At Radio Survivor we’re paying more attention to the fortunes of independent musicians because we believe that their future will greatly impact the noncommercial and innovative stations we so love, on the air and online.
Matthew Lasar just took a look at a prominent debate between musicians Dave Allen and David Byrne regarding Spotify and Pandora, concluding, “Actually, it appears that Spotify et. al. did create that shift. They did not just ‘see’ consumer demand, they enabled it. They used technology to replace an ownership market with what Allen correctly calls a rental market.”
The topic of Spotify was everywhere at the recent Future of Music Summit, which Paul Riismandel watched via live webcast and reported on. At one point in the discussion Emily Smith of the Whitesmith Entertainment talent management firm told the assembled musicians, “if you’re not seeing the money you think you should get, go yell at your label.”
Indeed, that may not be a satisfactory answer for a lot of artists, but it highlights a point that Dave Allen often makes. He told the “Technology Killed the Radio Star” panel at TechFest NorthWest in September that labels have been pretty much screwing artists for a long time, and so they’re better off taking their careers into their own hands rather than trusting labels.
Paul recently wrote some rough notes on the subject, wondering of independent stations and independent artists can’t work more closely together. That requires coordination amongst artists in addition to coordination amongst stations, something that has historically not been easy to pull off. But even an attempt at such coordination would be good start, don’t you think?
Radius highlights Episode 10: Harold Schellinx in the next episode re-broadcast on NUMBERS.FM. NUMBERS.FM is a new (media) online radio station for experimental musics, snd, audio arts, and other uncategorizable sonic events.
The program broadcasts Monday, November 04 at 8:03pm CST on NUMBERS.FM.