Clear Channel Communications, owner of 1,200 stations across the United States, has been undermining the values of diversity, localism, and market completion within the music industry since the media policy wars in the early 2000s. Since then, the radio industry arguably has lost a significant amount of the authenticity it once had. The only exception is college radio: the last safe haven for musical integrity. The only facet of radio not owned and controlled by a major monopoly. Recently, however, Clear Channel has gone to bed with college radio stations across the country. Although the corporate monopoly has shut out authenticity and artistic integrity from the mainstream, they still want more in order to completely wipe out independent music.
The 1996 Telecommunications Act was the first major overhaul of telecom policy since the Communications Act of 1934; it covered everything from radio, television to cable TV (Garofalo, 440). The act removed the restrictions on the number of radio stations any one company could own, which accelerated the trend of a small number of companies owning the vast majority of stations. Clear Channel was a primary beneficiary. In 1995, Clear Channel owned 43 stations. By the early 2000s, it owned over 1,200 stations, which took in 20 percent of the industry revenues in 2001. In addition, Clear Channel owned over 700,000 billboards; it controlled 65 percent of the U.S. concert business; and it posted total revenues exceeding $8 billion (Garafalo, 440).
Four companies controlled 90 percent of radio and revenue in the early 2000s. Serious implications for programming occurred due to the level of ownership concentration. According to Garafolo, “In one week, the forty top modern-rock stations ad...
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...trick to profit. Clear Channel has taken major college stations to bed, and it’s not a gentle lover. Thus, local stations must not be lured by Clear Chanel’s diabolical plan. Instead, the stations must look the corporate villain into their deceiving eyes, and inform them that their conglomerating ways will not be tolerated; we must preserve the last refuge of music programming and expression on the radio airwaves.
Works Cited (MLA)
Garofalo, Reebee. Rockin Out: Popular Music in America. Upper Saddle River, NJ: Pearson Education, 2010. 439-40. Print.
Kirkpatrick, Bill. "On Radio: Strange Bedfellows." Antenna. 25 Mar. 2012. Web. 16 Apr. 2012.
Waits, Jennifer C. "Does ‘indie’ Mean Independence? Freedom and Restraint in a Late 1990s US College Radio Community." The Radio Journal: International Studies in Broadcast and Audio Media 5.2&3 (2008): 83-96. Print.
Windsor’s station, CKOK first came onto the air in 1932 and it was a station that played more “friendly and folksy” music. In 1933 the call letters were changed to CKLW and in 1941, it moved to its current position of AM800 . Throughout the years, television was drastically changing and was creating fierce competition with the radio industry. To be able to keep up with the times, CKLW had to change to stay in the game. One modification was the change of ownership. In 1963, RKO took over the station and CKLW became CKLW- The Big 8 and they focused on playing contemporary hits and rock and roll music, as we...
Although it may be perceived that music is a free market based on the love of music, others may argue it is based on profit. In the article “U2’s double trouble,” the band Negativland proclaims that Island Record’s, U2’s record label, only concern in the lawsuit is, “to control the marketplace” (139). Negativland believes Island is trying to control what music is being made and sold. Island is so focused on profit that they are limiting the musical market.
Perhaps no other company has benefited more from this deregulation than the company which is the focus of this essay – Clear Channel Communications, Inc (CC). The Telecommunications Act and the actions of the FCC paved the way for the rise of this radio industry behemoth. In 1995, the company owned 43 radio stations nationwide. By 2002, it owned 1,239, making it the largest radio company in th...
The two biggest components are major and independent record labels. Major record labels are the driving force of the industry, “Big Four labels/major record labels represented the majority of the music sold, making up as much as 75% of the music market or more depending on the year.” (About.com) Additionally, “The five major record labels; Sony, Universal, BMG, EMI and Time Warner dominate 85% of the market when it comes to sales of Compact Discs. Leaving only 15% for the hundreds of independent record labels and thousands of artists out there." (Raprehab and Bomhiphop.com) In his essay A Brief Outline of How the International Popular Music Industry Manipulates and Exploits the Audience, Shams Quader discusses this issue."Big Four is responsible for 70% of the worldwide music and 85% of US music sales. ... Seeing that these companies have such a monopolistic hold on the world market..." (Quader) it would be safe to presume that the music monopoly was/ is created as a result of how the three major record labels today are holding more than three forths of the net profit of the industry moreover the question of the monopoly was brought to the table especially when Universal Music Group proposed a merger with EMI and many of its top billboard chart artists, Universal Music Group was also the
Yamaski, Mitch. “Using Rock ‘N’ Roll to Teach the History of Post World War II America.” The History Teacher 29.2 (Feb., 1996): 179-193.
Mark S. Spicer, "A Review of Rocking the Classics: English Progressive Rock and the counterculture, by Edward Macan," review of Rocking the Classics: English Progressive Rock and the counterculture, by Edward Macan, Contemporary Music Review, Vol. 18 part 4 (2000), pp. 151
Thomas, L. L., & Litman, B. R. (1991). Fox broadcasting company, why now? An economic study of the rise of the fourth broadcast `network.'. Journal Of Broadcasting & Electronic Media, 35(2), 139.
The article that appeared in Fortune entitled “Radio’s Stern Challenge” by John Helyar discusses Sirius’ marketing strategy to not only take market share from the entrenched and free terrestrial radio industry but also to beat its only competitor, XM. The Fortune article presents how a fat and lazy radio industry has failed to react to an eroding listening base and an increasing number of competing technologies. Issues like lack of attention to programming, no on-air talent, and an increase of 166% in the time devoted to commercials have driven listeners away from radio. Teens aged 12-17 spend 11% less time listening to radio compared to five years ago and adults 18-24 spend 13% less time compared to five years ago (Helyar, 2004). The article further discusses that terrestrial radio has much to fear from competing technologies like satellite radio, streaming digital radio on the Internet, and Apple’s iPod. What terrestrial radio does have in its favor is that it’s free compared to any of the current competing technologies like satellite radio.
Satellite radio is a technology that provides a radically new way to listen to radio. XM’s service makes use of advanced satellite capabilities and elaborates terrestrial receiver architecture to deliver a wide array of high quality radio programming nationwide. In early 1998, Robert Acker, director of strategic planning at XM, needs to develop a marketing strategy for this new radio service. There are several decisions that need to be made by the company in order to finalize the business plan. At fist XM needs to decide which of two business models to pursue, whether emphasis should be placed on charging customers a monthly subscription fee, or whether to rely more on earning revenue through advertising. In addressing this problem, management must consider the value that XM radio could propose for different consumer segments as compared with existing modes of radio (AM, FM) and in relation to its sole competitor in satellite radio – SIRIUS. Besides choosing a business model there is also a need to explore how best to approach and leverage manufacturer and channel partners, considering high unknown and high-risk technology. The purpose of this report is to analyze possibilities and outline possible recommendation on strategies for XM Radio. The following areas will be examined:
Giving the people what they want is a smart approach to radio and television programming. This may be an obvious concept, but it was not always practiced. In the 1950s radio began to realize the influence that rock ‘n’ roll had on radio. Teens fell in love with the new rhythm-and-blues sound and became devoted to it once their parents did all they could to keep teens away from it. One of the most historical documented examples of this was The Doors’ appearance on The Ed Sullivan Show in 1967.
College radio is non-profit by nature, relying on community and university funding to stay on the air. Most college radio offers music that is not heard on any other radio station in the market, and it also offers a place for communications majors to gain broadcasting and music industry experience. In its boundaries, it harbors the most pure form of radio, a place where DJ’s can be reached live on the air and one might hear a heavy metal show played right after a jazz hour. It is college radio’s eclectic and constantly changing format that gives it its thrift store appeal. College students usually serve as the DJ’s, and a different set comes and goes each semester. College radio is still a throwback to the days where people listened to radio for the pure thrill of the music.
In the past, music has been a costly business, where only people with a lot of money could enter and be successful in the industry. Changes in the music industry coupled with new computer technology have made it much easier for people without a lot of money to compose, produce, and distribute their creation. In order to get a better understanding of the music industry in comparison to 2014, one has to look at its history. There were many things that happened from the 1980’s onward, and they brought on a significant impact towards the music industry. Development in computer technology has also made a big impression on music. Many things within these fields have enabled artists to connect with their fans in a way they couldn’t before, and on a lower budget. In this paper, the discussion will be about all of these topics, and about the factors that help transform the music industry into something altogether easier for new people to contribute.
While the transition of television to a digital technology with its improved picture and sound quality has been a much publicized and controversial process, television's venerable ancestor, radio, has stayed in the background. But this year, in the United States, radio broadcasting is making its own digital leap. Two start-ups are introducing a new type of radio broadcast--subscription-based digital audio sent from satellites. With satellite digital audio radio services (SDARS), as they're called, listeners will be able to tune in to the same radio stations anywhere in the United States.
...a, but it will not be able to do so without backing from the recording industry, and the government. With companies combining both high-quality broadcasts with genre-specific stations, there is for sure a big change in store for the radio industry.
Radio broadcasting was introduced to the public in the early 1920s (Potter 226). There was only one type of broadcast protocol in the 1920’s and 30’s being AM radio(The Early Years). In 1921 there were only five AM radio stations, and only about 1% of all households in this country had a receiver (Potter 226). A receiver was basically another name for a radio because at this time radios were very expensive and there were not enough radio stations to make the system work. However, in 1923 there were over 500 stations to pop up which in turn led to increased sales of receivers to the general public (Potter 226). With the popping up of more radio stations the more receivers were being bought which meant that many people in the public were tuning into these various radio stations for information and entertainment. Radio was on the rise and it seemed that there was nothing slowing it down.