How PPM is changing music radio stations

Memo to all radio managers around the world – Get prepared for PPM, it’s going to change your business, writes Sam Zniber and Emmanuel Legrand.

When PPM (Portable People Meter) technology was introduced in the Philadelphia market by Arbitron in 2006, it changed forever US radio and the way executives and advertisers were going to use the medium.

Rather than asking listeners which stations they tune to, with the old diary model, the system only requires listeners to be passive and carry a device that picks up signals with embedded information that can be identified.

As any radio executive who has been living with the technology can attest, it’s not simply an audience measurement tool. There is more to it.

Such technology has already been in place in the TV world for quite some time, with similar positive and negative aspects: it’s instant and it’s brutal… For many TV programmers, there is now a dictatorship of audience measurement systems. You know how many viewers you’ve lost (or gained) and when. But you also get to know better what makes the audiences tune in. Shows can be axed halfway through a season if audiences are seen to be declining.

Key radio executives in the US admit that their life has fundamentally changed since the introduction of PPM. It has increased the accountability levels of programmers and schedulers, whilst giving them more tools to do their work.

With a technology that informs you almost instantly and minute by minute about listeners’ choices, some argue that PPM offers a recipe for blandness as programmers are now – more than ever – afraid of making any decision that could have an adverse effect on audiences (and on their jobs).

Others, on the contrary state that, instead, it allows programmers to make some bold decisions as they get to see the instant effects of these decisions, and therefore can make adjustments if it is not heading in the right direction. What’s certain is that you can’t drop the ball any more, or if you do, you’d better pick it up quickly or face the consequences.

In the US, what has been witnessed in the radio field is an increasing volatility when it comes to staff and on-air talent. A show does not perform well? Here comes the axe, sometimes also hitting its presenter. A programmer fails to address the steady decline in audiences – the door is open. Within those extremes, most radio executives have taken the bull by the horns and adapted to the new regime.

After listening and analyzing the music radio markets in Miami, New York, Montreal and Toronto – all using PPM –, we can offer a few thoughts and advices about what awaits programmers who have to deal with the technology. (We will limit here our comments to programming aspects under the PPM regime and will not discuss the consequences for advertisers.)

We are aware that finding universal rules when it comes to PPM is not easy, if not impossible. As Edison Research’s Sean Ross wrote in a recent blog, “Looking for patterns and trends in PPM data as it rolls out in market after market is fraught with danger. Every time you think you find a consistent pattern, another market blows it up.” However, we’ve tried…

Learning #1: Check all your loose ends – everything matters!

With round-the-clock data to monitor audience’s reactions, programmers cannot let one single weak element in their programming mix. As the saying goes, a chain is as strong as its weakest component. If you have a weak morning show, it will affect your whole day; if your music programming lacks clarity and consistency, you will lose pockets of listeners; if your hosts fail to catch the public’s attention, you will pay the price instantly.

In a diary world, you can survive with a few weak spots in your schedule, but in the PPM world, everything has to be of the same standard. It is labor intensive and requires full attention at any moment from the team in charge.

Learning #2: Morning shows still lead

In the PPM world, more than ever before, a great morning show will drive the entire day. To become and to stay a top ranking radio station cannot be done without a powerful morning show. It remains the station’s calling card, especially in countries where people drive to work. Even when your station needs to win the “at work” position, the morning show is the engine for the entire day. A weak morning show will be sanctioned directly by listeners – who will be very difficult to win back – and will affect the performances of your whole schedule.

To avoid losing listeners, programmers should allow specific times for specific features. For example, on successful adult radio stations, service elements are still the main drivers of the morning show and listeners expect to hear them at specific times. While on successful hit-based radio stations, morning shows are still focusing on funny phone calls, celebrity gossip, and fun and entertaining elements. With PPM, setting appointment times for specific features is vital as it gives a compelling motive for listeners to tune-in on a daily basis.

Learning #3: It’s (still) about the music

While PPM may give you some indications about the songs that work and those that don’t, what matters is consistency and clarity in your music output. You cannot tempt listeners with one format and deliver the wrong music. You will pay for it instantly. If you promise “hit music only”, that’s what the listeners will expect. So don’t deliver half-baked meals. Listeners will immediately go see what the competitors are offering elsewhere.

This means that your daytime music schedule needs, err, “more music”. More than ever with PPM, at least in the US and in Canada, the amount of music you can provide is very important for successful radio stations.

And to achieve good daytime results, the role of the daytime host is completely different from that of the morning host. A daytime host is on-air to magnify the music and to make sure the music flows and gets well presented. During daytime, music station hosts should have very short on air presence: it’s all about the music, so concentrate on holding the music momentum.

And in the PPM world, the music flow seems much more important than before. Some stations have beefed up their non-stop music slots. It is not a new “trick” as stations have been doing that for decades, but with PPM a number of stations have been very successful by setting up commercial-free music hours. Not stopping the music in some hours during the daytime seems to work really well with PPM. In terms of experience for the listeners, this is probably the closest to internet radio streaming or satellite radio. Listeners seem to respond very positively to such offers.

So what does it mean for programmers? For a start, a constant attention to the output with a daily attention to logs. For listeners, music quality perception is a key factor. They rely on the station to make choices on their behalf and they want the right choices, or else… With PPM, music quality is vital and that’s why a music programmer needs to go over the logs for hours to prepare the daily logs. No more Selector in auto-pilot!

With audiences connected (and influenced) by the web, music cycles are coming in and leaving faster than before. More attention has to be put in research. Great music stations measure music quality with auditoriums and call-out on a constant basis. The most successful radio stations are doing one strategic market study per year.

The objective is to focus on the right music types and get a strong vision for the entire team to outsmart the competition at every level (promotion, music, hosts, events, positioning). This is crucial.

Learning #4: Success is in the package

This goes back to point 1. It’s all in the execution. And it has to be perfect. In a world of PPM and digital music streaming available for free, smart radio programmers understand that the assembly of the product is what makes music radio unique and exciting.

Successful radio stations are making sure that non-music content does not overpower the music output. What is important is to concentrate on the lifestyle of the local target. A stylish overall consistent sound makes all the difference.

Mixing the songs together in an artistic way, adjusting the production, making the imaging part of the music, all this contributes to have an overall stylish and consistent sound that lures listeners.

***

These are just a few findings from hours of listening to US and Canadian radio (and talking to executives there). These remarks are restricted to the North American market as the technology has not been deployed in regions such as Europe (except in a few markets). One fine observer of the European and US radio scene told us that Europe, with its specific mix of commercial and public broadcasters, and with formats not as tight as in the US, could offer a completely different picture under PPM.

“The big unknown is how public stations in Europe are likely to be affected by PPM,” says our source. “And, in particular, audience reaction to specialist shows that may differ from the ‘usual’ daytime musical output of the station. OK, we might know how the traditionally segmented US audience react to a station playing ‘inconsistent’ music, but will the same be true on the big public stations in Europe?”

Overall, even if there’s still a lot to be learned about PPM, there is no doubt in our view that PPM is a quantum leap forward for the radio industry. At last there is a measurement technology that matches the complexity of broadcasting technologies and increasingly flickering audience habits.

To some, it may not be the future that they want for radio. No matter what, it is here to stay and, as the old man used to say, deal with it!

***

Sam Zniber is an international radio executive and media consultant who has managed and overseen stations in France, the UK, Australia and South Africa, among others.

Emmanuel Legrand has been covering the entertainment and broadcasting industries for 25 years. He is the former editor in chief of European music radio trade publication Music & Media and ex-global editor of Billboard.

“Big radio is being piggish”

The fight between the music and radio industries in the US escalated this week, as Congress nears a decision on music royalties for FM and AM radio.

Commercial radio in the US has so far been excluded from paying music royalties. But that could end if a proposal for a new Performance Rights Act is approved.

Radio has launched a massive campaign to stop what industry organization NAB calls a “radio tax”. In the past ten days, 35 000 spots have been aired on member stations, according to CNBC.

The music business has countered with its own campaign. “Big radio is being piggish” says a banner on the campaign website, which portrays radio as a pig. The campaign has also been visible on a Washington DC TV channel and in a fullpage ad in the political daily Roll Call. An inflatable pig will be toured around the country, with a first stop outside NAB’s DC headquarters on Wednesday.

“We just want to make a couple of points. The broadcasters have the free use of airwaves and are making billions of dollars each year without paying artists” Musicfirst spokesperson Marty Machowsky told CNBC.

“It’s no surprise that RIAA is now employing silly frat-boy stunts, given its well-documented practice of suing college kids to rescue a bankrupt business model. RIAA is losing this issue on Capitol Hill and the court of public opinion, and today’s demonstration represents a new low in a campaign of utter desperation” responded NAB’s Dennis Wharton in a press release.

The Performance Rights Act was approved by committees in both the House of Representatives and the Senate last year. But NAB claims that it has the support of a majority in the House as well as of 27 senators.

Finland gets second Russian station

Russian radio network Dorozhnoe Radio (Traffic Radio) has been awarded a three-month license in southern Finland, reports Finland’s public service broadcaster YLE.

St Petersburg-based Dorozhnoe Radio will use its six new FM frequencies to target Russian tourists in southern Finland. The station’s project manager Anna Petrova says to YLE that it will also compete for a permanent license in the fall.

Finland’s first Russian-language network, Radio Sputnik, was established ten years ago.

Making Marketing with Meaning – Agency Strategist Bob Gilbreath speaks out on Radio – Part 2

Here’s Part 2 of my Q&A with Bob Gilbreath, the author of a new book called The Next Evolution of Marketing: Connect with Your Customers by Marketing with Meaning. With a background in brand management at Proctor & Gamble, the world’s largest advertiser, Gilbreath is also chief marketing strategist at Bridge Worldwide, one of the nation’s largest digital ad agencies and part of WPP.

Click below for my full Q&A with Gilbreath.  What follows is a highly edited transcript of our conversation. If you missed Part 1 or want to download or listen to the podcast, go here.

(Note:  Subscribe to all hear2.0 podcasts on iTunes here)

Okay. I deal with a lot of broadcasters, radio folks who have clients and advertising agencies. What process should a broadcaster go through to develop more meaningful marketing for its clients? 

If I was working at a radio station right now, I would focus on trying to really understand the listeners who are coming in, and I don’t mean the basic demographics, but going deeper in understanding some of the psychographics.

You know, whether it’s a particular station or a program within a station, what are people looking for, what are their higher-level needs? 

And so for example, if I have a show that’s about finance and business tips, I don’t look at that and tell a marketer “hey, we’re focusing on financial services products so you may want to advertise.” Instead, I want to help them understand what the listeners are really looking for, what the program is about, what are their psychographics, what they are trying to understand. And then proactively going to those customers – those spenders – and saying, “Hey, here are some different things we could do for you that will really help you connect in a meaningful way with what makes our audience unique.” 

And from there, you can actually get creative many times with the client and help them think of things that are related to their business while at the same time adding value to the lives of listeners who are tuning in. 

Just to be clear, those are things that are not thrown in simply because someone’s placing an over the air buy, they are specific things that are paid for in addition to the baseline buy, right? 

Yes. So instead of throwing in a quick “brought to you by,” you actually do something interesting for the consumer and the client through the program itself. 

What’s the best way for a broadcaster who wants to partner with these clients to get down and dirty with metrics that are meaningful for clients, that are measurable for the broadcasters, and that go beyond ratings? 

The biggest thing I have seen a lot and seems to be growing over time is the use of specific URLs or specific discount codes. 

You know not every consumer uses it, but marketers look at those numbers to see how many people are coming from specific programs, and that’s going to become, I think, even more important as marketers work to show more return on every investment they make. 

More and more marketers are looking for ways they can actually see that consumers are listening, having a direct response, and then leading to some kind of sales result at the same time.

This remains a big opportunity for radio, where you know people are more engaged. In many cases, they’re listening to the radio while they’re working, while they have access to their mobile phone or computer, and that can show some real results that a lot of other media don’t. 

What do you say to broadcasters who say all of this sounds great, but this isn’t “radio.” “Radio” is the business of selling spots, and we need to get back to basics and do that more effectively and then our revenue numbers will come back. 

Well I guess I would argue that that’s not what radio is really about. 

The work of any media channel out there has been bastardized by the focus on the advertising dollar and through the basic input of an impression. 

What radio programmers, what television networks, what the newspapers are really about is offering valuable content to the readers and the listeners and the viewers that they have. 

Bobgilbreath And I think that’s a mind-opening way to start over and say, “If our goal is to really add value in that way, how can we make the advertising that we host also valuable and useful.” 

We’re starting to see this in some of the food magazines, for example, where they’re working with advertisers to make sure that they’ve got unique recipes and coupons and other things through every ad, transforming it into advertising that the users and readers are actually looking for. 

It would be interesting to start from scratch and grab both the editorial side as well as the business side, both Church and State, and get together and ask “How can we negotiate this new world by blending the two, by only offering advertising that you believe is going to be valuable to the listeners as well?” 

You’re saying that Radio is actually in the content and connection business, not the selling-ears-for-dollars business. 

Exactly, and that’s how it started from the beginning and in many cases, what we’re talking about is going back to that more pure form. 

In your book you note that the number of people participating in these digital strategies is often very much smaller than the number of people clients buy when they’re buying, say, impressions. How are broadcasters supposed to appreciate that differential value and how are they supposed to explain the value of those smaller numbers to their client partners? 

Well, when you’re looking at “impressions,” it’s a number far away from sales, so marketers apply a big discount factor anyway. 

And the reason that they are wanting to spend less and less on impressions is that they know that only a fraction of those impressions actually lead to sales, so that’s where I think there’s an opportunity to turn that around, for example, by using an access code or a coupon code. 

Yes, the number of people engaged in most digital efforts is much smaller, but they’re also much closer to an actual sale. 

There may even be different business models where you’re charging per sale or per use of a code to the marketer instead of per impression. 

You are a former brand manager at P&G, you’re with a digital agency now, part of a larger advertising agency. From that perspective, from your vantage point, where do you see radio’s future as options proliferate, alternatives proliferate, ways to get music and content proliferate? Where do you see radio headed? 

I think there’s really a huge opportunity. I mean there’s a much stronger connection for people with personalities and with live content that is unscripted – content that has ability to change according to the times. This is a strength of radio. 

In a way, the radio medium was co-opted by the digital one with podcasting and now with online radio. People like the chunks of content from real people and getting media that doesn’t require continual reading. There are a lot of opportunities there. 

I also believe that there are growing opportunities for getting to niches as people have much more focused interests and are looking for places that gather around them.

Radio for years has gone against that with a limited set of formats and a national focus, but I think there’s an opportunity again to go back to geographic niches or interest areas. 

These will become more important for marketers to get those smaller, focused audiences than going mass across the board.

Making Marketing with Meaning – Agency Strategist Bob Gilbreath speaks out on Radio – Part 1

Bob Gilbreath is the author of a new book called The Next Evolution of Marketing: Connect with Your Customers by Marketing with Meaning. With a background in brand management at Proctor & Gamble, the world’s largest advertiser, Gilbreath is also chief marketing strategist at Bridge Worldwide, one of the nation’s largest digital ad agencies and part of WPP.

Click below for my full Q&A with Gilbreath.  What follows is a highly edited transcript of our conversation. Part 1 runs today, part 2 tomorrow.


MP3 File

(Note:  Subscribe to all hear2.0 podcasts on iTunes here)

Bob, you’re not simply a marketing guru, you’re not simply a guy from a digital agency, you’re someone who has actually been in the trenches trying to market brands to real flesh and blood people for years.

Yeah, I got to do some of the early work in digital marketing at P&G and enjoyed that, but I saw a lot of my peers and my management didn’t get it and couldn’t really figure it out. We were looking at banner ads and basic emails and websites and they weren’t cutting it. We were all looking for something more and something different. 

I have spent about 10 years now figuring out where marketing is going and how to elevate it beyond just putting a message in front of someone’s face, and I think that’s really what this book is: A guide for the traditional marketers who are trying to figure out where the world is going and meet it head-on in tactics and in overall marketing strategy. 

I think one of the things we should discuss is how your guide to marketers can also be a guide to media partners of marketers (like radio) who, ideally, should be in the same game as their marketing clients, correct? 

I hope so. Yes. 

One of the quotes that you have in your book that I found particularly amusing was “If baseball were measured like advertising, you would only count the pitches.” 

BOB-GILBREATH-BOOK-3D-230x300 Exactly.

That’s talking about the “impressions” that have been the basis for marketing for the past 50 years. With the rise of mass brands and mass media, impressions – getting in front of pairs of eyeballs – has been the way the world has worked. 

Unfortunately, that can be several steps away from growing sales or not. 

Well, let’s talk about that, because ultimately what’s of interest to the marketers is growing sales or revenue or whatever the metric happens to be. But clients do have metrics, and those metrics aren’t necessarily eyeballs and ears, right? 

Right. It’s sad, the many ways the media and marketing business has been dumbed down over the years to try to get to that lowest common denominator: Something we can measure across all media – impressions. 

Being in front of someone’s eyes or ears has dumbed down a lot of our business, and I think for media companies it has led the advertising into price wars, where buyers bid down GRP’s to whomever can give it to them the cheapest. 

This really ignores the chance that the media companies can partner with marketers to add more value and get higher sales. 

I think one of the great strengths of radio is that as a result of its tremendous reach, as a result of its universal availability and usage, an awful lot of people come to the party and consume that content, thus giving us the ability to connect these folks with marketers in some creative and meaningful ways, and not simply through traditional spot buys. Would you agree with that? 

Yes. Exactly.

One of the things that we’ve been trying to do with our clients who are more forward-thinking is to discourage them from getting their media agency to contact dozens of different media companies and get the lowest possible price. 

Instead, we encourage them to concentrate the dollars and find a media partner that can be more creative, that can add more value and bring something else to the marketing you’re trying to do. 

One of my favorite examples was a program we did with the Healthy Choice brand. We came up with an idea to launch a new line of products for them, great-tasting, ready-to-eat meals. So we created some lunchtime entertainment – live improv videos during lunch when people at offices who are eating these meals actually look for entertainment online.

Now instead of doing that program and finding lots of different places where we could get banner ads, we actually partnered with MSN and spent the bulk of our dollars with MSN. 

We said, “hey, what else can you guys bring to the table to make this a better program?” They brought in different content from their network on MSN. They were able to help us with the cost of staging the videos, which can really add up and has big bursts of activity during lunchtime. Those are all things that help us save money and be more effective by pooling those dollars in a great place.

Best of all, we ended up blowing away our numbers. 

The trend is away from marketing as “impressions” and towards “marketing with meaning.” Can you explain what “marketing with meaning” is? 

Sure. I’m saying that we’re entering a world where the interruptive model of advertising no longer works, where people are either ignoring the messages – the 3000 ads they get every day – or using technology like DVR’s or even satellite radio to actively skip advertising. 

In this world, you can’t force more and more impressions.

What you’ve got to do is turn your marketing into something that people choose to engage with or advertising that itself adds value to people’s lives

For example, in that Healthy Choice program we did research that said 60% of office workers whom we were targeting with our launch regularly eat lunch at their desks, and when they sit down at lunch, they often are surfing the Internet and they’re not doing work or work emails; they’re taking a break to do fun surfing. So they’ll go to Facebook, they’ll see some viral videos, and that’s where we found some opportunity to create entertainment for them at their desks with these Healthy Choice improv programs. 

We actually give them chances to choose what would happen next in the programs.

So, even through the entertainment itself, they were making choices and, of course, seeing the lunch being eaten and seeing people have a lot of fun with the meal at the same time. 

And the last chapter of that story is that it led to increased sales for Healthy Choice, right? 

Right. 

This gets to the importance of having a metric that is different from “impressions” or whatever other kind of interruptive metric you might have. 

Right. In this case, we could have put television ads out showing fake scenes of improv theater, but here we’re inviting people to come in and experience this entertainment. MSN helped us drive some awareness, but it was really up to the people on the network to choose to go watch the videos. 

Right now we actually have more than 5000 people logged on to see the videos that we have. They’re not even live anymore! The program ended over a year ago, but people still keep coming back! And that’s another benefit of this great entertainment content that you produce: It can last for quite a while.

Interruptive advertising doesn’t work as well as it used to. But you’re not saying that it doesn’t work at all, right? 

Not necessarily. But you’ve got to offer something of value. 

For example, on television infomercials are some of the least skipped ads because the advertising itself adds value. It’s interesting. It’s new. People do want to see what’s out there. They do want to be entertained. They do want to be informed. But you’ve got to have something really compelling. 

So some of that more traditional media can still work but it’s got to work a heck of a lot harder and get through the filters consumers place over their eyes and ears. 

So are you saying that if I repeat my 800-number five times in the course of a 60-second spot, that’s not meaningful enough? ;-)

No, but doing things like “Will it Blend” for Blendtec Blenders, their viral program that shows people blending up 2 x 4s and iPods to show the power of the blender, that kind of stuff works. 

Because it relates to the benefit of the actual device, right? 

And, frankly, it’s interesting and different and not just another carrot thrown in there.

[Part 2 of my conversation with Bob Gilbreath comes tomorrow.  In it, Bob spells out exactly what radio broadcasters should do to provide more meaningful marketing that benefits both clients and listeners]

The last word on “Radio” and “Local”

Nosize In my earlier post, I described how broadcasters tend to misunderstand (at best) and abuse (at worst) the term “local,” thinking that the mailing address of the local radio station somehow entitles it to unique privileges versus its competitors, even in today’s digital era.

Today I draw your attention to a fantastic new book called No Size Fits All: From Mass Marketing to Mass Handselling, which discusses the implications of a digital world on our business, our economy, and our culture.

Anything that can go digital, ultimately will.  And when something goes digital, it inevitably goes global.  And the more things go digital, the more they are rewarded with explosive growth, enhanced scale, [etc.].”

Differentiation is made between varying shades of “local” and “global.”

The two categories that are most relevant for radio are these:  ”Intrinsically local” and “functionally local.”

Author Tom Hayes writes:

INTRINSICALLY LOCAL:

These are businesses that are typically small, rarely serve more than the immediate neighborhood, and are often single-proprietor.  You frequent them because the services they provide can only really be provided locally.  Think barbershops, beauty salons, convenience stores, gas stations, restaurants, grocery stores, automobile repair shops.

For the most part, these enterprises will not be affected at all by the new global economy.  No matter how much the world is networked, you will still drive down the street to get a quart of milk.

That is not “Radio.”

Tom goes on:

HABITUALLY LOCAL:

These enterprises, though often assumed to be intrinsically local, are in fact highly vulnerable to an increasingly networked world – especially after the right technological revolution or quantum leap in communications or delivery systems.  Classic examples of this are the local printer, the video rental store, the local record store – all were assumed to be enduring local enterprises – until they were rendered all but extinct by, respectively, desktop publishing, Netflix, and MP3 technology.  The LOCAL hardware store, green grocer, and department store were all overwhelmed by improved distribution and inventory systems implemented by national chains.

The awful truth is that, with only a handful of exceptions, every local business and institution is under competitive risk from the newly emerging business order.

THAT is the radio industry’s category.  Vulnerable.

Vulnerable to consolidation.  Vulnerable to centralized, nationalized, globalized content and delivery mechanisms.  Vulnerable to substitutes and alternatives capable of localizing or personalizing content and features as well as or better than a radio station can.

So I call on the leaders of the radio industry to stop harping on the illusory talking point of “local” and to start harping on the advantages that are or could be unique to radio in a local market.

Fail to understand the difference at your peril.

You have a megaphone – a big one.  And the permission to use it to connect consumers and marketers and to carry those consumers wherever they want to go.

That is the leverage-point.

Anything else is a mirage in global media desert.

Jeff and Jer’s Garage-gram

This is where top-ranked morning shows go when they go off the air – to the garage.

At least, that’s the destination (so far) for San Diego’s legendary Jeff & Jer.

As you’ll see from the archive, this is a very occasional show indeed.

As an aside, my wife and I were looking for updates during the disappearance of Chelsea King, who lived near our neighborhood.  And where did we find the best updates?  From Jeff & Jer and their producer, Tommy.

Hmmm.

Help me tell American Radio’s Story to the World

Radiodays europe
Later this month I will be presenting at the European Radiodays Conference in Copenhagen.  The topic is “The American Way – Radio in the homeland of Apple & Google.”

And since I’m speaking for an entire nation, I’d like your input to the making of this presentation!

Here’s the way the presentation is described:

For many years European radio has learned a lot from American radio. Today the situation has changed a bit as the markets are quite different. But there are still lessons to be learned from US – the homeland of Apple and Google.

But what are the news trends over there? What formats are working – and what formats are coming up both in terms of station, content and much more. What are the latest developments within US radio. You get a wide perspective on US radio right now – this is what European radio can learn from US radio right now.

So here’s your chance to express your ideas to an International audience of broadcasters.

Here’s what you can do:

1.  ”Fan” me at http://www.facebook.com/markramseymedia and you’ll be in the loop on ideas as they arise (that’s the spot where you not only get all these blog posts but also tons of other timely tidbit-sized tips on radio’s future).

2.  Go to my Facebook discussion page here:

http://www.facebook.com/topic.php?topic=13950&uid=115708565063

3.  At that discussion topic, enter your ideas!

4.  Come back later this month and I’ll share the complete presentation with you!

My effort in this blog and in all my digital assets is to provide you with value that provokes and informs – stuff you can use in your job and your career.

My hope is that this presentation is on track with that goal.

I’ll make sure to include your names in the postscript to the presentation!

Pro Sieben Sat 1 turns to profit

Despite a European ad turndown, the European broadcasting group Pro Sieben Sat 1 has managed to turn profitable.

The group improved its 2008 loss of € 119.1 million to a profit of 144.5 million in 2009, while revenues were down 5.5% to 2.077 billion.

“Thanks to continuous cost management and our good performance in the fourth quarter, we have been able to return the company to profitability in 2009″ says the group’s CEO Thomas Ebeling.

Munich-based Pro Sieben Sat 1 is owned by private equity firms KKR and Permira and is active in the German speaking countries, the Benelux, Scandinavia, central and eastern Europe and the Balkan region. It runs radio stations in Scandinavia (through SBS Radio), Romania, Moldova, Bulgaria and Greece.

German alternative rock network expands

Berlin based alternative rock outlet Motor FM has been awarded the 97.2 MHz frequency in Bremen, according to radio website Radioszene.

Motor FM is already on-air in the German capital Berlin and in Stuttgart . The station will be the third commercial player on the Bremen market, alongside NRJ Group’s NRJ and RTL Group’s Hit-Radio Antenne.

“Motor FM fulfills all the requirements and has convinced us with its concept of linking up with Bremen’s cultural and musical scenes. The committee found that Motor FM’s varied programming will bring the most enrichment to the Bremen radio market” says Felix Holefleisch, president of Bremen’s broadcasting authority.

Motor FM was launched in 2004 on the Berlin market and the following year in Stuttgart. The station has editorial cooperation with London’s XFM and Los Angeles-based Indie 103.1.

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