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Many thanks to SWLing Post contributor, Kim Andrew Elliott, who shares the following article and writes:
USAGM (US International Broadcasting and Associated Media) reported a 24 percent increase in measured audience in 2018. Why the sudden increase? Did a major war break out? No, the measurement methodology changed …
THE USAGM AUDIENCE INCREASE: LESS STARTLING THAN MEETS THE EYE
by Kim Andrew Elliott
A February 2019 email newsletter from John Lansing, CEO of the U.S. Agency for Global Media (new name for the Broadcasting Board of Governors) proclaimed that “2018 was a banner year” for USAGM. He noted that “USAGM programming was consumed by 345 million adults weekly worldwide—including radio, television and internet—an unprecedented year-on-year increase of 67 million from 2017.” This refers to the USAGM’s Audience Impact Overview for 2018 issued November 2018.
That would be a 24 percent increase in one year. As an international broadcasting audience research analyst for 42 years (10 in academia and 32 for the Voice of America and its parent agencies), a 24 percent “year-on-year” increase gets my notice. Why there was such a dramatic increase? Did a major war break out, causing people to seek information from abroad? No, nothing beyond the ongoing simmering regional conflicts. Did one of the USAGM entities score a new television affiliate, with a prime-time slot in a populous country? If that had caused the increase, I am sure it would have been highlighted in the report.
According to the press release (apparently no longer at the USAGM website but available here), “The measured weekly audience grew to 345 million people in FY 2018, from 278 million people in FY 2017, an unprecedented increase of 67 million.” The reader could easily interpret this as a sudden one-year audience increase of 67 million, but it is actually a change in the “measured” audience.[…]
Many thanks to SWLing Post contributor, Jason Whiteley, who writes:
Hi Thomas,
[T]here is a really interesting interview with Radio France here around their DAB+ expansion and the possible shut down of FM in France later [click here to read].
I used Google Translate to bring it to English.
[Y]ou might also choose to link to this article about AM radio being dead in Europe (written in 2015):
The article is bang on though – AM radio is still very strong and thriving in Australia & the USA. Here in Australia at least, it’s DAB that has a minimal audience compared to traditional AM broadcast.
I just found both of these articles very interesting reading and thought you might like to put them up.
Have a great day,
Jason
Thank you very much for sharing these articles, Jason! Earlier today, we posted a note about digital AM here in the States (AM HD). There is a movement to increase this offering, but for true market penetration it would require car radios that can receive AM HD. Many a DXer dislikes AM HD because the digital signals are (unlike DAB+) inserted between analog signals. These band crowding sometimes causes interference to adjacent analog stations and certainly affects mediumwave DXing.
ABUJA, Nigeria — Koode Radio International, a new shortwave program with considerable goals, has begun broadcasting to much of Western Africa.
With programs in the Fulani (or Fula) language, KRI aims to “educate, enlighten and entertain” its listeners, the Fulbe people. This predominantly Muslim, nomadic herder and farmer group is spread across Africa from Senegal in the west to Lake Chad in the east. Dialects of the language are spoken in some 20 countries and the station chose the name “Koode” because it means “star” in all of the dialects.
Usman Shehu in the KRI studio in Abuja. Photos courtesy of KRI.
While some Fulbe are able to communicate via the likes of WhatsApp and Facebook, others cannot. Because a number of Fulbe are herders, they are not only beyond the range of the internet, but beyond the range of electricity.[…]
The following article originally appeared on The Radio Kitchen blog by Michael Pool, a.k.a. “The Professor.” In an effort to preserve his writings and recordings, we are republishing The Professor’s archived posts in a special collection here on the SWLing Post.
Note that not all of the original links and recordings could be recovered, but the majority have been. Of course, all of the views and opinions in this article were those of The Professor.
“The Hip Spot On Your Dial” was originally published on December 10, 2007. Enjoy:
The Hip Spot On Your Dial
by The Professor
I’m old enough to remember when they first pulled the oldies radio concept out of the box and plugged it into the wall. And it literally was a gadget. A machine. I was a kid in suburban Detroit in the early 1970’s when I found one of very first all “oldies” stations to go on the air. The station (which started on FM, then simulcast on AM and eventually became an AM station), and then became known as “Honey Radio.” There were no DJ’s, just jingles, commercials and lots of dated top 40.
Automatic or not, the programming of Honey Radio was immediately intriguing to me and some of my friends at the time. As the album rock format was wandering deeper into crap like Uriah Heep and Kansas, I’d impatiently fumble with the dial looking for something (anything) different and kept perching the needle on this new station that played only old rock and roll. Half of it I’d never heard before.
It’s hard to imagine now, when most oldies stations play such a tight and boring playlist, but the original oldies format was born in the “American Graffiti” (and then “Happy Days”) era, when old rock and roll was immediately more evocative and uplifting than the arena rock epic thud and guitar solos that were clogging up the album rock format.
From what I recall of early Honey Radio format, the music spanned from 1955 until 1967 or ‘68. I started soaking it up– Rockabilly, r&b, doo-wop, even dopey pop. I loved it all (okay, except Neil Sedaka…). And it filled in a missing chapter in top 40 history for me– between my mom’s record collection and the music I had been hearing on the radio since diapers. Listening to the station turned me on to a whole world of recording artists I barely knew before (and ones you probably won’t hear much on oldies radio nowadays), like Huey “Piano” Smith, Ral Donner or the Impressions. And not just the big canonical hits, but other choice tracks that charted too. All that from a robot radio station.
A little later (after I’d stopped obsessively listening), Honey Radio added real DJ’s and in the final tally had a good run as Detroit’s premiere oldies station until shutting down in the early 90’s. The demise of Honey came as the format’s followers were surging into middle-age, and the new thinking in advertising advocated virtually abandoning that once valued demographic. This shift in advertising strategy drove more and more oldies outlets to desperately expand their playlists into the hits of the1980’s, and drop almost all the 50’s and early 60’s music that fueled the original format.
There are some good, even interesting, oldies stations that are still out there (WLNG, for example). And a few brave ones have popped up and bucked the era-shift gentrification of the oldies format, and specialized in the early rock era with music libraries much larger than the mind-numbing 300 tested superhits that make up the format in most markets. However, these days radio stations exist in a cutthroat environment, where anything but sucking in big piles of money every day isn’t just unacceptable. It’s fatal. The profit margin possible with creatively (or lovingly) programmed oldies radio is almost never enough to keep these stations alive for very long. It’s not that true-blue oldies stations don’t attract a loyal audience, it just isn’t big enough or young enough to have a chance in the dog-eat-dog world of contemporary radio advertising. That is, unless you happened to have purchased a radio station for a really reasonable price, and making a fat profit isn’t necessarily your goal. Then you have choices. Then you have WHVW.
A true media miracle, WHVW in Hyde Park/Poughkeepsie, New York, is the ultimate oldies station for the culturally inspired fan of American roots music. While there’s a number of hosted regular programs, the majority of the WHVW’s air time is occupied by a music automation system, otherwise known as “Murray the Machine.”
Programmer/owner “Pirate Joe” Ferraro has radically expanded the oldies format with Murray. But instead of following the present-day model of stretching the format forward in time and taking on dodgy material, Joe has lopped off the late 60’s music and everything that followed. No psychedelia, no bubble gum, and thankfully no Jim Croce. While he’s held on to the doo-wop and rockabilly of the classic 1955 to 1964 era (adding a helping of folk music that was popular at the time), the rest of library goes further back in time. But unlike the hit parade highway you might hear on senior citizen radio, Ferraro opts for the rural routes of r&b, blues, old jazz, and classic country. All and all, it’s the rockin’ 20th century– an “oldies” overview based on favorites of record collectors and the kind of music that kept people putting nickels in jukeboxes for decades. While I haven’t done a scientific study of all the ingredients of Pirate Joe’s automated format, but I can tell you one thing– it’s compelling, and unlike any radio station I’ve ever heard. And it makes a lot of sense.
For the last decade or so, I’ve had family in Poughkeepsie, which places me within the transmission range of WHVW a few times a year. I’ve stacked up a number of airchecks of WHVW over the years– mostly captures of Murray on the job. But what a well nursed and well-fed automation system Ferraro has set up. No matter how many tapes I’ve gathered of his automation over the years, it always sounds fresh.
While the Pirate Joe’s music machine does a heck of a job, there’s a skeleton crew of real live on-air personalities who keep WHVW human as well, and fun to listen to. Like Pirate Joe (who does a wonderful afternoon drive weekday shift himself), the DJ’s musical appetites are mostly variations on Joe’s musical themes– record collector/characters who live and breathe old jukebox shakin’ hits and rarities. Curt Roberts, the morning drive guy goes for more of an eclectic golden oldies approach, adding some soul and garage sounds to the mix. And what a voice. And the personalities of Roberts and Ferraro set the tone for the on-air persona of WHVW– wry and dry and isn’t the music great. It’s straight-forward– rarely exuberant and rarely boring. And I like it.
WHVW – Curt Roberts 11-22-07 29:55
[This audio has not been recovered.]
I don’t get up in WHVW territory enough to know the schedule well, and their website (which looks like it was put together with mid-90’s know-how) usually seems a bit out of date. But you can see what the official schedule was late last year here (the link to this page has mysteriously fallen off the home page). And while it’s not much a web site, there is some history of the station and a few pictures. And sadly, they do not stream their air signal there (or anywhere). But if you want to get an idea of some of WHVW’s glowing fan mail, Joe has posted a bit of it on this page.
One show that’s been a Sunday mainstay for well over a decade now is Darwin Lee Hill’s “Real Hillbilly Jamboree.” It’s a three hour hand-crafted hootenanny, featuring hits & obscurities from all the classic country music sub-genres, as well as some more recent material from neo-traditionalists and aging legends. That said and all technical descriptions aside, Darwin’s show is consistently warm and informative radio, including occasional interviews with country legends. And the music is always heartening. Kinda makes you wanna buy a second home in Poughkeepsie.
I wish I could say that WHVW could be the harbinger of a new creative era of AM music programming. But I’m a realist, and there’s little reason to think that the glory of this little radio station is much more than fortunate happenstance. As his nickname implies, Ferraro is a former radio pirate, someone with synergistic mastery of musicology and old radio technology, who happened to get a good deal ($350,000) on a lowly class D AM station. While there’s still bargains like that around, they’re more likely in desolate North Dakota or rural Mississippi. WHVW is located in an actual city (albeit a small one), surrounded by the fringe suburbia of New York City. It’s a convergence that brings a big chunk of musical Americana to the radio dial in a place where people really live and play, or at least drive through on their way to Albany.
And the station doesn’t operate in a vacuum, WHVW really serves the community. They have locally oriented talk shows and local news, something you don’t hear very often these days on stations with far larger budgets and bigger transmitters. And requests from listeners carry a lot more weight when the DJ actually programs their own show. For folks who live in the mid-Hudson Valley who love great (and occasionally obscure) old music, WHVW must be a godsend.
For those who might have dreams of snatching up a cheap radio station and running it on a shoestring, Ferraro’s WHVW offers an intriguing model. Two people on staff (including the owner) handling the weekly drive-time slots and then a roster of weekly volunteer hosts doing shows for the love of it (and perhaps the advertising they can generate), with the rest of the broadcast day filled with the offerings of a tasteful and compelling automated music mix. This way a small radio station can maintain a local connection and eschew the predictable dependency on pre-packaged music formats and syndicated talk shows. And I think that WHVW disproves the bias of a number of non-conformist radio types I’ve known who equate radio automation with a lack of imagination or laziness. It all depends on who’s programming the machine.
Now in the age of mp3 players, I suppose you could spend a couple of years loading up on thousands of old shakin’ and stompin’ classics and kinds create your own WHVW in your pocket. But it would still be an imitation of Pirate Joe’s musical vision. Which is on the air right now by the way. Filling the sky of Dutchess Country with radio waves carrying the likes of Coleman Hawkins, T-Bone Walker or Harry “The Hipster” Gibson, proving that automated radio can be a non-conformist’s best friend. And that it’s not impossible for a radio station to be a better music machine than a money machine.
This site was put together by Randy Meyer and has hundreds of photos from 95+ years of broadcasting. Many pictures are from me as I worked there from 1969 to 1982. The link below is to the promotional items page where there is another picture of the “World Famous WOWO Fire Escape” chunk of steel cast in lucite.
These were made in 1978 after the station moved from the Gaskins Building to the Central Building. (By the way, the Central building is no longer there.)
The Gaskins Building was a dismal place with no windows. The air and news people had to open the door to the fire escape to see if was sunny or raining. That is why the local temperature was from the World Famous Fire Escape. My piece of fire escape is in a box in the basement.
Many thanks for sharing this, Dave! WOWO is such an iconic AM station with such a deep history–I’m grateful all of these photos and history are being archived and shared online.
Jose Jacob from Hyderabad, India has collected QSL from 132 different stations of All India Radio over a period of 42 years. Radio stations ranging from Shot wave, Medium wave, FM to the latest DRM mode. In the process he has achieved the feat of creating an Indian Record of collecting maximum number of QSL of different stations of a radio broadcaster in India.
As a teenager Jose started listening to radio and started to write to stations way back in 1973, when in his school days. Few years later in 1976 he first wrote to All India Radio, when his reception report was first verified with a QSL. Over next 42 years, he has used various mediums, ranging from inland letters, post cards to emails, for sending reception reporting. Currently he has over 2500 QSL from 130 different countries, many of which left the airwaves.
Over the years, with his special interest in All India Radio, he is one of key country contributors, from India, of World Radio TV Handbook updating about All India Radio to the directory of global broadcasting.
Jose Jacob, is also a licensed amateur radio operator with call sign VU2JOS currently serving as Asst. Director at the National Institute of Amateur Radio (NIAR) www.niar.org
Jose Jacob (VU2JOS) with Certificate from Limca Book of Records
Limca Book of Records is an annual reference book published in India documenting human and natural world records. The world records achieved by humans are further categorised in education, literature, agriculture, medical science, business, sports, nature, adventure, radio, and cinema with Limca book of Records rules. (https://www.coca-colaindia.com/limca-book-of-records)
Limca Book of Records has recognized the feat as one of the Indian records in the radio category and awarded the certificate acknowledging the achievement.
QSL received in 1997 from All India Radio, Nagpur
QSL received in 1988 from All India Radio, Nagpur
QSL received in 1987 from All India Radio, Nagpur
Congratulations to Jose Jacob VU2JOS for an amazing accomplishment! Thank you for sharing this news, Sandipan!
Sputnik radio, a media organization funded by the Russian government with offices around the world, broadcasts from a studio in downtown Washington blocks from the White House. It airs talk shows hosted by, among others, Lee Stranahan, a former Breitbart News reporter, and Brian Becker of the far-left ANSWER Coalition. Its website recently featured a discussion of Russia’s “Great Society” and a chat titled “Is Doing Business in Russia Really That Difficult?” The Weekly Standard once likened the experience of listening to Sputnik to “being immersed in some menacing alternate history timeline: It’s like ‘The Man in the High Castle,’ but for Cold War kids and with real-world implications.” And it has caught the ear of federal authorities.
Since U.S. intelligence agencies concluded that Russia attempted to interfere in the 2016 presidential election, the Department of Justice has tried to compel Sputnik’s associates to register as foreign agents under the Foreign Agents Registration Act, or FARA. So far, those efforts have mostly been successful: Rossiya Segodnya, the Russian news agency that funds Sputnik, has registered under FARA, as has the managing member of the company that owns 105.5 FM, one of two frequencies that Sputnik broadcasts on in Washington. (Before Sputnik, 105.5 FM played bluegrass.)
There is one holdout: Arnold Ferolito, owner of RM Broadcasting, which leases airtime to Sputnik on 1390 AM in Washington.Not only has he refused to register his company as a foreign agent, the semiretired 76-year-old Florida man is suing the Justice Department over the request. “I’m not being caught up in somebody’s agenda. I’m a business guy,” he told me. “No one gave me anything unless I fought for it. There’s a principle here. In the United States, a person should be able to do business without government interference. … It’s nuts that you have to do something like this.”
In his complaint, filed last fall in the U.S. District Court for the Southern District of Florida, Ferolito contends RM Broadcasting doesn’t have “any kind of joint-venture relationship whatsoever with Rossiya Segodnya,” and that the two entities are simply engaged in “an arms-length commercial business transaction.”
The Justice Department isn’t buying that. In its countersuit, it alleged that Ferolito broadcasts Sputnik news under “the direction and control of Rossiya Segodnya” and is an “information-service employee.”[…]