future of radio essay

The future of radio

A bright future for radio and audio as record audiences tune in

Most revenue forecasts are positive about the medium term prospects for radio. Why is this?

Recent history suggests that radio is bolstered rather than challenged by new technology. As a multi-platform medium radio is accessed through analogue and digital broadcast receivers and increasingly streamed to mobiles, PCs, and tablets.

More recently, the rise of voice-activated speakers such as the Amazon Echo is helping to raise the profile of and encouraging people to listen more to all forms of audio entertainment , especially radio.

Radio is the most widely accessed form of audio entertainment on echo

Audio entertainment functions used on Echo (% of daily users)

The Echo encourages more audio listening

Proportion of Echo users claiming to listen more often

Because of this greater accessibility the prospects for radio listening remain positive with around 90% of UK adults tuning in every week for an average of three hours each day – making it the second most consumed medium after TV. As explored in Generation Audio  despite the competition for ear-time from the likes of podcasts and on-demand music services, live radio’s unique properties mean that cannibalisation remains relatively low.

Younger audiences have different patterns of audio behaviour, with 15-24s much more likely to listen to streamed music services than any other demographic – potentially driven by their bias towards Help Me Escape and Amplify the Moment need-states where use of on-demand audio services is more prevalent – yet even here radio remains the most dominant form of audio entertainment.

Voice activated devices are also stimulating advertisers to consider audio branding more seriously. Historical research shows that ads which feature consistent use of sound (particularly music and voice) are more effective .

The rise in listening to radio and other audio services on connected devices is also creating new commercial opportunities in the form of digital audio advertising placed into streamed or downloaded audio content including radio, on-demand music services, and podcasts. Radio operators are at the forefront of the digital audio market , providing advertisers with targeted audio ads in prestigious environments. 

In the immediate future, audio is predicted to remain a vibrant and exciting sector with interesting new developments in the pipeline such as voice control moving into other locations (in-car and wearables); the rise of dynamic creative within digital audio ads to stream the most pertinent version of an ad to each individual listener; increasing use of 3D binaural sound to deliver a more immersive audio advertising experience, where relevant.

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7.4 Radio’s New Future

Learning objectives.

• Distinguish the differences between satellite radio, HD radio, Internet radio, and podcasting.
• Identify the development of new radio technologies.

Although the future of radio has been doubted many times throughout its history, it is still in existence. The inherent portability of the medium gives it an advantage over other types of media that require an individual’s full attention, such as television or print. The simplicity of radio has leant itself to a variety of uses.

In recent years, new technologies have promised to expand the reach of radio and to expand the kinds of programming it offers. Satellite and HD radio have increased the amount and diversity of available programming by making more stations available. Internet radio has increased the accessibility of radio communication, and practically anyone who has access to a computer can create subscription podcasts to distribute around the world. These new technologies promise to make radio an enduring, innovative form of media.

Satellite Radio

In 1998, the FCC awarded licenses to two businesses interested in creating a radio version of cable television—without the cables. This act was the beginning of satellite radio Subscription-based radio broadcast through satellite transmissions. , and the companies soon became XM and Sirius. These two networks sold special receivers that could pick up satellite transmissions broadcasting a wide range of formats on different channels to listeners who paid a monthly fee for the commercial-free programming.

Like cable television, satellite radio was not required to censor its disc jockeys or guests for profanity. This attracted somewhat controversial radio personalities known for their conflicts with the FCC, such as Howard Stern and Opie and Anthony. The networks also drew hosts such as NPR’s Bob Edwards and Bruce Springsteen’s guitarist “Little” Steven Van Zandt to create their own shows. Because listeners paid one price for access to all of the channels, disc jockeys experienced less pressure to adhere to the limited playlist style of programming that was the norm for terrestrial radio stations. Bill Breen, “Written in the Stars,” Fast Company , February 1, 2005, http://www.fastcompany.com/magazine/91/open_stars.html . In 2008, Sirius and XM merged to form Sirius XM. In 2010, the company recorded its first profits. Reuters, “Sirius XM Posts Profit, Its First Since Merger, New York Times , February 25, 2010, http://www.nytimes.com/2010/02/26/technology/26radio.html .

Talk show host Howard Stern moved his controversial program to satellite radio in 2006, removing himself from FCC censorship rules and helping to popularize the medium.

Developed around 2001 to help terrestrial radio stations compete with emerging satellite radio technology, HD radio Digital transmission of radio signals that allows separate subchannels to be broadcast on the same analog frequency. is essentially a digital transmission of radio signals resulting in less static and better sound quality, even for AM stations. Upgraded quality is not the major benefit of HD radio, however; the technology allows signals to be compressed so that one station can air so-called shadow stations on the same frequency as its regular broadcast. Although listeners need an HD radio to receive these channels, they pay no subscription fee, as independent stations provide their own programming as they deem necessary. David Pogue, “HD Radio Crying Out to Be Heard,” New York Times , April 8, 2009, http://www.nytimes.com/2009/04/09/technology/personaltech/09pogue.html .

Stations such as NPR’s WAMU in Washington, DC, broadcast different types of programming on their shadow channels. For example, the station’s 88.5-1 broadcasts the regular analog schedule of WAMU, while 88.5-2 broadcasts bluegrass and country music programming, and 88.5-3 broadcasts public radio programs not available on the analog version of 88.5. WAMU, “Schedules,” http://wamu.org/programs/schedule/ .

HD radio allows current broadcasters to provide content that they would normally put aside in favor of more commercial programs. WAMU’s bluegrass and country shadow station plays content originally played over the airwaves but relegated to the Internet in favor of more marketable programs. The innovation of HD radio allowed the station to reintroduce the programs without risking its financial stability. With this financial freedom, HD radio offers a host of programming possibilities for traditional radio.

Internet Radio and Podcasting

Broadcasting is both a strength and limitation of broadcasting. Although technological advances of the past 50 years, such as audio recorders and microphones, have made creating a radio program simple, finding a way to broadcast that program presents difficulties for the average person. The expansion of the Internet, however, has changed this limitation into a manageable hurdle for both businesses and individuals alike.

Internet Radio

At its core, Internet radio Radio broadcasts streamed over the Internet. is simply the streaming of audio programs through the medium of the Internet. As early as 1994, radio stations such as Chapel Hill, North Carolina’s WXYC were broadcasting their signal over the Internet, and so potentially gaining a worldwide audience. WXYC, “Simulcast,” http://wxyc.org/about/simulcast . Soon, online-only radio stations were created to broadcast programs. Services such as Live 365, founded in 1999, have acted as distributors for Internet radio programs, charging broadcasters fees to stream their programs to a large listening audience.

Another type of Internet radio service is Pandora radio. This radio website does not distribute existing programs but rather allows users to create their own custom music radio stations. A listener creates a Pandora account and types in a song, composer, or artist, and the service creates a station that plays songs that are similar to the user’s selection. This analysis of music attempts to collect as many details about a song as possible, from lyrics to instrumentation to harmony, and then categorizes songs according to these attributes, making it possible for listeners to customize their own stations based on one or more of the cataloged attributes. The listener can delete unwanted songs from the playlist and create new stations as well. Pandora currently relies on on-screen advertising and has implemented audio advertisements as well. Gabriel Beltrone, “Pandora’s Back,” The Big Money , July 23, 2009, http://www.thebigmoney.com/articles/monetize/2009/07/23/pandora-s-back . Other music services such as Yahoo! Music, AOL Radio, and Jango offer radio stations with multiple programmed genres.

Problems of Internet Broadcasting

Despite the rise of Internet radio over the past several years, its success has never been a sure thing. As the trend gained momentum, many inexperienced broadcasters confronted the issue of royalties, and many experienced broadcasters encountered new legal issues related to streaming. Stations that broadcast over the airwaves must pay publishing royalties to the musicians and songwriters behind the recordings. Rather than pay an individual musician or songwriter each time a recording is played, however, broadcasters—including radio station, coffee shops, and restaurants—pay for a blanket license that allows them to play any song. As Internet broadcasting grew, musicians and record labels began demanding royalties from Internet stations and specifying new licensing restrictions. For instance, Pandora radio’s license specifies that users can buy a song, but they can’t replay a song without purchasing it, nor can they skip more than six songs per hour.

Other issues arose as terrestrial stations began streaming on the Internet. Since its inception, the medium has struggled with such concerns as whether advertisers should pay for commercials played over the Internet as well as over the air and what types of licenses should be used for Internet radio stations. In time, the federal government mediated an agreement between broadcasters and record companies with the Webcasters Settlement Act of 2009. This legislation designated Internet-only stations as pure-play stations, dividing them according to the types of coverage they offer. Each category pays royalties in different ways, ensuring both fair compensation for artists and the future viability of Internet radio. Chloe Albenesius, “Internet Radio Reaches Deal on Royalty Rates,” PC Magazine , July 7, 2009, http://www.pcmag.com/article2/0,2817,2349813,00.asp .

Unlike Internet radio, podcasting Prerecorded programs that can be downloaded from the Internet. employs downloadable rather than streamed programs. The term podcasting itself stems from the use of MP3 players such as Apple’s iPod to use programs on demand. Many terrestrial stations have employed podcasting to supplement their traditional over-the-air broadcasting. Because these are single programs rather than continuous stations, podcasts are an easier medium to produce than is Internet radio.

Some podcast producers, such as Mignon Fogarty, have created programs that led to book deals and a steady income. Fogarty’s weekly Grammar Girl: Quick and Dirty Tricks podcast focuses on simple grammar rules. Within a year of its inception, this podcast racked up 1 million downloads and received national acclaim. John Faherty, “‘Grammar Girl’ Podcasts Rule Online,” USA Today , March 8, 2007, http://www.usatoday.com/tech/webguide/internetlife/2007-03-08-grammar-girl_N.htm . Nevertheless, podcasting does not fit neatly into the traditional concept of radio. Yet, there is no question that it is following in the footsteps of past radio programs, and that it provides a potential vision of the medium’s place in years to come. Just as radio evolved from a medium for soap operas and live music to talk shows and recorded music, podcasts are a window into what radio may evolve into in the future.

Key Takeaways

• Radio’s flexibility as a medium has allowed it to adjust to the fluctuations of audience tastes and markets.
• Satellite radio is a subscription-based service, while HD radio is provided at no cost by current radio providers.
• Internet radio and podcasting have allowed many new programs and stations to be broadcast at low cost.

Please respond to the following writing prompts. Each response should be a minimum of one paragraph.

• Define satellite radio, HD radio, Internet radio, and podcasting.
• How have each of these mediums fared in terms of popularity?
• Pick one of these mediums and predict its future success given its current popularity.

End-of-Chapter Assessment

Review Questions

Questions for Section 7.1 "Evolution of Radio Broadcasting"

• Name three major changes that have affected the development of radio.
• What made the period from the 1930s to the 1950s radio’s golden age?
• How have large networks affected the development of radio?
• Has the corporate consolidation of radio over the past decades made radio better or worse in your opinion? Explain your answer.

Questions for Section 7.2 "Radio Station Formats"

• How and why do modern radio stations employ radio formats?
• What is your opinion about the effects of formats on the current state of radio?
• Describe your favorite radio format and explain how the advertising is marketed to you.

Questions for Section 7.3 "Radio’s Impact on Culture"

• What makes radio unique among forms of mass media?
• Explain the ways radio affected the development of your favorite genre of music.
• How do you think popular music would be heard and spread if there was no radio?
• What do you think political talk radio would presently be like if the Fairness Doctrine had not been repealed?

Questions for Section 7.4 "Radio’s New Future"

• How do you think new radio technologies will affect traditional radio broadcasting over the next 10 years?
• Of the four new radio technologies listed in Section 7.4 "Radio’s New Future" , which do you think has the most potential to succeed? Explain your answer.

Critical Thinking Questions

• Taken as a whole, has government regulation been good or bad for radio? Explain your answer using specific examples.
• Given the rise of tightly formatted radio stations, do you think it is still possible to have a truly popular music? Why or why not?
• Do you think radio should be treated as a public resource or a private commodity? If your view was made law, how would it affect radio programming?
• If radio is a public resource, how should issues of freedom of speech and censorship be handled?
• Given the history of radio, do you think that new innovations in radio will make radio more democratic and accessible, or will regulatory and market forces control access?

Career Connection

New technologies in radio have created new radio career possibilities. As podcasting, Internet radio, satellite radio, and HD radio have fueled demand for new content, opportunities have emerged for self-starters to create and host their own radio programs or become freelance radio journalists.

Consider some of the uses for podcasting and radio journalism. Some useful links for researching careers in these areas, among others you may find through your own research, are http://transom.org/ and ( http://www.airmedia.org/ . Based on your research and ideas, identify a career field in online radio that you may wish to pursue. Think about ways that people in this career field have employed radio. Now answer the following questions:

• How have people used radio in your chosen career?
• How have new technologies, such as podcasting and Internet radio, allowed for new uses of radio in this career?
• How could you use radio in your career even if you weren’t necessarily a radio producer or journalist?
• What kinds of projects or initiatives could you a business unddertake that would involve radio?

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122 Radio Essay Topic Ideas & Examples

Inside This Article

Radio is a powerful medium that has the ability to inform, entertain, and inspire listeners. With its wide reach and accessibility, radio remains a popular form of communication in today's digital age. If you're in need of inspiration for your next radio essay, look no further. Here are 122 radio essay topic ideas and examples to get you started:

• The history and evolution of radio broadcasting
• How radio has influenced popular culture
• The role of radio in shaping public opinion
• The impact of radio on politics and social movements
• The future of radio in the age of streaming services
• The rise of podcasting as a new form of radio
• The importance of community radio stations
• The power of storytelling on the radio
• The art of radio production and sound design
• The role of radio in promoting local music scenes
• The ethics of radio journalism
• The challenges of censorship in radio broadcasting
• The psychology of radio listening
• The role of radio in disaster communication and emergency broadcasting
• The impact of radio on language and communication skills
• The influence of radio on advertising and marketing
• The role of radio in preserving oral histories and cultural traditions
• The impact of radio on mental health and well-being
• The history of pirate radio stations
• The relationship between radio and music festivals
• The role of radio DJs in shaping music trends
• The impact of radio on the music industry
• The future of radio as a platform for independent artists
• The role of radio in promoting social justice and activism
• The power of radio in giving a voice to marginalized communities
• The impact of radio on education and literacy
• The role of radio in promoting diversity and inclusivity
• The influence of radio on fashion and pop culture
• The role of radio in promoting mental health awareness
• The impact of radio on sports fandom
• The relationship between radio and nostalgia
• The role of radio in promoting tourism and travel
• The impact of radio on political discourse
• The future of radio in a digital world
• The history of radio dramas and storytelling
• The impact of radio on comedy and humor
• The role of radio in promoting environmental awareness
• The influence of radio on language and dialects
• The power of radio in connecting people across borders
• The role of radio in promoting peace and reconciliation
• The impact of radio on public health campaigns
• The relationship between radio and literature
• The role of radio in promoting local businesses and entrepreneurship
• The influence of radio on fashion and beauty trends
• The power of radio in promoting cultural exchange and understanding
• The impact of radio on public opinion and democracy
• The role of radio in promoting healthy lifestyles
• The future of radio as a platform for independent journalism
• The history of radio personalities and celebrities
• The impact of radio on family dynamics and relationships
• The relationship between radio and technology
• The influence of radio on political activism
• The power of radio in promoting social change
• The impact of radio on public transportation and urban planning
• The role of radio in promoting volunteerism and community service
• The history of radio talk shows and call-in programs
• The impact of radio on public safety and emergency response
• The relationship between radio and fashion trends
• The role of radio in promoting cultural heritage and traditions
• The influence of radio on food and culinary trends
• The power of radio in promoting environmental conservation
• The impact of radio on wildlife conservation efforts
• The role of radio in promoting travel and tourism
• The future of radio as a platform for independent storytelling
• The history of radio jingles and advertising campaigns
• The impact of radio on consumer behavior and purchasing decisions
• The relationship between radio and mental health awareness
• The role of radio in promoting healthy lifestyles and wellness
• The influence of radio on political discourse and activism
• The power of radio in promoting social justice and equality
• The impact of radio on public safety and emergency preparedness
• The role of radio in promoting community engagement and volunteerism
• The future of radio as a platform for independent journalism and storytelling

With these 122 radio essay topic ideas and examples, you'll have plenty of inspiration to explore the diverse and fascinating world of radio broadcasting. Whether you're interested in the history of radio, its impact on society, or its potential for the future, there's a topic here for everyone to delve into. So tune in, turn up the volume, and start writing your next radio essay today!

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The Future of Radio Revisited: Expert Perspectives and Future Scenarios for Radio Media in 2025

Journal of Radio & Audio Media

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Home › News and Business › Programming and Sales

So, Where Does Radio Go From Here?

Some thoughts about radio in 2021 and beyond

By Donna L. Halper ⋅

Every semester, I ask my students here at Lesley University how many of them listen to radio. And every semester, fewer and fewer hands go up.

Among those who do listen, most say it’s mainly when they are in the car with their parents. The majority tell me they prefer listening to Spotify or Pandora, where they can get only the songs they want, with no commercials.

Radio is not relevant to their lives, and some tell me it probably won’t be around much longer.

While I wish they felt differently, what they are saying is nothing new.

In fact, as far back as 1927, when “talking pictures” came along, and again in 1948 when a growing number of homes got television, some critics were predicting that soon, nobody would care about radio.

You can also fast forward to 2010, when broadcasters were feeling the rising effects of social media — that too was supposed to bring about the death of radio.

But while reports of radio’s demise have thus far been exaggerated, some very real challenges and problems exist.

As 2020 turned to 2021, I spoke with consultants, owners, programmers and journalists, asking them what they thought the future for broadcasting might hold. Their assessments varied, from being worried to cautiously optimistic to bullish.

Lack of attention

Among the biggest worries is that radio is indeed losing its younger demographics. My students are part of a trend: Teens and young adults are no longer fans of radio as previous generations were.

Nielsen Audio ratings bear this out: For instance since about 2014, according to an analysis by Edison Research, there has been a steady decline in ratings for CHR stations, as well as a decline in time spent listening. Interestingly, the only formats that have maintained some young adult listeners are classic hits and classic rock.

Consultant Fred Jacobs says this should come as no surprise. “The radio industry hasn’t cared about young people, especially teens, for years,” he said. And because of that lack of attention, he fears that “radio is going the way of jazz: an artifact of an older generation.”

He attributes this to the industry’s longstanding focus on the 25–54 demographic, often to the exclusion of anyone younger.

Another veteran consultant, Holland Cooke, concurs, and said, “Today, the real money demo is baby boomers, who grew up with the AM/FM habit.”

Engineering consultant Scott Fybush, who also publishes the NorthEast Radio Watch newsletter, says FMs are doing much better than AMs. Many boomers have fond memories of AM top 40, but these days, while a few heritage AM stations thrive, a growing number are dependent on syndicated programs or going silent.

Fybush expects the trend to continue. “AM is not going to vanish in [the next] 5 or 10 years, but it will become even more of a niche medium, and the thinning of less viable signals has already begun.”

Another area of concern is the lasting impact of media consolidation.

Ed Levine is president/CEO of Galaxy Media, which owns 13 stations in central New York. Like many observers, he cites the Telecommunications Act of 1996 as an important inflection point.

“The challenge that our industry faces,” he says, “is that for the last 25 years, radio has become bent to the will of a very small group of people. They wanted it ‘bigger and bigger,’ ostensibly to do ‘better’ and increase radio’s share of the ad spend. In reality, it was simply to get richer … much richer.”

While a handful of media companies were buying up more stations and financing them with private equity money, a small number of corporate CEOs became very wealthy.

But local stations began encountering problems. “Driven largely by private equity investment, radio was given revenue and cash flow goals that, in retrospect, were impossible to meet. So, when the revenue goals were not met, the only other way to increase cash flow was to cut people locally,” he said.

That reduction in local talent, to save money, was especially troubling, because broadcasters began sacrificing localism, the one thing that made radio unique.

Jerry Del Colliano, publisher of Inside Music Media, has been vocal about what he sees as the misplaced focus of corporate owners who were more interested in what was good for Wall Street, rather than what was good for Main Street.

Ongoing layoffs may have helped the corporate bottom line, but many talented local broadcasters lost their jobs, he said. Del Colliano is also critical of the FCC for allowing so much deregulation that companies are no longer required to maintain a local presence in their city of license. Radio itself isn’t the problem, he says, “it’s what these giant owners did to it.”

Vital information

But even though young people don’t listen as much as they used to, even though time spent listening is down across most demographics, even though there are lingering effects from media consolidation and even though the COVID-19 pandemic has led to economic downturns in many cities, numerous industry people remain hopeful about broadcasting’s future. Among them are local owners and operators who have seen firsthand how radio can still make a major difference.

One is Tami Graham, executive director of KSUT, Four Corners Public Radio, with studios in Ignacio, Colo. KSUT serves four states and includes among its listeners a large tribal population.

For her audience, KSUT has become a trusted resource.

“We serve five rural counties, and many [listeners] are in news deserts,” she says. With no local newspapers, KSUT has stepped in to fill the void for local news coverage.

“People know they can rely on us for vital information … whether it’s about COVID or about the wildfires. Good local content is more relevant than ever.”

She recalls that when the pandemic broke out, “We hired two part-time reporters and began covering it. Our plan was [to focus on it] for two weeks, but the response was so positive that we are still doing it.”

In fact, she notes, 2020 turned out to be a record-breaking year for fundraising, as donors came through to support KSUT’s programming.

“Our mission is “connecting people, creating communities,” she says, “and that is what we have been doing.”

Ed Levine too has found that being live and local works, no matter what kind of format the station has. He stresses the importance of developing local personalities and encouraging them to be heavily involved with their community.

“All of our air talents are native to their market. They know the area, and they love it. They don’t see [working for us] as a steppingstone to somewhere else. They don’t want to go elsewhere.”

Elroy Smith is a veteran urban contemporary programmer. He favors air staff with strong ties to the market. “That means they know the local landmarks, and they can pronounce the local street names.” And because they have their finger on the local pulse, they can react to whatever is important to the community at the time.

For example, during his tenure as operations manager and program director of Bonneville’s KBLX in San Francisco, air personalities volunteered at a food bank while the pandemic raged.

When George Floyd was killed and protests erupted nationwide, KBLX temporarily stopped playing music, instead airing news and information, and the morning show turned to talk. “The phones lines lit up. People wanted to have that connection with us.”

Smith believes building trust with the local community is essential. “People expect us to be involved.”

But what about attracting younger demographics? Is it still possible in a world where young people have so many choices, and radio has so much competition for their attention?

Sean Ross, vice president of music and programming for Edison Research and editor of the “Ross on Radio” newsletter, says, “I think if there’s any way forward, it involves making current music formats better for adults again, so that maybe they’ll again be modeling radio usage for kids when the carpool resumes.” He notes that there are some interesting and creative stations in smaller, non-rated markets.

Fred Jacobs wonders if the average owner understands younger listeners. “Do [they] know what teens want today?”

Jerry Del Colliano believes one reason young people can’t relate to radio is it sounds old to them. “Young people want [to listen to] someone who sounds like them … who talks about the things they care about. It’s not just the music; it’s the personalities. This generation craves authenticity.”

And Ed Levine adds, “You don’t want to just have older people working for you. Hiring younger people changes the culture of a company.”

Online presence

Changing digital habits of course are an important part of the story.

With so many local events cancelled because of COVID, station managers have found that their website often serves as a gathering place, where listeners can find up-to-the-minute information about a news story, listen to a podcast, replay a feature they had missed or interact with the on-air personalities.

Tami Graham says that during the pandemic, KSUT “bumped up our web presence and expanded our digital content. In a way, we are remaking ourselves. There are no program directors now; we have content directors. We want our listeners to have the most interesting content, whether it’s on the air, or on the web.

“We have also collaborated with local partners, like the Colorado Media Project, to create and share content. There is no competition — just collaboration for the good of the community.”

Holland Cooke feels that many programmers are adapting to the fact that today’s listeners tend to be busier and have shorter attention spans. “And people today want everything on demand,” he says, noting they don’t want their time wasted.

Scott Fybush agrees that some broadcasters are adapting to these new realities, but “not fast enough or with enough innovation.” He said that with more people working from home, the old idea of programming mainly to people in the office needs to be revisited, as well as rethinking traditional dayparts: Are people who now work or study at home getting up early to listen to a morning show, for example? And what about other dayparts?

“Almost nobody is paying attention to weekends, even though there has been a spike in usage then.”

“Embrace actionable”

Two comments I heard repeatedly: One, successful stations have relatable personalities who are plugged into the community. Two, successful stations are live and local as much as possible.

In a post-media consolidation era, as money-losing corporations divest from various properties, Del Colliano predicts there will be new opportunities for local ownership.

“Local operators may be the salvation of radio. After the [giant conglomerate owners] are gone, the small owners who remain will be able to reinvent the industry.”

Cooke too sees enhanced opportunities for radio, even during the pandemic. He advises programmers to not only “embrace local,” but to also “embrace actionable.” In other words, “Give listeners actionable information, like where they can get a vaccine, get an expert with tips for keeping their pets safe and healthy.”

And while all acknowledged the challenges of doing radio today, the people with whom I spoke agreed that the radio industry doesn’t do an effective job of selling its benefits.

“Radio suffers from a perception problem,” said Ed Levine. “We’ve got an inferiority complex. People may not listen for as long as they used to, but the listeners are still there.”

Perhaps there is no one format that will be radio’s salvation, and perhaps the programming will vary in each market, depending on the audience’s needs.

But radio still matters, says Elroy Smith.

“The story about the demise of radio is false,” he said; when it’s done well, “radio can still speak to today’s audience.” In fact, he says, “radio can be a breath of fresh air.”

The author is an a ssociate professor of communication and media studies at Lesley University, Cambridge, Mass., a former broadcaster and radio consultant. She often writes about the history of broadcasting. 

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Radio Studies

• Introduction
• Finding books about radio
• National Public Radio
• Journals & magazines about radio
• Finding radio programs
• Alternative radio
• Internet resources
• Mass Media Industry
• Future of Media
• Managing citations
• Return to Film & Media Studies
• Scholarly communication This link opens in a new window

Subject Reference Librarian

• Jay Leno is the Future of Television. Seriously Call Number: Electronic resource ISBN: 0040-781X From Time Magazine , September 14, 2009.

• << Previous: Mass Media Industry
• Next: Managing citations >>
• Last Updated: Mar 12, 2024 12:43 PM
• URL: https://researchguides.dartmouth.edu/radio

• Consultations
• [8546] Future of Radio - FM, AM & alignment

The Future of Radio (2007)

• Start: 17 April 2007
• Status: Closed
• End: 29 June 2007

Radio, the oldest broadcast medium, is in transition.

The overall amount of listening remains as high as ever and listeners are benefiting from a rapid increase in the number and range of stations they can choose from, including new community stations, additional local and national services and stations from around the world via the internet. All of this choice is available across a wide range of platforms from traditional AM and FM radio, to digital radio via DAB, digital television and the internet. There will be other new technologies to come.

For established radio broadcasters this explosion of choice brings new challenges through increased competition for listeners and revenues. Broadcasters also face increased costs from having to invest in new platforms and must deal with increased competition from an ever wider range of media. All of these changes create significant pressures on the traditional pattern of local radio, which has emerged as a result of deliberate public policy by successive governments and regulators.

This situation presents challenges to broadcasters and to regulators. There is evidence that the changes in listening habits, together with emerging new technologies have had a more rapid and profound impact on the radio industry than was foreseen just a few years ago when the existing legislation was put in place. As a result, the familiar ways of regulating radio, designed for a largely local analogue radio system, which have served listeners and the industry well, may be ineffective and disproportionately costly in the digital era.

The goal of this document is to outline an approach to regulation which is capable of delivering radio’s agreed public purposes as a healthy radio industry makes its transition to a digital world. Radio still has a vital role in fulfilling a range of public purposes – a role shared between the BBC, commercial radio and the new community radio sector – and regulation should be focused squarely on ensuring that those public purposes are met in the interests of listeners as citizens and as consumers.

Ofcom has clear statutory duties and regulatory principles. We have previously set out how we will combine these with our analysis of the rationale for intervention and potential public purposes to produce a set of strategic aims for regulation in radio:

• to enhance choice, diversity and innovation for consumers at the UK, national, regional, local and community levels;
• to secure citizens’ interests through the provision of radio designed to meet public purposes; and
• to do this with as little intervention in the market as possible, consistent with meeting our objectives.

In order to facilitate increased choice and diversity at a UK-wide level, while ensuring that local radio prospers in a digital age, we have already advertised an additional national DAB multiplex, which will provide around ten new national radio services, and we have begun the process of filling-in the gaps in local digital radio provision. But these steps alone will not be sufficient to ensure that the industry remains robust. We believe we need to debate now how best to regulate the industry as it copes with the transition to digital.

This report sets out a comprehensive vision for the future regulation of commercial and community radio. Its proposals, taken individually, may not at first sight appear significant but, taken together, we believe they would create the framework for radio to remain a strong and vibrant medium in the 21st century. Because there is still a great deal of uncertainty about the future shape of the industry, the proposals set out here aim to provide the flexibility to adapt to changing circumstances.

Some of our proposals have implications for legislation. It is for Government and Parliament to consider the case for new legislation and to take forward any changes they see fit at the appropriate time. We recognise that such legislation may still be some time away. This consultation sets out Ofcom’s initial thinking on the options available and suggests changes we believe Parliament may wish to consider in due course. There may, of course, be other options for change that emerge as a result of this consultation exercise or elsewhere.

We have focused on three main areas: the regulation of content and ownership in commercial radio; the regulation of community radio; and the migration of listening from analogue to digital platforms, opening up the possible use of analogue radio spectrum for other things when the time is right.

For commercial radio, most regulation is currently focused on analogue local stations, where station formats and the amount of local output are regulated in much greater detail than those of DAB stations. Stations on other platforms do not have regulated formats at all. The result of this regulatory situation is that the smallest analogue stations often have greater programming obligations than their larger neighbours, but with fewer resources to deliver them.

So long as the majority of listening remains on analogue platforms, Ofcom does not propose to change this situation, but as the proportion of listening on digital platforms increases, the current approach to regulating analogue radio will become increasingly anomalous. At that stage, we envisage a significant simplification of the amount of detail required in formats, along with standardisation of the requirements for local material in programming, based on the size of station. This will ensure that local programming is maintained at those times of day when listeners tell us they most value it and help to ensure the viability of the stations providing that programming by allowing broadcasters to share some programming across a number of stations.

Plurality of provision of commercial radio services alongside the BBC will, we believe, also continue to be of primary importance. However, Government may wish to consider, at the appropriate time, re-visiting the ownership rules, which currently apply in different ways to analogue and digital stations and which may, as a result, become anomalous as digital listening increases. Combining the rules across platforms for a defined set of ownership areas could, we believe, achieve the goal of robust plurality, while offering the industry greater certainty and flexibility for the future. If persuaded of the need for change, it will be for Government and Parliament to consider whether such a change should also be tied-in to increased digital listening.

Community radio is a fledgling new sector which has taken off rapidly in the last couple of years. From a standing start, 122 new stations have already been licensed and many have come on air, offering an extraordinary diversity of services. More awards are in the pipeline.

But the level of regulation imposed upon these tiny stations is very high. The detailed criteria which have to be considered when licensing a station, the ownership rules which prevent common ownership of stations, the funding restrictions which may hamper viability and the relatively short 5-year length of each licence, all put pressures on a sector which will need support if it is to emerge as a bedrock of non-profit, very local radio across the UK.

Ofcom will produce a report for the Secretary of State in the autumn, which will review the statutory framework for community radio. In advance of that report, this consultation makes tentative suggestions, based on Ofcom’s early experience of licensing this sector, for possible changes to the existing framework. In doing so, we reaffirm the importance of the sector as a “third force” in British broadcasting, which provides social gain and is not-for-profit, but suggest that the statutory framework surrounding community radio could be simplified significantly.

What about the possible switch-over from analogue to digital radio? On current trends, by 2017, 90% of all radio listening will be via digital platforms. It is essential that we do not rush the question of analogue switch-off, but it is also important that we are ready to address the questions raised by digital migration in the right way at the right time. If and when that time comes, there will need to be a full and detailed review of the costs and benefits involved.

To allow for this possibility, we highlight areas that are properly the domain of Government and Parliament with regard to the current licensing regime. Under the present system, as commercial radio licences expire, the licence is re-advertised for a period of up to 12 years, with the possibility for some of further renewal beyond that. Currently-held licences begin to expire in 2009 in a rolling process that will take many years to complete, with the result that the UK will be unable to achieve analogue switch-off, even if it is decided that this is the correct course of action. In this document, we seek to make the case for new legislation which would allow greater flexibility in planning for the future by amending the commercial radio licensing process.

We recognise that this report is long and detailed. But the issues at stake are of great significance to consumers and citizens and the challenges faced by the radio industry are complex. These questions require thorough examination and vigorous debate if we are to continue to enjoy a vibrant and innovative UK radio sector.

Main documents

Consultation: The Future of Radio

Supporting documents

annexes6-12.pdf

See also...

08 May 2024

Ofcom’s open data is a mix of data from or about the companies we regulate in the communications sector, and the citizens and consumers who use them.

24 April 2024

Ofcom occasionally publishes notes to alert broadcasters and on demand service providers to key changes or information.

To provide us with the evidence we need to carry out our regulation duties, we carry out and publish radio broadcasting market and consumer research, and collect data.

To provide us with the evidence we need to carry out our duties, we carry out and publish market and consumer research, and collect data.

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Essay on Radio

Students are often asked to write an essay on Radio in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on Radio

Introduction to radio.

Radio is a technology that allows the transmission of signals by modulation of electromagnetic waves. These waves, unlike wires, can travel through space.

History of Radio

Radio was invented in the late 19th century. Guglielmo Marconi, an Italian inventor, is often credited as the father of radio.

Importance of Radio

Radio plays a crucial role in communication. It’s used for broadcasting news, music, and other entertainment. It’s also vital during emergencies.

Modern Use of Radio

Today, radios are everywhere – in our cars, homes, and even in our phones. They continue to be a reliable source of information and entertainment.

Also check:

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250 Words Essay on Radio

The evolution of radio.

Radios, since their inception in the late 19th century, have revolutionized the realm of communication. The birth of radio technology is accredited to Guglielmo Marconi, who successfully sent the first radio signal in 1895. This innovation changed the face of mass communication, paving the way for an era of information accessibility.

The Impact of Radio

Radio’s impact on society is profound. It democratized access to information, making it possible for anyone, regardless of social or economic status, to receive news and entertainment. Radio also played a significant role during wartime, serving as a vital tool for propaganda, morale-boosting, and direct communication with the public.

Radio and Cultural Influence

Radio has been a significant cultural influence. It has shaped our music tastes, disseminated new ideas and trends, and facilitated the global spread of cultures. From radio dramas to music countdowns, it has been at the forefront of popular culture.

The Future of Radio

In the digital age, radio continues to evolve. Internet radio and podcasting have emerged as popular formats, offering on-demand content that caters to niche audiences. Despite the rise of visual media, radio’s auditory experience holds a charm that keeps it relevant.

In conclusion, radio has been a powerful communication tool, shaping society and culture. Its continued evolution in the digital age underscores its enduring relevance and potential for future growth.

500 Words Essay on Radio

Introduction.

Radio, a technology that has been a part of our lives for over a century, has played a significant role in the evolution of global communication. Despite the advent of more advanced technologies, the radio has managed to retain its relevance, demonstrating its adaptability and resilience.

The Birth of Radio

The invention of radio can be traced back to the late 19th century, with Guglielmo Marconi often credited with its development. Marconi’s experiments with electromagnetic waves led to the first successful long-distance wireless telegraph and subsequently, the birth of radio communication. The radio was a breakthrough in the field of communication, offering a way to transmit information quickly over vast distances.

The Golden Age of Radio

The 1920s to the 1950s is often referred to as the ‘Golden Age of Radio’. During this period, radio became a household item, providing entertainment, news, and vital information to the masses. It was a unifying medium, bringing together people from different walks of life through shared experiences of listening to the same broadcasts.

Radio’s Impact on Society

Radio has had a profound impact on society. During times of war, it was used to communicate with troops and provide updates to the public. In peacetime, it has been used to educate, entertain, and inform. Radio has also played a significant role in promoting cultural exchange and understanding by broadcasting music, news, and stories from around the world.

Radio in the Digital Age

Despite the rise of television, the internet, and social media, radio has managed to adapt and survive. Today, radio has evolved into various forms like satellite radio, internet radio, and podcasting. These new forms of radio have expanded its reach and scope, allowing for more specialized and personalized content.

The radio, despite being one of the oldest forms of mass communication, continues to be relevant in our digital age. Its resilience and adaptability are a testament to its inherent strengths: the ability to reach a wide audience, the intimacy it creates with its listeners, and the simplicity of its use. As we move further into the digital age, it is likely that the radio will continue to evolve and adapt, remaining a vital part of our communication landscape.

That’s it! I hope the essay helped you.

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Apart from these, you can look at all the essays by clicking here .

Happy studying!

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