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For the millions who are stuck at home, the National Recording Registry has a few new suggestions on how to inspire nostalgia or arouse baseball fervor — and much of it came to you through your radio.

The U.S. Library of Congress recently named more than two dozen recordings as national aural treasures worthy of preservation because of their cultural, historical and aesthetic importance to the nation’s recorded sound heritage.

What makes that list? The opening melody from “Mister Rogers’ Neighborhood;” the thrilling play-by-play of the 1951 National League tiebreaker between the New York Giants and the Brooklyn Dodgers and even the Village People’s international dance anthem “Y.M.C.A.” Those are among the newest recordings recently inducted into the National Recording Registry of the Library of Congress.

“The National Recording Registry is the evolving playlist of the American soundscape. It reflects moments in history captured through the voices and sounds of the time,” said Librarian of Congress Carla Hayden. The library received more than 800 nominations this year.

Under the terms of the National Recording Preservation Act of 2000, the librarian, with advice from the Library’s National Recording Preservation Board (NRPB), is tasked with annually selecting 25 titles that are for culturally, historically or aesthetically significant and are at least 10 years old. The new recordings bring the total number of titles on the registry to 550, a small part of the Library’s vast recorded-sound collection of nearly three million items.

Of the different genres and formats, listeners can find old radio sportscasts, classical recordings, jazz music and songs so knowable that it only takes a few notes to decipher its origin — take, for example, the disco hit “Y.M.C.A.” The new group of recordings also include the vibrant 2008 “Percussion Concerto” album and Dr. Dre’s debut studio album “The Chronic” (1992). Other selections include the 1920 jazz swing “Whispering” by Paul Whiteman and his Orchestra; Puccini’s “Tosca,” performed by Maria Callas; and the first commercial digital recording of symphonic music in the United States by the Cleveland Symphonic Winds. Several recordings on the list were made by some of America’s female changemakers, including Memphis Minnie, one of the most popular female country blues singers of all time and her single “Me and My Chauffeur Blues,” which was recorded in 1941.

Also on the list: comedy radio classics. Allan Sherman’s comedy classic from 1963, “Hello Muddah, Hello Fadduh” made the registry this year, a fact that would have astonished its author, said Sherman’s son, Robert Sherman. “It’s still something that people care, sing about. It would have amazed my father, 50-plus years since he wrote it.” Other ’60s classics include the original version of “Wichita Lineman,” written by Jimmy Webb and recorded by country music singer Glen Campbell in 1968.

Recordings of several radio broadcasts made the list too: an episode of “Arch Oboler’s Plays,” one of the earliest American old-time horror radio programs, and the announcement of the assassination of Pres. John F. Kennedy made by the Boston Symphony Orchestra conductor during the recording of a live performance on Nov. 22, 1963.

And lest we forget the appeal of our nation’s pastime, the Library of Congress selected Russ Hodges’ call of the 1951 National League tiebreaker between the New York Giants and Brooklyn Dodgers.

In that game, the Giants were down two runs in the bottom of the ninth inning of the final game of the three-game playoff. Ralph Branca was pitching for the Dodgers, Bobby Thomson came to bat, and Willie Mays was on deck.

“Ralph was a good, good pitcher. Didn’t have a real good curve but a good fastball,” the legendary Mays said to the Library of Congress. “And he placed it a lot, so I thought they would do the same thing with Bobby. Walk him and pitch to me because they knew that was my first year.”

They didn’t. Instead, Thomson hit a walk-off home run — the “Shot Heard ’Round the World” — and gave the Giants one of the most dramatic victories in baseball history.

Registry titles are preserved at the Library of Congress Packard Campus for Audio Visual Conservation, a facility with more than 7 million collection items where the nation’s library acquires, preserves and provides access to the world’s largest and most comprehensive collection of films, television programs, radio broadcasts and sound recordings.

Here are two well-known recordings that made the list.

The 1951 National League Tiebreaker: New York Giants vs. Brooklyn Dodgers — Russ Hodges, announcer (Oct. 3, 1951)

In 1951, the New York Giants won 37 of their final 44 games to catch their crosstown rival Brooklyn Dodgers, forcing a three-game playoff for the National League pennant. The teams split the first two games, setting up the decisive tiebreaker at the famed Polo Grounds. In the bottom of the ninth inning, the Dodgers led 4 to 1. The Giants had scored a run and had runners at second and third with one out when third baseman Bobby Thomson stepped into the batter’s box. Ralph Branca’s first pitch was a called strike. As he released his next pitch, Giants announcer Russ Hodges said, “Branca throws…” and then shouted, “There’s a long drive. It’s gonna be, I believe — the Giants win the pennant! The Giants win the pennant! The Giants win the pennant! The Giants win the pennant!” This game was actually covered by several legendary announcers, including Hodges (Giants radio), Ernie Harwell (Giants TV), Red Barber (Dodgers radio) and Gordon McLendon (the national broadcast). But it is Hodges’ call that is most remembered and which so vividly captures not only the action on the field but also the excitement of the moment — truly the thrill of victory and one of the greatest calls in all of sportscasting.

WGBH broadcast of the Boston Symphony on the day of the John F. Kennedy Assassination, Boston Symphony Orchestra (1963)

The ageless adage of “drawing comfort through music” had never been more thoroughly tested than on the scheduled afternoon broadcast of the Boston Symphony, with its conductor Erich Leinsdorf, on Nov. 22, 1963. That day, just after concluding Handel’s Concerto Grosso in B flat major and a second short piece, Leinsdorf was forced to break with normal concert protocol and, stoically, address the large audience with a change of program and to share the tragic news of Pres. Kennedy having been killed in Dallas only minutes before. For those in the audience and thousands more listening to the broadcast over the radio, it was their first news of the president’s assassination. In the hall, and over the airwaves, shock and gasps rang out. As everyone in the hall — including the musicians — processed this news, the sheet music for the “Funeral March” from Beethoven’s 3rd symphony was distributed to the orchestra, which bravely performed. The next day, Margo Miller of the Boston Globe reported, “The ‘Eroica’ marcia funebre is one of the great moments in music. The dread beat of the march cannot be disguised. Yet there is a middle section of the movement, a time of incredible energy and involvement, somehow, or so it seemed Friday, expressing eternal hope.”

Final List — 2019 National Recording Registry

“Whispering” (single), Paul Whiteman and his Orchestra (1920)
“Protesta per Sacco e Vanzetti,” Compagnia Columbia; “Sacco e Vanzetti,” Raoul Romito (1927)
“La Chicharronera” (single), Narciso Martinez and Santiago Almeida (1936)
“Arch Oboler’s Plays” episode “The Bathysphere.” (Nov. 18, 1939)
“Me and My Chauffeur Blues” (single), Memphis Minnie (1941)
The 1951 National League tiebreaker: New York Giants vs. Brooklyn Dodgers — Russ Hodges, announcer (Oct. 3, 1951)
Puccini’s “Tosca” (album), Maria Callas, Giuseppe di Stefano, Angelo Mercuriali, Tito Gobbi, Melchiorre Luise, Dario Caselli, Victor de Sabata (1953)
“Hello Muddah, Hello Fadduh” (single), Allan Sherman (1963)
WGBH broadcast of the Boston Symphony on the day of the John F. Kennedy assassination, Boston Symphony Orchestra (1963)
“Fiddler on the Roof” (album), original Broadway cast (1964)
“Make the World Go Away” (single), Eddy Arnold (1965)
Hiromi Lorraine Sakata Collection of Afghan Traditional Music (1966–67; 1971–73)
“Wichita Lineman” (single), Glen Campbell (1968)
“Dusty in Memphis” (album), Dusty Springfield (1969)
“Mister Rogers Sings 21 Favorite Songs From ‘Mister Rogers’ Neighborhood’ ” (album), Fred Rogers (1973)
“Cheap Trick at Budokan” (album), Cheap Trick (1978)
Holst: Suite No. 1 in E-Flat, Suite No. 2 in F / Handel: Music for the Royal Fireworks / Bach: Fantasia in G (Special Edition Audiophile Pressing album), Frederick Fennell and the Cleveland Symphonic Winds (1978)
“Y.M.C.A.” (single), Village People (1978)
“A Feather on the Breath of God” (album), Gothic Voices; Christopher Page, conductor; Hildegard von Bingen, composer (1982)
“Private Dancer” (album), Tina Turner (1984)
“Ven Conmigo” (album), Selena (1990)
“The Chronic” (album), Dr. Dre (1992)
“I Will Always Love You” (single), Whitney Houston (1992)
“Concert in the Garden” (album), Maria Schneider Orchestra (2004)
“Percussion Concerto” (album), Colin Currie (2008)

 

The post Registry Highlights the Sounds We Love to Hear appeared first on Radio World.

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The author is membership program director of the National Federation of Community Broadcasters. NFCB commentaries are featured regularly at www.radioworld.com.

Many cities and states are reaching the conclusion of their stay-at-home period. Whether that period is extended or not, community radio stations need to start planning what they will and need to do when their communities reopen.

Virtually every community radio station has been affected in some way by the coronavirus. From complete switches to automation systems to staggering staff and volunteer presence for health and safety, community radio has had to adapt during this extraordinary time. Our programming and community service have been impacted. And, though we all crave getting back to what we love to do, community radio stations have to be especially diligent, considering their many constituents, volunteers and donors.

Pres. Trump has said in recent press statements that he intends to defer to the states, though he’s also expressed his desire to restart the economy amid growing unemployment. Many states indicate they will approach the reopening of businesses and public spaces with caution.

[Read: Community Broadcaster: Tips for Better Home Recordings]

How will community media organizations that have been on reduced operating and programming capacity return to normal operations?

You should strongly consider again reviewing existing documentation on these issues, as well as advice from federal, state and county officials. Communicating with those on the frontline is going to give you the most informed look at what your city is facing, and the risks to your staff and volunteers. Those leaders may say it’s too risky right now, or may involve you as part of phased returns.

In March, the Occupational Safety and Health Administration issued an excellent guide for preparing workplaces for COVID-19. Though it came out before the peak of public awareness, its lessons are important for everyone. At the top of the list is developing an infectious disease emergency plan, in the event of an outbreak. Your station’s plans should consider and address the level of risk associated with various areas of your building and the tasks staff and volunteers perform there.

For example, a locked engineering room is unlikely to have a lot of foot traffic and volunteer presence. Your live studio will have both. Will you be open to the general public to come in? Should on-air volunteers come back all at once, or in waves? How can your station put cleaning and other safety rules in before reopening fully? How can you educate your staff and volunteers about the new normal, at least for the foreseeable future?

The Centers for Disease Control and Prevention recommends ongoing safety protocols like face masks and social distancing. It also suggests a standard for sick individuals in order to prevent the spread of the coronavirus.

In this context, your station will also want to consider the welfare of its volunteers, staff and visitors. Whether and where people came from after travel and if they are in vulnerable populations may be significant if they are coming to your station. If your station has been dependent on preproduced programming, what programming can continue to be preproduced and what needs to be live in the studio? And how can you respectfully include those volunteers who still do not feel safe or are in an at-risk group?

Even during the COVID-19 pandemic, radio has been a trusted service. So, our return to business must come with an appreciation for the faith listeners put in us. Our returns must thus come with attention, care and compassion.

The post Community Broadcaster: Now What? appeared first on Radio World.

Radio World’s “15 Things You Don’t Want to Miss” webcast is now available on demand.

In an April without an NAB Show, it’s more important than ever to stay informed about new products and technology from our industry’s leading manufacturers

RW’s core ongoing mission is to bring together buyers and sellers of specialized broadcast technology, and to help engineers and managers advance in their careers by exploring key technical and business trends.

The webcast is part of Radio World’s “Spring Show @ Home” information series, created with the idea of helping you to do your job — whether you are a user or a creator of that technology.

Hear from Paul, Marguerite and our webinar sponsors about their new offerings this spring, including key features and targeted applications; explore the trends you would have heard about at the NAB Show; and learn what our editors are hearing from the industry’s leaders about important tech developments and standards.

 

SPEAKERS

Paul McLane
Editor in Chief, Radio World

Paul is a veteran industry technology journalist and former broadcast news anchor.

Marguerite Clark
Editor in Chief, Radio World International

Born in the U.S. and based in Paris, Marguerite is a veteran industry technology journalist who has been covering issues impacting the global media sector for more than 20 years from both Italy and France.

The post Radio World “15 Things You Can’t Miss” Webcast appeared first on Radio World.

Ajit Pai

FCC Chairman Ajit Pai addressed the InterAmerican Development Bank and the International Institute of Communications Online Workshop this week.

The following are his remarks, which he titled, “Regulation in Times of Pandemics: Lessons for the Future.”

First, thank you to the IDB (Interamerican Development Bank) and the IIC (International Institute of Communications) for organizing today’s meeting and for inviting me to participate.

Thank you to Ambassador David Gross and COMTELCA Executive Secretary Allan Ruiz for running this virtual panel.

It’s a pleasure to be with you and an honor to be joined by my distinguished counterparts: Alejandra de Iturriaga, Head of Spain’s CNMC; Adolfo Cuevas Tapia, President of the IFT in Mexico; and Leonardo Euler de Morais, President of ANATEL in Brazil. I hope all of you and your families are staying safe.

We’ve all been asked to talk about our experiences in responding to the COVID-19 pandemic, and any lessons learned that could guide us in the future.

Before going any further, I think it’s important to acknowledge up front that we should approach this exercise with a proper dose of humility.

At the FCC, it has been exactly five weeks since we effectively shut down our headquarters, shifted our operations online, and made pandemic response our primary focus.

In many ways, we’re still building the plane while flying it. Recognizing that it’s hard to say anything definitive only a few weeks into a fluid situation, I’d like to walk you through the FCC’s guiding principles as we’ve approached this challenge.

Number one, set clear priorities.

There’s an old saying: if everything is a top priority, then nothing is a top priority. With limited time and capacity, we needed to make quick assessments about the most important national objectives where the FCC could make a difference.

Looking at the landscape in early March, a few things became clear. First, social distancing was going to force huge segments of our economy and daily lives to move online, making it more important than ever that Americans have Internet access. And, second, social distancing would create massive temporary job losses and furloughs, putting millions of Americans at risk of missing bill payments and having their Internet and telephone service cut off.

So, we decided that our top priority was to make sure that as many Americans as possible have Internet access and that that no American would have their Internet and voice service cut off because of the disruptions caused by the COVID-19 pandemic.

That brings me to guiding principle number two: use markets before mandates.

In times of crisis, I understand how some might be tempted to look for any lever they can find to compel private companies to carry out the government’s goals. But with the coronavirus pandemic, the FCC chose a different path.

Specifically, we called on broadband and telephone service providers to take what we call our Keep Americans Connected pledge. The pledge has three core commitments: no consumer would lose service over the next 60 days due to an inability to pay a bill because of the disruptions associated with the pandemic; no one would be charged late fees because of the pandemic; and Wi-Fi hotspots would be opened up to anyone who needs them. The response was overwhelmingly positive. More than 700 broadband and phone providers have signed the pledge, including all of the nation’s largest service providers and many of the smallest.

We also urged providers to go above and beyond the pledge, to do whatever they could to help Americans stay connected and expand connectivity. And many have. They’ve upgraded speeds at no charge, expanded low-cost programs, offered free service to low-income families and students, and donated connectivity to healthcare workers and facilities.

Some might wonder: why are these private companies acting in the public interest?

I think the biggest factor is that these decisions are made by people. And in trying times, most people want to do the right thing, not just for their company, but for their fellow citizens and for their country.

But I also think that the market creates powerful incentives for companies to do the right thing. If your company doesn’t step up for you, or even worse, engages in bad behavior, consumers will be much more likely to turn to the competition in the weeks, months, and years ahead.

I would note that we also urged broadcasters to use their platform to promote social distancing, and they have enthusiastically and voluntarily done so. They have also expanded news coverage of the COVID-19 pandemic, providing Americans with the information that they need to stay safe and healthy. And they’ve raised funds in their communities to help those in need.

In the end, I believe trusting the markets rather than solely relying on mandates resulted in more consumer-friendly policies than we would have achieved with a more heavy-handed government intervention, and I know that we were able to make these changes more quickly. I’d also argue that the general regulatory approach that we have in the United States have applied to the broadband marketplace gave us much stronger infrastructure in the first place, as it gave companies the incentives to invest in resilient, robust networks that could withstand unprecedented consumer demands.

The third principle I’d like to highlight is to use every tool in the toolkit.

None of the FCC’s programs was developed with a pandemic in mind, but all of them sure can help.

For example, telehealth has become increasingly valuable in the era of social distancing. It allows people to get medical attention while avoiding the increased risk and strains at hospitals. To promote telehealth solutions for the patients of rural hospitals and clinics, the FCC voted to make an additional $42 million immediately available through our Rural Health Care Program.

Building on this foundation, two weeks ago, the FCC established a $200 million COVID-19 Telehealth Program to help health care providers provide connected care services to patients at their homes or mobile locations in response to the pandemic. This new initiative was fully funded as part of Congress’s recent coronavirus relief legislation.

Similarly, the FCC has examined our programs to connect schools, low-income households, and individuals who are deaf or have a speech disability, and has relaxed rules to help extend service to more people during this pandemic.

Relatedly, these efforts highlight the importance of having pre-existing programs in place to close the digital divides that exist in our communities. These are the communities that are most vulnerable during emergencies, and it is much easier to scale up existing programs than start from scratch during an emergency.

That brings me to the fourth principle: During an emergency, act like it’s an emergency.

If there’s one area where bureaucracies struggle most, it’s doing anything fast. But during a pandemic, delays can be deadly. So the FCC has put a premium on making decisions as quickly as possible. We’re talking days, not months or years.

In particular, it seems like every other day, we have been granting temporary authority to wireless carriers to use additional spectrum to meet the increased demand for mobile broadband. We’ve already seen evidence that one of these waivers has helped a provider double the speeds for its 4G service in certain areas of the country.

We have also moved quickly to identify new scam robocalls and text messages offering free home testing kits, promoting bogus cures, selling health insurance, and preying on virus-related fears. We’re working to warn consumers about these schemes and how best to protect themselves.

The last principle I’ll highlight might be the most important: put your people first.

To get the policies right, you need to treat the people on your team right. The health and safety of FCC employees is paramount to me. That’s why, on March 12, I directed all FCC staff who could telework to begin working from home. For context, on March 19, California became the first state in the U.S. to issue a stay-at-home order. We know that many of our staff are home with children, so we’ve given staff 10 hours a week of leave if necessary to tend to family concerns. These decisions may seem small, but I believe they make a big difference. They’re the right things to do for our dedicated professionals who always give us everything they’ve got.

I’ll finish with something I said earlier: it may seem like a long time, but we’ve only been dealing with this issue for several weeks. There’s still much we can learn from each other. So let me just say that I look forward to hearing from everyone else and leaving this conversation armed with new ideas to better serve our fellow citizens.

The post Pai Explains Commission’s Coronavirus Philosophy appeared first on Radio World.

The author is senior operations manager for CRP Radios.

LIMA, Peru — CRP Radios is a leading radio company in Peru, the only one 100% focused on entertainment radio, with eight FM brands and two AM brands strategically segmented to connect with Peruvians. In my position I am responsible for the effective performance management of all technical activities, taking overall responsibility for engineering, IT and supply-chain performance nationwide. 

We are a customer-oriented organization, hence listeners’ and advertisers’ satisfaction is placed at the core of our technical and business decisions. Our overall strategy for the radio broadcasting environment is that it’s what comes out of the speaker that counts — the perfect mix of content and sound quality. 

The FM spectrum in Lima is a very competitive sound environment — a challenge that’s not always easy to face. Each of the eight FM brands that we manage has a different format, so that means eight different music formats focused on eight different groups of listeners. All aimed at having the best sound in the segments in which we compete.

When it comes to processing, it’s too easy to crank up the levels to be the loudest on the dial, but we know full well that that’s not what our listeners want. The Omnia.11 broadcast audio processor has proven to be a flexible device for sound-quality improvements in all our FM stations. We have been amazed at the difference a good audio-processing preset can make for a station’s flavor. We are continually aiming to create a sound that keeps listeners listening and feeling that they’ve got the best flavor of their favorite music. 

Omnia.11

This sound cannot be created in a silo, it’s an ongoing process that relies on customers’ and engineers’ feedback alike, and each step has brought us closer to that golden sound.

Omnia processing gives you the ability to craft the sound you want and contributes to bring out the most from content and create long-lasting engagement with listeners, which after all is a key part of broadcast service.

We are consistently seeking out the best-in-class platforms and support professionals. Our partnership with The Telos Alliance has proven to be powerful forthe challenge of achieving a signature sound that suits our listeners’ tastes. Great platforms are just as important as proper professional support in the operations arena, and we have received great technical assistance on every project or technical issue that we have faced over the last few years.

Having Axia consoles plus Omnia processors is the technical solution that is supporting us to be able to create our own unique style and more importantly the one that suits our listeners. During 2020 we will continue to migrate to Axia consoles and we are in the process of optimizing all our audio connections through Livewire + AES67 to create a more flexible and smarter I/O topology.

We feel that the partnership that we have built with The Telos Alliance continually contributes to our efforts to improve audience engagement and bolster ratings. 

For information, contact Cam Eicher at The Telos Alliance in Ohio at 1-216-241-7225 or visit www.telosalliance.com. 

The post User Report: CRP Radios Crafts the Perfect Flavor appeared first on Radio World.

Ad hoc planning: A white board at WAMU(FM) in the nation’s capital mirrored what was happening at many radio stations in March. Senior Director of Technology Rob Bertrand told RW the station was working to “achieve 100% virtual operation” over coming weeks. Read his interview here.

The coronavirus crisis ripped the fabric of the U.S. radio broadcast industry in March, as it did virtually all of the nation’s business sectors. 

Vague uneasiness about public health and transmission in early March changed swiftly to sweeping action that reinvented radio’s daily life a week or two later. And the situation continued to evolve daily.

For many, it was the postponement (and eventual cancellation) of the April NAB Show, first announced March 11, that brought home reality: The 2020 spring convention season would be like no other. 

This decision would have seemed controversial not long before, and it was still jarring on the day it was announced, given that the spring show hadn’t missed a year since 1945. 

But within two more days President Trump was declaring that COVID-19 constituted a national emergency. The loss of a big convention, as dramatic as it was, became just another example of how radio’s business and technical landscape was altering at breathtaking speed. 

RADIO AT ARM’S LENGTH

Virtualization became a trending topic as stations told employees they’d be working work from home for the foreseeable future. Engineers and IT staff had to move quickly to enable remote shows from living rooms of air talent without opening new cybersecurity gaps. 

“The good news is that for many stations, remote access has been in place in one form or another,” consultant Gary Kline told Radio World. “Traffic can operate remotely using VPN or other specialized remote access software. The same goes for music scheduling and even the automation/playout system. Many stations have been utilizing some form of remote voice tracking for years,” he said.

The basic elements of operating a radio cluster are routine for most stations, he said, perhaps with help from the vendors of traffic, CRM or playout systems as well as the involvement of the station engineer or IT department/contractor. 

The emotional impact of this transition, however, was another matter. For engineers, Facebook groups and social media sharing became even more important sources of information, ideas and comfort.

Meanwhile radio stations that remained “open” adopted vigorous procedures for cleaning and sharing equipment. Microphone windscreens became a hot commodity. Station visitors such as prize winners or clients were asked to stay away.

Broadcast equipment manufacturers said they were working to maintain product shipments from current inventory and to maintain remote support; but many sent team members home or, at least in one case, quietly laid off most of their staff. Many manufacturers also wondered whether their incoming component shipments would be maintained.

NAB’s PILOT innovation initiative cancelled an FM-band HD Radio field test that had been scheduled to start in March, involving Xperi and radio engineers from a number of NAB member groups.

The Society of Broadcast Engineers asked its chapter chairs to refrain from holding in-person meetings for at least two months. Instead, SBE encouraged them to “meet virtually through any capabilities you may have available to you,” according to an email shared by Chapter 1 Chair Paul Kaminski.

Numerous planned events like the annual convention of the New Jersey Broadcasters Association in June were cancelled. 

College radio station managers were faced with deciding whether and how to function when their campuses shuttered or student populations mostly went home. 

FEMA put out messaging about how the Integrated Public Alert Warning System may be used to inform, alert or warn the public, including EAS and WEA alerts. It encouraged questions via email to IPAWS@fema.dhs.gov.

Manufacturers, law firms, trade publications and other service providers scheduled virtual conferences and events either to present the content they’d planned to share at the convention, or to help clients cope with their new business reality.

#WeAreGrateful

Radio leaders celebrated the medium’s role in disseminating information. The Centers for Disease Control and Prevention upped the number of radio PSAs airing specific to COVID-19 in target markets, including Seattle, San Francisco, New York, Los Angeles and Houston. NAB said the value of airtime donated to coronavirus PSAs in about a week was equivalent to $10 million of radio and TV ad spots. 

Beasley Media Group rolled out a hashtag and PSA campaign, the #WeAreGrateful initiative, intended to thank “first responders, healthcare industry workers, retail employees, utility workers, transport drivers and others who are making a difference.” 

Dashboard radios began displaying messages from RDS feeds like “Remember to wash your hands” and “We’re all in this together.”

But some in the industry lamented recent reductions in U.S. radio air staffs — such as the big cuts by iHeartMedia in January — and questioned radio’s ability now to provide true local programming during a time of crisis.

Some observers also speculate that the impact of changes on operations and workflows will be long-term. Given that stations only recently have been allowed to run without a main studio in each city of license, one school of thought holds that this sudden growth in the use of remote broadcasting could hasten the trend away from local physical studios. 

Tell us about the impact on your own operation. Email radioworld@futurenet.com.

To read the latest articles on this topic, see www.radioworld.com/tag/coronavirus.

The post Health Crisis Challenges All of Radio appeared first on Radio World.

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A conversation at the AEQ booth during last year’s NAB Show. Photo by Jim Peck

Companies that had paid to exhibit at this year’s spring NAB Show are hearing this week from the association about refunds and rollover options.

Several radio floor exhibitors confirmed that they’ve received an email from NAB, each containing the same offer: The exhibitor can choose a 66% refund now — an amount it said was “calculated after covering NAB’s expenses incurred up to the time of cancellation to plan and produce NAB Show” — or apply the full amount toward booths at the next three spring shows, with 66% applied to the 2021 convention and the balance over the next two years.

[Related: “Decision to Abort Makes for ‘Poignant Moment’ for NAB”]

The email said “additional options” are available for companies exhibiting at NAB Show New York, without giving details.

“Thank you for your patience as we worked to finalize the best possible refund options for you,” the association wrote in the email. “We remain committed to doing right by you, our industry, and all of our partners and stakeholders, especially under the current challenging circumstances. Nothing is more important or rewarding for our team than working with you to create a vibrant marketplace for the global media and entertainment industry.”

Radio World reached out to NAB for comment and will report any reply. The association recently announced plans for a virtual event, NAB Show Express, in May.

The annual convention is huge, with an estimated 1,600 companies last year. Reports in other trade press have estimated annual spring show revenue at $46 million to $48 million, based on tax documents. An NAB spokesman speaking with RW earlier this year declined to estimate the potential cost of cancelling the2020 show or to discuss any insurance arrangements, other than saying at the time that “It’s obviously a financial hit.”

The post NAB Offers Exhibitors a Partial Refund or Rollover Options appeared first on Radio World.