October 17, 2025 • 35 mins
Digital fatigue is hitting music and radio hard as most U.S. adults use social media daily but two-thirds feel more disconnected after scrolling.
According to iHeartMedia's August survey of 2,000 consumers. With radio ad revenues projected to dip 9.4% to $32.97 billion and streaming facing 10% churn from price hikes, the industries must prioritize human authenticity to counter AI's "tidal wave" and reclaim listener loyalty.
Consumers are exhausted by algorithmic sameness and ad interruptions: 86% say online arguments escalate beyond real-life norms, 82% worry about AI's societal impact, and 75% reject its use in entertainment.
A new October poll shows 90% demanding labels on human-made music, with just 2% margin separating calls to ban AI entirely. Even kids suffer—70% of 8- to 12-year-olds lose sleep to devices—fueling 42% of adults eyeing "dumbphones" for escape.
Streaming's glut of 60 million AI users worsens discovery, making artist breakthroughs 67% tougher for indies, while younger listeners (16-19) shift time to social videos. MIDiA Research's "BEATS" blueprint calls for human-curated playlists, contextual storytelling, artist spotlights, supply limits, and fan clubs to add rewarding "friction," drawing from China's engaging apps.
Radio lags digitally too: podcast growth shines as national ads fall 5% to $1.76 billion, but clunky streams with mid-song ads and scripted social posts repel users. Critics urge weekly audits for seamless experiences, unscripted personality clips, and "micro-moments" like local polls—led by a Digital PD tracking engagement like airplay.
iHeartMedia's Bob Pittman positions live radio as an "empathy sanctuary," where 95% value human care and 92% say tech can't fake bonds.
Spotify's AI pacts with major labels signal experimentation, but without ethical lanes and emotional escapes, music risks CD-era pricing pitfalls.
By blending radio's warmth with streaming's reach via interactive tools, these sectors can spark a human-led audio revival—or fade into irrelevancy.
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According to iHeartMedia's August survey of 2,000 consumers. With radio ad revenues projected to dip 9.4% to $32.97 billion and streaming facing 10% churn from price hikes, the industries must prioritize human authenticity to counter AI's "tidal wave" and reclaim listener loyalty.
Consumers are exhausted by algorithmic sameness and ad interruptions: 86% say online arguments escalate beyond real-life norms, 82% worry about AI's societal impact, and 75% reject its use in entertainment.
A new October poll shows 90% demanding labels on human-made music, with just 2% margin separating calls to ban AI entirely. Even kids suffer—70% of 8- to 12-year-olds lose sleep to devices—fueling 42% of adults eyeing "dumbphones" for escape.
Streaming's glut of 60 million AI users worsens discovery, making artist breakthroughs 67% tougher for indies, while younger listeners (16-19) shift time to social videos. MIDiA Research's "BEATS" blueprint calls for human-curated playlists, contextual storytelling, artist spotlights, supply limits, and fan clubs to add rewarding "friction," drawing from China's engaging apps.
Radio lags digitally too: podcast growth shines as national ads fall 5% to $1.76 billion, but clunky streams with mid-song ads and scripted social posts repel users. Critics urge weekly audits for seamless experiences, unscripted personality clips, and "micro-moments" like local polls—led by a Digital PD tracking engagement like airplay.
iHeartMedia's Bob Pittman positions live radio as an "empathy sanctuary," where 95% value human care and 92% say tech can't fake bonds.
Spotify's AI pacts with major labels signal experimentation, but without ethical lanes and emotional escapes, music risks CD-era pricing pitfalls.
By blending radio's warmth with streaming's reach via interactive tools, these sectors can spark a human-led audio revival—or fade into irrelevancy.
Become a supporter of this podcast: https://www.spreaker.com/podcast/the-broadcasters-podcast--3684131/support.
Contact KOP for professional podcast production, imaging, and web design services at http://www.kingofpodcasts.com
Support KOP by subscribing to his YouTube channel and search for King Of Podcasts
Follow KOP on X and TikTok @kingofpodcasts (F Meta!)
Listen to KOP’s other programs, Podcasters Row… and the Wrestling is Real Wrestling Podcast and The Broadcasters Podcast.
Buy KOP a Coffee https://buymeacoffee.com/kingofpodcasts
Drop KOP a PayPal https://www.paypal.com/donate?hosted_button_id=3TAB983ZQPNVL
Drop KOP a Venmo https://account.venmo.com/u/kingofpodcasts
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Podcasting since two thousand and five. This is the King
of Podcasts Radio Network, Kingopodcasts dot com.
Speaker 2 (00:08):
It's the quote a song title from the British punk
group of the seventies, the Stranglers Music Radio. Something's gotta change.
Speaker 1 (00:19):
The King of Podcasts Radio Network probably presents to the
Broadcasters podcast. Here is the King of Podcasts.
Speaker 2 (00:32):
And welcome to episode four hundred and eight of the
Broadcasters podcast. This is King a podcast here with you.
Unlike other Thursday nights that I record, I'm.
Speaker 3 (00:40):
Actually pretty wide awake. I'm still up and at it.
Speaker 2 (00:43):
And it's always because I'm very excited about Friday mornings
when Spotify and all the other major music platforms are
preparing to go and put out new music Friday, and
I get all these new songs. I get to go
and sample and try out, and I look forward to it.
It's a fun thing, a fun way to start the weekend.
(01:04):
And then my weekend begins with after I have breakfast
in the morning on Friday morning, then I go ahead
and clean my bathroom because it's just what I do,
and I put on the BBC Radio Official Chart with
Jack Saunders, and I put that on and usually catch
the back end of the top twenty, and for the
(01:27):
last few weeks it was either what was the K
Pop two hunters and Golden it was number one. Olivia
Dean with Men indeed finally hit number one for one week,
and of course, Taylor Swift and Life of a Showgirl
swept the entire Billboard Hot one hundred and the official
(01:48):
chart only the top three, by the way, Elizabeth Taylor,
Opaline and Fato Vipilia, which the Aphelia song. I took
me a minute, but I am caught onto it now
and I do like it now. Listen the album. I'm
not really overly amazed by it, but listen, you know,
(02:09):
for her, I can kind of tell, like, whatever is
being left here in this album, it's like, Okay, this
is the last time you're gonna get to hear for
the Taylor Swift that has been single, that has been heartbroken,
that has just gone through life on her own, basically
in love, trying to be in love and out of love.
(02:31):
Because after this, now she's not gonna go.
Speaker 3 (02:34):
Back on tour again.
Speaker 2 (02:35):
I would not imagine other errors tour like coming up again.
For her, I think she's gonna settle down and have
a family with Travis Kelsey. That's the plan, So have
some kids and maybe that's what we're gonna see of her.
And if we see her come back whenever that is,
she's not gonna be the same Taylor Swift anymore. It
will be a different feel to her and who knows
what that will be, but we'll find out what that'll
(02:57):
be some enough. Pop star definitely change once they have kids.
Speaker 3 (03:02):
We know that.
Speaker 2 (03:07):
So what about music itself, Because there's been in the
industry of music and radio and various areas of media,
there have been a lot of studies and a lot
of op eds going on right now that towards the
end of the year we start focusing on what needs
to be tweaked or prepared for. For twenty twenty six,
(03:29):
Media Research put out a blog post about the future
of music streaming that it needs to change or be changed.
So I'll listen to the On the Record podcast from
Billboard from Christian Robinson host that show, and she was
on with Matt Pinkus, an investor in music. He was
one of the originators of songs and Ha's done a
lot of work in the area of being at a
(03:52):
music label at a high level executive position, now going
to investments, doing catalogs, and now back in the music again.
And I thought the conversation was really cool because of
the fact that where he's explaining how music is going
right now, they're going by the way of how movies
are being funded right You see now sometimes certain major
(04:14):
movie studios are not flirting or flipping the bill for
the entire product or a project. They're using outside investors
to go ahead and you know, add on to the project.
So I think all the fact that I see so
many different movies out there that you know, when you
see the slates, it's like that family Guy anecdote that
they put out there about that you see like nine
(04:35):
million slates of different production companies before a movie even starts. Well,
that's the same thing that's going to be done right
now for our music project. About how many different people
are going to go ahead and invest in a project.
And beforehand it was the music catalogs and how much
they were gonna make off of that. And then they
also talk about the fact of how much monetization now
and how much cannibalizing I call it, that the music
industry does now from ticket sales to merge to everything
(04:58):
else to monetize these artists. And you know, at the
end of the day, they still talk about the fact
that they think that music and major music labels are
still trying to go ahead and do something where they
are trying to support their artists to become the big star.
Speaker 3 (05:15):
But the thing is, there's still.
Speaker 2 (05:18):
Been the part where there are other outlets that are
supposed to go ahead and help support an artist, to
branch them out and make them big, because there's only
so much promotion, artist repertorire you can do right now.
For the music labels to go ahead and get someone
to go and take off. It's very apparent they're struggling
at that right now because there are not that many
stars right now to focus on. Because we're not getting
(05:39):
artists in the out in the habit of putting out
albums every year or every two years. It's not happening
right now. And if they do, then they're just in
a different spot because it's either back catalog stuff they're
going to do something with, or just more songs they
already had and they said, well, it's just go put
another album and let's not do a Morgan wall and
(06:00):
type project with thirty seven songs. So I mean there's
a difference of what you want to go and do.
Plus you have a lot of artists that you know,
they have their songs, and they have a lot of
other people that are writing behind those songs, and they're
all hoping those songs get published and get put out
there and noticed and people get to hear them and
make the royalties off of them because they need the money,
because there's not a lot of money for a lot
(06:22):
of people right now in music. That's very clear. So
Mark Bulligan here at Mania Research explains that they produce
a report series using today's change catalysts, mapping bold visions
of what the future could and more importantly should look like,
So the future of music streaming, And they go on
(06:43):
and start talking about the cause for change or the
case for change. With streaming economics down, mature and stabilized
rights holders in DSPs, the Spotify's Apple Apple Music in
the World has shipped the cruise control. External investment is
floated into rights attracted by stable economics and growth potential.
Financialization and optimization have become the defining market forces. More importantly,
(07:07):
consumers are enjoying the most powerful and convenient music proposition
that has ever existed. But it's the nature of the
business that just when you think you finally figure things out,
the ground starts to shift once again. Social video, so
the tiktoks and the Instagrams of the world are competing
with music screaming time among sixteen to nineteen year olds,
it is winning. Ten percent of consumers would cancel the
(07:28):
streaming subscription if prices would could hear the rise. So yeah,
if Spotify jacks themselves up to thirty dollars a month,
I think some people are not going to stick with
it because the younger audience, they're not used to consuming
music up to thirty dollars a month like we used
to in the record stores. Because remember, for the older audience,
all this plethora of music we are subjected to, whether
(07:48):
it's old or new, and we're not spending more than
what twenty three twenty four dollars a month when I
easily can remember putting down for three CDs and going
to Specs or Peaches or whatever record store I had
and putting out money on that, or even if it
was older music, say greatest hit CDs and things like that,
(08:10):
and I could put down twenty bucks on a pack
of CDs that I will listen to in the car
or at home. New generations are not connecting music artists
to their identities in the same way millennies and older
generations did. Yeah, there was a lot of did you
get to know about the identity of people? What do
I think about some of the artists that you know
have come out recently with albums? Chapel Rown, how much
(08:32):
do we really know about her? How much has been
really put out in the ether about her? Same thing
with Sabrina Carpenter unless you follow along with her work
as a child actress all the way up to now.
I don't know anything about Olia Dean, honestly. I mean,
but Herbie just got there and I love it. I
(08:52):
know nothing about the K pop DPA Hunters artists with
the Hunterricks, I don't know nothing about them. I know
nothing about Black Pink or really know anything about cats.
I don't any think about Alex Warren or Somber like
they don't. We don't get the gun feature those stories.
But we used to have MTV and radio that used
to help about with that. We don't have that, and
we don't have any other places where we're going for that.
(09:13):
I mean, I guess, you know, we want to go
to the random Billboard article or Rolling Stone. If they
do that, I guess, I don't know, But there's just
not much of that. How much of their is really
to promote new artists, because if I ever get to
hear anything about new artists, it's over at BBC radio
or other countries when they do radio over there. But
(09:35):
I just don't hear much of it. It doesn't happen,
and we don't see a lot of performances live of
these artists either to really get to know them either.
Sixty seven independent labels believe it is harder now to
build artists careers due to the growing volume of songs,
and I feel bad for some of the folks that
are on TikTok that are trying to be aspiring artists.
(09:56):
What's amazing is because of the fact that I fall
along with so many artists that are out there. You know,
there's one thing where when I get to appreciate somebody
out there that has some music that's really catching fire,
and I have an interest in you know, I want
to go ahead and fall along with a ride and
I want to support that artist, maybe not so much
as a fan bo you know, at least stream their music.
(10:17):
I think about one almost like three four years ago,
and take mccraig was still getting herself, you know, into
the era that she is today. And now she's the
big pop star that she is. But think about the
fact that I would watching some of the videos of
her and some of the songs she would put out
that didn't really hit that well. But now any song
she puts out is gonna do some kind of a
den And Gie's another artist, as she's Turkish and she
(10:39):
does a lot of dance music, but like her stuff
is very much kind of in the same lane as
say as Charlie Xax, like you would say, but like
also just with an attitude that's just really cool. And
I've listened to her music for several years. A lot
of that happened, you know, around twenty twenty, twenty twenty one,
because we had a lot of artists that just came
from the woodwork of TikTok and that particular generation I
(10:59):
think have been And she had this song super Lonely right,
And now she has a song called Cinnamon that sounds
really cool and I've heard it and commercials, but nothing
else really out of that. I think about Tones and
I when she came out, like there's just all these
artists that we would hear about and all of a
sudden comes to the front. And there's always these other
artists that are not gonna be that big a deal,
but I'll notice them.
Speaker 3 (11:21):
I think of when I fall still a.
Speaker 2 (11:23):
Coal or toy Holub or Trinity Lake or.
Speaker 3 (11:30):
A Naya and.
Speaker 2 (11:31):
All these other artists that are out there of different
styles of music and everything else, and you know, you
get a little bit of taste of who they are
a little bit of identity, or only so much you
couldn't see in only a couple of seconds on a
TikTok video. But that's one of the things we have.
They also say that here in this research that the
rise of generative AI is bringing concerns over volume to
(11:51):
a fever pitch. With sixty million active users of AI
music apps in twenty twenty four, I didn't realize it
was that big already. It's a fifth, ar asked right there,
almost a fifth. But they're trying to be proactive, and
that's one of the things that I always want to
go ahead and subscribe to when I did this program.
I'm always talking about this kind of stuff, being the
(12:14):
critic that I am, being the journalist that I am
following along with all things media, and saying to myself,
I just want certain media to realize the.
Speaker 3 (12:23):
Writings of the Wall Radio.
Speaker 2 (12:25):
I've been doing that for five years. Actually they actually
went seven years now gonna be eight. And they talk
about the fact that why do they want to be
proactive here and fix a problem that does not yet exist,
is because they say that waiting until it is a
problem will be too late. But even in the interview
(12:45):
I heard on the record from Billboard, they talk about
the fact that the music littls are starting to make changes,
but have been a little bit late to the game.
So when they changed the some of the roles, or
getting rid of some of the roles they had of
what they were servicing, when it came to less radio,
more streaming, less marketing, more artist repertoire, those are changes
(13:06):
we were talking about on this program two years ago,
but it's obviously happening. It was optimization instead of innovation
that set the recorded music business up for a fall
in the late nineties, when CDs were the dominant format.
The post boom growth was pursued via price increases rather
than innovation. It's sounds familiar, yeah, because by the end
of the nineties, Yeah, we were paying sixteen eighteen dollars
(13:29):
for new music and we were ald to do.
Speaker 3 (13:32):
That and bay the way.
Speaker 2 (13:33):
At the end of the nineties, we were also about
the boy Band, about Britney Spears, Christina Aguilera and all
these artists coming in and everybody is buying up music
and the record stores were busy. So they talk about
the catalysts for change. That evolation of music formats has
progressively flattened the music listening experience, so content collapsing, content
(13:55):
seeing in convenience, convenience cosicely Trump's entertainment. So they talk
about how the streaming guys have been showing us the way,
not only putting friction ahead of convenience, but productizing it.
Because the Chinese streamers, the Tiktoks of the world, they
lean in and do things to get the most out
of their experience. There's clear effort slash reward equation underpinning this,
(14:17):
and record label's growing focus on fandom is led down
by streaming because fandom did not catch the streaming bus
in the West. Yeah, that's why k pop us about,
because they get a fandom already build up and an
army build up so quickly, so that even when BTS
is not even a thing anymore. But while BTS is
not out there as a group together, you got Gin
(14:39):
Cook gym In or Sugar or Gin. They can all
put out music individually, and that BTS army, while those
artists are separate, are going to swarm in. When Black
Pink put up individual music with Lisa or Jenny or
Rose individually, that army were also just going to push out.
(15:00):
They don't have that kind of phantom here. The only
one we had the heck shely has it like that
is probably Taylor Swifts. That's why she could put out
ninety two million streams of a song. The Fear of
Filia getting ninety two million streams in the US, I
believe it is in like one week, and that's why
the entire album hit the top twelve slots on Billboard.
(15:24):
I've actually kind of surprised the life of a show
girl Britty Carpenter and Taylor Swift's song only got up
to the number eight. I figured it would have been
a little bit higher. But that's just my taste. What
can I say?
Speaker 3 (15:34):
More of the.
Speaker 2 (15:34):
Conventional single I thought, but I guess not. Some of
the highlights they have in the report that they had
was while the streaming market may appear healthy on a
macro level, shifts and consumer behavior, especially among younger generations,
will disrupt this trajectory before long. Right, They're not gonna
stick with the streaming format of this because I'll tell
you what a lot of younger people I know, they
(15:55):
will just go to YouTube and watch the videos themselves
instead of going in listening to the music Onnest dreaming platform.
They have to go and pay for or they'll find
somewhere else they can find the music for free. And
I understand why seventy percent of music streamers will listen
in passive ways, so in the background or multitasking. I
do that growing formats like social video retain more attention
(16:15):
forty two percent engaging passively. And they go on to
say that between the second quarter of twenty twenty three
and second quarter of twenty twenty five, time spent listening TSL. Right,
we would be time spent listening in the radio business.
But this is time spent streaming grew by seventeen percent
(16:35):
among sixteen to nineteen year olds to eleven hours weekly.
I just heard something about the fact that I listened
on my Spotify the seven six hundred minutes of music
in the last month, the month of October.
Speaker 3 (16:48):
That's wild.
Speaker 2 (16:49):
But I do on top of the fact that I
also have one of these little Google Nests devices in
the bedroom and I'll have music playing as I go
to bed to keep going with that.
Speaker 3 (16:59):
So what can I say?
Speaker 2 (17:01):
Now, that's a research report they had that you have
to pay for, But either way, I thought some of
the things they put out there were quite fascinating. In
the same realm, we have iHeartRadio that also has put
out their own study when it comes to radio and
some of the Silver Miller ideas about what music and
radio need to go and do together. Now, in this
(17:22):
particular study they're talking about here, it's about consumers being
digitally fatigued and craving human connection. Just I want to
take that headline right there for a moment and just
to explain the fact that, as I have said over
and over so, MTV was necessary for music and radio
is necessary for music because you have a chance to
(17:45):
identify and get the identity and give the personality, the
multiple dimensions of a person, and get to know who
they are outside of the veneer, outside of the visual
that you see, whether it's on social media or magazines, digital,
(18:08):
or you still hold them. I mean, not everybody can
go ahead and follow along with somebody on tour and pay,
you know, hundreds of dollars to go see them in
line of concert. Some of these things are kind of tough.
You don't have easy access to these artists anymore, not
like you really stilly had.
Speaker 3 (18:22):
To before, but like.
Speaker 2 (18:26):
At least you would have certain places where people get
the good in here about them. And that's what's really
fascinating is that, as I say, if I want to
catch particular interviews, don't get me wrong, I know there
are radio stations that do interviews here. Okay, I know
the Kiss FM. If somebody comes into town, they're gonna
talk to them. But it's the kind of interviews they do.
It's like, let's talk about your craft, about your music,
(18:47):
talk about your inspirations.
Speaker 3 (18:50):
I don't care about that. Let's know about who these
people are.
Speaker 2 (18:54):
BBC Radio they'll do games with them. They'll do like
certain little things about who is it that you like
and who is it that you are interested in, and
like what are the things that you do when you're
not on the road and you're not in the studio
or you're not writing songs. Those kind of things we
never hear about anybody anymore, and if you do, you
gotta like.
Speaker 3 (19:13):
Really work around for it.
Speaker 2 (19:14):
Like, for instance, you know, maybe, okay, there was a
reason story I just saw about Lively Rodriguez. She's supposed
to be putting on the third album, and like if
you want to go and find more about her.
Speaker 3 (19:23):
Okay, you can see certain.
Speaker 2 (19:25):
Particular videos out there artists talking to artists, and that's
something that you know, like say Variety or Billboard all
these others will do to put out something that will
be interesting to the audience, but it has to be
something quirky or cute whatever. And it's like you just
can't have like a sit down interview and just get
to know somebody, and it's something like you're gonna get
those interviews on a late night show or any talk shows. Remember,
(19:49):
we don't have a lot of talk shows doing that,
and there's not a lot of podcasters able to get
top notch and musicians to come and sit down and talk.
That doesn't happen much either. We haven't got that point yet.
Speaker 3 (20:01):
Some do, Okay, we do.
Speaker 2 (20:04):
Have Zach sang, we have Zach Low right or some mean.
Speaker 3 (20:10):
Zaying low. There we go.
Speaker 2 (20:12):
We get some of those, but we're not getting new
artists that are out there hot.
Speaker 3 (20:16):
Right at the moment.
Speaker 2 (20:17):
I mean, it's nice to go and hear about Halsey
and the fact that she struggled with her record able
to get new musical and her concept album only sold
so much, but at least it was respectable. But because
they wanted to put up pop music, she can't do
anything else. It's also a matter of I guess that
the music labels are too close to the best in
trying to keep control of their artists and not let
(20:39):
them do anything, which it's going to put foot in
mouth and screw things up for them.
Speaker 3 (20:46):
I don't know.
Speaker 2 (20:46):
It's just things like that. So anyway, our Heartmedia had
their annual consumer study Audio con three point zero. The
human consumer is called now. This was connected in conjunction
with Critical Mass medium, over two thousand adults in August
twenty twenty five, being asked across different demographics interacting with technology,
(21:08):
social media, AI, and live content. Eighty two percent of
respondents are concerned about AI's impact societal impact. Ninety percent
say it's important to know that the media they consumers
created by real people.
Speaker 3 (21:21):
They want meaningful.
Speaker 2 (21:22):
Human connections, but phones and digital devices often hinder those interactions.
They go on to say here that consumers are mostly
driven digitally, fatigued, and you're needing for authenticity. An increasing
the algorithmic world, according to the president of Insights for
a Higher Media Laney Furtik, for marketers is creating both
hurdles and unique opportunities to connect with audiences in this
(21:45):
new environment. So, yeah, there's so much out there digitally,
and I will say I can understand the fatigue because
of the fact that you want to find something that
you like, but then you have to go through a
lot to finally something that you will like. And sometimes
but you do like you're not gonna get enough of
because it's so easy to consume.
Speaker 3 (22:05):
And that was very tough.
Speaker 2 (22:09):
Because for us, we were always consumed with different things
we would have that were kind of be scheduled and
we would know to go and have all day, like
if you're stuck at home Yeah, we might not have
had phones or social media and ean like that are
go and work with, but you know what, we had TV.
They occupy our entire day. I think the fact that
(22:29):
if I wanted to go to watch TV when I
was sick growing up, we had morning cartoons, we'd have
game shows late morning into the afternoon, soap barbers in
the afternoon or some or talk shows whatever there was,
and then we get to the news when the news
was good, local news, and then primetime TV whether it
(22:52):
was cable or it was that work or whatever, and
then we would just kind of move along to late
night and we would have things to go ahead and
entertain us across a plethora of different channels throughout the day,
and that would be nice. It'll be pretty easy with
digital media. We can't really rely on the fact that
all the content we're gonna go and consume is gonna
(23:13):
be good quality, it's gonna be good all the time,
because we're talking about people that are influencers or content
creators that might not be consistently good all the time.
Even me, I'll have a dot of a show. And
also the fact that I don't playgate to an audience
where I have to just keep feeding the same kind
of content over and over. I don't want to do
that either. That's just not my thing. It's still the
(23:36):
fact that because also for the content creators, they want
to be doing content they enjoy, unlike if they're doing
something else, whether're working for a production company or a
network or whatever. And there are certain subjects that have
to go uncover because that's what the audience expects.
Speaker 3 (23:52):
And there's a good thing about that.
Speaker 2 (23:54):
They say consumers are online but unhappy. There's the distrust
in digital media and digital fatigue driving interests in simpler
devices very interesting. Forty two percent of adults wish for
a dumb phone, and the interest in flip phones is
surged up fifteen thousand percent year over year. High income
(24:17):
households are particularly eager for breaks from smartphones. Ninety seven
percent of Americans know way AI is, seventy percent use it,
three quarters do not want AI. Of all the media entertainment,
two thirds fear job lost AI, with gen Z and
lower income consumers most concerned now. Bob Pittman is quoted
in this particular study saying that in a world of
(24:38):
digital saturation and aiceleration, consumers are not just looking for convenience,
They're searching for meaning. Sports, radio, live media, human litory
trailing offer us rare sanctuary of trust, empathy, and shared experience.
We must continue listening to humans more closely than ever
and focus on ways the foster real connection and amplify
our collective humanity. So I was talking to my friend
(24:58):
lou paate phone, and I'm not gonna, you know, divulge
anything personal, but i will talking about the fact that,
you know, there's a reason why people really enjoy sports
and why live sports in that component are always something
that people can get around and really be engaged in
because it's a human connection. For the fact that, Okay,
(25:19):
it's watching football. I'm watching the Buccaneers. I'm gonna go
watch them play the Detroit Lions against the Timpa Bay
Buccaneers on Monday night football. I'm going to the sports
bar to go watch with friends fellow Buccaneer fans, and
we have a great old time talking about everything and
everything and anything, and then we go along a chant
(25:41):
and rip and roar on the game. And it's one
of those things that we also talk about the game
before and after and the team before and after MBA's
coming up next week, and I watch the games with
my brother and my father, and you know, we're watching games,
we canna talk about that all day long. Just go
ahead and just you know, mention things you see about
either those the game they're watching, in particular of what
(26:03):
team that my father enjoys us the Boston Celtics or
other teams that are out there. You don't follow what
Lebron and the Lakers are doing or with Luca Donch's right,
or what other teams are out there, and just fall along.
And right now we're also coming up to the World Series.
A lot of things happening in sports, and that really
gets people together. You speak with radio, okay, listen to
the radio, and other people listen to the same content
(26:25):
as you. Like, how often do you have, besides the
fact you have certain things that you are sharing with somebody,
how often do you have like a large audience around
you watching the exact same thing that we were watching
and can follow along. So like an event like an
award show case in point to Victoria's secret fashion show
(26:46):
that went on yesterday and everybody's talking about that, right
Madison Beard looking amazing, singing bittersweet, or seeing Angel Reesa
out there for the WNBA fans and seeing that you know,
should look bad on the stuff, and you know, and
the angels wings and all that stuff. So it was
like really cool seeing all that. Once again, it's very
fascinating that we want people to get together and have
(27:09):
human connection. I realize it's not fun watching all the
stuff or watching on digital if the quality is not
that good, if the content's not consistent, and you have
nobody else to go and share it with. You have
to wait to share with somebody, and then you have
to wait for them to go and comment back, and
by that time you're probably not interested anymore.
Speaker 3 (27:28):
Right.
Speaker 2 (27:30):
Also, more research and studies out there from Edison Research
talking about the influencers among us now. They make the
point here that the influencer industry right now is worth
approximately two hundred and fifty billion dollars exposed to reach
five hundred million dollars five hundred billion dollars by.
Speaker 3 (27:51):
Twenty twenty seven.
Speaker 2 (27:53):
Wow, that's crazy. Creators like mister Baes, Charlie Demeilio, Alex Earl,
ms Rachel have millions followers, as well as lucative brand
and merchandising merchandising deals. Yeah, they're entrepreneurs. Now they're not
even creators anymore. They're not influencers anymore. They're something more.
They're celebrities and they're sold out. They're sellouts to the business.
Speaker 3 (28:13):
But of course, you know who wouldn't do that right.
Speaker 2 (28:18):
As of May twenty twenty five, they say that America's
thirteen and up, eighteen percent of them say they're currently
involved with the creation of production of any original content
that's shared publicly online.
Speaker 3 (28:28):
I'm one of them.
Speaker 2 (28:30):
Close to one fifth of Americans are spending their time
creating and sharing content online for others to view, like,
and share. And it changes when you look at different
age segments. Under one third thirty percent of America's eighteen
to thirteen to twenty four excuse me, say they're digital
content creators. Eighteen thirty four is a common slip up
because that's what radio always fallows along with brain A
(28:52):
third of the younger audience out there teams the twenties
are digital content creators. Summer percentage from twenty five to
forty four, twenty eight percent. Millennials and zoomers slash gen
z have grown up with the Internet. It's no surprise
of digital content creation as highest among those age segments
for Americans forty five and up. Seventy percent of that group,
(29:15):
seven percent of that group are digital creators. And where
are these most of these creators being found for the
most part YouTube, because that's the other part to where
else is doing with as well, is that YouTube is
really taking over against television. We talked about how it
was taking over more television consumption than ever before. That
(29:37):
actually happened last year and now it's just more domination
as we go.
Speaker 3 (29:42):
So Hollywood Reporters spoke.
Speaker 2 (29:44):
With Neil Mohan, the CEO of YouTube, and they talked
prior to the services for forty nine ers as in
a Cardinals game that ran on YouTube. YouTube is generating
more than thirty six billion dollars in EVERTONNS. The revenue
in twenty twenty four. An annual revenue including subscriptions like
(30:07):
YouTube Premium and YouTube Music top fifty billion dollars, with
revenue shared among the more than three million creators in
the Partner program, which I was one of those, but
I still can't get there yet. They're going to say
here that many of the genres that wants to define
CABLETV have migrated to YouTube. Chefs explaining recipes in the
kitchen used to be Food Network have moved there, creators
(30:31):
like Dude Perfect and Mark Rober or creating shows that
would have been right at home a Discovery Channel or Nickelodeon.
But now what genres will take over next and.
Speaker 3 (30:38):
How quickly we'll do so?
Speaker 2 (30:40):
From talk shows, two script of dramas, and yes, Elia sports,
there are signs of the platform's ambitions will collide with
the traditional TV business sooner rather than later. It's just
a matter of who's gonna be able to get out
over there for that. Late nine TV is already in trouble.
We already know about that. We talked about that a
few weeks ago, talked about the podcast guests that are
(31:00):
blowing up right now on YouTube, and then talk about
the flattening of the format. Big stars can leverage their
fame to become major YouTube creators, and creators can leverage
the platform to become big stars and smell themselves excuse
me Meals and Research has been tracking the streaming platforms
that consumers watch on their TV screens ever since launched
what it calls the Gauge in twenty twenty one. And
(31:22):
the last year. YouTube's domination of the gauge has unnerved
executives at some competitors. YouTube is the most far by
far watch video platform thirteen point one percent percent, share
Netflix in second place at eight point seven percent. They
want to also talk about the fact that the difference
between traditional Hollywood and what they're doing on YouTube. Unlike
(31:45):
with Netflix or HBO, YouTube creators are taking on the
risk for their projects, and Netflix likes the concept. It
picks it up, provide the budget and resources to help
it get over the finish line. YouTube it's up to
the creator to finance and producer content, while the platform
regularly plays do tools to help them. Scripted entertainment is
particularly tricky, requiring writers, director sets, costumes, lighting, direct editing,
(32:08):
special effects, and other production requirements that may go be
of beyond the typical creator ledgship. Some of the biggest
creators have turned two major studios and streamers to help
them do the projects they want to do. Others had
turned to private equity, with several private equity back firms
promising six and seven figure investments to subsidize production of
(32:29):
shows that will live on YouTube in exchange for partial
ownership of the showing question, but creator driven scripted content
may be rising at the right time for Hollywood, in
the middle of a historic pullback in the genre after
three years of exclusive growth explosive growth. Scott perty Who's
(32:50):
US media industry leader at KPMG, says that more traditional
studios and platforms will ultimately pursue deals with scripted creators,
little take may take time for some to emerge. They
also go on to say here in this article that
perhaps the most significant things that need to happen for
scripted content to break out multiple sources across the creator
exorcism say, is for ad dollars to migra from Bristige
(33:11):
TV towards scripted creators and for the user experience to match.
And they don't have they have the sponsors for it.
They got to get that somewhere somehow.
Speaker 3 (33:21):
This is a super long article.
Speaker 2 (33:22):
But we're just going to leave that there and just
make the point of where they say things are now.
Feel the stories want to bring up here before we
wrap things up for this program. Spotify is now partner
with Sony and Universal and Warner Music, the major music labels,
to develop AI music products. They're also partnering with licensing
(33:44):
giant Merlin to develop responsible AA products to empower artists
and songwriters. Now they don't say what specific products are
out there, but they have plans to build a generative
AI research lab and product team to develop technologies that
reflect this mission and their areas of focus are partnering
(34:04):
with labels, distributors, and publishing companies develop products for artists
and fans through upfront agreements, offer artists and rights holders
the ability to opt in to use generative music tools,
build products to create new music revenue streams, and create
a stronger artists fan connection with AI tools. Again, back
to human connection. If you can make it with AI.
(34:25):
I don't know if that works, but hey, the algorithms,
they think they can deal with anything.
Speaker 3 (34:29):
Right.
Speaker 2 (34:32):
The Ringer Podcasts Network and their sixteen podcasts will now
be shown on Netflix.
Speaker 3 (34:37):
Thought, I'll make the point of that.
Speaker 2 (34:38):
So Bill Ringer, So, I mean Bill Simms, the Ringer right,
good it for them? So yes, a video podcast partnership
with Spotify with the Ringers top shows. That's including the
Bill Simms podcasts. They're watchables and conspiracy Theories among others
that are going to be in this deal.
Speaker 3 (34:57):
This weekend I'm going to.
Speaker 2 (34:58):
The Regal Theater to go watch After the Hunt with
Julie Roberts. I want to see how well that movie
turns out, if I really enjoy it, and I forget
the Iowa ed Berry right, is that she's from the Bear?
Speaker 3 (35:09):
I forget.
Speaker 2 (35:10):
I have not forgotten that she's from the Bear. I
just don't remember that's her name. That's the correct pronunciation.
Speaker 3 (35:15):
So if I budgeted I did.
Speaker 2 (35:17):
Anyway, Come back next week for the broadcast podcast. Remember
the content is king and the controller content is in
your hands.
Podcasting since two thousand and five. This is the King
of Podcasts Radio Network, Kingopodcasts dot com.
Speaker 2 (00:08):
It's the quote a song title from the British punk
group of the seventies, the Stranglers Music Radio. Something's gotta change.
Speaker 1 (00:19):
The King of Podcasts Radio Network probably presents to the
Broadcasters podcast. Here is the King of Podcasts.
Speaker 2 (00:32):
And welcome to episode four hundred and eight of the
Broadcasters podcast. This is King a podcast here with you.
Unlike other Thursday nights that I record, I'm.
Speaker 3 (00:40):
Actually pretty wide awake. I'm still up and at it.
Speaker 2 (00:43):
And it's always because I'm very excited about Friday mornings
when Spotify and all the other major music platforms are
preparing to go and put out new music Friday, and
I get all these new songs. I get to go
and sample and try out, and I look forward to it.
It's a fun thing, a fun way to start the weekend.
(01:04):
And then my weekend begins with after I have breakfast
in the morning on Friday morning, then I go ahead
and clean my bathroom because it's just what I do,
and I put on the BBC Radio Official Chart with
Jack Saunders, and I put that on and usually catch
the back end of the top twenty, and for the
(01:27):
last few weeks it was either what was the K
Pop two hunters and Golden it was number one. Olivia
Dean with Men indeed finally hit number one for one week,
and of course, Taylor Swift and Life of a Showgirl
swept the entire Billboard Hot one hundred and the official
(01:48):
chart only the top three, by the way, Elizabeth Taylor,
Opaline and Fato Vipilia, which the Aphelia song. I took
me a minute, but I am caught onto it now
and I do like it now. Listen the album. I'm
not really overly amazed by it, but listen, you know,
(02:09):
for her, I can kind of tell, like, whatever is
being left here in this album, it's like, Okay, this
is the last time you're gonna get to hear for
the Taylor Swift that has been single, that has been heartbroken,
that has just gone through life on her own, basically
in love, trying to be in love and out of love.
(02:31):
Because after this, now she's not gonna go.
Speaker 3 (02:34):
Back on tour again.
Speaker 2 (02:35):
I would not imagine other errors tour like coming up again.
For her, I think she's gonna settle down and have
a family with Travis Kelsey. That's the plan, So have
some kids and maybe that's what we're gonna see of her.
And if we see her come back whenever that is,
she's not gonna be the same Taylor Swift anymore. It
will be a different feel to her and who knows
what that will be, but we'll find out what that'll
(02:57):
be some enough. Pop star definitely change once they have kids.
Speaker 3 (03:02):
We know that.
Speaker 2 (03:07):
So what about music itself, Because there's been in the
industry of music and radio and various areas of media,
there have been a lot of studies and a lot
of op eds going on right now that towards the
end of the year we start focusing on what needs
to be tweaked or prepared for. For twenty twenty six,
(03:29):
Media Research put out a blog post about the future
of music streaming that it needs to change or be changed.
So I'll listen to the On the Record podcast from
Billboard from Christian Robinson host that show, and she was
on with Matt Pinkus, an investor in music. He was
one of the originators of songs and Ha's done a
lot of work in the area of being at a
(03:52):
music label at a high level executive position, now going
to investments, doing catalogs, and now back in the music again.
And I thought the conversation was really cool because of
the fact that where he's explaining how music is going
right now, they're going by the way of how movies
are being funded right You see now sometimes certain major
(04:14):
movie studios are not flirting or flipping the bill for
the entire product or a project. They're using outside investors
to go ahead and you know, add on to the project.
So I think all the fact that I see so
many different movies out there that you know, when you
see the slates, it's like that family Guy anecdote that
they put out there about that you see like nine
(04:35):
million slates of different production companies before a movie even starts. Well,
that's the same thing that's going to be done right
now for our music project. About how many different people
are going to go ahead and invest in a project.
And beforehand it was the music catalogs and how much
they were gonna make off of that. And then they
also talk about the fact of how much monetization now
and how much cannibalizing I call it, that the music
industry does now from ticket sales to merge to everything
(04:58):
else to monetize these artists. And you know, at the
end of the day, they still talk about the fact
that they think that music and major music labels are
still trying to go ahead and do something where they
are trying to support their artists to become the big star.
Speaker 3 (05:15):
But the thing is, there's still.
Speaker 2 (05:18):
Been the part where there are other outlets that are
supposed to go ahead and help support an artist, to
branch them out and make them big, because there's only
so much promotion, artist repertorire you can do right now.
For the music labels to go ahead and get someone
to go and take off. It's very apparent they're struggling
at that right now because there are not that many
stars right now to focus on. Because we're not getting
(05:39):
artists in the out in the habit of putting out
albums every year or every two years. It's not happening
right now. And if they do, then they're just in
a different spot because it's either back catalog stuff they're
going to do something with, or just more songs they
already had and they said, well, it's just go put
another album and let's not do a Morgan wall and
(06:00):
type project with thirty seven songs. So I mean there's
a difference of what you want to go and do.
Plus you have a lot of artists that you know,
they have their songs, and they have a lot of
other people that are writing behind those songs, and they're
all hoping those songs get published and get put out
there and noticed and people get to hear them and
make the royalties off of them because they need the money,
because there's not a lot of money for a lot
(06:22):
of people right now in music. That's very clear. So
Mark Bulligan here at Mania Research explains that they produce
a report series using today's change catalysts, mapping bold visions
of what the future could and more importantly should look like,
So the future of music streaming, And they go on
(06:43):
and start talking about the cause for change or the
case for change. With streaming economics down, mature and stabilized
rights holders in DSPs, the Spotify's Apple Apple Music in
the World has shipped the cruise control. External investment is
floated into rights attracted by stable economics and growth potential.
Financialization and optimization have become the defining market forces. More importantly,
(07:07):
consumers are enjoying the most powerful and convenient music proposition
that has ever existed. But it's the nature of the
business that just when you think you finally figure things out,
the ground starts to shift once again. Social video, so
the tiktoks and the Instagrams of the world are competing
with music screaming time among sixteen to nineteen year olds,
it is winning. Ten percent of consumers would cancel the
(07:28):
streaming subscription if prices would could hear the rise. So yeah,
if Spotify jacks themselves up to thirty dollars a month,
I think some people are not going to stick with
it because the younger audience, they're not used to consuming
music up to thirty dollars a month like we used
to in the record stores. Because remember, for the older audience,
all this plethora of music we are subjected to, whether
(07:48):
it's old or new, and we're not spending more than
what twenty three twenty four dollars a month when I
easily can remember putting down for three CDs and going
to Specs or Peaches or whatever record store I had
and putting out money on that, or even if it
was older music, say greatest hit CDs and things like that,
(08:10):
and I could put down twenty bucks on a pack
of CDs that I will listen to in the car
or at home. New generations are not connecting music artists
to their identities in the same way millennies and older
generations did. Yeah, there was a lot of did you
get to know about the identity of people? What do
I think about some of the artists that you know
have come out recently with albums? Chapel Rown, how much
(08:32):
do we really know about her? How much has been
really put out in the ether about her? Same thing
with Sabrina Carpenter unless you follow along with her work
as a child actress all the way up to now.
I don't know anything about Olia Dean, honestly. I mean,
but Herbie just got there and I love it. I
(08:52):
know nothing about the K pop DPA Hunters artists with
the Hunterricks, I don't know nothing about them. I know
nothing about Black Pink or really know anything about cats.
I don't any think about Alex Warren or Somber like
they don't. We don't get the gun feature those stories.
But we used to have MTV and radio that used
to help about with that. We don't have that, and
we don't have any other places where we're going for that.
(09:13):
I mean, I guess, you know, we want to go
to the random Billboard article or Rolling Stone. If they
do that, I guess, I don't know, But there's just
not much of that. How much of their is really
to promote new artists, because if I ever get to
hear anything about new artists, it's over at BBC radio
or other countries when they do radio over there. But
(09:35):
I just don't hear much of it. It doesn't happen,
and we don't see a lot of performances live of
these artists either to really get to know them either.
Sixty seven independent labels believe it is harder now to
build artists careers due to the growing volume of songs,
and I feel bad for some of the folks that
are on TikTok that are trying to be aspiring artists.
(09:56):
What's amazing is because of the fact that I fall
along with so many artists that are out there. You know,
there's one thing where when I get to appreciate somebody
out there that has some music that's really catching fire,
and I have an interest in you know, I want
to go ahead and fall along with a ride and
I want to support that artist, maybe not so much
as a fan bo you know, at least stream their music.
(10:17):
I think about one almost like three four years ago,
and take mccraig was still getting herself, you know, into
the era that she is today. And now she's the
big pop star that she is. But think about the
fact that I would watching some of the videos of
her and some of the songs she would put out
that didn't really hit that well. But now any song
she puts out is gonna do some kind of a
den And Gie's another artist, as she's Turkish and she
(10:39):
does a lot of dance music, but like her stuff
is very much kind of in the same lane as
say as Charlie Xax, like you would say, but like
also just with an attitude that's just really cool. And
I've listened to her music for several years. A lot
of that happened, you know, around twenty twenty, twenty twenty one,
because we had a lot of artists that just came
from the woodwork of TikTok and that particular generation I
(10:59):
think have been And she had this song super Lonely right,
And now she has a song called Cinnamon that sounds
really cool and I've heard it and commercials, but nothing
else really out of that. I think about Tones and
I when she came out, like there's just all these
artists that we would hear about and all of a
sudden comes to the front. And there's always these other
artists that are not gonna be that big a deal,
but I'll notice them.
Speaker 3 (11:21):
I think of when I fall still a.
Speaker 2 (11:23):
Coal or toy Holub or Trinity Lake or.
Speaker 3 (11:30):
A Naya and.
Speaker 2 (11:31):
All these other artists that are out there of different
styles of music and everything else, and you know, you
get a little bit of taste of who they are
a little bit of identity, or only so much you
couldn't see in only a couple of seconds on a
TikTok video. But that's one of the things we have.
They also say that here in this research that the
rise of generative AI is bringing concerns over volume to
(11:51):
a fever pitch. With sixty million active users of AI
music apps in twenty twenty four, I didn't realize it
was that big already. It's a fifth, ar asked right there,
almost a fifth. But they're trying to be proactive, and
that's one of the things that I always want to
go ahead and subscribe to when I did this program.
I'm always talking about this kind of stuff, being the
(12:14):
critic that I am, being the journalist that I am
following along with all things media, and saying to myself,
I just want certain media to realize the.
Speaker 3 (12:23):
Writings of the Wall Radio.
Speaker 2 (12:25):
I've been doing that for five years. Actually they actually
went seven years now gonna be eight. And they talk
about the fact that why do they want to be
proactive here and fix a problem that does not yet exist,
is because they say that waiting until it is a
problem will be too late. But even in the interview
(12:45):
I heard on the record from Billboard, they talk about
the fact that the music littls are starting to make changes,
but have been a little bit late to the game.
So when they changed the some of the roles, or
getting rid of some of the roles they had of
what they were servicing, when it came to less radio,
more streaming, less marketing, more artist repertoire, those are changes
(13:06):
we were talking about on this program two years ago,
but it's obviously happening. It was optimization instead of innovation
that set the recorded music business up for a fall
in the late nineties, when CDs were the dominant format.
The post boom growth was pursued via price increases rather
than innovation. It's sounds familiar, yeah, because by the end
of the nineties, Yeah, we were paying sixteen eighteen dollars
(13:29):
for new music and we were ald to do.
Speaker 3 (13:32):
That and bay the way.
Speaker 2 (13:33):
At the end of the nineties, we were also about
the boy Band, about Britney Spears, Christina Aguilera and all
these artists coming in and everybody is buying up music
and the record stores were busy. So they talk about
the catalysts for change. That evolation of music formats has
progressively flattened the music listening experience, so content collapsing, content
(13:55):
seeing in convenience, convenience cosicely Trump's entertainment. So they talk
about how the streaming guys have been showing us the way,
not only putting friction ahead of convenience, but productizing it.
Because the Chinese streamers, the Tiktoks of the world, they
lean in and do things to get the most out
of their experience. There's clear effort slash reward equation underpinning this,
(14:17):
and record label's growing focus on fandom is led down
by streaming because fandom did not catch the streaming bus
in the West. Yeah, that's why k pop us about,
because they get a fandom already build up and an
army build up so quickly, so that even when BTS
is not even a thing anymore. But while BTS is
not out there as a group together, you got Gin
(14:39):
Cook gym In or Sugar or Gin. They can all
put out music individually, and that BTS army, while those
artists are separate, are going to swarm in. When Black
Pink put up individual music with Lisa or Jenny or
Rose individually, that army were also just going to push out.
(15:00):
They don't have that kind of phantom here. The only
one we had the heck shely has it like that
is probably Taylor Swifts. That's why she could put out
ninety two million streams of a song. The Fear of
Filia getting ninety two million streams in the US, I
believe it is in like one week, and that's why
the entire album hit the top twelve slots on Billboard.
(15:24):
I've actually kind of surprised the life of a show
girl Britty Carpenter and Taylor Swift's song only got up
to the number eight. I figured it would have been
a little bit higher. But that's just my taste. What
can I say?
Speaker 3 (15:34):
More of the.
Speaker 2 (15:34):
Conventional single I thought, but I guess not. Some of
the highlights they have in the report that they had
was while the streaming market may appear healthy on a
macro level, shifts and consumer behavior, especially among younger generations,
will disrupt this trajectory before long. Right, They're not gonna
stick with the streaming format of this because I'll tell
you what a lot of younger people I know, they
(15:55):
will just go to YouTube and watch the videos themselves
instead of going in listening to the music Onnest dreaming platform.
They have to go and pay for or they'll find
somewhere else they can find the music for free. And
I understand why seventy percent of music streamers will listen
in passive ways, so in the background or multitasking. I
do that growing formats like social video retain more attention
(16:15):
forty two percent engaging passively. And they go on to
say that between the second quarter of twenty twenty three
and second quarter of twenty twenty five, time spent listening TSL. Right,
we would be time spent listening in the radio business.
But this is time spent streaming grew by seventeen percent
(16:35):
among sixteen to nineteen year olds to eleven hours weekly.
I just heard something about the fact that I listened
on my Spotify the seven six hundred minutes of music
in the last month, the month of October.
Speaker 3 (16:48):
That's wild.
Speaker 2 (16:49):
But I do on top of the fact that I
also have one of these little Google Nests devices in
the bedroom and I'll have music playing as I go
to bed to keep going with that.
Speaker 3 (16:59):
So what can I say?
Speaker 2 (17:01):
Now, that's a research report they had that you have
to pay for, But either way, I thought some of
the things they put out there were quite fascinating. In
the same realm, we have iHeartRadio that also has put
out their own study when it comes to radio and
some of the Silver Miller ideas about what music and
radio need to go and do together. Now, in this
(17:22):
particular study they're talking about here, it's about consumers being
digitally fatigued and craving human connection. Just I want to
take that headline right there for a moment and just
to explain the fact that, as I have said over
and over so, MTV was necessary for music and radio
is necessary for music because you have a chance to
(17:45):
identify and get the identity and give the personality, the
multiple dimensions of a person, and get to know who
they are outside of the veneer, outside of the visual
that you see, whether it's on social media or magazines, digital,
(18:08):
or you still hold them. I mean, not everybody can
go ahead and follow along with somebody on tour and pay,
you know, hundreds of dollars to go see them in
line of concert. Some of these things are kind of tough.
You don't have easy access to these artists anymore, not
like you really stilly had.
Speaker 3 (18:22):
To before, but like.
Speaker 2 (18:26):
At least you would have certain places where people get
the good in here about them. And that's what's really
fascinating is that, as I say, if I want to
catch particular interviews, don't get me wrong, I know there
are radio stations that do interviews here. Okay, I know
the Kiss FM. If somebody comes into town, they're gonna
talk to them. But it's the kind of interviews they do.
It's like, let's talk about your craft, about your music,
(18:47):
talk about your inspirations.
Speaker 3 (18:50):
I don't care about that. Let's know about who these
people are.
Speaker 2 (18:54):
BBC Radio they'll do games with them. They'll do like
certain little things about who is it that you like
and who is it that you are interested in, and
like what are the things that you do when you're
not on the road and you're not in the studio
or you're not writing songs. Those kind of things we
never hear about anybody anymore, and if you do, you
gotta like.
Speaker 3 (19:13):
Really work around for it.
Speaker 2 (19:14):
Like, for instance, you know, maybe, okay, there was a
reason story I just saw about Lively Rodriguez. She's supposed
to be putting on the third album, and like if
you want to go and find more about her.
Speaker 3 (19:23):
Okay, you can see certain.
Speaker 2 (19:25):
Particular videos out there artists talking to artists, and that's
something that you know, like say Variety or Billboard all
these others will do to put out something that will
be interesting to the audience, but it has to be
something quirky or cute whatever. And it's like you just
can't have like a sit down interview and just get
to know somebody, and it's something like you're gonna get
those interviews on a late night show or any talk shows. Remember,
(19:49):
we don't have a lot of talk shows doing that,
and there's not a lot of podcasters able to get
top notch and musicians to come and sit down and talk.
That doesn't happen much either. We haven't got that point yet.
Speaker 3 (20:01):
Some do, Okay, we do.
Speaker 2 (20:04):
Have Zach sang, we have Zach Low right or some mean.
Speaker 3 (20:10):
Zaying low. There we go.
Speaker 2 (20:12):
We get some of those, but we're not getting new
artists that are out there hot.
Speaker 3 (20:16):
Right at the moment.
Speaker 2 (20:17):
I mean, it's nice to go and hear about Halsey
and the fact that she struggled with her record able
to get new musical and her concept album only sold
so much, but at least it was respectable. But because
they wanted to put up pop music, she can't do
anything else. It's also a matter of I guess that
the music labels are too close to the best in
trying to keep control of their artists and not let
(20:39):
them do anything, which it's going to put foot in
mouth and screw things up for them.
Speaker 3 (20:46):
I don't know.
Speaker 2 (20:46):
It's just things like that. So anyway, our Heartmedia had
their annual consumer study Audio con three point zero. The
human consumer is called now. This was connected in conjunction
with Critical Mass medium, over two thousand adults in August
twenty twenty five, being asked across different demographics interacting with technology,
(21:08):
social media, AI, and live content. Eighty two percent of
respondents are concerned about AI's impact societal impact. Ninety percent
say it's important to know that the media they consumers
created by real people.
Speaker 3 (21:21):
They want meaningful.
Speaker 2 (21:22):
Human connections, but phones and digital devices often hinder those interactions.
They go on to say here that consumers are mostly
driven digitally, fatigued, and you're needing for authenticity. An increasing
the algorithmic world, according to the president of Insights for
a Higher Media Laney Furtik, for marketers is creating both
hurdles and unique opportunities to connect with audiences in this
(21:45):
new environment. So, yeah, there's so much out there digitally,
and I will say I can understand the fatigue because
of the fact that you want to find something that
you like, but then you have to go through a
lot to finally something that you will like. And sometimes
but you do like you're not gonna get enough of
because it's so easy to consume.
Speaker 3 (22:05):
And that was very tough.
Speaker 2 (22:09):
Because for us, we were always consumed with different things
we would have that were kind of be scheduled and
we would know to go and have all day, like
if you're stuck at home Yeah, we might not have
had phones or social media and ean like that are
go and work with, but you know what, we had TV.
They occupy our entire day. I think the fact that
(22:29):
if I wanted to go to watch TV when I
was sick growing up, we had morning cartoons, we'd have
game shows late morning into the afternoon, soap barbers in
the afternoon or some or talk shows whatever there was,
and then we get to the news when the news
was good, local news, and then primetime TV whether it
(22:52):
was cable or it was that work or whatever, and
then we would just kind of move along to late
night and we would have things to go ahead and
entertain us across a plethora of different channels throughout the day,
and that would be nice. It'll be pretty easy with
digital media. We can't really rely on the fact that
all the content we're gonna go and consume is gonna
(23:13):
be good quality, it's gonna be good all the time,
because we're talking about people that are influencers or content
creators that might not be consistently good all the time.
Even me, I'll have a dot of a show. And
also the fact that I don't playgate to an audience
where I have to just keep feeding the same kind
of content over and over. I don't want to do
that either. That's just not my thing. It's still the
(23:36):
fact that because also for the content creators, they want
to be doing content they enjoy, unlike if they're doing
something else, whether're working for a production company or a
network or whatever. And there are certain subjects that have
to go uncover because that's what the audience expects.
Speaker 3 (23:52):
And there's a good thing about that.
Speaker 2 (23:54):
They say consumers are online but unhappy. There's the distrust
in digital media and digital fatigue driving interests in simpler
devices very interesting. Forty two percent of adults wish for
a dumb phone, and the interest in flip phones is
surged up fifteen thousand percent year over year. High income
(24:17):
households are particularly eager for breaks from smartphones. Ninety seven
percent of Americans know way AI is, seventy percent use it,
three quarters do not want AI. Of all the media entertainment,
two thirds fear job lost AI, with gen Z and
lower income consumers most concerned now. Bob Pittman is quoted
in this particular study saying that in a world of
(24:38):
digital saturation and aiceleration, consumers are not just looking for convenience,
They're searching for meaning. Sports, radio, live media, human litory
trailing offer us rare sanctuary of trust, empathy, and shared experience.
We must continue listening to humans more closely than ever
and focus on ways the foster real connection and amplify
our collective humanity. So I was talking to my friend
(24:58):
lou paate phone, and I'm not gonna, you know, divulge
anything personal, but i will talking about the fact that,
you know, there's a reason why people really enjoy sports
and why live sports in that component are always something
that people can get around and really be engaged in
because it's a human connection. For the fact that, Okay,
(25:19):
it's watching football. I'm watching the Buccaneers. I'm gonna go
watch them play the Detroit Lions against the Timpa Bay
Buccaneers on Monday night football. I'm going to the sports
bar to go watch with friends fellow Buccaneer fans, and
we have a great old time talking about everything and
everything and anything, and then we go along a chant
(25:41):
and rip and roar on the game. And it's one
of those things that we also talk about the game
before and after and the team before and after MBA's
coming up next week, and I watch the games with
my brother and my father, and you know, we're watching games,
we canna talk about that all day long. Just go
ahead and just you know, mention things you see about
either those the game they're watching, in particular of what
(26:03):
team that my father enjoys us the Boston Celtics or
other teams that are out there. You don't follow what
Lebron and the Lakers are doing or with Luca Donch's right,
or what other teams are out there, and just fall along.
And right now we're also coming up to the World Series.
A lot of things happening in sports, and that really
gets people together. You speak with radio, okay, listen to
the radio, and other people listen to the same content
(26:25):
as you. Like, how often do you have, besides the
fact you have certain things that you are sharing with somebody,
how often do you have like a large audience around
you watching the exact same thing that we were watching
and can follow along. So like an event like an
award show case in point to Victoria's secret fashion show
(26:46):
that went on yesterday and everybody's talking about that, right
Madison Beard looking amazing, singing bittersweet, or seeing Angel Reesa
out there for the WNBA fans and seeing that you know,
should look bad on the stuff, and you know, and
the angels wings and all that stuff. So it was
like really cool seeing all that. Once again, it's very
fascinating that we want people to get together and have
(27:09):
human connection. I realize it's not fun watching all the
stuff or watching on digital if the quality is not
that good, if the content's not consistent, and you have
nobody else to go and share it with. You have
to wait to share with somebody, and then you have
to wait for them to go and comment back, and
by that time you're probably not interested anymore.
Speaker 3 (27:28):
Right.
Speaker 2 (27:30):
Also, more research and studies out there from Edison Research
talking about the influencers among us now. They make the
point here that the influencer industry right now is worth
approximately two hundred and fifty billion dollars exposed to reach
five hundred million dollars five hundred billion dollars by.
Speaker 3 (27:51):
Twenty twenty seven.
Speaker 2 (27:53):
Wow, that's crazy. Creators like mister Baes, Charlie Demeilio, Alex Earl,
ms Rachel have millions followers, as well as lucative brand
and merchandising merchandising deals. Yeah, they're entrepreneurs. Now they're not
even creators anymore. They're not influencers anymore. They're something more.
They're celebrities and they're sold out. They're sellouts to the business.
Speaker 3 (28:13):
But of course, you know who wouldn't do that right.
Speaker 2 (28:18):
As of May twenty twenty five, they say that America's
thirteen and up, eighteen percent of them say they're currently
involved with the creation of production of any original content
that's shared publicly online.
Speaker 3 (28:28):
I'm one of them.
Speaker 2 (28:30):
Close to one fifth of Americans are spending their time
creating and sharing content online for others to view, like,
and share. And it changes when you look at different
age segments. Under one third thirty percent of America's eighteen
to thirteen to twenty four excuse me, say they're digital
content creators. Eighteen thirty four is a common slip up
because that's what radio always fallows along with brain A
(28:52):
third of the younger audience out there teams the twenties
are digital content creators. Summer percentage from twenty five to
forty four, twenty eight percent. Millennials and zoomers slash gen
z have grown up with the Internet. It's no surprise
of digital content creation as highest among those age segments
for Americans forty five and up. Seventy percent of that group,
(29:15):
seven percent of that group are digital creators. And where
are these most of these creators being found for the
most part YouTube, because that's the other part to where
else is doing with as well, is that YouTube is
really taking over against television. We talked about how it
was taking over more television consumption than ever before. That
(29:37):
actually happened last year and now it's just more domination
as we go.
Speaker 3 (29:42):
So Hollywood Reporters spoke.
Speaker 2 (29:44):
With Neil Mohan, the CEO of YouTube, and they talked
prior to the services for forty nine ers as in
a Cardinals game that ran on YouTube. YouTube is generating
more than thirty six billion dollars in EVERTONNS. The revenue
in twenty twenty four. An annual revenue including subscriptions like
(30:07):
YouTube Premium and YouTube Music top fifty billion dollars, with
revenue shared among the more than three million creators in
the Partner program, which I was one of those, but
I still can't get there yet. They're going to say
here that many of the genres that wants to define
CABLETV have migrated to YouTube. Chefs explaining recipes in the
kitchen used to be Food Network have moved there, creators
(30:31):
like Dude Perfect and Mark Rober or creating shows that
would have been right at home a Discovery Channel or Nickelodeon.
But now what genres will take over next and.
Speaker 3 (30:38):
How quickly we'll do so?
Speaker 2 (30:40):
From talk shows, two script of dramas, and yes, Elia sports,
there are signs of the platform's ambitions will collide with
the traditional TV business sooner rather than later. It's just
a matter of who's gonna be able to get out
over there for that. Late nine TV is already in trouble.
We already know about that. We talked about that a
few weeks ago, talked about the podcast guests that are
(31:00):
blowing up right now on YouTube, and then talk about
the flattening of the format. Big stars can leverage their
fame to become major YouTube creators, and creators can leverage
the platform to become big stars and smell themselves excuse
me Meals and Research has been tracking the streaming platforms
that consumers watch on their TV screens ever since launched
what it calls the Gauge in twenty twenty one. And
(31:22):
the last year. YouTube's domination of the gauge has unnerved
executives at some competitors. YouTube is the most far by
far watch video platform thirteen point one percent percent, share
Netflix in second place at eight point seven percent. They
want to also talk about the fact that the difference
between traditional Hollywood and what they're doing on YouTube. Unlike
(31:45):
with Netflix or HBO, YouTube creators are taking on the
risk for their projects, and Netflix likes the concept. It
picks it up, provide the budget and resources to help
it get over the finish line. YouTube it's up to
the creator to finance and producer content, while the platform
regularly plays do tools to help them. Scripted entertainment is
particularly tricky, requiring writers, director sets, costumes, lighting, direct editing,
(32:08):
special effects, and other production requirements that may go be
of beyond the typical creator ledgship. Some of the biggest
creators have turned two major studios and streamers to help
them do the projects they want to do. Others had
turned to private equity, with several private equity back firms
promising six and seven figure investments to subsidize production of
(32:29):
shows that will live on YouTube in exchange for partial
ownership of the showing question, but creator driven scripted content
may be rising at the right time for Hollywood, in
the middle of a historic pullback in the genre after
three years of exclusive growth explosive growth. Scott perty Who's
(32:50):
US media industry leader at KPMG, says that more traditional
studios and platforms will ultimately pursue deals with scripted creators,
little take may take time for some to emerge. They
also go on to say here in this article that
perhaps the most significant things that need to happen for
scripted content to break out multiple sources across the creator
exorcism say, is for ad dollars to migra from Bristige
(33:11):
TV towards scripted creators and for the user experience to match.
And they don't have they have the sponsors for it.
They got to get that somewhere somehow.
Speaker 3 (33:21):
This is a super long article.
Speaker 2 (33:22):
But we're just going to leave that there and just
make the point of where they say things are now.
Feel the stories want to bring up here before we
wrap things up for this program. Spotify is now partner
with Sony and Universal and Warner Music, the major music labels,
to develop AI music products. They're also partnering with licensing
(33:44):
giant Merlin to develop responsible AA products to empower artists
and songwriters. Now they don't say what specific products are
out there, but they have plans to build a generative
AI research lab and product team to develop technologies that
reflect this mission and their areas of focus are partnering
(34:04):
with labels, distributors, and publishing companies develop products for artists
and fans through upfront agreements, offer artists and rights holders
the ability to opt in to use generative music tools,
build products to create new music revenue streams, and create
a stronger artists fan connection with AI tools. Again, back
to human connection. If you can make it with AI.
(34:25):
I don't know if that works, but hey, the algorithms,
they think they can deal with anything.
Speaker 3 (34:29):
Right.
Speaker 2 (34:32):
The Ringer Podcasts Network and their sixteen podcasts will now
be shown on Netflix.
Speaker 3 (34:37):
Thought, I'll make the point of that.
Speaker 2 (34:38):
So Bill Ringer, So, I mean Bill Simms, the Ringer right,
good it for them? So yes, a video podcast partnership
with Spotify with the Ringers top shows. That's including the
Bill Simms podcasts. They're watchables and conspiracy Theories among others
that are going to be in this deal.
Speaker 3 (34:57):
This weekend I'm going to.
Speaker 2 (34:58):
The Regal Theater to go watch After the Hunt with
Julie Roberts. I want to see how well that movie
turns out, if I really enjoy it, and I forget
the Iowa ed Berry right, is that she's from the Bear?
Speaker 3 (35:09):
I forget.
Speaker 2 (35:10):
I have not forgotten that she's from the Bear. I
just don't remember that's her name. That's the correct pronunciation.
Speaker 3 (35:15):
So if I budgeted I did.
Speaker 2 (35:17):
Anyway, Come back next week for the broadcast podcast. Remember
the content is king and the controller content is in
your hands.
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