In October 2015 Sanmay Ved recently owned the domain name, Google.com.
Of course, it was short lived, and Ved had no intentions of actually keeping the domain name, but Google decided to offer a financial reward anyway. At the time, Ved declined to share how much this reward was, but he did note that it was “more than $10,000.”
Today, Google let the cat out of the bag in its “Google Security Rewards — 2015 Year in Review.”
Originally, Google paid out $6,006.13 to Ved, which — if you sort of squint — spells out “Google.”
After it found out Ved was donating this money to charity, Google doubled the amount.
➤ Google Security Rewards – 2015 Year in Review [Google O
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It was perhaps inevitable that some artist would take exception to QuickHitz, the format built around edited versions of CHR hits. A few weeks ago, nearly a year after the first QH affiliate launched, the format came to its first large market, Calgary, Alberta. Last week, the consumer press coverage grew, singer Jann Arden chimed in and a Twitter war erupted. We thought it was a good time for a Fresh Listen to QuickHitz and some thoughts on the edited songs issue.
By: Sean Ross
In the decade that it took for the “Quickhitz” format, or something like it, to get to the radio, it seemed inevitable that an artist would complain about a format that relies on edited versions of contemporary songs. It didn’t happen when Quickhitz finally debuted on WYDS Decatur, Ill., last September, partially because the small-market station’s modest debut didn’t generate sustained industry attention.
Then Quickhitz debuted Aug. 1 on Newcap’s CKMP (90.3 Amp) Calgary, Alberta. In its first few days, the station’s buzz was among Canadian radio people—notable enough since it’s been a while since even an industry person called me to talk about a new station. Then there were local press stories that explained what the station was doing, although on-air Amp says nothing more explicit than “twice the music.”
On day 6, Jann Arden weighed in. Arden’s one top 15 U.S. song, 1996″s “Insensitive,” was one of the first Modern AC hits. In Canada, she’s up to 13 albums and three books. You may remember that song’s mix of earnestness and pre-Alanis annoyance, but Arden’s tweets have little of the former:
“Don’t listen to #AMP radio Calgary . . . they are fucking with art that took thousands of hours to create. #dickheads.”
“Dear AMP radio Calgary. Please don’t play my music. Thank you you dorks.”
“How the fuck would you play any of Leonard Cohen’s songs cut in half? #ampradiocalgary? Impossible and unethical.”
“Just don’t listen to them. It’s such a giant pile of bullshit. #ampcalgary.”
“Apparently #ampradiocalgary doesn’t like things that are big and long. Hhmmmm?”
Within hours, Arden’s contretemps with Amp was a national news story. Through Amp’s first week, I had wondered if listeners would even notice the change. Amp was already CHR and already based around music quantity. By last Friday, that was no longer the issue.
Edison Research works with Amp-owner Newcap. We do not work with Amp or Quickhitz, but Edison’s Larry Rosin is a fervent longtime supporter of the concept. And I had some nice things to say last year when I took my “First Listen” to WYDS, long before Newcap became involved with the format.
There were early execution issues on the first QuickHitz affiliate. There were two syndicated dayparts on WYDS that did not match the rest of the station. The initial slogan, “twice the music in half the time” was confusing, and the promised 24 songs an hour didn’t always materialize. But I liked the energy rush of the station. I liked the additional slots for new songs. And at a time when the hits reach critical mass quickly, I was happy to have some of the most saturated hit songs over with after two minutes or so.
Nine months later, that’s true for me listening to Amp as well. And from a radio standpoint, a lot of the initial issues have been worked out. I’ve listened a few times and been able to hear the seams of only one edit. I’m tired of Zedd’s “Clarity” at any length at this moment, but I can listen to it for two minutes on Amp. Confronted with its full length, I would have punched it out. Amp has also been spotlighting imports and new releases in a way that few North American Top 40s do at the moment.
The press reports (and angry tweets) have Amp playing songs at half their length. With many songs, it’s more like two-thirds, although that’s unlikely to sway anybody opposed to the concept to begin with. Here’s a half hour of the station and the approximate length of Amp’s versions vs. the regular radio versions. (In the case of some Canadian hits, I didn’t have access to the radio version and used the length of the song on the iTunes Music Store.)
Kiesza, “Hideaway,” 2:10 (vs. 3:41);
Sia, “Chandelier,” 1:56 (vs. 3:34)
Shawn Desman, “Electric,” 2:14 (vs. 3:11)
Nico & Vinz, “Am I Wrong,” 2:17 (vs. 3:39)
Lorde, “Team,” 1:52 (vs. 3:32)
Clean Bandit, “Never Be,” 2:23 (vs. 3:45)
Magic!, “Don’t Kill The Magic,” 2:13 (vs. 3:39)
Iggy Azalea, “Fancy,” 2:07 (vs. 3:16)
JRDN, “Can’t Choose,” 2:20 (vs. 3:57)
Sam Smith, “Stay With Me,” 2:02 (vs. 2:53)
Marianas Trench, “Pop Music 101,” 2:11 (vs. 4:07)
Zedd. “Clarity,” 2:00 (vs. 3:56)
There was one ironic moment here. The Marianas Trench song is literally about the construction of a pop hit (as well as a poke at the conventions of today’s hit music). At 2:11, I still got the joke.
For those applauding Arden on Thursday and Friday, and there were many, their beef with Amp was often not just that it could potentially edit Leonard Cohen, but that radio wasn’t playing him (or any other “quality music”) in the first place. Many opined that mainstream radio sucked. Nobody tweeted, “I love today’s hits. Please don’t mess with them.”
I wonder if that listener exists. Arden and I are a few months apart in age. So perhaps she remembers rock stations and certain top 40s bragging about playing long versions as a point of differentiation from those bogus other stations. Perhaps the press coverage of this dust-up will give that concept new currency, but until this week, it’s been a distant memory. Before QuickHitz debuted last year, PDs were already experimenting with shorter versions of new songs (and longer versions of established hits) without incident. More telling, top 40 and R&B listeners had long become used to hearing very truncated versions of songs in the mix shows that are some stations’ most-popular features.
Mostly, however, listeners have been voting on all songs with their index finger. One Twitter reply to Arden decried “stupid changes . . . such as this” as a “main factor to why radio is becoming obsolete.” Programmers know that if anything truly threatens broadcast radio, it’s the inability to match Internet radio’s skip button with anything of similar intent.
In some regards, QuickHitz is an easy lightning rod for artists’ frustration with a new generation’s odd relationship to music in general – streaming, not owning; listening to songs, not albums; and, yes, hitting skip. Instead of going to see live music, they pay to see superstar DJs deconstruct recorded music. But unless you’ve never decided you just weren’t in the mood for all 6:28 of “The Wreck Of The Edmund Fitzgerald” at any point over the last 38 years, you’ve been callous toward somebody’s artistry as well.
Arden has allowed her label to release radio edits of her own songs. On the Friday morning after the controversy broke, she released her new single, “Karolina” — a new version of a song from her recent album with additional vocals from a Canadian country act, meaning that she does not consider the original to be a final, non-negotiable statement. She is not one of the handful of artists unwilling to let their songs be sold as individual downloads, outside the context of the intended album experience.
But I understand that making hard decisions about your art is not the same as having someone make them for you. Arden comes by her beliefs honestly. And now I’d like radio programmers to get the same respect for their artform – or at least an acknowledgement of the right to practice it – that artists would want for themselves. These days, attacking another recording act for sampling or interpolating an existing work would mark an artist as a crank. But attacking radio for seeing music as similarly porous is an easy applause line. And I can pretty much guess what Arden would have to say about research.
As to the prospect of an edited Leonard Cohen, I can only offer the following. The generation of listeners whose attention spans have led broadcasters to the QuickHitz concept are the same ones who nevertheless made his “Hallelujah” a standard over the last decade.
Cohen’s version of “Hallelujah” is 4:38. Jeff Buckley, whose version is definitive for many, made it 6:53. The British hit version, by X-Factor winner Alexandra Burke, deleted three verses, brought it in at 3:37, and sold more than two million singles and albums. The answer to “more of a good thing?” or “less of a good thing?” has variously turned out to be “yes,” and listeners seem to gravitate to the answer that’s right for them.
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Last Thursday, Norway's Ministry of Culture announced that it would shut down traditional FM radio networks in favor of higher-quality digital broadcasts beginning in 2017. It is the first country to announce such plans.
Don't expect the United States to follow suit — at least, not anytime soon.
Christina Dunbar-Hester, an assistant journalism professor at Rutgers University and author of Low Power to the People, a book about FM radio activism, told The Huffington Post that Norway is uniquely positioned to
“Norway is sparsely populated, mountainous, and wealthy,” she explained via email. “FM doesn't work as well with that terrain and is relatively expensive to operate to reach everywhere in the country, so the economic investment in switching standards might be an easier sell there.”
In the U.S., AM and FM radio reach 243 million people weekly. That's far more than in Norway, a country of roughly 5 million.
Switching to digital may be a bit of a hassle because it requires new equipment, but there are benefits, like higher-quality audio and a greater number of available channels. In the U.S., certain broadcasters have used digital methods for years. It's called IBOC, meaning “in-band on-channel,” though it's popularly known by the trademark HD Radio — kind of like how you probably call every tissue you use a “Kleenex.”
Dennis Wharton, executive vice president of communications for the National Association of Broadcasters, told HuffPost that many major stations — the giants like KIIS-FM in Los Angeles — have transmitted in HD radio for about a decade. About 21 percent of all FM radio stations in the U.S. today transmit digitally, he said, and most new cars have the ability to receive HD radio.
The problem is, powerful broadcasters and new stereo systems are only part of the conversation. Radio stations in small towns, for example, may still broadcast on analog FM — precisely what Norway is phasing out — and some people may not have the equipment to receive anything else, anyway.
“We're talking about [areas] smaller than Peoria in Illinois,” Wharton explained in a phone interview. Peoria's population is around 116,000 people.
“These stations are actually operating on profit margins that are not very high,” he continued. “To make an investment in digital radio… it's just a financial decision they can't maybe abide yet.”
To be fair, it's not totally out of the question. A very similar transition happened in the U.S. with the advent of digital television. As of 2009, all “full-power” television stations are required to broadcast digitally in the U.S. There are many benefits: Picture quality is higher, programming sounds better, more channels are available and companies can provide broadband to customers.
The switch to digital radio in the U.S. would bring similar benefits, Wharton said, but there are bigger issues to tackle first.
“It's just difficult to get public policymakers to support something like that unless everybody in various industries agrees,” he said.
Instead of fighting that battle, the National Association of Broadcasters is turning its attention elsewhere. Digital radio, for all its benefits, is not likely to be mandated anytime soon, and there's another battle for analog radio brewing in the 21st century. Wharton said he wants to get American cell phone carriers to enable analog FM chips that are already built into many smartphones — including the iPhone 6 and Samsung Galaxy S5 — but are turned off in phones that are sold in the U.S.
“Wireless carriers block the activation of that device because they'd prefer you listen to streamed programming,” Wharton said. “It helps them if you bump up against your data plan for the month.”
It's certainly true that wireless carriers capitalize on people who go over their data plans and that online listening has seen strong growth over the past couple of years. The FM chips in phones, which receive analog rather than digital broadcasts, would allow smartphone owners to listen to music or newscasts without using their data.
The bottom line? In 2015, traditional radio is worth a bit more than you might expect, and it's probably not going anywhere.
OTTAWA-GATINEAU, March 31, 2015 /CNW/ – As of today, the vast majority of Canadians will be able to receive emergency alert messages affecting life and propertythrough their radio and television services. Most of the broadcasting industry has implemented the national public alerting system and is making Canadians' lives safer.
Emergency alert messages are issued by emergency management officials such as fire marshals, police officers and public health personnel. For example, alerts could be issued to warn Canadians of Amber Alerts, tornadoes, forest fires, floods, water contamination and industrial disasters.
Cable and satellite companies, radio stations, over-the-air television stations and video-on-demand services are now required to issue emergency alert messages. Campus, community-based and Aboriginal broadcasters have until March 31, 2016, to comply with this new requirement.
However, the Canadian Radio-television and Telecommunications Commission (CRTC) is concerned and disappointed that certain television service providers are not ready. Bell, Bell Aliant, MTS, Shaw and Sogetel have notified the CRTC that they are not able to issue emergency messages to some of their subscribers and have requested extensions of up to one year. The private broadcasting industry has had more than enough time to prepare. The CRTC has encouraged the industry to participate in the National Alert Aggregation and Dissemination System since its implementation in 2010. In August 2014, the CRTC required that broadcasters and television service providers begin relaying emergency alert messages to Canadians by March 31, 2015.
The full participation of the broadcasting industry is necessary in order for the national public alerting system to be effective in safeguarding and warning Canadians. The CRTC has reluctantly granted the five companies an extension of no more than six months, after which they will have to participate in the national public alerting system. The CRTC is also requiring that Bell, Bell Aliant, MTS, Shaw and Sogetel issue notices to their subscribers to inform them of this delay and submit frequent progress reports to the CRTC regarding their compliance.
As of March 31, 2015, the vast majority of Canadians will receive emergency alert messages through their radio and television services.
Alerts could be issued to warn Canadians of Amber Alerts, tornadoes, forest fires, floods, water contamination and industrial disasters.
Cable and satellite companies, radio stations, over-the-air television stations and video-on-demand services are required to issue emergency alert messages.
Bell, Bell Aliant, MTS, Shaw and Sogetel are not ready to issue emergency messages to all their subscribers and asked the CRTC for extensions of up to one year.
The CRTC reluctantly granted these companies a maximum delay of six months and required that they issue notices to their subscribers to inform them of this delay and submit frequent progress reports to the CRTC regarding their compliance.
Canadians who are affected by the delay will be able to receive emergency alert messages through the radio. They may also choose to change service providers.
“We have been working since 2010 to improve the security of Canadians. Thanks to the hard work of many in the broadcasting industry, the majority of those who watch television or listen to the radio will receive warnings of imminent perils such as tornadoes, floods or Amber Alerts.
However, we will not hide our disappointment that certain television service providers are not ready, despite having been given more than enough time by the CRTC. We will monitor them closely to ensure they come into compliance as quickly as possible. For the CRTC, it is of the utmost importance that all measures be employed to protect the lives of Canadians.
Customers of these companies may want to contact them and ask to have access to alert messages. Depending on their response, Canadians may want to consider changing providers to ensure they can receive emergency alert messages when they watch television. We remind Canadians that they no longer have to give 30-days advance notice to change providers.”
Jean-Pierre Blais, CRTC Chairman and CEO
TORONTO – Corus Entertainment and crowd-sourced publishing platform Flink have announced another global content and promotional partnership agreement that will see past and new episodes of syndicated radio program The Legends of Classic Rock featured on Flink’s storytelling platform.
The Legends of Classic Rock follows The Ongoing History of New Music to become the second Corus-owned radio program to have its content adapted for fans on FlinkTO. Now SuperFans of classic rock can engage with first-class content in an exclusive community of diehard fans (known as a “flink”). Not only can they earn status simply for sharing their obsession with classic rock, but they become part of The Greatest Story of Music Ever Told by contributing their voices.
Hosted by legendary radio personality Jeff Woods and produced by Corus Entertainment, The Legends of Classic Rock is a unique radio program that gives fans the stories about the music that defined a generation. A genuine music fanatic, Woods brings his audiences epic interviews with the “who’s who” of classic rock, deep tracks, and live recordings that give context and breathe new life into some of the greatest music ever written. Released twice a month, Legends features will include audio files and adapted transcripts from episodes that will be further enhanced with exclusive content such as video interviews and bonus audio clips with Woods.
“Finally, rock and roll fans around the world have an incredible space to share their passion and add their voices to amazing stories on the music they worship,” said Jeff Woods, host at Toronto’s Rock, Q107, in the news release. “This is so much bigger than the show. It’s a groundbreaking opportunity for fans to come together and create music history—to show the world the impact classic rock has on the evolution of modern music.”
“There’s no one more qualified than the legendary Jeff Woods to lead and rally fans around this ambitious endeavour for classic rock,” added Nathalia Ribeiro, VP and project manager for music at FlinkTO. “It’s all about putting the classic rock genre; the bands, the events and the industry as a whole into context to create ‘The Greatest Story of Music Ever Told’. Classic rock is one very important chapter of this interactive story. We know the fans will be our greatest storytellers and we’re rewarding them in exciting ways for their contributions to history in the making.”
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Patry joins CBC/Radio-Canada as director of marketing, B2B communications
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TORONTO – CBC/Radio-Canada has named Catherine Patry as director, marketing and business-to-business communications for its Media Solutions Group. Read More »
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OTTAWA – Independent food and lifestyle channel Gusto TV is marking its first anniversary with a smorgasbord of over 100 hours of its own original Canadian culinary content, shot in 4K. Read More »
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CRTC ices Bell's objection to Rogers' GamePlus NHL app
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OTTAWA-GATINEAU – The score is Rogers – 1, Bell – 0, after the CRTC dismissed Bell's complaint Monday that Rogers' GamePlus online hockey viewing app provides that company with an “anticompetitive… Read More »
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OBITUARY: Former Global Maritimes anchor, station manager Allan Rowe
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DARTMOUTH – Broadcaster-turned-politician Allan Rowe died Monday at the age of 59. Read More »
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Unlicensed cross-border broadcaster has appeal shot down
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Elvis Duran, one of America’s most popular radio personalities, is a headliner at this year’s Radiodays Europe in Milan, Italy. Duran will take the stage and pull back the curtain on the Z-100 Morning Show which is based in New York and heard in 70 markets across the country. Duran is excited for the opportunity, “I'm honored to be participating in this event. This is a great chance to show how connected we all are through the power of radio.”
Joining him on stage is the Vice President of Talent Development for iHeartMedia, Dennis Clark. Dennis’ role is to nurture the best and most talented radio people in the industry and he works directly with key radio personalities, such as Duran and Ryan Seacrest. They’ll discuss how to create a show that consistently delivers huge audiences, and will reveal the ingredients that makes Elvis Duran the most listened to Top 40 Morning Show in the states.
The U.S. radio industry will be well represented at this year’s Radiodays Europe. Here are just some of the other notable U.S. presenters and workshop leaders making the pilgrimage to Milan March 15-17.
· Anna Sale, producer at WNYC, is leading a session on “Death, Sex and Money; How to Start and Succeed with Podcasting.”
· David G. Hall, media strategist, is presenting a session titled, “Five Simple Tools to Make Your Show Better.”
· Larry Gifford, programming & talent consultant, is co-presenting the “30 Ideas in 45 Minutes” session and is a leader at the “Fast & Furious” workshop.
· John Vorhaus, creative consultant, is leading a workshop on “Your Radio Brand” and presenting a session on “How to be Funny When You’re Not.”
· Steve Jones, music industry veteran, is hosting the session, “Be Like a Rock Star!”
· Larry Rosin, Edison Research, is diving deep into the “Stream Battle.”
· Marty Garrison, VP Technology for NPR, is co-presenting “What if Technology Was Your Best Friend After All.”
· Joel Sucherman, Sr. Dir. Digital Developments for NPR, will discuss “Mobile Apps; More Than Just Live Radio.”
· Dennis Clark, VP Talent Development for iHeartMedia, is presenting a session on “Making Radio Personalities Relevant in 2015.”
· Warren Kurtzman, President & COO of Coleman Insights, is discussing, “Aristotelian Dramaturgy – How to Create Compelling Personality-Driven Content.”
· Bryce Clemmer, CEO of Vadio, is co-presenting a session on “Radio Worth Watching.”
· Rob Green, VP of Streaming for WideOrbit, is presenting “From Linear to Digital.”
The complete list of sessions and speakers and ticket information for Radiodays Europe is available at www.radiodayseurope.com
Launched in 2010, Radiodays Europe is the largest and most important international radio conference in the world. It is also considered to be the best with high quality content, great speakers and a huge program with over 100 speakers in 55 sessions over 2½ days. In 2014, it attracted 1300 delegates from over 60 countries.
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5 Tactics to Defy the Impossible in Business
Research Shows Women CEOs Falter at the $1 Million Threshold
In terms of growth in business ownership, women have been soaring past men, averaging increases 1.5 times the national average, according to the 2014 State of Women-Owned Businesses Report by American Express Open.
There are nearly 9.1 million women-owned businesses providing jobs for nearly 7.9 million people and generating more than $1.4 trillion, according to the report.
Leading the skyrocketing growth are women of color, who now own one of every three female-owned businesses – up from one in six in 1997. Black women alone generate $49.5 billion a year in revenue.
“What’s interesting is that these businesses match or exceed their peers in terms of numbers, employment and revenue – until they hit the $1 million mark,” says Dr. Venus Opal Reese, CEO of Defy Impossible, Inc. (www.DefyImpossible.com), a coaching business that helps black women — and men and women of all ethnicities — break the seven-figure ceiling.
“At $1 million, they start lagging behind. Despite their bigger-than-average numbers, women’s businesses are still smaller than average.”
Reese says female CEOs black and white tend to unconsciously start sabotaging their success just as they’re growing into greatness. Why?
“From the time we’re babies, society – often our own families, too — measure our worth based on how we measure up to their expectations. So we end up measuring our value on those same expectations, not the values that come from our true, authentic self. That sets up some real conflicts as we build successful businesses,” Reese says.
How to overcome that? To “defy impossible”?
Reese, who went from living on the streets as a teen in Baltimore to earning her Ph.D. from Stanford, shares these tips:
• Know your worth in dollars and cents.
Most women tend to accept the unspoken expectation that people will notice and reward us. That’s a mistake. If you over-give or over-work, you actually train your environment to expect you to give without compensation. Start calculating the time, money and resources you bring (or save) your clients or company. Write it down. When you are ready to up your rates or ask for a raise, you will not be depending on good will. You will have hard data to back up your hard work.
• Trust that you are more than enough.
Too often we look outside of ourselves for validation. Sometimes we think a degree or a title will give us the “right” to be paid top dollar. You are brilliant. Start noticing that when you show up, things get better, they get done, and people soar. When you trust that you are enough, you stop backing down and you start standing for yourself — no credential needed.
• Heal your heart.
Money is a heart condition. Think of money as energy. Energy needs a conduit. Most women lead with our hearts. Whenever you are harboring resentment, regret, anger, resignation or fear, you are blocking yourself from your seven-figure future. When our hearts are congested with negative energy, we block our wealth.
• Invest in yourself.
As her business grew, there came a point when Reese realized she – and it – had outgrown many of the support staff that had been perfectly suitable when she was just starting out. To get the people she needed, she doubled and, in some cases, quadrupled salaries.
“I believe in putting money in me instead of on me,” she says. “When I hire proven professionals, I am investing in my peace of mind and quality time with my loved ones. When you ‘hire up,’ you say to yourself and the Universe, ‘I trust you and I trust me to produce a return on this investment tenfold.’
“Now that I have a top-tier team, I have the mental space, creativity, and peace of mind to focus on high-level joint ventures.”
• Learn how to monetize.
Until you can reliably bring in new money, you will be a slave. The best investment Reese says she ever made in herself was learning how to package, position, and price her expertise.
“When you learn how to monetize, you get freedom. You don’t have to depend on a man, or a job, or the government for security. And when you learn how to close sales with confidence, your money skyrockets!”
About Dr. Venus Opal Reese
Dr. Venus Opal Reese, CEO of Defy Impossible, Inc. (www.DefyImpossible.com), is an acclaimed international speaker; CEO Mindset, Messaging and Marketing Mentor; and entrepreneur coach. She holds two master’s degrees and a Ph.D. from Stanford University, and worked as a university professor before investing in herself by testing her entrepreneurial skills. Her business, Defy Impossible, grossed $1.2 million less than three years after launching.
If you would like to run the above article, please feel free to do so. I can also provide images to accompany it. If you’re interested in interviewing Dr. Venus Opal Reese or having her write an exclusive article for you, let me know and I’ll gladly work out the details.
On September 15, 2014, the CRTC approved the application by Blackgold Broadcasting to operate a new English language station to serve The Town of Stony Plain, the City of Spruce Grove and Parkland County, Alberta. The new station, CKSS | 88.1 FM | The One: “Parkland’s Best Country” promises to provide local news, sports and weather and other community information.
Blackgold’s application listed 80 newscasts per week, which will total 81 hours of spoken word content. This will include energy updates, agricultural updates, sports, commuter traffic, community calendar and weather content.
The application separately lists news programming per broadcast week, indicating 13.5 hours of pure news, primarily locally based, but with a slight focus on national and international coverage. They also committed to $52,500 in community giving over a
seven-year term, which is above and beyond the requirements the CRTC lists for Canadian Content Development.
This funding will be provided to the Parkland Music Festival, the Blueberry Bluegrass and Country Music Festival, the Parkland School Division for the purchase of musical instruments and to non-profit organizations involved in the growth of the Canadian music industry.
Additionally, the application indicates the station will dedicate 15 per cent of its weekly programming to emerging Canadian country artists.
In April 2013, Blackgold launched CJLD, a new radio station in Leduc branded as The One 93.1 FM broadcasting at 93.1 FM and online.
Over the next few months, Blackgold will work to secure office and studio space in Stony Plain, install infrastructure to support the station and hire a full news staff. A three-week testing period will be completed before the station’s official first broadcast is made which is expected to take place sometime in Spring 2015.
4 Principles for Staying CoolUnder Pressure – and Succeeding Athlete & World-Renowned Surgeon Shares Tips
for Becoming a ‘Super Performer’
We all ask ourselves the same desperate question from time to time:
How am I going to make this work?!
“No matter how well we’ve done laying the groundwork for everything to run smoothly – becoming educated, choosing the right spouse, treating others well — we all face situations that challenge us,” says Dr. Robert J. Cerfolio, a world-renowned cardiothoracic surgeon known as “the Michael Jordan of lung surgery.”
“If we can keep our cool and adhere to some basic principles, we can not only meet any challenge – we can perform with excellence.”
A high-performance athlete in high school and college, Dr. Cerfolio parlayed his talents and focus into pursuing his medical career and creating a happy family with his cherished wife, Lorraine, and their three sons.
But after battling breast cancer, Lorraine recently passed away. Cerfolio, author of “Super Performing at Work and at Home: The Athleticism of Surgery and Life,” (www.superperforming.com), shares the principles that helped him through that greatest of all challenges and lesser ones along the way.
“Apply these principles in work, sports and life in general, and you can become a super performer,” he says.
• Pressure equals opportunity. It’s when something matters that the pressure starts to build; this is where the rubber meets the road for sports-to-life analogies.
“In sports as in life, remember your training; follow through just like you did during practice; visualize success; believe it will happen,” Dr. Cerfolio says. “With friends, for example, high-pressure moments can be those times when they need you. The best way to have great friends is to be a great friend.”
• Strive to hit .400 every year – keep your eye on the prize; write it down. “My high school gave out an award each year to the best student athlete in each grade,” he says. “I wrote down that I wanted to win the Klein Award in the ninth, 10th and 11th grades, and to win the most prestigious award at the senior graduation, the Deetjen Award.
He accomplished most of those goals, and a key to those achievements was writing them down and placing the paper where, for four years, he could see it every night.
“By writing them down, I had made my goals clear and objective.”
• Lean toward a “we-centered” ego rather than a “me-centered” one. “When I traded in my baseball uniform for surgical scrubs, I noticed the importance of stripping the many layers of the ego I once had,” Dr. Cerfolio says. “This is really important: Your ego doesn’t need to be visible to everyone — or even anyone but yourself.”
Being a top performer requires ego – it helps fuel self-confidence and provides some of the motivation necessary to achieve. But it should not hinder the performance of your team: your coworkers, friends and family. Over time, by keeping your ego to yourself, it becomes easier to enact a team-oriented ego, rather than a “me-oriented” one.
• Time to quit? Rub some dirt on it. In life, work is unavoidable, so embrace it, go big, and appreciate the rewards. No matter how difficult the challenge you face or how much it may hurt to meet that challenge, push through and give it your all.
“Yes, there’s a chance you won’t succeed, or won’t succeed to the degree you’d like. But you stand zero chance of success if you don’t meet that challenge and give it everything you’ve got,” Dr. Cerfolio says. “You owe it to yourself and your team, whether that’s your ball team, your family team or your work team. When you sign up for any team, by definition you promise your time, effort and 100 percent commitment. You have to be at every game and every practice on time and ready to go.”
About Robert J. Cerfolio, MD, MBA
Robert J. Cerfolio, MD, MBA, is the James H. Estes Family Endowed Chair of Lung Cancer Research and Full Professor Chief of Thoracic Surgery at the University of Alabama in Birmingham. He received his medical degree from the University of Rochester School of Medicine, surgical training at the Mayo Clinic and at Cornell-Sloan Kettering hospital, and has been in practice for more than 26 years. The author of “Super Performing at Work and at Home,” (www.superperforming.com), Cerfolio, who was a First Team Academic All-American baseball player in college, is a world-renowned chest surgeon and recognized as one of the busiest and best thoracic surgeons in the world.
If you would like to run the above article, please feel free to do so. I can also provide images to accompany it. If you’re interested in interviewing Dr. Robert Cerfolio or having him write an exclusive article for you, let me know and I’ll gladly work out the details. Lastly, please let me know if you’d like to receive a copy of his new book, “Super Performing at Work and at Home,” for possible review.
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Clip Interactive Announces Partnership
With Cumulus Radio Indianapolis
Clip Interactive’s technology enables radio station app users to see and interact
with music, contests, deals and more
BOULDER, Colo. — June 11, 2014 —Clip Interactive today announced its partnership with Cumulus Media to launch interactive broadcast radio on their Indianapolis stations using the Clip Radio mobile app technology. The participating stations, WFMS 95.5 The Country Station, 104.5 WJJK Classic Hits and Indy’s i94 – 90’s to NOW launched their interactive apps today.
The Clip Radio-powered apps, enable users to see and interact with what they hear on each station’s broadcasts. Radio content is featured in the app’s station feed; enabling listeners to interact with anything related to the broadcast that they may have missed over the past hour.
“We are excited to work with Clip Radio, bringing interactive radio to Indianapolis. We look forward to creating a positive effect on listener engagement and providing solid interaction and conversion metrics to our advertisers,” said J.T. Batson, Chief Revenue Officer at Cumulus Media.
Cumulus Radio has approximately 525 radio stations in 110 cities and is the largest pure-play radio company in the United States. The Cumulus station apps will allow listeners to see, interact and respond to all elements of broadcast radio including music, personalities, contests, promotions, talk and the advertiser’s message.
“We are thrilled to work with Cumulus, launching our proven technology with their Indianapolis stations. Like our Alpha and Salem partnerships in Portland, the Cumulus stations can now offer the fully interactive radio experience their listeners want, create significant new revenue from these new advertiser capabilities and provide the business results that advertisers demand,” said Bill Freund, Chief Revenue Office for Clip Interactive.
About Clip Interactive
Clip Interactive is a Boulder, Colorado, technology company founded in 2012. The company’s mission is to provide interactive radio to the masses in order to bring more listeners to stations and provide new services to listeners, advertisers, labels and station owners through both stand-alone apps for individual stations as well as the Clip Radio app, which aggregates all stations.
About Cumulus Media
Cumulus Media Inc. (NASDAQ: CMLS) is the largest pure-play radio company in the nation, with approximately 520 owned and operated radio stations, a distribution network reaching nearly 5,500 stations and a content creation platform recently fortified by its pending acquisition of Westwood One. For more information, visit www.cumulus.com.