Thursday, March 28, 2019

Website Redesigns That Serve U.S. Hispanic Market

Here's a valuable article to share with your Latino local-direct clients; Philip Jay LeNoble, Ph.D.

Commentary

Website Redesigns That Serve U.S. Hispanic Market

Website redesigns are an ideal time for companies to leverage the best technologies and practices to serve their customers and boost on-site engagement. Savvy companies also use this opportunity to localize their websites for Spanish-speaking U.S. Hispanics.

Here are several best practices you can follow during your redesign to make website localization even easier and more affordable to implement.

Plan for “Word Growth” 
When you translate English-language content into Spanish, the resulting localized content will usually take up about 20% more space on the webpage. This common side effect of translation is called “word growth.” Without accounting for it in your website design templates, localized content may create on-site UX inconsistencies that erode the brand experience.

Building pages for responsive design can tackle some of these problems. But it’s also helpful to build fully-dynamic page templates that allow word wrap in text boxes instead of using word overflow, which can send translated content spilling outside its designated space on the page. 
 
Also, be sure to allow enough padding around the image overlay text in your JS, CSS and HTML templates. This preserves some space for word growth when that text gets translated.

Keep Text and Images Separate 
Today’s websites lean heavily on visual elements such as images and photography to create an immersive, engaging experience for visitors. But localizing those elements for Spanish-speaking audiences can be challenging.

Untranslated images displayed among your translated content creates an inconsistent and confusing user experience. This mixed-language experience can also signal to your audiences that you aren’t invested in the market or in delivering localized content, which can have a negative impact on brand perception and trust. 

Whenever possible, keep text separate from images. Layering text over an image (using a solution such as Scene7/Adobe Dynamic) is a best practice. This makes the text easier for linguists to detect and translate. 

Externalized text can also prevent additional graphics work — and costs — for translation teams, and make it much easier to swap out image files whenever needed without having to change or retranslate the text itself.

That isolated text is also easier for search engines to discover and index, which can improve your organic search engine rankings for the important Spanish-language keywords you care about.

Support Multilingual Data in Business Systems
If you’re capturing information from your customers while they’re on your website, it’s important to ensure that your back-end databases and contact management systems can deal with content in Spanish as well as English. Otherwise, that information is useless for future sales and marketing efforts.

Spanish and English are both Latin-based languages, but Spanish also includes a few unique characters as well as a set of diacritics and accent marks that some databases may not accurately  capture. Make sure your technology can accommodate these unique characters.

With a few of these best practices in mind, redesigning your website is the perfect opportunity to reshape your online experience for U.S. Hispanic customers and deliver the Spanish-language content they want and deserve. 



 

SmartRadio: Now Available From Orban

Radio & Television Business Report - The Financial + Regulatory Voice of Electronic Media

SmartRadio: Now Available From Orban

 
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Orban is now shipping a cloud-based and web-based audio processing technology for the radio industry. New to its product is a tool for analyzing usage, engagement and impact of the “SmartRadio” service in use at a radio station.
SmartRadio is developed by Broadcast Partners of The Netherlands and was designed to deliver “radio as a service.” It consists of several components — multichannel Smart Production, Smart Publication, Smart Analytics and data-driven Smart Tools.
Together these components create a modern “start-to-end” modular radio production environment.
The collaboration between Orban and Broadcast Partners allows SmartRadio to use the Orban OPTICLOUD audio processing engine to provide cloud-based and web-based audio processing. The platform enables remote management of both content and audio processing for cloud-based radio programming for online, DAB+ and HD Radio radio stations, as well as for radio broadcasters with multiple transmission sites. OPTICLOUD offers three levels of audio processing.
New to SmartRadio is Smart Analytics, allowing userss to analyze usage, engagement and impact of the SmartRadio service in use at a radio station. The tool provides notifications relating to storylines on social media, suggesting possible actions for increasing engagement of and potential interaction with followers. It also provides data on social media campaigns, noting which ones are generating the most engagement and creating the most lasting impact.
“SmartRadio helps broadcasters manage not only their listenership, but engagement with their audience,” said Orban President David Day. “Broadcast Partners is very well-known in Europe, and we are excited to partner with them on this new cloud-based processing available through our OPTICLOUD platform. Through our exclusive distribution relationship with Broadcast Partners, we can now provide virtual radio studios and cloud-based audio processing for radio and streaming broadcasters in the Americas.”

SmartRadio will be demonstrated at the Orban booth at the 2019 NAB Show in Las Vegas, at N4120.

Study: More TV Advertising Can Mean More Dissatisfaction

COMMENTARY

Study: More TV Advertising Can Mean More Dissatisfaction

Let’s face it -- your live TV life may be miserable. Why? Because you watch too much advertising.

The Centre for Economic Policy Research analyzed advertising spending in 27 European nations over the course of three decades to come to this conclusion. The study found when a nation's ad spending went up, life satisfaction in the country went down or increased less than what was expected.
(I should have figured as much. I always felt bad after binging on “Mad Men.”)
Yes, this is a European study. But here’s the U.S. silver cloud: Seems watching Super Bowl advertising isn’t that bad, according to the study. We can surmise this is because a lot of drunk viewers love to watch advertising featuring the mishaps of average people -- mostly male -- in many creative ways.
Perhaps the lure to buy more products pushed by TV messaging has collateral effects. TV offers us products that many cannot afford: luxury cars, big-time financial management firm services (which promise easy retirement and big stock market gains), or expensive jewelry.
Consumerism can yield euphoric sentiment among U.S. citizens. But advertising? That’s aspirational at best.
And then there is this.
The richer a country's society becomes, the more advertising its citizens will see, according to the study. As life satisfaction rose and fell in these countries, advertising costs reflected similar up-and-down trends "a small number of years later."
Well, in the U.S. -- and other countries -- we have time-shifting technologies to avoid advertising, especially as it attaches to premium video content on TV networks and new ad-supported digital platforms. But as we all know, there is still plenty of TV advertising that does get seen.
Maybe future addressable advertising will help. Right now it is somewhat depressing, for example, to see so many pharmaceutical ads pitched on live cable TV news network shows -- as if these ailments are on the way.
Yet, we keep watching.
Maybe I can find a Super Bowl ad to cheer me up, featuring people laughing while drinking a low-cost beer in a low-rent bar. How about a new, semi-violent, somewhat animated-looking video? Nope. All depressing.
Turn to daytime TV advertising? P&G is running an ad for Febreze and everything isn’t so miserable. The TV life smells good -- for the moment

Netflix's Future Marketing Plans Just Got More Complicated

COMMENTARY

Netflix's Future Marketing Plans Just Got More Complicated

Recently, Netflix witnessed its longtime marketing chief depart.
There is more to the story -- its entire marketing department is gone, according to Adweek. At press time, a Netflix representative did not reply to inquiries from TV Watch.
There’s a bigger picture here: What’s the marketing message in the future for Netflix? It's about to go head to head with big competitors, including Walt Disney, NBCUniversal, WarnerMedia and perhaps Apple TV.
Things are still good for Netflix, with rising subscribers and revenues. But much will change when big legacy TV-based media companies ramp up their specific big-brand marketing efforts to compete.
Until now, Netflix has had a free field, with dominant market share in the business of an on-demand, ad-free subscription program service -- nearly 60 million U.S. TV homes and 120 million globally.
Big brand campaigns touting a single TV platform -- network or otherwise -- can be a tricky thing. Much can be focused on what analysis always looks at: BigTV spin/buzz coming from specific programs.
For Netflix, think of original programming spin -- TV series “Stranger Things,” Oscar-winning “Roma” or “Bird Box” — which, for a short period, grabbed social-media attention.
Currently, one of its biggest efforts has been around a film starring Ben Affleck: “Triple Frontier” on Netflix and in theaters. Other recent individual programming promo pushes have included content for “The Devil You Know’ and “The Irishman.”
To be fair, few TV networks or new TV digital platforms offer big network “brand” messaging campaigns.
In the late 1990s, ABC had the “TV is Good” tongue-in-cheek campaign adorned in all things yellow, with tag lines like: “Don’t worry, you got billions of brain cells” and “If TV is so bad for you, why is there one in every hospital room?”
More recently, Fox, now under a new company structure -- with about half its TV and film businesses now sold to Walt Disney -- started a new “network” advertising campaign.
Bottom line: TV consumer will eventually decide on one or two main on-demand TV services, as well as more pricier packages of live, linear TV networks, those “virtual” pay TV bundles.
While Netflix grabs attention from its critically acclaimed TV series and films, it may have to amp up its messaging to consumers in future years.
So what’s the big picture?

Why Pinterest Is The Future Of Advertising

COMMENTARY

Why Pinterest Is The Future Of Advertising


Let’s start at the beginning: It’s all about intent.
Today, while Google tries to discern your interest with all kinds of powerful and sneaky algorithms, Pinterest has a much more honest and transparent equation: You tell them.
You’re planning a wedding. What better way to develop potential themes, design ideas, floral arrangements, etc.,  than to grab images and create a pinboard of visual styles? The result: a visual cornucopia of ideas.
I’ve got Pinterest collections of robots, of mid-century modern furniture of clocks, and others. I enjoy creating them and using them as a roadmap of ideas. It’s a particular kind of organization, part hobby, and part visual to-do list.
While other so-called platforms have pivoted and tried to be all things to all people, Ben Silbermann and his team have been building a solid, growing, user-centric business.
So how did he get here, and what does the coming IPO mean for the future of the open web?
First of all, a personal story. My longtime friend and New York leader in the angel investing community, Brian Cohen, called me in 2009. He wanted me to meet a sharp young man.
Of course, since Brian was careful about whom he introduced, I said yes. Later that week, I was sitting across from Ben Silbermann.
I remember the meeting well. The conversation was about an idea pulled from how creatives work, creating “scrap-boards” of ideas and images.
Silbermann was passionate and warm, without the braggadocio of startup founders in a rush to be right. He seemed like the kind of patient, creative entrepreneur who would build, test, innovate, and evolve.
Brian was right to send him to me. As a New York entrepreneur who’d gotten his first funding from New York angels, I felt some obligation to pay it forward.
There was only one problem. My own startup was taking 18 hours a day, 7 days a week at that point. While Silbermann and I agreed on the central importance of curation of images,  my video experience didn’t entirely align with his plan to build a photo-centric platform.
In early-stage investing, offering cash is great, but ideally you want to be able to provide some value. So, after some consideration, I passed on the idea of working with Silberman. Brian Cohen said yes -- and that, as they say, is history.
10 years later, Silbermann, at the ripe old age of 35, is preparing to go public with Pinterest, which currently has a $12.3 billion valuation. The San Francisco-based company will trade under the ticker “PINS,” and posted revenue of $755.9 million in  2018. It has almost doubled its MAUs (monthly active user) since 2016, hitting 265 million users last year.
In 2016 Mary Meeker’s Internet Trends Report said 55% of Pinterest users were using the site to find and shop for products. This compared with just 12% for Facebook and an even smaller 9% for Twitter.
So now Pinterest is poised to grow its intention-based advertising in a rapid and meaningful way.  What’s next? Pinterest is still driven by images, and just launched its “max-width” videos on the platform last year.
“We plan to improve the utility of our service by making it easier for Pinners to go from inspiration to action,”  the company said in its S1 filing. “In particular, we want to make Pinterest more shoppable.”
So, shoppers -- shop away.

Tuesday, March 19, 2019

Negotiating a B2B Sale? Be Proactive versus Reactive

Negotiating a B2B Sale? Be Proactive versus Reactive

Author: 
Andres Lares, Shapiro Negotiations Institute
A sales negotiation is a process, not an event. Events are reactive; they require you to think nimbly on your feet. Effective sales negotiations, however, are fundamentally proactive. While you must still be able to think on your feet, it is the planning and anticipating of various outcomes that will improve your odds of success. Establishing a process that works for you will allow you to plan ahead, which will not only help to maximize your results, but also your ability to repeat that high-level of performance. 

B2B sales are typically more complex than B2C. Consumer transactions are relatively straightforward. Product Z is yours for X price. You are selling to the end user and the purchase price is often small enough that there isn’t a formal decision-making process. But B2B selling is more nuanced. It’s complicated, involving multiple layers of stakeholders in the organization, often with unique priorities and desires.

That’s why proactivity is essential. Taking the time to understand the landscape and key buyers can help illuminate unmet needs and gaps. It starts with a single question:
What should my B2B sales process look like?
It shouldn’t be complicated. Simplicity is critical when it comes to engineering something you can recreate effortlessly again and again. That’s why our ideal B2B sales processes draw on our Three P’s – prepare, probe and propose.

Preparation – Study the target business and consider how the process may unfold.
What’s basic value proposition can you offer? Remember, value goes beyond a product or service if it saves time, improves efficiency, or checks another important box for their business. And do your best to tailor the value proposition to each potential client. Your service or product may not change depending on who you are speaking to, but how it is valuable to each potential client can and often does.
Although this transaction is business-to-business, there is still a human element. Some tips to understand your counterpart include reviewing their LinkedIn profile, maintaining notes from previous conversations, or searching for media stories. The goal is to identify their point of view before entering negotiations.
Probe – Focus on deep discovery to uncover goals from your negotiation counterpart.
Ask questions. Gather insights by being direct. Ask plainly: “What is most important to you?” This will illuminate their interests before you advance, ensuring you’re both on the same page. Be careful to avoid leading questions (e.g., “We know growth is a priority, is that important to you?”) or starting at a granular level before seeing the bigger picture. Also, try to avoid making assumptions – as Albert Einstein said, “Assumptions are made, and most assumptions are wrong.”
From there you’ll be able to prioritize their interests (and yours). Think of it as an opportunity to uncover interests, issues, and insights that will fuel how you propose options to move the deal forward, rather than jumping directly to assumption-based solutions. At this stage you are not trying to problem solve, just ask questions, listen, understand, and build a relationship.
Propose – Deliver a proposal with confidence using insights gained from preparation and probing.
This part of the negotiation will be straightforward if you’ve followed the process. Keep in mind that “nothing convinces like conviction,” so be prepared and communicate confidently. Quick Tip: Consider scripting for your meetings – a strong opening, key points you’d like to make, answer to likely objectives, and how you’d like to close the meeting. Try it at your next meeting, you will be surprised by how much more comfortable and confident you feel and in turn how much more effective you are.

But does it really work in the real world?
Theory is great, but real-world B2B negotiations can spiral in many directions when you attempt to apply what you’ve learned. Remember, there’s no single path to closing a deal, but having a strategy in mind can help you anticipate, navigate, and let you know where you stand.
Here is one example: “I have a tight budget,” or “I don’t have it in the budget.”
When in a sale or a negotiation, you may receive a deflecting response like this. It’s important to not see this as an immediate refusal. Remember that on average, sales people hear no three to 10 times before yes. Keep the negotiation alive by probing further: “Hypothetically, if you had the budget, is this something you would pursue?” You’ll want to uncover whether it truly is a matter of finance or if there’s a separate, underlying barrier. If so, alternative routes can be explored to find an agreement by reverting to other probing questions, such as, “In an ideal world what would you like to accomplish?” Or, “Have you ever not had enough in the budget to move forward with an initiative you were interested in and still found a way to make it work?”
The biggest impact you can make as a sales manager is to ensure your reps have a defined sales and/or negotiation process, support them with resources, and keep them positive through encouragement. Equipping them with a process like the Three P’s will give them a foundation to learn and improve their sales. After all, who wouldn’t want a B2B salesperson who is well prepared, ask questions, listens to the other party, and then matches their solutions to the potential client’s needs?
Andres Lares is the managing partner of Shapiro Negotiations Institute (SNI). He also has a focus in developing new initiatives such as interactive online training and virtual reality based negotiation simulations, and teaches one of the top-rated classes at Johns Hopkins University on sports negotiation.

Push To Give TV Commercials Content Ratings


COMMENTARY

Push To Give TV Commercials Content Ratings

Some legislators and other public interest groups want to push the FCC to review the onscreen TV content ratings system -- including possible ratings for TV advertising content.

Onscreen TV program ratings allow viewers to know the scope of content on TV shows -- whether it has violent scenes, explicit sexual content, or more family-oriented fare.
But that’s not all. Sen. Jim Lankford (R-Okla.) is asking the FCC about a possible review of TV commercials, for content that also may need a rating mark. 
The idea is for commercials to display on a rating somewhere in the video -- telling consumers, for example, what they are seeing has violent, explicit sexual content, or perhaps just family-oriented fare.
But how does one handle this real-time media -- with no lead time for viewers to bail? A 15 -, 30-, or 60-second commercial can come fairly fast.
Currently, a TV content rating for a TV show can appear on the screen before actual programming. In addition, on many electronic TV program guides, via a pay TV provider, ratings appear next to show descriptions.
Some examples: TV-14 (content which adults may find unsuitable for children under the age of 14) for NBC’s “Chicago Med”; TV-MA (for mature audiences) for HBO’s “Last Week Tonight with John Oliver”; and TV-G (a rating where children could watch) for Food Network’s “Guy’s Grocery Games.”
In short, erectile dysfunction drugs might get a stronger content rating than, say, an ad for Procter & Gamble’s Swiffer.
What about an ad for plaque psoriasis medication, where a skin video might upset someone?
Perhaps some racier, or disturbing content, should be left for the internet viewer to screen on YouTube or other platforms. Much easier to click off an ad within, say, a few seconds.
For already hard-pressed TV brand advertisers looking for alternative, supplemental media exposure (with highly valued digital media ROI results), this wouldn’t be good news.
Or would it?
A hard “TV-MA” rating with racy or violent content for a video game on some select cable TV networks, for example, might have some viewers -- especially younger viewers -- hit "play."
Would any new TV-video advertising model have a more content and contextual focus thanks to a TV content rating system?

Wednesday, March 13, 2019

Will TV Station Groups, Networks Compete For National Ad Dollars?

Commentary

Will TV Station Groups, Networks Compete For National Ad Dollars?

Could Sinclair Broadcast Group, Nexstar Media Group or Tegna be looking to compete for national TV dollars?  

The push is on, and not just when it comes to new and/or acquired national media platforms, but possibly through old-fashion TV station station ownership.

In a recent FCC filing, these stations groups are now seeking a 78% cap on U.S. TV households. That's reached from the ownership of scores of TV stations by one company.
The current FCC cap on TV stations is 39% of U.S. homes. This includes UHF stations, which according to the rule, which has been revived, allows media companies to count their UHF stations at half their reach. It means allowing more TV stations deal-making overall.
No matter. TV stations say it’s a different world now, with much more competition. Things should be easier; just make overall TV station U.S. household coverage 78%.

At that level, TV stations could sell, and compete, against national TV networks/platforms (including, in theory, their own TV station affiliate network partners) for national TV advertising dollars.
In the filing, TV stations said the current rules are “arbitrary, unfair restraint on their ability to compete with increasingly national [emphasis added] and indeed global, players in the television programming industry.”

For the better part of a year or more, analysts had rumored that Sinclair, for example, wanted to start a conservative cable news network to compete with Fox News Channel.
Chris Ripley, CEO, Sinclair, quashed that speculation, citing Sinclair’s best efforts for growth came from its own local TV stations efforts. Now, that claim might have some teeth to it.
Unlike when Fox was trying to create a new broadcasting network in the late 1980s -- and needing a group of 150 to 200 or so TV stations as affiliates to gain national TV advertising -- Sinclair, and others, in a modern TV age, are in a better position. Sinclair, for example, already owns -- or operate more than 191 TV stations.

In a mostly deregulation environment, thanks to the Trump Administration, does this model have a chance to succeed?

Set-top Boxes May Underrepresent Minority Populations

Set-top Boxes May Underrepresent Minority Populations


Nielsen says set-top-box/return-path data coming from pay TV providers and other sources can underrepresent certain viewer groups -- in particular Hispanic and African-American homes, compared to other household types.


Compared with official U.S. Census estimates and Nielsen’s representative national panel, these homes -- many coming from cable, satellite and telco platforms -- underrepresent Hispanics by 33%, Spanish-language dominant Hispanics by 49% and African Americans by 34%.
Nielsen adds that when you compare set-top-box/return-path data homes with over-the-air/broadband only, the situation is even worse.

Set-top-box data measurement under-represents Hispanics by 50%, Spanish-language dominant Hispanics by 68% and African Americans by 38%.

Over-the-air TV and broadband-only homes have grown to 28 million in 2018 from 15 million in 2014, where it says “41% of the consumers in those 28 million homes are multicultural (either Hispanic, African American or Asian) and 10% are a younger demographic (18-24).”
Some of this has to do with “weighting” specific groups against other measures. Nielsen says, overall, “A large biased sample is still biased.”

Senators Propose Banning Behavioral Targeting Of Teens Under 16

Senators Propose Banning Behavioral Targeting Of Teens Under 16

--> Two Senators have introduced a bill that would prohibit companies from serving behaviorally targeted ads to anyone younger than 16.

The “Digital Marketing Bill of Rights for Minors,” proposed by Sens. Edward Markey (D-Massachusetts) and Josh Hawley (R-Missouri), would also require companies to obtain explicit consent from teens between the ages of 13 and 15 before collecting their personal information or location data.

The bill would mark an expansion of the federal Children’s Online Privacy Protection Act, which currently requires companies to obtain parental consent before collecting a wide range of data -- including data collected for behavioral targeting -- from children younger than 13.

The proposed bill would also establish a new child-focused division at the Federal Trade Commission. Additionally, it would create an “eraser button,” aimed at allowing parents and children to delete their personal information.

“Congress needs to get serious about keeping our children’s information safe, and it begins with safeguarding their digital footprint online,” stated Hawley, who is quickly emerging as as one of the leading Republican critics of tech companies' privacy practices.

Markey, who authored the House version of the current children's privacy law, introduced legislation in 2011 that would have expanded it by banning behavioral targeting aimed at teens. That effort didn't advance, but the lawmaker suggests that Congress may now be more inclined to advance privacy rights.

“In 2019, children and adolescents’ every move is monitored online, and even the youngest are bombarded with advertising when they go online to do their homework, talk to friends, and play games,” he stated Tuesday. “If we can agree on anything, it should be that children deserve strong and effective protections online.” 

3 Reasons Why AR Can Help Transform Digital Marketing

Note: Thought your author would get the definition of AR for you to help best understand what might be a new term.... Imagine delivering a marketing strategy in real time. Customers and clients get to experience your product or service as it is meant to be used. Augmented reality (AR) marketing takes the reins from virtual reality platforms to create a new, interactive consumer experience. 
Philip Jay LeNoble, Ph.D.

People Get Discouraged Working With Competent Robots: Study

People Get Discouraged Working With Competent Robots: Study
Humans working alongside a robot can have a detrimental effect on the person working with it according to a new study.
Researchers at Cornell University found that as the robot performed better, people rated its competence higher and its likability lower. In those situations, people also rated their own competence lower.
There were rounds of activities established and after each round, participants filled out a questionnaire rating the robot’s competence, their own and then the robot’s likability.
As the humans competed with the robots, the efficiency of the robot was varied by round to determine if there was a difference when the robot performed better.
“Humans and machines already share many workplaces, sometimes working on similar or even identical tasks,” stated Guy Hoffman, assistant professor in the Sibley School of Mechanical and Aerospace Engineering. “Think about a cashier working side-by-side with an automatic check-out machine, or someone operating a forklift in a warehouse, which also employs delivery robots driving right next to them. While it may be tempting to design such robots for optimal productivity, engineers and managers need to take into consideration how the robots’ performance may affect the human workers’ effort and attitudes toward the robot and even toward themselves.”

Online Radio Is on the Upswing in Los Angeles


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Online Radio Is on the Upswing in Los Angeles
BRETT CALLWOOD | MARCH 13, 2019 | 6:00AM
The internet has pretty much taken over popular culture since the '90s, defining all corners of entertainment. It stands to reason that radio would be similarly impacted, and it has. But there are factors that complicated the growth of online radio when compared with the rapid rise of streaming music and TV/movie services, online newspapers and magazines, etc.
It's well known that people often (not exclusively but often) listen to the radio in the car. That's why the morning rush hour spot is so in-demand. And here in Los Angeles, where many of us spend hours each week sitting in traffic, the radio can be a sanity saver. So online radio really had to wait for mobile technology to catch up, which it finally has. The combination of Bluetooth in cars and smartphones allows online radio to blast us into some semblance of contentment while dealing with stand-still traffic jams.
Another significant issue has been the means of presentation. Everybody knows how terrestrial radio works. A series of DJs and hosts rattle through a playlist and entertain us in between. But in the modern world, where people can find any song in seconds, finding a place for that "appointment radio" online wasn't without its challenges.
"In the Spotify era, appointment radio doesn't make a whole lot of sense, but then vinyl records don't make a whole lot of sense in the digital download era either," says Jose Maldonado, program director at The Independent FM. "Here we are with people going after the vinyl records for that retro style. What we're doing at The Independent FM is trying to keep that retro on-air DJ, personal approach."
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The Independent FM, focusing on indie music, was born out of traditional FM radio station Indie 103.1 which went off the air almost exactly 10 years ago.
"When Indie 103.1 was on the air, the frequency 103.1 FM had very poor reception in most of Los Angeles," Maldonado says. "So a lot of people were taking to listening to the stream that the station was using. When they went off the air in FM, the idea was that we have enough of a listenership that listens via streaming ,so why don't we see what happens if we just keep it going. And so they did."
Luxuria Music's Ms. Paisley, left, Agent Kari and Michael Quercio
Luxuria Music
While some existing stations were gradually making the switch from terrestrial airwaves to a streaming platform, others were watching from the sidelines and making the leap to the online radio world without prior broadcasting experience. That lack of instant brand recognition might have proved to be a stumbling block, but the strong survived. One of those was and is Luxuria Music.

"It was launched back in 2000 by a consortium of music nerds who were interested in seeing what a digital platform could become," says Kat Griffin, Luxuria's program director. "They rallied a bunch of their friends. They just wanted to feature music that was widely ignored but celebration-worthy. That's why they went on for an instrumental, pop music kind of thing in the wake of the lounge revival."
Clear Channel purchased Luxuria but, soon afterward, it was allowed to slip out of existence. Then in 2005, current owner Cliff King found that the domain name had become available again and purchased it. Luxuria was back and it has thrived since, boasting names as revered as Howie Pyro and Kristian Hoffman in the ranks.
"There's been growth and there's also been transformation, a morphing into another kind of an entity," Griffin says. "In 2006, people would listen on their computer. What's changed is the way our audience uses media. We reach our audience through our live stream. We also have a podcast page, so we archive our live shows."
Twin XL (John Gomez, left, Stephen Gomez, Cameron Walker) recording for idobi Radio
Tommy Wooldridge/idobi Radio
Similarly (kinda), idobi Online Radio launched in 1999 when founder Tom Cheney was working on internet radio for MTV. The network abandoned the project but Cheney kept at it and idobi (the lowercase is intentional) was born. That was incredibly early in the birth of online radio, and idobi has led a lot of the subsequent growth.
"We've really helped to mold and create the industry," says Sherin Nicole, idobi's chief creative office. "This is pre-Pandora, pre-Spotify, this is before all of that. The growth of idobi over that time has been very similar to the growth of streaming. It's been exponential. What started as a project in Tom's basement, more or less, has become a thriving business."
Idobi was born on the East Coast but has had an L.A. office for about five years, and it recently moved into a larger North Hollywood space just this year as it continues to expand. For idobi, the specificity of the content has been key to its success.
"I think what's great about us is we're really grounded in the pop-punk scene, and we've grown into an alternative-rock network," Nicole says. "So that audience knows that we are with them. We're fans of the music like they are, and we get excited about the music just like they do."
Online radio is obviously available to anyone, anywhere, who has a connection, a fact that redefines what it means to be a local radio station when broadcasting exclusively on the web. That means thinking hard about your approach.
"What I do with The Independent FM is I still try to keep it live," Maldonado says. "I still try to keep it where there is a physical human being answering the phones. So if somebody is making a request, whether it be via the 888 number or Twitter, they can still get that instant contact that we used to get back in the old FM days."
For Griffin, Los Angeles is where Luxuria belongs.
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"We were born in L.A., the people that built Luxuria were a part of the communities here," she says. "Grow where you're planted. There are a lot of people here who want to work and do things. Once you come to L.A., a lot of people don't stay. They go back to where they came from. But no one ever talks about the people who come here, look around and say, 'Oh my God, I'm home. I'm never leaving this place.' That's what we did."
Of course, The Independent FM, Luxuria and idobi are not the only online radio stations in town. There are the rich histories of KChung, Dublab, NTS, KPJK, KNAC and others to consider, and we had finite space here. But it all points to a healthy future for online radio in L.A. moving forward.