Using the Internet and social media
The Internet has been a game changer, introducing new ways to listen to radio and bringing about a revolution in the way the listener and the broadcaster can communicate and share content. In previous decades, the revolution has been led by the radio industry, driving and controlling the innovation, by embracing scientific discovery, technical developments and innovation in production techniques. In contrast, the ‘Internet revolution’ has been largely driven by the audience. From the ‘selfie’ to YouTube videos, from tweets to messages on Facebook, the public has driven and satisfied an insatiable desire to ‘share’.
The gradual expansion of broadband and mobile capability has compelled the radio industry to question some of its preconceptions about audiences, established production practices and distribution methods. Broadcasters initially found it difficult to accept that no one person owns the Internet and there is no ‘gatekeeper’, for this methodology is very different from the original model of the radio industry. Now it is possible for anyone to set up a radio station without the usual restrictions of spectrum and wavelength agreements. After a short period of playing ‘catch-up’, the industry has, more recently, eagerly embraced the Internet, delighted that radio is being brought to new audiences through ever expanding platforms.
The Internet has changed the way we listen and watch, the way we read and learn, the way we communicate and the way we interact with each other. But it is important to clarify a common misconception: the Internet and the World Wide Web are not synonymous. The Internet is a networking infrastructure that connects together millions of computers across the world. Using this network any computer can communicate with any other computer, as long as they are both connected to the Internet. It is the Internet that is used for email, instant messaging and the transfer of multimedia files from one location to another via FTP (File Transfer Protocol).
The World Wide Web (www or ‘the Web’) is a way of accessing and sharing information over the Internet, using a language, or protocol, called Hypertext Transfer Protocol (HTTP). The web resides on the Internet, and is responsible for a large amount of data traffic that makes up the Internet. Our personal computers make use of a software application called ‘a browser’ to access web pages. Popular browsers include Internet Explorer, Firefox and Chrome. The browser is designed to search for information on the web, with search engine results generally being presented in the form of ‘results pages’ containing information in the form of text, images, audio, video and other types of data. Popular search engines include Google and Bing, and searching for the most topical keywords may bring forth many thousands of results pages.
An online presence is vital for all radio stations who wish to have any chance of competing for audience reach and share in the twenty-first century. It reinforces the presence of a station and reinforces the identity of its presenters. For a smaller station, Internet presence may be limited to a simple website incorporating a few pages with contact information and a basic schedule. The ‘Home’ page will often have an option to ‘Listen Live’, perhaps displaying information regarding the current audio item playing. Larger stations will often support a website that extends to many pages, some of which are being frequently updated to reflect changes to news and events. There will be sections for breaking news stories, weather, sport, events and entertainment news. Every day more pages will be added so the site will steadily grow, quickly creating a wealth of archive material. Within a very short time the station may have a website that extends to many hundreds, even thousands of pages.
The global roll-out of faster Internet connections and the growth in the number of mobile- and Internet-capable devices has led to a revolution in the distribution of radio stations. Many thousands of stations are now available via the Internet. Some make use of the Internet as an auxiliary distribution option in addition to transmitters, while others use it as the sole distribution method. The first station to make its programmes available via the Internet was in 1994 in the United States, and in the space of just a few years live streaming has become a worldwide phenomenon, with even small stations choosing to increase their audience reach in this way. Every radio station with an Internet feed is now an international broadcaster, with the potential for listeners anywhere in the world where an Internet connection is available.
In its simplest form, live streaming is a straightforward process that requires an audio source, a computer and an Internet connection. The audio is processed and compressed via a soundcard and software application into a continuous data feed, uploaded as a continuous stream to the Internet. This is available to the listener as a continuous playback stream, without the need to download before listening. For a 24-hour streaming service the data use will be considerable, and this must be considered when costs are estimated. The popularity of unlimited data packages, which are ‘uncapped’, makes this less of a problem today than it was a few years ago.
Any individual or group can, for a modest investment, set up a global Internet-only radio station with a potential for many thousands of listeners. Without listeners it is hardly a radio station, so it will be necessary to find ways to tell your potential listeners about the service you are offering. Fortunately there are many services on the Internet which will help to promote Internet radio stations and assist in distribution and marketing – for a modest fee.
In addition to live streaming, larger stations will often make their programmes available as an ‘on-demand’ service. This will enable those who have missed a programme when it was broadcast live to catch up at a later time, often for a period of seven to 30 days after the original broadcast. On-demand services may also be available as downloads. Depending on intellectual property rights, these downloads may be protected by a Digital Rights Management System (DRM) which controls how long the audio file can be played before it ‘expires’. The time may vary from a few days to a month or more, and this expiry information is encoded in the audio file.
In the case of larger stations, the administrator of the website will need to be aware of how quickly the storage requirements of the site will grow in quite a short space of time. Whereas many thousands of pages of text can be stored in a few megabytes of storage space, audio and video can soon consume many terabytes of storage.
In addition to a personal computer, there are multiple ways for a listener to receive and play Internet radio – mobile phones, laptops, netbooks, iPods, tablets, Internet radios, smart televisions, smart watches and other mobile devices. To aid listening on a computer the originating station will arrange a loading page on their website so that a listener can simply click and play the audio stream. The audio will then be available via the listener’s web browser and will play live via the media player on the computer. Web browsers also come installed on some televisions, and inexpensive add-ons are available for those who wish to extend the capability of an older television receiver.
Tablets and smartphones make use of client application software – or ‘apps’ – as a convenient way to access Internet radio. In addition to offering ways to search through the thousands of Internet radio streams available, apps also provide options to save favourite stations, and also access recently played stations.
Portable radios which are Internet capable often have additional DAB and FM tuners. Some also add solid state memory, usually in the form of a removable SD memory storage card, so that the user can record programmes for later listening. A ‘pause audio’ option may also be available. This allows a listener, who experiences an unexpected interruption, to press the pause button, and resume listening from the same point when the intervention has passed.
A podcast is a digital audio file downloaded through the Internet or streamed online to a computer or mobile device, featuring a pre-recorded radio programme. The word is derived from ‘broadcast’ and ‘pod’ from the success of the iPod, as audio podcasts are often listened to on portable media players.
There is often an option for the listener to ‘subscribe’ to the podcast feed to enable the download process to be automated. When the publisher adds new podcasts, the files are downloaded automatically as soon as they become available. Podcast files are then stored locally on the user’s device ready for use offline, even when an Internet connection may not be available – for instance during a daily commute to work. Downloaded podcasts are usually free of DRM and can usually be played indefinitely, although some may omit or shorten music inserts for copyright reasons.
Other names for podcasting exist, such as ‘netcast’, which is a vendor-neutral term avoiding a reference to the Apple iPod. In the first few years of development, enhanced podcasts which displayed images synchronised with the audio found great popularity. These have largely given way to audio-only podcasts, largely because faster connections have made video podcasts possible where graphics and images are desirable.
A station may provide podcasts from a range of its popular programmes. These may vary from full programmes which have previously been broadcast to compilations of ‘best bits’. These podcasts of entertaining extracts are extremely popular with those who might have missed their favourite show or wish to do a quick catch-up by listening to bite-sized chunks. Daily compilations of news also provide the opportunity for the listener to catch up on local, national and international developments they might have missed. Podcasts are also made by celebrities who might not necessarily have regular radio broadcast shows. The British actor and comedian, Ricky Gervais, is one popular exponent of the podcast, and at one time held the record for the most downloaded podcast. In addition, publishers of newspapers and magazines create well-subscribed weekly podcasts. Whether these podcasts, without a supporting radio station, could technically be called ‘radio’ is doubtful – what is clear is that, providing you have a microphone and a device that is capable of connecting to the Internet, anyone can become a ‘podcaster’.
Internet research is now part and parcel of everyday life and, for the radio producer or presenter, searching is a skill that is well worth perfecting. The Internet not only provides instant access to news and current affairs but also can help with more general research. Key words are used to search for just about anything, but that does not always mean finding the answer you need. It is essential for efficient research to learn the specific syntax of your preferred search tool. Carrying out focused and defined searches will allow for at least some of the material to be filtered out. For example, it is useful to check out Google’s own help pages.
Figure 4.1 A USB microphone which connects directly to a computer and, using software which is provided with the mic, has a headphone socket built in to the body of the mic. Used for simple podcasts and Internet streaming
While carrying out research online it is necessary to be aware of some of the possible pitfalls. These can range from digging up too much information to relying on non-trusted information and even hoax sites. Remember, anyone can write anything they like and put it on a website! It is best to find several sources so that research findings can be cross-checked.
Concerns about material on a website can be verified with the owner of the site by using a generic tool such as ‘whois.com’ or ‘coolwhois.com’. Also, if you are unsure about the provenance of an image that has been sent by a listener you can use ‘Tineye.com’. This site allows you to check where an image has come from and whether other versions of it exist.
For investigative journalists online safety is paramount. It may be necessary to keep your email secure by using an anonymous tool, and also to be able to use programs to hide your IP address. This can be accomplished by using a web-based proxy tool, several of which are available free of charge.
Making the best use of social media
If any justification were needed to support the use of the word ‘revolution’ in describing the changes the Internet has brought to the broadcast industry, then all that is required is the mention of two sites, Facebook and Twitter. Although Facebook was created in 2004 for an academic community, it was not until two years later that it was available to all. The same year, 2006, saw the birth of Twitter.
People have swarmed to embrace the idea of sharing content online and, for many, social media is a daily routine that has become a vital part of their lives. As of 2015, statistics from Facebook quote 864 million daily active users, while Twitter is said to have 284 million active users.
The broadcast industry made early attempts to encourage listeners to join a ‘community’ and contribute to an online conversation by creating ‘message boards’. Like-minded listeners could join in a shared community discussing programmes, presenters, news stories and so on. The broadcasters hosted the content themselves – and here was the problem. Because what was written on the message boards could be construed as being the voice of the broadcaster, the radio station had to take full responsibility for the content created by its listeners. As a result ‘moderation’ became necessary – the role of the moderator was to monitor comments being uploaded to the site and act as editor, removing any comments that could be considered offensive or libellous. The users did not like the intervention of a moderator, viewing the role as a form of censorship; and the broadcasters did not like it much either, as it used valuable editorial resources. Then along came Facebook, Twitter and other popular social media sites which the broadcasters were keen to embrace, as these provided a sense of community and content sharing, but without the burden of hosting and editorial responsibilities.
Different types of social media have different uses, strengths and advantages. Sites such as Tumblr, Flickr, Beebo, Instagram, Myspace, Google+, YouTube and Pinterest, for example, provide ways for listeners to get in touch, stay in touch and share content. The post or tweet is there for all the community to see – listeners and broadcasters alike. Everyone is sharing the same space on an equal footing and the communication process is instant and, unlike a phone call, text or email, a tweet or a post does not require a personal response.
So what are the advantages to a radio station of embracing social media? There are two main aims – to create content and to increase the audience and reach and share, i.e. gain more listeners and encourage existing listeners to listen longer. Each post or message is a marketing opportunity for a radio show, or the station as a whole, remembering that each post may be shared on Facebook or re-tweeted on Twitter. Thinking of the way fruit flies multiply, from a pair to millions in a few days, it is easy to comprehend how a post can ‘go viral’ overnight. Using social media, it is possible for an audience to a daily show to create content even when the programme is not on the air. The ‘Breakfast Show’ may only be on air from, say, six o’clock till nine, but with the aid of social media the show lives on 24/7.
The producer of the ‘Breakfast Show’ arriving at 3.30 in the morning can find the gift of a dozen new items which have been suggested by listeners overnight. Is this a reason for the production team to be lazy and complacent? Certainly not – but in addition to the leads and exclusives that may be found in this way, the producer can also make use of social media to reinforce the brand of the station and launch topics for future shows. By encouraging listeners to be ‘followers’, a tweet will be brought to their attention at any time, even when the show is not on the air. Careful timing of tweets can greatly increase the effectiveness and volume of responses, and a simple well-timed tweet can remind followers when the programme is back on air or alert them to special subjects.
Listeners are now very capable at collecting good-quality audio (and video) via their mobile phones. This ‘citizen journalism’ can make a major contribution to breaking stories. Listeners are likely to be first on the scene and it is often far less cumbersome to upload multimedia to a Facebook account than to do the same using a station’s own website. Audio material which has been collected by a listener who is ‘on the spot’ can be used as actuality for a news story. Even the uploading of images in the form of video and photographs is actively encouraged. They bring a new dimension to the radio station which is receptive to social media, as they can be shared with their own followers and added to the station’s own website. This rich media content will be especially important during severe weather conditions or at times of other natural disasters. Permissions for use may have to be sought, and questions regarding ownership and intellectual property rights might need to be discussed; and of course it will be necessary to treat all posts with an element of caution and to check each one for authenticity and accuracy before broadcast. Apart from the risk of spurious, malicious or joke posts, what is often overlooked is that businesses and commercial organisations will put much time and effort into creating and crafting posts, writing tweets and filling news feeds with content that marketing departments want you to see – and broadcast!
There are other dangers and pitfalls associated with an over-reliance on social media. It is necessary for presenters to remember that not every listener is riding high on the wave of new technology and social media, and it is easy to disenfranchise this section of the audience. There are still many ‘old fashioned’ listeners who just want to listen to the radio without contributing content. These listeners do not wish to communicate with other listeners, do not want to share content or tweet their views on anything and everything to the programme presenter. Such listeners may easily tire of hearing the presenter frequently imploring listeners to ‘Join us via Twitter’, ‘Visit our Facebook page’, ‘Contact us on email at so and so’, ‘Text us on xxx’ or ‘Call us on xxx’. Reading out a list like this can take up to 30 seconds, and it can easily sound like desperation. The key is in the balance – it might be enough to mention the website and perhaps one other method of contact which can be varied at each junction. The full contact information is listed on the station website and the tech-savvy will be quite familiar with using it as the first port of call for details.
It is fairly safe to assume that listeners to a programme or station aiming for a younger audience will be more familiar with the Internet and social media. For instance, in the UK a station like BBC Radio 6 Music, with a diet of music aimed at adults under 35 years old, was conceived as a digital station. When its future was in doubt because of financial cutbacks it was largely a campaign on Facebook that saved the station from closure.
Presenters are often keen to encourage listeners to follow them via their own personal social media accounts. There is a danger here that any personally posted messages may be considered to be views and comments of the radio station – particularly difficult if the comments are ‘off message’, perhaps with a political bias or with the possibility of causing offence. There could be conflicts regarding commercial interests. What if a presenter tweets about a movie he/she has just seen and considers the plot was ‘rubbish’, and the radio station is running a series of commercials for the same movie? Similarly, if a presenter endorses a product in a social media posting, when the station is running a lucrative commercial campaign for a product that is a major competitor. In either case the commercial director is not going to be pleased! When a personal profile is promoted, and even flaunted online, there is also the danger that a presenter could come under attack via social media trolling.
The divergence and expansion of social media has meant that customer service needs to be very good, and seen to be very good. A few years ago people would write a letter of complaint to a radio station and await a reply. Now a complaint is posted on social media and a conversation happens instantly – and in public.
Another risk the station might have to face regarding presenters who promote their own social media accounts, is that when a contract comes to an end, and that presenter moves to another competing radio channel, the management could find that a large section of the presenter’s followers will jump ship too, taking a large chunk of the audience with them. For this reason many stations have agreed policies and standards regarding personal emails, tweets and posts. The advice may be to keep personal accounts quite separate, or to have a consistent pattern to the Twitter names, via a station account, such as @firstnameradiostation. Although this arrangement may not be universally popular with presenters, they will be less likely to deviate from agreed policies when their name is seen to be inextricably linked with the station.
Instant messaging via social media can be a real guide to the way a programme or subject is engaging the audience. A hot topic will bring forth many instant tweets and comments, providing a way for the station to gauge and understand its actual influence on the audience. When reading out messages, tweets, emails and texts it is important for producers and presenters to be aware of their responsibility regarding the privacy of personal information. The detail the listener provides might be of a highly confidential nature, and it is easy for too much to be disclosed on air. It is important to remember that people get support from communicating with like-minded people, but also to be fully aware of the station’s responsibilities regarding the prevailing data protection laws.
By its very nature this instant communication via social media necessitates that interaction is broadcast live; judgements have to be made instantly – and this is where experience and good staff training are vital.
The dilemmas and conflicts of interest that may be associated with personal posts are an even greater risk in blogs. Formed from two words ‘web’ and ‘log’, a blog is a personal discussion or expression of views published on the World Wide Web. The posts are usually published via a web publishing tool or ‘blogger’. The advantage of a blog is that the writer is not restricted to the 140-character limit of a Twitter message. Blogs often provide quite lengthy commentaries and debate on particular subjects, usually offering interactivity so that users are able to leave comments and even message each other. Typically a blog might include text, images and links to other blogs. Editors, producers and presenters may all engage in either a daily or weekly blog. The same editorial standards that apply to a broadcast should also apply to all posts, whether via a blog or other social media tools. Crossing the line of acceptable taste and ignoring legal liabilities can lead to serious consequences. Exact legislation varies from country to country, but courts are now bringing actions against posts that are considered to be defamatory, and charges have led to successful prosecutions. The safest approach is to consider every tweet and post as a broadcast, and it is sensible advice not to write anything on a social media account that you would not actually say on air.
Here is an illustration of social media in action during a developing story.
David Clayton is Editor of BBC Radio Norfolk, a local station covering the east coast of England. The station broadcasts across the large rural county of Norfolk which, by area, is the fifth largest in England. With nearly 100 miles of coastline exposed to the North Sea the risk of dramatic coastal erosion and flooding is high. In the region there have been major flooding incidents over the past century, most notably in ‘the 1953 flood’, when over 300 people died. More recently, in December 2013, Britain was once again battered by a tidal surge and Norfolk was particularly at risk with 20-foot waves smashing against a string of east coast towns. No one could predict how serious the outcome would be, but some months later the radio coverage of the night won the station a gold award in the journalism category at the annual Radio Academy ceremony in London. The Judges said the radio station’s coverage was:
Vivid, dramatic but always responsible reporting that placed this talented news team right at the heart of a developing story. This is local news-gathering at its finest – when radio becomes the essential ‘go to place’ for information. Story telling that was always in touch with its community, often moving, and always compelling.
Clayton admits that social media made a big contribution to the Radio Norfolk coverage. The station and its team of presenters had already established a good rapport with listeners via social media and in addition to the team of regular reporters this was a great opportunity for ‘citizen journalism’. Over the previous year, the station’s listeners had been encouraged to participate and contribute via emails, Facebook posts and Twitter tweets, in addition to the traditional methods of phone and email (letters are something of a rarity these days). The station had already established its own Facebook and Twitter accounts, and on the night the feed was almost unstoppable, with people contacting the station with updates on the state of the sea defences and contributing dramatic pictures. Houses were going over the cliff and seaside cafés were being washed into the sea. On the night of the floods it was shown that Twitter was much more effective with quick two-way communications, whereas Facebook was used for more considered posts. A member of the team was responsible for managing social media, disseminating images, tweets and texts from reporters and listeners and uploading them to the station’s accounts. When re-posting images and messages contributed by listeners Clayton stressed it was important to attribute each one and put it in context. He felt listeners were now accustomed to differentiating between contributions from a member of the public and official announcements from a reporter or the emergency services.
Figure 4.2 A mobile phone showing how a local radio station was able to use social media to good advantage on the night of a storm emergency
The website has an audio interview with David Clayton, with illustrative clips from BBC Radio Norfolk’s storm coverage.