The CyberPR (Ariel Publicity)New Media Pioneer Interviews 17


Adam Hiniker

EarCandy New York

Q:  How long have you been broadcasting/blogging?

We created Ear Candy about a year ago and recorded shows sporadically for the first nine months. It was just December that we started doing a weekly show.

Q:  In your opinion, what does a good song need to consist of?

In my opinion it has to have an edge or some very apparent emotion behind it. I don’t necessarily think a song has to be cutting edge or innovative to be great (though it helps) as long as an artist shows skill in their craft and confidence in how they deliver it.

Q: What is your favorite band or favorite genre of music and why?

The genre I listen to the most is hip hop, it’s an extremely raw form of expression considering the overhead is very minimal and  so much can be said in just sixteen bars of a hip hop verse. I grew up listening to hip hop and always liked it for superficial reasons but in the early nineties I discovered their were acts out there that wrote about things I could actually relate to and that’s when I started getting ideas about producing music.

Q: What changes in content laws, broadcasting rights, etc. have effected you most?

With all of the podsafe music resources and the fact that most artists and labels are more than willing to let us play their music these types of changes haven’t affected us much.

Q: A recent study found blogs to be more effective than MySpace in generating album sales, do you feel that that is a true statement?

Yes, I think their is a lot of random solicitation on myspace, however when someone blogs about an artist or album it’s a form of reference for the reader who generally values the bloggers opinion. Blogging is a great form of promotion for artists and also gives music fans an opportunity to be a journalist, I think this drives sales in a way that making mix tapes used to but on a much larger scale.

The CyberPR (Ariel Publicity)New Media Pioneer Interviews 16


New Media Pioneer: Pete Cogle, one of the podcasters at the Association Of Music Podcasting

Host of  the PC Podcast, featuring eclectic music from around the world: and

The Dub Zone, featuring the very best dub reggae: and

PCP{2}, a deeper look into the musical genres explored in PC Podcast:


Plus he is the co-host of

Made In The UK, featuring some of the very best UK music, for the world:

AMPed, the weekly digest of the Association of Music Podcasting at:

Q: How can a podcaster become a part of Association of Music Podcasting (AMP)?


Firstly, you need to have produced at least 5 episodes of your podcast. We want to make sure you don’t “podfade” after your first couple of episodes.  Secondly, all of the music must be podsafe. AMP is about the music that doesn’t get airplay on mainstream radio. Unless artists have specifically made some of their music podsafe, we can’t play it.  We also charge a small membership fee, which helps with hosting and other activities.


Most importantly you need to be good at podcasting. Before becoming a member, your podcast will be peer reviewed. We take into consideration the podcaster’s passion about their music, their broadcasting style, the quality of their broadcasting equipment, the quality of the music they play and even the sample rate they create the podcast at.  Not everyone makes the grade.


Q: What is the background story on how AMP came about? 


AMP’s history goes back to late 2004, long before I joined. Chris MacDonald, Derrick Oien, Bob Goyetche and Jason Evangelho all had important parts to play in setting up the association long before podcasting became a mainstream term.  Back then, Apple was reluctant to accept music podcasts into their iTunes store, because they were worried about licensed music being freely distributed under their umbrella.  AMP became the first association to offer Apple a “safe harbour” knowing that AMP member’s podcasts would be podsafe. AMP was also the first association to offer episodic downloadable media, and start creating a library of music. This library later went on to become a profit-making enterprise as the Podsafe Music Network.

AMP was, and remains, a non-profit making association, and after a hiatus in mid 2005, George Smyth got things moving again. After revamping the website and building some tools to automate the process of making a collective podcast, the AMPed podcast became a weekly event in the podosphere.

I joined the association in March 2006 and have been a regular contributor since then.  Like many new members, initially I just submitted tracks to be played on AMPed, and occasionally became the host.  More recently I’ve taken over a few more duties, like webmaster and membership secretary.  Now many of the members have regular roles maintaining the podcast feed, making sure we all submit music on time, organizing the host rota and hosting the show.  Everyone gets to do as much as they want to do. We’re a good team.


The best thing about the association is that we all have a voice. We’ve had some great suggestions from new members and old members alike and we keep moving forward.


Q: How do you go about choosing which shows to feature on


Each podcaster can submit a track to AMPed each week.  If everyone submitted a track the show would be 3 hours long, but we generally get enough submissions to fill a 40-60 minute show. It’s entirely up to the podcaster which tracks they want to play, but as they have only one track to chose, it means AMPed ends up being the best of the best. AMPed is also work and child safe.


The week’s host is the final arbiter of what tracks make the show, and the running order. All the hosts have a different style and like different kinds of music, so it’s as much of a journey of discovery for them as it is for the listeners. I’m sure some of the hosts groan when I’ve submitted a track sung in Russian or Cambodian, but hey, I like that stuff, and I think the listeners deserve to hear it. You don’t hear that on mainstream radio!


Q: How does AMP keep changing?


Every new podcaster brings a new perspective on how to promote their podcast and their favourite music. We have members who really understand Search Engine Optimization (SEO), and we’ve completely revamped out website, to pull in all the latest information from our member’s blogs and podcasts, straight to our front page.


We have other members who are really passionate about social networking, be that via Facebook, Myspace or  We’ve recently started using Twitter to publicize when we have new podcasts available, and we’re looking at using Twiturm to “tweet” podcast “samplers” of the shows out to people on the move.


We also want to hear what our listeners have to say, so we’ve created a survey on the main page of our website They can tell us what they think of the show, what we do right, and what we should be doing better.



Q: What changes in content laws, broadcasting rights, etc. have affected any podcasters being able to air their music?


Back in 2004, there were no clear guidelines, but, as I mentioned, Apple were worried about allowing music podcasts into the iTunes store, especially after the legal ruling in the case.  Because all AMP podcasts were vouched podsafe, this gave Apple the solution they needed and all the AMP member podcasts were approved.


Since then, many content laws and broadcasting rights have been suggested, and these vary from country to country. AMP has always been international and we have podcasters based in the US, Canada, UK, Germany, Portugal, Australia and even Nepal, so it’s not easy to see which rules would apply. There are also more stringent rules for streaming services, than there are for podcast downloads, but as long as we keep within our guidelines of using podsafe music, we can continue producing podcasts.


Today there are a large number of resources that podcasters can use to get podsafe or Creative Commons licensed music, such as IODA Promonet, Magnatune, Jamendo and Music SUBMIT as well as the Podsafe Music Network, and, of course, Ariel Publicity.  We also get music from other sources such as Myspace, and from the artists directly, but we do need to make sure the artist, manager, or label gives us permission first. Ariel Publicity is a great service for us, because we know all the hard work has been done beforehand and we can legally play the music.


Of course, nowadays everyone knows what a podcast is. When AMP first started, artists were quite unsure of our motives or even what a podcast was.  It’s great to see some of the big artists like, Tom Waits, Bloc Party, Nick Cave or the Manic Street Preachers leading the way and making some tracks podsafe. This encourages up and coming artists to do the same.


Q: A recent study found blogs to be more effective than MySpace in generating album sales, do you feel that podcasts will have the same effect as well?


Absolutely!  I wear a T-shirt that says “Podcasting Is Selling Music” and another one of our members talks about “Promotion Not Piracy”. 


Myspace is great for artists to allow listeners to hear their music, but the listener has to go searching if they want to find something new.  If you find a podcast that you like, you can let the podcaster be your guide. We’ve all heard from listeners that they’ve bought an album that they never expected to like because they’ve heard it first on a podcast. 


I’ve played bands back in 2006 that none of my friends had heard of, and now they’re playing the main stage of the largest festivals in Europe. OK, that’s not all down to podcasting, but it’s part of the process. Mainstream radio only picks up on bands when they have a major record deal. Podcasters are playing the music months, even years before then.


If you want to hear something you’ve heard before by the Beatles or the Eagles, then feel free to go to Myspace or listen to mainstream radio. If you really want to hear something really new; something recorded this year, recorded yesterday, something that’s not even finished yet – then listen to a podcast!




The CyberPR (Ariel Publicity)New Media Pioneer Interviews 15


New Media Pioneer: Joel Gaines of the Joel Gaines Show and Internet Radio Magazine


Internet Radio Magazine reports on trends happening online in the Internet Radio space. They feature an artist every week.


Q: How long have you been broadcasting/blogging?

A: I was a political blogger for 8 years before I became a broadcaster. We’ve been broadcasting The Joel Gaines Show for just over a year. Because of our experience with Ariel Publicity and the artists we’ve interacted with, we have decided to revitalize Internet Radio Magazine dot com as a more music-based property.

Q: In your opinion, what does a good song need to consist of?

A: For me to gravitate to a specific song, I have to feel it. I’m not saying I have to be able to relate to the song topic, but I do have to feel like it’s not contrived. Artists who are investing more than time into a track tend to come across more passionately. That’s what I look for.

Q: What is your favorite band or favorite genre of music and why?

A: I have to admit my favorite genre is 70’s funk and my favorite band is Journey. Having travelled to nearly 30 countries, I have picked up an appreciation for just about everything. Shuffling my music player might find Hazel O’Connor, Crossfade, G Tom Mac, and George Straight played one after the other.

Q: What changes in content laws, broadcasting rights, etc. have affected you most?

A: I have broadcast under a station license and as an individual internet broadcaster. Trying to stay in license compliance and keeping your music fresh can be price prohibitive for the little guys. I really enjoy the podsafe offering from the fantastic artists Ariel Publicity promotes.

Q: A recent study found blogs to be more effective than MySpace in generating album sales, do you feel that that is a true statement?

A: I think it is true. A blogger has more specific opportunities to attract traffic and it is easier to be a big fish in a niche pond. On Myspace, no matter what you are trying promote, you are faced with being just another fish in the ocean. I’ve seen social media work for people when they use it as a means to bring traffic to their blog, but it needs to be looked at more as just another tool in the kit.


The CyberPR (Ariel Publicity)New Media Pioneer Interviews 13


New Media Pioneer: Kevin Breuner of the CD Baby Podcast


Kevin is a podcaster, blogger, and sync licensing agent.He resides in Portland, OR where he developed and maintains the podcasting and sync licensing efforts for CD Baby.


Podcast –

Blog –

Twitter – kbreuner


Q: How long has the CD Baby Podcast been broadcasting?


A: Our first episode of the DIY Musician Podcast posted back in May 2007, so we have been podcasting for a year and a half.


Q: What do you try to acheive with each podcast?


With each episode, I’m always asking myself, “What can artists learn from this episode. Does this create discussion around topics that are really valuable to the indie music community?” Those questions are bouncing around in my head from the beginning to the end of an episodes production. I think with a podcast or blog, it’s incredibly important to stick to the intended purpose, and because of that, there are interviews that were never released. When it came down to it, they didn’t serve the purpose we want to achieve with the podcast. Ultimately, I hope that each episode continues to empower artists to take their music career into their own hands and make some realistic steps forward.


Q: What is the main goal of the CD Baby Podcast?


A: My goal with the podcast was to create an “honest” straight forward resource that CD Baby artists and the indie music community at large could use to help move their career forward. I always enjoy talking to other artists and musicians(I’m an artist as well!), and throughout my time at CD Baby, I’ve talked to thousands of artist that are trying to breakthrough with their music. What surprises me, is how many artists, both newbies and seasoned veterans alike, fall into the same traps over and over again.


Q: What changes in content laws, broadcasting rights, etc. have effected you most?


A: So far, podcasting has remained relatively untouched. There are quite a few podcasts that play mainstream music (that has not been properly licensed), and I think we’ll start seeing the major labels take an interest in cracking down on the usage of that content. But the beauty of the podcast and the invention of the RSS feed, is that you can have direct access to people who are interested in what you are saying. There is no gate keeper telling you what you can and can’t do.


Q: A recent study found blogs to be more effective than MySpace in generating album sales, do you feel podcasts have that power?


A: I do, and I’m actually surprised that more bands aren’t using podcasting to help promote their music. We actually interviewed a band that released a podcast before they even had all their members. The podcast chronicled their journey as they found the final member and wrote songs, recorded and so on. It immediately caught the attention of the folks over in the iTunes podcast section, and the band’s podcast received a front page feature before they had even played a show. By the time they had all their members and started playing out, people were coming out wearing the bands t-shirts they were selling through their website. The fans really felt a connection to the band. I will say though, for a band to have a podcast that builds their fan base, it must have a couple key components. 1. It must have a point – It can’t be people goofing off in front of a mic or telling inside jokes 2. It must draw the listener into the bands story – Save the shameless self promotion(They probably already are a fan) and give them the real you. 3. It has to be consistent – quite possibly the hardest part. Nobody will be interested in it if you do one episode every couple months. I’m actually in a new band here in Portland, and we have a podcast in the works. We’ve spent so much time really trying to define what it will be and how it will work just to make sure that it becomes a part of what we do. If we just made a random haphazard stab at it, it would be doomed from the beginning.


The CyberPR (Ariel Publicity)New Media Pioneer Interviews 10


New Media Pioneer: Jason Tippitt of Mental Nomad Podcast and Pod Across America


Mental Nomad Podcast: Eclectic music podcast. I play almost every sort of music, though geared a little more toward singer-songwriters.


Pod Across America: Also an eclectic music show, but each episode focuses on one American state at a time.


Q: How long have you been broadcasting?


A: The Mental Nomad Podcast started in March 2007; it was initially a

twice-a-week show but has been weekly for about a year now, with a few

exceptions. The show’s eclectic, with an intention toward including

music from outside the United States and music from female vocalists

in almost every episode.


Pod Across America started in October 2008 and will be two episodes a

month, usually one episode per state. I started in Delaware, the first

state, and will go through Hawaii, the 50th state, in order … a few

states will get two episodes just due to the sheer number of musicians

from those states.

Q: In your opinion, what does a good song need to consist of?


A: To me, a good song is one that gives me some sort of emotional

reaction … thrilling to the highs, coasting through the lows,

laughing at a clever turn of phrase or feeling my stomach churn over

some emotional conflict that rings true to me.


A song can be really simple and yet really powerful: Bob Dylan’s

“Tomorrow Is a Long Time” and Queen’s “Bijou” are contain very short,

very simple lyrics but the mix of the lyrics, the vocal delivery and

the music turns them into something magical.


Most of the music I really enjoy has lyrics, and usually the lyrics

are in English. I do listen to some instrumental music, and I do

listen to some non-English-language music, but the instrumentalists or

vocalists really have to soar above and beyond for me to really engage

the music.

Q: What is your favorite band or favorite genre of music and why?


A: Attorney and writer Andrew Vachss has observed that “blues is truth,”

and I agree wholeheartedly. Blues gets down to the core of the human

experience, the raw truth of emotions laid bare. It’s naked and

honest, and even when the blues singer engages in bragging, the

exaggerations point the way toward his or her insecurities.


More broadly, music that tells a story is what really gets my

attention. Blues, certainly folk music, certain rap and rock ‘n’ roll,

the cabaret storytelling of a Tom Waits or the deeply emotional jazz

of Jimmy Scott … music with personality.


Q: What changes in content laws, broadcasting rights, etc., have

affected you most?


A: I feel unqualified to answer this question. I haven’t paid a lot of

attention to the legal issues, whereas I probably should pay more

attention. In early episodes, I was a lot quicker to download a song

from MySpace and play it, then ask permission after the fact. I

wouldn’t dream of doing that now.


Using a content provider such as the Podsafe Music Network and working

with publicists such as the folks at Ariel Publicity — where the

music is pre-cleared and podsafe — is the smart way to go, I’ve

found. I’d rather be able to find new music I might not have heard

before and play that than risk getting sued for playing a U2 song that

everyone’s going to hear all over the place, anyway.


So the limitations put in place by respecting the law challenges me to

look for the next Bob Dylan, the next Tom Waits, the next Emmylou



Q: A recent study found blogs to be more effective than MySpace in

generating album sales; do you feel podcasts have that power?


A: I haven’t personally experienced any huge revenue surge from doing

podcasts and the blogs associated with them, though I do include links

to both the music I play and, to a lesser extent, to the videos that

strike my fancy from artists podsafe and non-podsafe.


That said, I have absolutely discovered new music that I’ve

subsequently bought through blogs and podcasts. Blogs and podcasts

offer a great way to sample a lot of music that I wouldn’t hear on

heavily formatted local radio or even the music channels on digital



Podcasts come to you. Blogs come to you, if you syndicate their feeds

through a reader. They require less effort than logging into MySpace

or Facebook, slogging through the many pages of contacts you have, and

noticing when a particular band has updated the profile. So yes, I

think podcasts are a more forward-thinking way of marketing a band —

it’s letting other people be your street team, rather than trusting

people to find you.


The CyberPR (Ariel Publicity) Interviews

NBT is extremely happy to have the RETURN of the Ariel Publicity/Cyber PR Interviews.

An aggressive cheerleader for independent musicians, Ariel Publicity built its reputation by working primarily with indie artists. They give back to the independent music community by educating artists through their website, and Ariel has been honored to speak at music conferences such as SXSW, NEMO, and The PMC.

In this new series of Q and A sessions Ariel talks to Pioneers and Groundbreakers, those people who business it is to adventure and explore deep with the New Media. Those whose Blogs and Podcasts and Internet shows truly make a difference for the independent artist in this thrilling time.

New Media Pioneer: Michael Butler of Mevio( see picture) and the Rock and Roll Geek Show

As the premier social media community, Mevio is the only network providing single-click access to the best in new media in audio, video, podcasts, and music to be delivered to your computer, iPod, mobile device, or television.

Q: What is the background story of how Mevio came along?

A: Mevio was originally Podshow. The company was founded by former MTV VJ Adam Curry and his business partner Ron Bloom.

In 2004 Adam had been messing around with audio blogging, before the term podcasting existed. He and Dave Winer were experimenting with adding enclosures to rss feeds and podcasting was born. Soon, podcasters were starting shows and shortly after, Podshow was started. They signed some of the early producers including my show (The Rock and Roll Geek Show), Dawn and Drew, Yeast Radio and some others.


Back then, people were playing whatever music they wanted on their shows. Then people started getting worried that the RIAA may not like that so Adam and some other creative minds started a place for bands who actually wanted to be heard on podcasts to post their music and The Podsafe Music Network was born. Shortly after, Adam and Ron asked me to quit my job as a house painter and work with artists on the network. 4 years later, it is THE place for bands, record labels and content creators to connect.

Q: What do you see the future of Mevio being?

A: I can’t speak for the entire company, since I only work on the music network but my goal is to have every record label, band and aritst on the network. I want independent content creators to have as much power in the music business as radio stations had in the good old days. It is my dream to have back catalog available to podcasters. I can’t speak for everyone but as a content creator, I want to play not only up and coming independent artists but also bands that were a part of the soundtrack of my life.

Q: What is your favorite band or favorite genre of music and why?

A: I am partial to 70’s rock and punk because that is what I grew up listening to. My favorite bands are still Cheap Trick, AC/DC, Aerosmith, Ramones and Joan Jett.

Q: What changes in content laws, broadcasting rights, etc. have affected you most?

A: When I reach out to some of the major labels to try to get their artists on the Podsafe Music Network, some of them still think that posting an mp3 on a website is piracy. The indies have been posting mp3s on their own websites for a few years not but the majors are a little harder to convince. That being said, the majors are now starting new media departments so there may still be hope for the dinosaurs.

The Podsafe Music Network now deals with some of the largest digital music distributors and independent labels in the world and I am really proud of that.

Q: A recent study found blogs to be more effective than MySpace in generating album sales, do you feel podcasts has the same power?

A: I think the labels are slowly realizing that by releasing a song from their artists to blogs and podcasts does more good than harm and can actually help break a band. For example, last year, there was a band from Australia called Airbourne. No one in the US or Europe had ever heard of them. I started playing them on The Rock and Roll Geek Show and listeners seemed to really like them. They emailed the band and let them know they discovered them from my show. Soon after that, got a CD from the band’s management and offered an interview with the band. I interviewed the band and continued to sing their praises. Now that band has taken the country by storm and has released one of the best selling independent hard rock records this year.


The NBT Music Columns : The CyberPR Blog (Ariel Publicity)7



 Tom Schulte – the mind behind Outsight Radio Hours – gives us all a little insight on the Digital Millennium Copyright Act

 A few days back, we received a rather upset email informing us some of the ID3 tags we used for our CyberPR artists weren’t compliant with the DMCA regulations set forth for Internet broadcasters.  We realized we weren’t up on the DMCA, nor were our musicians.  Luckily, Outsight host Tom Shulte is extremely knowledgeable on the subject and was gracious enough to share his wisdom with us. 

 Trevor:  First, Describe how Outsight got its start and what’s the purpose behind it?

 Tom:  I started off as a music journalist in 1988 and “Outsight” was the name of my column that appeared in various underground music publications, like Carbon-14, Glass Eye, Caustic Truths, and others. During that time I was a bit of a political activist. So, I ended up in an organized act of civil disobedience supported by local Libertarians, National Socialist Party and more. This was a pirate radio station called Radio Free Detroit, which at 10 watts was the largest of its kind at that time. We actually wanted the FCC to shut us down in order to draw attention to the microwatt revolution, but for a long time they wouldn’t. The result of this unexpectedly long time behind the mic was that I became addicted to broadcasting. Seeking to legitimize my experience I ended up with a Thursday morning drive-time show called “Outsight” on local AM radio. From there I went to Public Radio and, when it became technically possible, Internet radio with now defunct in late 1998. That’s how it started, and now my show is heard on WXOU 88.3 FM in Michigan, as well as Live365,,, and other Internet Radio sites and just about everywhere you can get a podcast, including iTunes.

 The purpose was to satisfy a need for immediacy and direct transference of sharing new music I am excited about with an audience, compared to the remoteness and delay innate to publishing, even Web publishing.

 I had decided to phase out my journalism to focus on graduate school, and this was also a way to continue to work with a subset of my label, publicity, and artist contacts. I had to tell everyone anything they sent would be broadcast and not reviewed. I actually wanted many people to say “no” if only to free up time from handling mail to give to my studies. Actually, the opposite happened and I got more email and communications to handle for programming my shows than I had for writing my column!

 TD:  As a digital broadcaster, what are your thoughts on the Digital Millennium Copyright Act, especially in terms of music content?

 TS:  I agreed with the spirit of the DMCA as soon as it came out. That is, Internet promotion of new music should not be used to enable or make more convenient unlicensed acquisition and copying of music. To do so, in my opinion, would be mistreating the music I am given for the show. So, from as soon as I read the guidelines I have followed the spirit of this directive. For instance, I bleed the ending of one song over the beginning of the next and don’t play whole album uninterrupted. All this prevents people from being able to easily rip individual songs or whole albums off my streams or my podcasts. So, my podcasts are not individual MP3s, but one two-hour MP3 of the whole show.

 TD:  Have you ever been forced to take content off your site due to the ‘DMCA Takedown Provision’?

 TS:  Oh yes, since I want to get broadcast as many places as possible in order to benefit those that supply me with music and share the songs I am excited about, I have to abide by stricter and stricter rules. See, I produce one show every week and then make slight edits, for instance to include underwriting, to make the show appropriate. So, in order for me to work this way, I have to abide by the strictest rules of any of my outlets. So, basically, that means following the DMCA to the letter. So, I have had to stop doing artists tributes (too many tracks in a row) and other things that are allowed on terrestrial radio – even if it is simulcast over the  Web!

 TD:  Many criticize the DMCA for placing too much favor on behalf of the copywriter, as a broadcaster do you agree with this opinion?

 TS:  Well, the DMCA was the first time that I recall that the Internet broadcasting community lost the fight to have imposed on them radically different and more severely limited laws that those that apply to terrestrial and even satellite radio. So, this set up the “separate and unequal” premise that led to the current crisis of nearly punitive royalty rates for Internet radio. We have to change the minds of legislators so they take it for granted that all broadcasters, regardless of media, should be treated fairly and equitably.

  TD:  What should a musician know about the DMCA?

 TS:  Serious, career, professional and semi-professional musicians that take their careers seriously will take it upon themselves to learn the essential features of all laws that affect their art. This includes, but is not limited to, the gist of the DMCA. The DMCA is, for instance, as relative to the modern career musician, as the laws regarding mechanical and performance royalties.

 TD:  As digital broadcasting continues to take new norms all over the Inetner, what merits and downfalls do  you see with this?

 TS:  Well, the merits are it is a great time to be a music fan! So much music and so much convenience in accessing it! For the working musician or any sort of broadcaster, the competition is just tremendous. You have to compute for ears against iPods, cell phones, satellite radio. Next, we’ll have to compete against MP3-enabled kitchen appliances!

 However, I feel there is hope. As the breadth and utility of consumer electronics widens, Internet radio and podcasting will be embraced more and more. Eventually, a critical mass will be reached that will make Internet-based music streaming explode into the mainstream. Some tipping points in this development to look for are when the center of gravity for access to Internet music moves from the computer to the home’s main entertainment center where the TV and stereo are. Also key would be Internet-delivered music accessible in the car as conveniently as FM is. Look what that did for satellite radio!

 TD:  How do you feel about taking questions from fans via email or chat room to increase fan interactivity?  Do you use this on the site?

 TS:  I think it is great! This really speaks to immediacy I mentioned before. I really appreciate the listener feedback and love requests. On good nights, the audience teaches me more than I have to share with them! I use the same id in MSN, AIM, Yahoo! Messenger, etc. and that way I can allow listeners to contact me live during live shows or moderated re-casts.

 TD:  What’s next for Outsight?

 TS:  I want to take my listenership to the next level! Outsight only began broadcasting a few months ago. I am still learning how to make my shows most suitable to the podcast listener. Feedback from listeners is really helping. Each show features a phone interview with an artist archived at For instance, this week, we had on Martin Atkins (PiL, Killing Joke, Pigface, etc.) about the independent music scene in China. I find the best thing to do is more Outsight toward letting that interview set the theme and content of the show so that each episode out there in the “podosphere” can stand alone as self-contained and coherent entertainment and information. That is taking effort on my part, as the history of Outsight has been very freeform and eclectic up to this point.

 For more from our favorite political activist turned broadcasting junkie, check out Outsight Radio Hours at