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Dan Cohen, vice president of marketing for EMI, the giant rec- ord label. “They’ve done a great job of becoming that place.” Well, some kinds of music, at
least. In addition to jazz and clas- sical — two genres that many public stations around the coun- try still play — NPR Music tilts toward alternative rock, folk-rock and pop artists. The site is skimp- ier in its coverage of other popu- lar genres, notably hip-hop, R&B and soul, Latin, heavy metal and country. Top 40 is out, too — NPR leaves that to commercial radio. Cohen describes the aesthetic as “a little left of center, adult-lean- ing” and designed to appeal to “a
K
BD
KLMNO
SUNDAY, JUNE 6, 2010 How NPR became a tastemaker in the music business
AS HEARD ON NPR: From left, James Murphy’s LCD Soundsystem, Moby (performing in the “Project Song Series”) and the Decemberists. NPR.ORG
RUVAN WIJESOORIYA
Brooklyn hipster.” Ostensibly, NPR Music is a kind of passport to coolness for NPR’s core radio audience of aging baby boomers. While many of NPR’s
older listeners know Springsteen, Waits and Norah Jones (another NPR Music fave), they’re prob- ably not as familiar with many of the other bands that NPR has
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June 10, 8 pm—The Music Center at Strathmore
Marin Alsop leads the BSO, the Washington Chorus and special guest vocalists in the 2009- 2010 season finale. The program includes Barber’s folky Knoxville, Summer of 1915 and Brahms’ powerhouse choral masterpiece, A German Requiem.
Presenting Sponsor: DLA Piper Supporting Sponsor: HarVest Bank
Media Sponsor: WETA 90.9 FM THE WASHINGTON CHORUS
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championed, indie darlings such as Arcade Fire, Neko Case, LCD Soundsystem, Ratatat and Sleigh Bells, an up-and-coming pop duo from, yes, Brooklyn. “We’re hoping to offer a deep music-discovery experience,” says Anya Grundmann, NPR Music’s executive director. “There’s so much stuff out there. It’s our job to weed through it all and find the great music that you don’t know about.” That’s NPR’s strength, says the musician-songwriter Moby, who was spotlighted last month on NPR’s “Project Song,” a segment that follows the creation of a song from concept to recording. As a non-commercial entity, he says, NPR isn’t beholden to charts or sales figures or even popularity. Hence, it can take chances: “Com- mercial radio is more generic. It’s pitched to the lowest common de-
AUTUMN DEWILDE
nominator. NPR is more idiosyn- cratic and personal. People go to NPR to be exposed to new things, to be challenged. It’s amazing to me how powerful it’s become in the past few years” as a venue for new music. The typical NPR Music visitor probably isn’t the same person tuning in to “Morning Edition” on the way to work. The median age of people who listen to NPR’s news and talk programs is 55. The median for a visitor to NPR’s mu- sic site is around 40, according to Arbitron’s research. Both groups are well-educated; nearly 80 per- cent of music visitors said in a survey that they have college or postgraduate degrees.
Which is another reason the music industry has taken notice. “It’s an educated audience with some spending money,” says Bob Boilen, senior producer and host
of “All Songs Considered,” NPR’s first webcast music program. The soft-spoken Boilen, 57, might be the godfather and guid- ing spirit of NPR Music. As direc- tor of “All Things Considered” for almost 20 years, he selected the musical bridges that played be- tween the news stories. Listeners were often so passionate, for and against, these brief musical selec- tions that Boilen pitched the idea of doing a full-length musical webcast to NPR’s management in 1999. “All Songs Considered” de- buted in 2000, at a time when the music industry, in the middle of its Napster agonies, was still “afraid of the Web,” he says. Several revolutions later
(iTunes, podcasts, streaming, etc.), industry publicists are beat- ing on Boilen’s door. He says he and his staff ignore these entreat- ies and focus on the music, select- ing only that which “speaks to us. . . . We don’t have to do stuff be- cause we think it will be popular,” he says. “The judgment can be made on the basis of artistic mer- it alone. That’s not the case at Sir- ius [satellite radio] or a commer- cial station.”
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Boilen is also the co-creator and host of another popular NPR Music segment, Tiny Desk Con- certs, a series of mini-shows that have showcased the likes of Tom Jones, Bettye LaVette and more obscure performers. The twist is that the artists perform literally beside Boilen’s desk on the fifth floor of NPR’s headquarters on Massachusetts Avenue NW (the name riffs off of Boilen’s psyche- delic dance-rock band, Tiny Desk Unit, which was the inaugural act at Washington’s 9:30 Club in 1980 and still performs). Although NPR Music has at-
tracted music-industry “under- writers” (public broadcasting- speak for advertisers), NPR hasn’t sought to monetize its growing musical clout by, for example, selling the music it fea- tures. Such commercialism might conflict not just with NPR’s non- profit status, but its independ- ence as a news and information source as well, says Grundmann. Besides, she adds flatly, “We are not a store.” Nevertheless, the site’s popu-
larity offers other brand-building benefits for NPR and public ra- dio. One is the opportunity to fea- ture the work of 12 “partner” sta- tions that contribute musical pieces. The site also cross pro- motes the hundreds of public sta- tions that broadcast NPR’s pro- gramming each day; the music Web site carries links to every NPR-affiliated station that streams music, including WETA- FM and WAMU-FM locally. Another benefit is that NPR
Music has been a reliable traffic magnet for
NPR.org, accounting for about 15 percent of its visits each month. That suggests that NPR Music might be NPR’s best hope for recruiting not just music fans, but music fans who may not be familiar with NPR’s news pro- grams. In other words, woo them with a song or a singer. Then get them to listen to “Car Talk.” NPR Music will webcast full performances from the Bonnaroo Music & Arts festival, June 11-13.
farhip@washpost.com
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$9.95 Portrait Package Special of your favorite pose per family or group during each promotional period please.Offer not valid for business purposes, individual adult subjects or unaccompanied minors.Offer subject to change at any time. Promotional and seasonal backgrounds may vary by studio location.
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