#Metro Fm

[music-matters20]

#TheWeeklyRoundUp - 31.03.23

A bulletin covering the latest news of the past week from the music industry

[hausofabel]

XOCHELLA

[wraithsoutlaws]

2.1 update adding 5 new motorcycles and the ability to pop wheelies n throw knives off the back is quite possibly my favorite thing about it that and the fact you can finally listen to the radio out of the car, also love that people are so super excited over the metro system..the children hunger for public transport

slice of life simulator babey!!!!! i can't believe they are finally adding that (and most of these updates) when they could easily just move on after 2.0 and i will always appreciate them for that n all the work they've put into it over the last couple years

[sinceileftyoublog]

Oneohtrix Point Never Live Preview: 4/23, Metro, Chicago

BY JORDAN MAINZER

Synth-heads rejoice! Daniel Lopatin, aka experimental music producer Oneohtrix Point Never, brings his always stellar live show to Metro tonight. His most recent album is last year's Again (Warp), a reflective collection of aesthetics you wouldn't normally associate with OPN's spirituous electronica: shoegaze, alt-rock, prog. Then again, Lopatin similarly mashed together otherwise dissonant sub-genres on 2015's Garden of Delete, the nu metal entry in his vast and ever-expanding catalog. Lopatin's versatility is certainly one of the most impressive things about him, not just in his own work, but in his ability to elevate others, whether R&B star The Weeknd (Dawn FM) or indie rock luminary Soccer Mommy (Sometimes, Forever).

Technically, OPN has two new EPs listed this year on streaming services: Scores and Ambients. The former is a collective of songs from Lopatin's soundtracks to Sofia Coppola's The Bling Ring and the two Safdie brothers features he's scored, Good Time and Uncut Gems. The latter consists of six of OPN's more, yes, ambient-adjacent tracks, including the bookends of 2013's monumental R Plus Seven (with a shorter mix of the choral "Chrome Country" renamed "CC"), Again's "Gray Subviolet", the title track to 2018's Love in the Time of Lexapro EP, Replica's "Sleep Dealer", and the minute-and-a-half "Lovegirls Precinct", included on 2009 compilation Rifts but originally released as part of a split cassette with Cleveland drone duo Outer Space. Take the opportunity to listen to the songs anew, together; to my ears, that's always been the best way to experience Oneohtrix Point Never, finding resurfaced commonalities among the different stages of his brilliant career. And it's also how he'll likely play live, finding a cohesive set list by placing Zones Without People and Russian Mind songs next to Age Of and Magic Oneohtrix Point Never material.

The show is presented by CHIRP Radio. New York-based singer and modular synthesist Arushi Jain opens. Doors at 7:00 PM, show at 8. Tickets still available at time of publication.

[thinkyourmedia22]

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Services by Noida’s Best Digital Marketing Agency to supercharge your ROI

Google Ads Management

FM Radio and OTT Marketing

Hoardings and Metro Advertising

Video Marketing

Marketing Campaign Management

Influencer Marketing

Digital Marketing

Social Media Marketing

Branding Google Ads Management:

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FM Radio ads and OTT ads can spread the word to your targeted audience. FM has huge potential to reach a large number of masses. Suitable ads can advertise your company, products, and services. You can attract leads from every corner of your country. OTTs or Over the Top platforms have big potential to gain momentum for your business as it is very popular through online streaming of series, movies, short films, etc. Hence, Noida’s Best FM Radio and OTT Marketing Agency Think Your Media(TYM) gives you both the options of OTT and FM to grow your business.

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You can see hoardings at every nook and corner. Therefore, if you adopt this option, you can get a huge Return on Investment. Henceforth, it is suggested to go for it as per your requirement. Metro advertising can be a great way to enhance your business in Metro cities like Delhi/NCR/Noida. A great number of people commute daily by metro train and come across the company ads and if the ads are appealing, they will buy your services or products.

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It is beneficial to grab a targeted audience, as the influencers have a wide reach on social media. Influencer Marketing Agency has millions of followers and if they talk about your brand, people listen to them and follow them blindly.

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If you are running an online E-Commerce business or want to show your online presence in the market, then digital marketing is only one option. It includes social media marketing, google ads, influencer marketing, etc. Moreover, it helps with your branding.

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Noida’s Social Media Marketing Agency, TYM thinks about you and gives personal care to your business in a very positive way. This agency works as a torchbearer and the whole team helps you to market your business online.

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[grantgoddard]

One little indie music show : 1980-1981 : Saturday night 10 to midnight, Metro Radio

“You will present a weekly two-hour rock music show on Saturday night,” my manager informed me.

No if’s or but’s. No offer over which to mull. No demo tape to produce. No question asked about previous experience. Without warning, I was appointed as presenter on one of Britain’s largest commercial radio stations. I had just started a full-time backroom job at ‘Metro Radio’ but had never asked to present a show. This was my first paying job in radio and suddenly I was also to be put on-air. The start of my radio career seemed to be heading in a positive direction.

Some aspiring DJs spend their whole life trying to secure a presenting job on radio, often without success. I felt slightly guilty that this opportunity had fallen into my lap without effort. My employer did not even realise that I had started presenting for various London pirate stations seven years earlier, as such lawbreaking activities were not productive additions to a CV then. A decade into the future, employed as programme director of London’s ‘KISS FM’, one young hopeful desiring a DJ job would sit in the station’s reception area day after day, awaiting his opportunity to buttonhole me on my way to lunch at the ‘greasy spoon’ on Highbury Corner. Little did he know that we already had the largest DJ roster of any British radio station, or that management had just cut payments per show by half, or that several loyal presenters had been made redundant within months of launch. Oblivious, he was not so much ‘networking’ as ‘stalking’.

Management at Metro Radio seemed not to care one jot what was broadcast evenings and overnight because commercial stations then believed their advertisers were only interested in daytime shows and that their most significant audience was housewives. My small additional payment for the rock show was eaten into by the cost of driving twenty miles to the studio on Saturday night and then back again in the early hours of Sunday. Nevertheless, the station would jump at any chance to cut its minor expenses, such as the occasion excellent overnight presenter Tony Crosby was replaced in 1981 by a new DJ who offered to do the same show for free. Never mind the quality, feel the penny-pinching! (Tony went on to train as a solicitor.)

No direction was offered me as to what to do in my show. Whereas daytime presenters were required to wait outside programme controller Mic Johnson’s office for individual appointments to hear his critique whenever a JICRAR ratings book was published, management expressed zero interest in what I was doing on-air. There were already two other rock shows on the station. My line manager Malcolm Herdman played two hours of heavy metal and hard rock. Full-time producer John Coulson used his two hours to play an esoteric mix of mainstream rock and read passages from ‘beat generation’/‘new journalism’ authors. I decided to fill the evident gap for the ‘indie’ music that had emerged after several years of punk.

Music trade weekly ‘Record Business’ had published its first weekly ‘indie’ chart in January 1980, following a suggestion by Iain McNay, founder of London’s ‘Cherry Red Records’. I decided to use one hour of my show to run down this chart, playing the new entries and highest climbing singles. As far as I know, mine was the first ever British radio ‘indie’ chart show and was soon mentioned in the ‘indie’ columns of the music trade press. Most ‘indie’ releases were not supplied to commercial radio stations because there was zero possibility of them being playlisted, necessitating me to establish contact with the main ‘indie’ distributor, ‘Rough Trade’ in London, to receive copies. Each week, I would phone its very helpful director and head of promotions Scott Piering to request records that he would then mail to me (later that decade I worked in Scott’s office).

In the other hour of my show, I would play a selection of newly released album tracks, both indie and mainstream. Working full-time in the station’s record library, I had access to all major label releases that arrived either by post or from weekly visits by record company promotion staff. I would place interesting new albums in a holdall I carried back and forward to the show although, with only time to play around fifteen tracks within an hour, my hoard of unplayed recent releases grew heavier by the week. My running order ranged from ‘Steely Dan’ to ‘Joy Division’ to ‘Crass’, none of which were exposed elsewhere within the station’s output.

Although the Tyneside local band scene then was dominated by heavy metal bands and record labels such as ‘Neat’ and ‘Guardian’, there were a few ‘indie’ bands that were recording good quality demo’s or releasing their records independently. I received a nice letter from Paddy McAloon asking me to play his group ‘Prefab Sprout’s first self-published single. I had already been the lone person not walking straight past the stage when the band had performed at the Durham Miners’ Gala, so I was happy to oblige. There were some excellent local bands, including ‘Dire Straits’ and ‘The Police’ who were quickly signed by major labels, but also many that went largely unnoticed until ‘Kitchenware Records’ launch in Newcastle in 1982. I tried to play any local band recordings I found or received.

Because my two hours on-air were so precious, I talked minimally between records and rarely featured interviews. I recall receiving a telegram at home from the station one day asking me to phone it urgently. Our house had no phone so I had to walk to the one phone box in Sherburn Village and call in. Was I interested in recording an interview for my show with ‘Duran Duran’ who were promoting their first single release ‘Planet Earth’? I turned down this opportunity because the group was not local, were not ‘indie’ (having already signed to ‘EMI’) and their music was audibly more ‘pop’ than ‘rock’. However, I did interview local artists such as Pauline Murray from Ferryhill whose first solo album (after the punk group ‘Penetration’) sounded remarkably innovative and remains one of my favourite recordings.

I spent quite a lot of time each week compiling a local ‘gig guide’ from adverts in local newspapers (pre-internet newsprint) and flyers. I would update it each week, type it out myself, pin it on the radio station’s noticeboard and mail copies to all the local record shops. In my show, I would read out the following week’s concerts though I never heard any other presenter refer to my list because, beyond Malcolm and myself, the station seemed to be disconnected from the local music scene. On occasional visits to 'Volume Records', the only ‘indie’ record shop in Newcastle, I would secretly feel proud to see the latest A4 sheet of gigs I had mailed out pinned to its noticeboard. Like my show’s content, the reason for undertaking this research-intensive work was because nobody else seemed to be exposing this information at the time. There was no ‘what’s on’ publication for the region.

Although I had competently operated radio studio equipment myself since my days at school recording pirate radio shows, management at Metro Radio insisted I sat in a soundproofed studio in front of the microphone while a ‘technical operator’ facing me from an adjoining control room played the records, advertisements and mixed the audio. I was unfamiliar with this arrangement, which the station’s managers had brought with them from overstaffed BBC local radio stations at which they had worked previously. I was extremely lucky to have had John Oley assigned as my ‘T.O.’, one of the most professional and enthusiastic people I have had the pleasure to work with in radio. His contribution to my show was enormous and freed me to talk my rubbish on-air and answer the phone line when I occasionally held competitions.

Metro Radio showed no interest in promoting my show so it seemed a miracle when I started receiving letters from listeners who had discovered it. In the days before internet or community stations, each region of Britain was served by only one local BBC station and one commercial music station. Although my show was tucked away in the weekend schedule, it still felt groundbreaking to play music little heard outside of John Peel’s weeknight show on national ‘BBC Radio One’. There were quite a few records lasting only two or three minutes that each required several hours’ work transferring them to quarter-inch tape in order to edit out swear words with a razor blade and white editing tape on a metal block. If only those bands knew how much extra effort was necessary just for them to receive one radio play!

Living in a rural village, there were Saturday nights during winter snows when I was unable to drive to the station. Snowploughs would habitually clear the roads eastward from Durham City as far as the junction with the A1(M) motorway but, frustratingly, not the further one mile beyond to my home. I would have to trudge out in icy temperatures to the public phone box and call either Malcolm Herdman or John Coulson at home, asking if they could reach the studio to fill in for me on those days. Because they lived in Newcastle city, I think they found it hard to believe that I was literally ‘snowed in’. Unfortunately, my salary was insufficient to contemplate a relocation nearer my workplace, meaning I missed out on concerts and the city nightlife which I would have loved to explore.

All good things come to an end. Quickly in my case. Metro Radio made me redundant from my full-time job. I continued to present my Saturday night show for a while through 1981 but the expense of maintaining a car to drive to Newcastle was proving greater than my payments from the station, which had to be subtracted from my Unemployment Benefit. I was applying for any relevant vacancy in the radio and music industries but getting nowhere. In the end, I had to follow Tebbit’s advice and get on my bike (well, in my car to be accurate), leaving the region where I had lived the last five years in order to take a totally different job 218 miles down south. It was disappointing because I had acquired so much knowledge of indie music, the regional music scene and had built an audience for my unique radio show.

The start of my radio career now seemed to be heading in a negative direction. I was unable to secure work in the broadcast industry for a further four years and, only then, by taking a contract in Israel on a pirate radio ship that paid little more than expenses. However, I have always treasured the memories of my time working alongside John Oley and Tony Crosby late on Saturday nights when the only other person in the darkened Metro Radio building on a bleak industrial estate was the security guard downstairs. This was when innovative radio programmes were made … even though Metro Radio probably never realised it.

Postscript: Forty years later, I received a polite email from a member of a former local band enquiring if I still had their demo tape I had been sent and played on my Metro Radio show. Sadly, no.

[ohsnapdanni]

Best of 2022 - Albums On Repeat

Best of 2022 – Albums On Repeat

image / collage intro / what this list encompasses / means to me (more…)

[medstudentblues]

some phone snaps fm 🇹🇼

things i love

the metro system! the timed buses!

how clean it is!

i love how walkable this country is!

convenience stores

pedestrian lanes

weird

i don't see kids in uniform and it's a monday! i only see kids in cafes, studying alone or in groups.

[yokaidetectiveagency]

It's Official!

Cactus Cat Creations is partnered with Hype Media Global and WDJY 99.1 FM to broadcast Yokai Detective Agency to the Metro Atlanta area!

Every Saturday starting July 6th, you can hear us from 3:00 - 4:00PM Eastern Standard Time with the link on their website.

https://www.hypemediaglobal.com

https://www.wdjyfm.com/

[retrotenn]

MY VOCALOID RADIO SHOW ??? TONIGGGHHHTTT ??? JOIN ME AND AWESOME PRODUCER GALAPAGOS P TO LISTEN TO ONLY THE BEST MUSIC FM RADIO HAS TO OFFER !!!!

WNYU.ORG OR 89.1FM IN THE NY METRO AREA

ART BY GALAPAGOS :3

[hausofabel]

new song double fantasy premiered at coachella

[peridottea91]

So, because I'm weird about trying to make my own fics weave with canon compliance, I just wanted to share a little tidbit when doing fics for SPN, particularly with placing Bobby's house. I'm combining my neurotic researching skills, encyclopedic SPN knowledge, personal experiences, and my work-related aeronautical knowledge for this one (explained below).

The issue a lot of fic writers and fans (myself included) have vocalized over the years is how the show runners clearly had never been to Sioux Falls, SD or weren't familiar w/ the area, and kind of did bad placing with Bobby's house. However, there is a way that Bobby's house could be technically in Sioux Falls and have more rural aspects.

**NOTE - if you're from Sioux Falls or know the area, feel free to correct me or add on to this**

Basically, you have to treat it more so the way you would general metropolitan areas. For example, UMBC is actually in Catonsville, MD but uses a Baltimore address. Cape St. Claire, MD has a similar situation where it is its own individual town, has its own post office, and has its own fire department but it's still listed as Annapolis, MD on postage. When I went out to CA, there were little towns all over the greater LA metro area that do the same thing. My friends in CA, instead of saying the actual name of the town they live in, will just call it Long Beach because they're in that area. When I talk about Cape St Claire to folks not familiar with MD, I just call it Annapolis and so do some of my coworkers. So, when Bobby talks about being from Sioux Falls, he might actually just be referring to the general area.

Continuing from the previous point, there is a shit ton of rural areas immediately outside the city limits. Bobby's house easily could have been just outside of the city limits and still be considered Sioux Falls.

Sioux Falls is one of the fastest growing cities in the country. Back in 2005 when SPN started, it had a population of approx. 141k. In 2023, it had a population of approx. 206k. A significant trunk of the outer edges of the city were still rural during early seasons SPN. A radio station in Sioux Falls, 104.7 FM, has a page comparing areas of Sioux Falls from 2008 to 2022. Based of city development from the past 10-14yrs, Singer Salvage easily could have been still within city limits but in a more rural neighborhood.

Looking at Google Maps, it is not uncommon to have car dealerships, repair shops, etc. seemingly in the middle of nowhere outside the official Sioux Falls city limits. We have this in SoMD too, where you'll be driving through the woods, on back roads, in the middle of bum-fuck nowhere, and suddenly find a random auto shop or junk yard (my step-dad's cousin owns one such shop)

Bobby's house was probably either SE, SW, or N of the city, since it was seemingly not in the flight path of FSD (Sioux Falls Regional Airport). I say this knowing full well that TV magic would have blocked out any airplane noises from the sound tracks. However, considering that airplanes were shown/heard several times throughout SPN, if Bobby's house had been in a flight path, it probably would have been mentioned. Based on the show transcripts, it was never mentioned in the show (f/ what I've seen), so it's safe to assume that he is not near the airport or within the flight path. You can look up the flight paths of active flights going to/from Sioux Falls for free on flight aware.

[animusrox]

🎵 music tag game 🎵

13 songs I’ve been listening to lately🎵 (in no particular order)

Under the Killing Sun - Confrontational

Satellites - Starcadian

Am I Dreaming - Metro Boomin

Dance the Night - Dua Lipa

Devil Make a Deal - The Midnight

The Wire - NINA

Desire - Cannons

Bright Lights - Cannons

Spiders - System of a Down

Starfighter - Nightrunner

Lonely Nights - FM Attack

Gutter - Starcadian

Repetition - TV on the Radio

Tagging: @moonlight @anderwater @talesfromthecrypts @silenthqll @zombooyah @losthavenmine @waymond-wang @margoterobbies @gresit @midnightmurdershow @acecroft @harrison-ford @madeline-kahn

[commander-tartar-2]

[webmaster]> user "1004 dumbass FM" has reconnected to the chatroom

1004 dumbass FM> WHERE'S MY MONEY YOU WASTE OF ALUMINIUM 1004 dumbass FM> you said we'd get PAYED for working on your trains 1004 dumbass FM> where's the money. 1004 dumbass FM>regards, Piper Armstrong, subject 10,004, former metro technician, still sanitized.

Now now, we arnt getting impatient are we? I did say that you would get paid, didn't I? Alright, fine. Your money will reach you soon. Until then, continue work.

[a-not-so-sure-artist]

Lemme introduce you to a fun little aesthetic I discovered a while ago but not too far: Frutiger Metro!

This was…my attempt at making a FM-like drawing, VERY heavy on the word attempt.

Might do this more often, I had fun making this even tho it came out pretty meh.

[corviisquire]

dude I’ve been cleaning and Spotify is only serving out BANGERS!!!!

highlights: