BROADCASTING FROM PARADISE ONLINE AND ON THE FOLLOWING RADIO STATIONS:
KMNO / KONI / KORL / KPMW / KQMY / Maui WOW Radio
THE TIME MACHINE is a radio program that uses a nonsense name as an excuse in order to play music from all over the musical spectrum. The show plays a lot of new stuff in addition to covering over 70 years of POP sounds.
"We learned more from a three minute record than we ever learned in school."
- Bruce Springsteen from NO SURRENDER (1984)
Click the link below for this specific internet radio music stream available only on Saturdays. Join us every Saturday 7PM to 10PM East Coast Time / 4PM to 7PM West Coast Time as we let our hair hang down in
Nushu's Lisa Mychols and Tom Richards from The Waking Hours welcome you to The Time Machine
Saturday, April 16, 2011
Adam Waltemire Interview on The Time Machine
In August of 2010, radio host Adam Waltemire, released an album to coincide with his radio show's concert tour, that had already taken place on the East coast and was making a concert debut on the West coast. The Southern California tour at Huntington Beach and the Orange County Fair was also a celebration of the CD release of "Pop Garden Radio Presents: The Rock on the Road Tour – Season 1". Some of The Time Machine Crew were able to attend the live performances including Matthew Burger, Summer Blue, Michael McCartney, Jenny Leong and Marc Alvarado.
Below Photograph: Pop Garden Radio host Adam Waltemire with The Time Machine's radio host Michael McCartney
In a rare moment on The Time Machine, the album tracks are played in order as Adam Waltemire discusses the artists and their musical contributions to the compilation. Here's the list in listening order on the album and broadcast:
The Successful Failures – Armadillo Boy D Henry Fenton – Sweet Virginia Michael Slawter – Kissed My Kind Popdudes – Joe Sincere Stratocruiser – Slush Dave Stephens – Josephine Nushu – Your Girl Walter Clevenger & the Dairy Kings – You Got Off Easy Seth Swirsky – Summer in Her Hair Sparkle*Jets UK – Fantastic Pantsuit Adam Marsland – Learning the Ropes The Smith Bros – Tremelo The Anderson Council – Love Bomb Dennis Holseybrook – Keep it Up Maple Mars – Welcomed Here easybake – What Won’t Wake Us Vegas With Randolph – The Better Part Todd Dillingham – Paintings Jeffrey Glenn - Spreadsheet Queen
Other artists featured on this Maui afternoon FM radio aircheck include Mike Viola, Paul McCartney and brand new music from The Bangles that's been our number one song for over a month with The Cars trying to take over the top spot. New songs from Ben Harper and Katy Perry are also heard on the broadcast.
Singer-songwriter Jeff Daniels returned to The Time Machine as musical guest. The three time Golden Globe nominee and Tony Award nominated actor has released his fifth album "Keep It Right Here" featuring Brad Phillips & Dominic John Davis. The talented mandolin and fiddle player Brad Phillips brings his craft to the album and bassist Dominic John Davis completes the overall sound of the record. Jeff has been a guest on the broadcast a number of times over the years and has been an audience favorite since his first album. The Time Machine Crew were excited to have Jeff return to the Hawaiian airwaves (considering that his first TV acting gig was on "Hawaii Five-0" - the radio staff has always had a place in their hearts for the career of Jeff Daniels).
With this fifth album release and the previous four albums (two of which are live performance albums), along with the last few years of sold out concerts, all proceeds go straight to the Purple Rose Theatre Company.
Jeff has four concert performances scheduled for this August but this March 19th is his last concert date until late summer. The show is in Brighton, Michigan at the Brighton Center For the Performing Arts. The Saturday evening performance begins at 8PM and tickets can be obtained at(586)556-3306.
Other artists featuring brand new songs heard on this Maui afternoon FM aircheck include The Doobie Brothers and Rachael Yamagata.
As the world celebrated Cinco De Mayo,just before sunset in Hawaii, islanders and visitors celebrated the life of Don Ho.
This afternoon and evening was a celebration that Hawaii hasn't seen in years and may never see again. The love and affection for Don has always been strong here but emotions were running high as we said goodbye to an icon of the late twentieth century. For someone who hasn't grown up in Hawaii, it may be hard to comprehend how many of us in our travels are always asked if we knew Don Ho. Was he our next door neighbor? Did he really spend his time as an entertainer talking with with his audience members after a show and take a photograph with anyone who asked? Could anyone that famous be filled so much Aloha. He was simply a man who loved his family and loved performing. He never intended to be an entertainer. A musician's life wasn't his life goal as a young man but destiny intervened and the rest is musical and cultural history.
His music has been a part of our lives and without a doubt...have become island classics. The late Kui Lee's greatest legacy as a songwriter met worldwide success due to Don. It may have been timing due to sixties turmoil or a fluke that "Tiny Bubbles" grabbed the world's attention. Whatever the case may happen to be, the songs that Don Ho and The Ali'is released in the mid to late sixties were taken to heart. "Ain't No Big Thing", "Days Of My Youth", "Suck 'Em Up", "Lahainaluna", "One Paddle, Two Paddle", "The Simple Folk" and "I'll Remember You" were just a handful of songs that spoke to audiences worldwide.
The seventies brought staying power to Don as an entertainer. NBC's television special "Hawaii-Ho" was a certified hit back for the 1969-1970 tv season. The Singer sponsored show had the chairman of the board Frank Sinatra as their first superstar headliner. The second episode was Elvis Presley. The third was Barbara Striesand. The fourth episode was Don who had no special guest stars to fill the hour. It was Hawaii that filled the hour. Members of The Time Machine got to witness the making of a television program right here in Lahaina at the corner of Lahainaluna Road and Front Street. Firecrackers were set off in the old supermarket across from Lahaina TV for a segment of the show. It was a great way to kick off the decade. 1970 was off and running.
We would come home after school in the mid seventies to watch Don join the daily daytime talkshow hosts with his own show to compete with; Mike Douglas, Dinah Shore and Merv Griffin. We were proud to have someone from Hawaii have his own show.
The counter-culture merged with the mainstream to yield Don's regional hit "Who Is The Lolo Who Stole My Pakalolo?" that radio DJs obviously had a ball playing to radio audiences and singles were hard to keep in stock. Just when we thought that Don couldn't become more famous than he already was, Dr. Demento began to play Don's hilarious record, making him one of the few entertainers loved by the masses and also a cult musical hero. No easy feat.
The eighties brought us "Papa's Lament" which to this day still touches people who hear it for the very first time. Don was so much more than just being the "Dean Martin of Hawaii". A former Air Force pilot who became an international superstar was a man truly filled with Aloha for everyone around him. His career can be easily be found anywhere. It's the lives he touched that means the most to us.
Below photographs: Don's wife Haumea Ho, scattered his ashes wrapped in Hawaiian 'ti' leaves, from an outrigger canoe off Waikiki Beach.
Below photograph: Don's daughter, Hoku Ho, waved to friends during her Dad's memorial.
Below photograph: Haumea covered her face as a U.S. Air Force F-15 Eagle flies over the memorial service in honor of the former pilot.
Below photograph: Thousands gathered on Waikiki Beach to pay tribute to Hawaii's Ambassador of Aloha
Below Photograph: Hoku and her family joined the thousands on the beach to blow bubbles in the air during final moments of the ceremony.
Many of Hawaii's most beloved performers and recording artists joined the celebration of Don's life this evening from The Brothers Cazimero to Melveen Leed to Willie K. The family members were the strongest tonight for all of us with Kaimana, Kea and Hoku all singing their hearts out. Hoku closed the ceremony with her touching and heartfelt version of "I'll Remember You". The Time Machine sends out our love to the entire family. We will miss him too.
1976 Fourth Of July Television Special
The Pro Bowl
"The Brady Bunch"
Kamasami Kong and Don
Don and Willie prepare for their duet on "Night Life"
Don and Duke
Judy B.
May 6, 2007 8:02 PM
Thank you sooo much, Michael. Aw, this was so nice. Don was such a wonderful part of Hawaii. I'm so glad they gave him such a terrific send-off. Thanks for this.
- Judy B.
Gina
May 7, 2007 12:15 PM
Are you kidding about Don Ho on Front Street? I was there...there were tons of kids there at that intersection. I was up right next to him...he held my hand...I told my sister Penny we were getting married...and she could keep Tom Jones all to herself...1970s...wow...thanks for the memories...
Gina
Mark Hershberger
May 7, 2007 3:27 PM
I grew up in the 60's and was a fan of Don Ho and "Tiny Bubbles". That was a song I used to sing around the house when I was little! I was hoping to one day get to Hawaii and see Mr. Ho in person.....too late now.....but great memories!
- Mark Hershberger, Pop Detective Records
Luna Girl
May 10, 2007 11:08 AM
Hey Michael,
I grew up thinking that Don Ho was my father. My mother used to refer to him as if he were. I guess like all other women of her generation, it must have been their dream. Now that I know he isn't my father, life goes on. More importantly his music lives on, in all our hearts.
As a resident of the mainland, he is probably the one "thing" that everyone knows about Hawaii and I am very proud to have had him as part of my life via his music.
My heart goes out to his family.
I hope you know that I am kidding about him being my father (I know better). I'm sure Don Ho was to my mother as Donny Osmond was to me...................
Rob Bonfiglio from The Skies Of America - radio interview on The Time Machine
The Skies Of America is the band that lets Rob Bonfiglio show off his musical craft. Rob returned to The Time Machine to share with us his take on his early years, his stint with Wanderlust and Superstone plus sharing his latest batch of music from The Skies Of America.
We haven't had the greatest luck with podcasting our broadcasts. So many services that cost us money and don't work. Even free sites often come up short. The player below may or may not work but you can still download the MP3 of Rob Bonfiglio's interview. Let us know if you experience any problems.
Prepare To Say Aloha To Internet Radio - Webcast Royalty Decision Announced
THE TIME MACHINE's days of broadcasting online may soon come to end along with the majority of internet streamed music broadcasts around America. The Time Machine uses Live 365 and pays music royalties to ASCAP, BMI and SESAC every month. Live 365 may be put out of business with many other legit companies around the United States who are above board and insure that artists and composers get paid. Here is the latest bad news about saying "goodbye" to internet radio from RAIN reported by Daniel McSwain.
The Copyright Royalty Board (CRB) has announced its decision on Internet radio royalty rates, rejecting all of the arguments made by Webcasters and instead adopting the "per play" rate proposal put forth by SoundExchange(a digital music fee collection body created by the RIAA).
RAIN has learned the rates that the Board has decided on, effective retroactively through the beginning of 2006. They are as follows:
2006 $.0008 per performance 2007 $.0011 per performance 2008 $.0014 per performance 2009 $.0018 per performance 2010 $.0019 per performance
A "performance" is defined as the streaming of one song to one listener; thus a station that has an average audience of 500 listeners racks up 500 "performances" for each song it plays.
The minimum fee is $500 per channel per year. There is no clear definition of what a 'channel' is for services that make up individualized playlists for listeners.
For noncommercial webcasters, the fee will be $500 per channel, for up to 159,140 ATH (aggregate tuning hours) per month. They would pay the commercial rate for all transmissions above that number.
Participants are granted a 15 day period wherein they have the opportunity to ask the CRB for a re-hearing.
Within 60 days of the final determination, the decision is supposed to be published in the Federal Register, along with any technical corrections that the Board may wish to make.
Within 30 days of publication in the Federal Register, it can be appealed (but only by the participants) to the U.S. Court of Appeals of the District of Columbia.
Because a typical Internet radio station plays about 16 songs an hour, that's a royalty obligation in 2006 of about 1.28 cents per listener-hour.
In 2006, a well-run Internet radio station might have been able to sell two radio spots an hour at a $3 net CPM (cost-per-thousand), which would add up to .6 cents per listener-hour.
Even adding in ancillary revenues from occasional video gateway ads, banner ads on the website, and so forth, total revenues per listener-hour would only be in the 1.0 to 1.2 cents per listener-hour range.
That math suggests that the royalty rate decision — for the performance alone, not even including composers' royalties! — is in the in the ballpark of 100% or more of total revenues. — Kurt Hanson
How does this affect large webcasters?
Let's look at AOL as an example:
According to the comScore Arbitron ratings report for November 2006, the AOL Radio Network had a average audience ("AQH") between 6AM and Midnight of 210,694 listeners. Multiplied by about 16 songs per hour, 18 hours per day, and 31 days per month, plus adding an additional 10% to account for overnight (Mid-6AM) listening, suggests that AOL played about 2.1 billion songs that month. At the CRB's royalty rate ($0.0008 per play), I'm guessing that would create a royalty obligation to SoundExchange for the month of November of about $1.65 million. Annualized, that's about $20 million for 2006.
Here at RAIN, we're guessing that Pandora has an audience approaching that size. (Pandora founder Tim Westergren claims that Pandora now accounts for 1.5% of all Internet traffic.) Such a royalty obligation might exceed the total proceeds of all their recent rounds of venture capital plus all their sales revenues to date.
Since Last.fm is based in the U.K., another possible outcome is that Pandora dies and Last.fm becomes the "social music networking" player.
How does this affect medium-size webcasters?
Radio Paradise's Bill Goldsmith notes, "This royalty structure would wipe out an entire class of business: Small independent webcasters such as myself & my wife, who operate Radio Paradise. Our obligation under this rate structure would be equal to over 125% of our total income. There is no practical way for us to increase our income so dramatically as to render that affordable."
And Radio Paradise is perhaps the most-successful webcaster in its class! For most operators, this rate looks as if it would be >150-200% of total revenues.
How does this affect small webcasters?
Webcasters who stream through services like Live365 may be in jeopardy, as such firms' business models probably never envisioned a royalty rate this high. (Live365's royalty obligation for 2006 is running in the range of $350,000 per month, and that's not even addressing the question of the $500 per station mininum!)
How does this affect terrestrial broadcasters who stream?
The principles are the exactly same, but at the individual radio station level, the dollar amounts are of course are smaller. Clear Channel's total corporate obligation for November 2006 based on comScore Arbitron ratings and assuming 13 songs per hour, would be about $500,000... but if that's for streaming, let's say, 500 stations, it would only be a royalty obligation of about $1,000 per station per month in 2006. Are those stations selling enough online spots and website banners and sponsorships to make that affordable? I'm not sure. (The decision has no impact on news and talk stations who stream.)
What about future years?
The rate of increase in future years is huge — faster than it would seem possible that advertising revenues could possibly keep up with, much less catch up with. 2007's rate is a 37.5% increase over 2006; 2008 and 2009's annual increases are about 28% per year; and 2010 adds another 5.5% increase.
Is this the end of Internet radio?
Although this is undeniably a huge victory for the legal departments of record labels (or at least for the lawyers at their industry trade association, the RIAA), I doubt that the heads of the record labels and their marketing executives actually want to see Internet radio driven out of business. (This may be a case of "Be careful what you wish for, you may get it.")
Last summer, there were rumors of seemingly productive negotiations going on between Sound Exchange and webcasters regarding a voluntary (i.e., not statuatory) percentage-of-revenues royalty rate. Everyone's best hope, I believe — for webcasters, labels, musicians, and consumers alike — would be if those negotiations could resume.
*Steaming a radio broadcast for an audience to listen to is completely different from downloading a song. Yes...we know that some websurfers record internet streams just like people did thirty years ago on a cassette radio deck...the quality is not the greatest and requires a great deal of time and effort to edit a file a pass it around. That's assumming that someone would actually have an interest in passing around three to five to eight hour MP3 files of radio broadcast streams.
Changing the subject from royalty rates from streaming to downloading songs illegally, here is the video to one of The Time Machine's most played songs from 2006.
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