Singapore radio station Gold 905 relents to battle with listener and Spandau Ballet’s Tony Hadley

Singapore Radio station Gold 905 has admitted defeat in an argument with a listener about a competition that saw Spandau Ballet’s Tony Hadley weight in.

The radio station found itself in the middle of a social media storm this week, as listeners sought redemption for a listener that was denied a prize win due to his accent.

The radio station runs a popular but very difficult competition to win $10,000, in which listeners have to guess the voices of a set of celebrities. The competition tends to run for multiple weeks because it’s hard to guess correctly the first time. Winning usually involves carefully working out the answer by listening to other contestants incorrect answers over time.

The issue arose after listener Muhammad Shalehan called into the competition to be told he answered incorrectly, while another listener dialed in with the same answers, later on, to be told they had won.

Shalehan took to social media to complain and the response he received from Mediacorp, the company that owns Gold 905, is that he mispronounced the name of Spandau Ballet’s Tony Hadley and was therefore incorrect.

At this point, Shalehan had nowhere to turn but Hadley himself and since the musician is in lockdown and not touring, he decided to respond to Shalehan and help him because, in his view, he had pronounced his name correctly, just with an accent.

The story caused a stir on social media, with many listeners voicing the opinion that the station was discriminating against Shalehan’s accent. The radio station denied this and offered a partial reward as a compromise.

Today, however, the radio station decided to change its stance, releasing a statement saying it couldn’t argue with Hadley himself, awarding Shalehan with the full amount.

What Does Alternative Rock Radio Sound Like inside the Age of Spotify?

It was still mild out, early on a weekday nighttime this summer time, while dozens of contest winners, radio station employees and advertisers packed a small New York tune hall for what changed into no longer exactly a display of rock ’n’ roll bacchanalia.

Unfastened pizza changed into scattered approximately and those waited patiently as the station hosting the event — New York metropolis’s only most important contemporary rock station — became piped in at a decent volume. Songs through pink warm Chili Peppers, the All-American Rejects and 311, each greater than a decade antique, played to little note. however a cheer of reputation bubbled up for “zone beyond nighttime” by way of the British institution Bastille, which became scheduled to take the level to have a good time its latest album release with an intimate performance.

After 3 mins of smooth, publish-Coldplay pop-rock, the crowd once more quieted for “any person That I Used to know,” the 2011 No. 1 hit by way of Gotye, because it awaited the four guys of Bastille within the flesh.

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This, in a nutshell, is what local alternative radio appears and seems like in the interim, in a time of streaming, hip-hop dominance and now not-so-a lot rocking: an expansion of throwback favorites from mid-90s and early 2000s hitmakers — inexperienced Day, Weezer, elegant and others that might pass as conventional rock for old millennials and younger Gen-X-ers — plus more recent, frequently synth- or digital-based and pop-crossover folks from acts like Of Monsters and men, Smith & Thell and Matt Maeson, whose tune “draw back” lately spent four weeks atop Billboard’s alternative Songs chart.

We don’t even say the phrase ‘rock’ on the radio station — we’re the big apple’s new alternative,” stated Mike Kaplan, the ALT92. 3 application director and format captain for opportunity throughout Entercom, the station’s discern agency, in an earlier interview. “I don’t suppose there’s a large win in the usage of the phrase rock nowadays,” he introduced.

The raw, guitar-rock sound is honestly — I don’t need to say it’s accomplished, but …” He trailed off. “It’s present, however it’s morphed and combined with other instrumentation. Does everyone truely go to Guitar center anymore and select up the guitar?”

The overlapping quagmires currently facing alternative rock radio — how much new tune must it play, what must it sound like and who is it for? — are in particular elaborate in the big apple, which has long been led and defined through its rap, Latin and dad stations.

The opportunity layout, also mentioned within the enterprise as modern rock, grew out of the underground radio of the Seventies, and rode breakout bands like R.E.M., Pixies and the therapy to the Nirvana explosion of the early 90s, whilst previously area of interest acts from punk traditions stormed the mainstream. Within the aftermath, through the rap-rock of the new millennium and the dance-pop and top 40 dominance of the mid-2000s, rock stations that didn’t depend on oldies have been the situation of a good deal hand-wringing regarding their sonic allegiances and industrial prospects.