The Goals and Future of the Project

1. Why Radio Music History Is Being Created

Music history is much more than a list of the best-known artists, albums, and songs.

Behind every familiar name are thousands of other stories – concerts, first performances, recording sessions, album and single releases, the formation of bands, lineup changes, significant performances, the deaths of musicians, and events that are barely talked about today.

Today, This Information Is Scattered

When I want to find out what happened in music history on a particular day, one website is usually not enough.

I may find one event on one website and another somewhere else. Information about an artist may be on one site, while information about an album is on yet another. Some details also need to be compared and verified across multiple sources because different websites can vary in the details they provide.

Finding a single piece of historical information can therefore mean visiting several different websites, comparing their content, and spending considerable time verifying the details.

That problem is what led me to the idea of creating Radio Music History.

Simply Collecting Information Is Not Enough

While working on the database, I discovered another important problem. Information published on different websites is not always accurate.

When comparing multiple sources, I repeatedly encountered conflicting dates, inaccurate details, or information that was clearly incorrect. In some cases, the same error appears on several websites because other sites simply copied it from the original source.

This means that finding information on the internet does not automatically mean that the information is correct.

That is why I do not want the database to simply accumulate more and more information. I also want to make sure that individual pieces of information are as thoroughly verified as possible. When processing events, I therefore compare available sources and, whenever I encounter discrepancies, I try to determine which information reflects the historical reality.

It is not always possible to establish a historical fact with absolute certainty. That is precisely why comparing and verifying sources is such an important part of the entire project.

My Goal Is to Gradually Bring as Much of This Information Together in One Place

I do not want to create just another website about music. I want to build one of the most comprehensive databases of music history, where individual events are not only recorded but also interconnected.

If I am looking today for events associated with a particular date, I often have to go through many different sources to get as complete a picture as possible of what happened in the music world on that day. My goal is to gradually make this process much easier.

A person will be able to enter a date and find as many relevant music-history events as possible in one place – while also being able to explore the artists, bands, albums, songs, and other connections associated with them.

That is why Radio Music History is not simply a list. I am gradually building an interconnected music-history archive whose value will lie not only in the number of recorded events, but also in the number of connections that emerge between them.

Each additional event that is researched and documented can be connected to other information, expanding the overall picture of music history. My goal is to make it possible for people to avoid searching for the same information across five, ten, or even more different websites.

I want to give people the opportunity to find as much verified historical information as possible in one place.

And that is what I see as the main purpose of Radio Music History:

• To save people time when searching for music history.
• To offer a wealth of information and connections that they would otherwise have to search for in many different places.

What I currently have to search for across dozens of different websites during my own research, I am gradually trying to bring together in one place. The goal, therefore, is not simply to create a database that is as large as possible. I want to create a database that is also as reliable, well-organized, and interconnected as possible.

Radio Music History is my attempt to create a place where music history can not only be searched, but truly discovered.

2. What Is the Goal of Radio Music History?

My goal is to create the most comprehensive database of music history, accessible to users from different parts of the world.

In its first stage, Radio Music History will be available in two languages – English and Czech.

English is a natural choice given the international nature of music history, allowing the project to be accessible to users from virtually anywhere in the world. The Czech version is important because the project is being created in the Czech Republic, and I want its content to be fully accessible to Czech users as well.

Radio Music History has been designed as a multilingual project from the very beginning. The current database structure is designed so that individual language versions can be separated from the historical events themselves. This will make it possible to gradually add further languages in the future without having to change the fundamental principles on which the database operates.

If the project's capabilities allow it in the future, I would also like to expand Radio Music History to include another major world language. The choice of which language comes next will depend, among other things, on visitor numbers, user interest, and the possibilities for further development of the project.

At the same time, I do not want to focus only on the biggest events or the most famous names. I want to capture as broad a picture of musical life as possible – from major concerts and recording releases to lesser-known events that may be equally important for understanding a particular period.

I want to gradually connect individual pieces of information, making it possible to move between:

• events,
• artists and bands,
• albums and songs,
• concerts and other related information.

I imagine the database as a place where a person does not simply begin by searching for the answer to a single question, but can follow the information they find and gradually discover other parts of music history.

For example, if someone searches for a particular date, they should not receive merely a list of several events. They should be able to explore what happened on that day, who the individual events involved, and how they were connected to other parts of music history.

The result should be an interconnected, verified, and internationally accessible music-history archive that does not merely answer the question “what happened,” but also makes it possible to understand the broader context.

Radio Music History is intended to be a place where music history is not only searched, but where people can discover it in a broader context without having to browse through countless different websites.

3. The First Stage of the Project

The original estimate for the size of the database was approximately 26,000 historical events.

As I worked on the project, however, I expanded the number of sources I use and discovered that individual days contain far more significant music events than I had originally expected.

The current processing rate is around 100 events per day.

Processing an entire year therefore means: 100 events per day × 365 days \= more than 36,000 events.

The original estimate of 26,000 has therefore gradually grown into a first-stage target of more than 36,000 historical music events.

36,000+ Events

This is the scale I want to reach in the first stage.

And although this number may seem enormous at first glance, it does not represent the final goal for me. It is the first stage. The first major part of the archive, which will provide a foundation for further development, expansion, new information, and an increasingly comprehensive picture of music history.

Music history does not end when a certain number of records has been reached. The first stage is about building the foundation. The future of the project is about continuously expanding that foundation.

4. What Goes Into Documenting a Single Historical Event

At first glance, a single record in the database may look very simple. After all, it is just one line of text. To a visitor, a single record may indeed appear to be something that was created in just a few moments.

In reality, however, a considerable amount of work can go into documenting a single historical event:

1. First, the event has to be found.
2. The date then needs to be verified, available information researched, and multiple sources compared.
3. Differences between individual pieces of information need to be assessed, and everything then needs to be correctly processed into the database.

For some events, it is necessary to work with several different sources because the information is not always consistent. Sometimes additional material has to be researched in order to determine which piece of information is correct or which source provides the more accurate information.

And that is not where the work ends. The event then needs to be properly categorized and connected with other information already contained in the database or information that will be added later.

Each individual record therefore gradually becomes part of a much larger system connecting historical events, artists, bands, albums, songs, dates, concerts, and musical periods.

The result is therefore not simply another row in a database. It is another piece of a vast map of music history.

At the current stage, I need to process an average of approximately 100 historical events for each day. That means that work which may appear to a visitor as the creation of one short line of text is repeated approximately one hundred times during a single day.

That is why it is important to look at the database not only in terms of the number of completed records, but also in terms of the work required to create them. 36,000 completed events are not 36,000 lines that someone simply copied and pasted somewhere. They are the result of thousands of hours of searching, comparing, verifying, processing, and gradually connecting information.

5. Why We Want to Go Much Further Than a Typical Music Database

When people search for information about music history today, they usually look for a specific artist, band, album, or song.

Radio Music History also wants to offer another way of discovering music history – by date:

• What happened in music on August 18, for example?
• What happened on February 4, 1967?
• What took place during one particular day in 1958?
• And what else happened on that same day, in different places and different parts of the music world?

It is precisely the connection between these events that can gradually create a picture of music history as it actually unfolded – day by day, year by year, and decade by decade.

6. Who Can Use Radio Music History

The value of a comprehensive music database will not lie solely in how much information it contains. What will also matter is who can benefit from that information and how they can use it.

Students

The database can help students preparing for music exams, studying music history, or working on a presentation or other school assignment. Instead of browsing through many different websites, they can find information and connections relating to:

• a specific historical period,
• an artist or band,
• an album, song, or concert,
• a particular date or significant event.

Reporters, Journalists, and Documentary Creators

Music history is an important source for people who create content about music. The database can be useful to:

• reporters and journalists,
• authors of music articles,
• podcast and radio program creators,
• authors of books about music,
• documentary filmmakers.

For Everyone Interested in Music

Radio Music History can also be interesting to anyone who simply enjoys music and wants to discover something new, interesting, or thought-provoking. Sometimes people are not looking for a specific answer; they simply want to find out what interesting things happened in music today or during a period they particularly enjoy.

Music History as a Path to Discovering New Music

One of the project's long-term benefits is the discovery of music itself through its history. Someone may come across an album they have never heard before and discover when it was released, who created it, how it performed on the charts, or what significance it had.

Radio Music History is not meant to be just a database where people find what they are already looking for. I want to create a space where they can also discover things they did not even know they were interested in.

7. What Will Come After the First Stage

The history of humanity has no final page. The history of music has no final page either. Every day, new songs, albums, bands, concerts, and other events are created that gradually become part of music history.

After reaching the first stage, I want to continue expanding the database with additional historical events while also continuously working with the information that is already in the database. Further development will include:

• correcting possible errors and inaccuracies,
• refining historical information,
• adding newly discovered information,
• comparing additional sources,
• expanding the connections between individual records.

The Next Stage: Expanding into Additional Languages

After completing the first stage, there will also be an opportunity to expand Radio Music History into additional language versions. The current technical structure is designed to make it possible to add further languages in the future without having to change the fundamental principles on which the database operates.

36,000+ events is the first major stage. It is not a final limit, but a foundation on which Radio Music History can continue to grow for many years to come.

8. Who Is Behind Radio Music History

I am the person behind the entire project. I research the information myself, work with sources, verify historical events, create and expand the database, develop the website, and gradually build the entire Radio Music History system.

Music Has Been Part of My Life for as Long as I Can Remember

My father was a radio presenter and had an enormous knowledge of music. Thanks to him, I was exposed to music from a very young age. At sixteen, this interest led me behind the mixing desk at a disco, and I have remained involved with music ever since.

I am interested in its history, artists, bands, albums, songs, and the stories behind them. This lifelong connection with music was the main reason I created the project.

It All Started with a Single Spreadsheet

Radio Music History was not originally intended to be such a large project. I began researching music-history information for my YouTube channel, where I create documentaries and content dedicated to the history of music.

While working on them, I kept encountering the same problem: information was scattered across many different websites. I started recording it in an Excel spreadsheet. And as the number of records grew, an idea occurred to me: *if I need this information, perhaps it could be useful to someone else as well.*

And so, from a single Excel spreadsheet, a comprehensive international database of music history is gradually taking shape.

9. A Project for Today and Future Generations

My wish is not for the project to end with me one day. If I succeed in building the database on the scale I envision, it should have value not only today, but also for the generations that come after us.

Music History Should Be Accessible to Everyone

I want Radio Music History to remain open to as wide an audience as possible. I do not want to create a vast archive that can only be accessed by a limited group of people who can afford to pay for information.

Music has the power to cross borders, bring people and cultures together, and sometimes even connect entire nations. The more we know about these stories, the better we can understand not only the music itself, but also the times and the people who created it.

I started creating Radio Music History, but my goal is for its story to one day continue even without me. Because music history does not belong to one person or one generation. It belongs to all of us.

10. The Time, Work, and Costs Behind the Project

At first glance, Radio Music History may appear to be an ordinary website with a database of historical events. In reality, creating and operating it requires several hours of work every day.

At the current stage, I process an average of approximately 100 historical events per day. Processing these events alone takes me around 4 hours of work each day. But that is not the entire amount of time the project requires – alongside this, I work on the technical operation of the website, data verification, language versions, and the development of new features.

The Project Also Has Real Financial Costs

In addition to time, running the project also involves regular financial costs, including:

• domain and hosting,
• technical services and database tools,
• services needed for research and information processing,
• website development and maintenance.

At present, I cover these costs primarily from my own resources, just as I contribute the time I devote to the project alongside my other work and personal responsibilities.

You Can Also Help with Your Knowledge

Music history is far too vast for one person to know everything. If you come across an inaccuracy, a missing artist, or an interesting story while exploring the database, I would be grateful if you let me know through the contact form or by email.

Why Am I Asking for Voluntary Support?

If the project continues on the scale I have planned, its demands will continue to grow. That is why I decided to give people who believe in the value of Radio Music History the opportunity to make a voluntary contribution toward its further development.

This is not paid access to the database. The database is intended to remain open to everyone. A voluntary contribution is simply an option for those who would like to help cover part of the project's operating costs. The contribution can be any amount (for example, CZK 50, CZK 100, CZK 500, or CZK 1,000).

All funds will be used for the operation, maintenance, and further development of Radio Music History.

11. Thank You for Being Part of the Project

Radio Music History is being built one step at a time. One event. One day. One year. And gradually, tens of thousands of historical moments.

36,000+ events is the first major milestone. But music history does not end there. And that is why I continue.

Thank you to everyone who visits, uses, shares, or helps Radio Music History continue to grow. I also want to thank everyone who discovers a new artist, album, song, or story through the database that they might otherwise never have encountered.

Because that is what this is all about:

• So that music history is not forgotten.
• So that it remains accessible.
• So that future generations can discover it.
• So that music and its stories can continue to bring people together.