CAAMA found itself competing for the licence with only one other applicant, Capricornia, the owner of Darwin's NTD-8 television station, which had the backing of the Northern Territory government.
On the issue of access, it is interesting to note that the two existing Indigenous television stations, Warlpiri Media and EVTV, supported the CAAMA bid with reservations.
In its expressed desire to appeal to the urban mob, to make money, to profit, to stay viable, at the very least to survive in this economic environment, CAAMA produces music videos that not only market commercial genres but use conventional visual language to do so.
One might counter this criticism by pointing out that the music produced by CAAMA does bear progressive pro-Aboriginal messages.
Bartholomew Willaughby, a CAAMA performer, defends CAAMA's use of mainstream media genres and styles by arguing that they protect cultural music from commercialisation.
Does CAAMA abrogate its responsibility to the traditional owners?
8) Now, the mainstream strategy has stretched to embrace other CAAMA operations.
North Tanami Band 1990 Warlpiri Warlpiri People, CAAMA 212.
Titjikala Desert Oaks Band 1989 Titjikala Desert Oaks Band, CAAMA 204.
Yartulu Yartulu Band 1994 Kangka Julu Piwa Take Me Back to My Land, CAAMA 236.