Campus Radio

Been visiting a few Universities as one of my children gets ready to pick a school. It does bring back some great memories of the college days and of course I spent most of it in the Campus Radio world. I usually end up wandering into the campus station just to see what is going on, or at least ask a few questions.

In a recent visit I was rather surprised at the 'policy' for the campus station. First the station was all programmed by the students with some help from the broadcasting faculty and looked like it was pretty well done with an Alt/Indy format and special programs for some minorities and special interest groups. They had a decent FM low power signal that probably covered the campus and the small city fairly well. The station looked to be pretty staffed with people in on a Saturday morning doing shows. The professor giving the tour of the communications department mentioned that you need to sign up early to be a DJ if you want good shifts. So there was a student interest here.

When I asked if they stream the station - 'we've been trying to get the 'Board' to approve it, but they are scared.' What??? It's OK for the campus and the city to hear it, but not elsewhere? I would think it might be a recruiting tool - you can catch a little of the campus life by listening. Catch some of the 'music vibe' of the school. As important as music is to most 18-24 year olds it's probably worth more than the condition of the pool table in the rec-room.

Then as we toured the Union and the eating area they had some music playing and it was obviously a radio station. I thought it might be the Campus station. It wasn't - they had on a Sirius - Mix modern hot AC channel. I'm sure the campus really rocks out when they play Huey Lewis and the News.

Too bad the school didn't support the station. This school was pretty into their broadcasting department with a school cable TV channel coming on soon, a full weather department geared at teaching TV meteorology, complete with a Doppler radar.

We do need to work more with our local colleges and their radio programs. The air staff and the PDs should be stopping by to host a class, invite them to the station and try to help the faculty with any materials they might need. Not only do we need more people in our talent pools, but we also need to keep radio relevant on the campus scene. In this case we can do something so reach out and drop you local broadcasting faculty an email - and help the future.

At Work Listening

It's still a BIG key to building P1s, long TSL and big shares in valuable demos, but there are new rules. In the 90s At Work listening really took center stage, first with AC stations and then to Classic Rock for the most part. We ran special at work contests, dropped by with pizza for lunch, called the offices with 'secret contests' to build listening, tried building at work databases, and ran endless 'at work network' imaging to try and build this audience.

Most of these programs had some success in the 90s and we could see big At Work listening shares for the stations that followed the programs. Over the last 10 years it's still important, but a lot has changed:

1. A lot more Media to Choose from at work. You all know the list of new media suspects here.
2. More listening done on Computers. According to the latest Nielsen Internet Media studies around 7% of all listening is done on computers and around 1/2 of that is done at work. As we see more smart phones, Wifi spots, and even more people realizing they can use their computer with decent quality to listen this number will grow. You don't need to lug the radio to work any more to listen.
3. At Work is not just In Office. We've known this for years, but a lot of our strategy seemed to have that rare vision of a radio playing for a bunch of people in cubical office set ups. That's only the case in a very few spots - it's a lot more individual now and it can happen in delivery vehicles, in the shop, with people who travel locally to sell, and even at home as they work.

Here are some new and familiar workplace listening ideas that might help:

• An At Work website - We have special pages for the Morning Show, how about for listening at work. Maybe with some obvious links, workplace jokes/cartoons, job listings, and maybe some at work news stories. You could also link up with some workplace tools like - google calendars etc.
• Wallpaper/Screen Savers - People still theme and decorate their computers, how about some of these old tricks to get your message on the computer screen everyday.
• Creative Imaging - Have some fun between the songs with work humor, workplace of the day, and some testimonials from the audience.
• Make sure your air talent visualizes their audience at their workplaces during the day.

It will be harder to track at work listening as PPM becomes currency. You can't tell if a meter is at work, in the car or just roaming around the market. You can only measure if the meter is at home or away from home. In the diaries the listener had the option to note if the listening was at work but not in the PPM world.

There are also issues with PPM tracking on-line listening with getting the encoded signal in the stream and also having the levels up enough to register with the meter. And there are also issues with the stream being different programming with Arbitron since we often replace the national voices in the spot breaks on the stream.

Still, at work listening is very important and if you don't focus on it with a well thought out plan you will see more and more new media invade this great source of TSL and P1 audience.

Taking Music Risks

As the role of Music Radio changes from a dominate taste maker for music (old and new) to a world where there are many other players in the game we are faced with new challenges to stay in the game. At the core of radio's music model is the need to hit as many people under the signal as possible. Our first mission is to build as big of a cumulative audience as possible and then try to find some way to hold them as long as we can. It used to be much easier when the only options where the other stations in the market or maybe someones cassette collection in the car or Walkman.

Obviously now the options are nearly infinite and growing every day. With the customizable media the audience can really build their own stations. They catch new music on MySpace, You Tube, and through blogs or websites.

Yet we still pretty much hang on to the old rules, strategies, and tactics when it comes to programming our music as we did in the old days of broadcast domination. Tight is right. You're never hurt by what you don't play. Sort the test to 90% familiar, 80% acceptance, and play those powers as much as possible. So what if you only play 200 songs? If they are the right 200 songs.

We've also gotten pretty tight when it comes to breaking or adding new music. It's one of the biggest complaints we get from the audience on the street and on-line, but we still play a game of wait and see with the charts.

Our tightness and reluctance to take any chances or risks over the years is adding up. If you go back to the days when radio built it's huge influence in music (the 60s and 70s) you see a lot more boldness in adding songs and playlist size. Can you find a CHR station today that actually plays 40 current songs? Probably not - seems like most are around 25 or 30. In Rock we spent the 70s often adding 2-3 songs from an LP when it hit - not just 1 song. Rock used to have 800-1000 songs in the old card rotation system and the freedom to really take requests as well the jocks throwing in a personal pick here and there - now you probably average 500 songs or less.

It's lead the audience to start discovering music in many different places. Just take a look at the Big Champagne download charts and you'll see music that radio has only touched lightly pretty high on the charts. In fact Led Zeppelin's tour a while back built 2 song lists for the shows. One came from rock radio plays and the other from Big Champagne downloads. Reports are that they were quite a bit different with Plant and Page using the Big Champagne list with good results.

We are going to have to find a new way to balance our need for that huge cume that fuels the core of our business model with the endless variety of new opportunities the audience has to explore music and hear more than we offer on our playlists.

The key may be taking a few risks and working to make them pay off as big as possible. Letting down our guard here and there to open the door more to lead the audience instead of just following them.

It's not all science - there has to be an equal balance of risk and art.

If you would like to learn more about Big Champagne catch this article in Wired.

You can also see condensed versions of the Big Champagne charts in All Access under charts.

Killing The Clutter

When you stand back and break down the content of so much of radio's non music areas you can see the big blocks of clutter we so often have in our breaks.

The information segments are filled with it. Look at the extra words we often see in weather, the long winded descriptions around traffic reports, the waste in our music sells, or all the extra words in any news story. It's not that we need to come up with some kind of text message code here to tighten it up, but do we really need all the details we usually include to get the message across?

Also look at where we put content in breaks. How many times do we hear a backsell where the jock has 'forced' some trivial music info into it, then rolls a liner for a bar night filled with extra plugs and finally we get to a great call from the audience? All the extra dancing before we hit the real 'punch line-caller' that was the real entertainment in the break.

Sometimes it sounds like we are talking just to hear our voices in the headphones. Hyping it up and giving that extra sell is also a test on the audience's patience and time. Make that liner extra special, sell those concert tickets for the promoter - our name is on that show, last week's wet t-shirt contest at Woody's was down give it the extra sell. We've all heard it and so has the audience.

Or we fall victim to the 'formatics' of the break. A contest is set up in the backsell and then we go to the phones while the spots run. After 5 minutes of spots we finally have the pay off and a caller on the phone with an entertaining bit - is there anyone left that's really paying attention?

Then there is the billboard or tease. Just because you have AC/DC on the way is that enough motivation to stay. We often cite the great Casey Kasem set ups as examples, but even those don't often carry the weight to get the audience to hang in there anymore - there are just too many other options at the press of a button.

The more we look at the tune out by studying the audience's reaction with the People Meters the more we see that they don't have much patience when the music stops. They know the spots are coming and your break is really more like a time bomb waiting to go off in just a few seconds with them. You have to get the MEAT or most entertaining part of the break out in front and try to hold them as long as you can. The longer you hold them the more likely they are to pass that urge to tune out.

Look at it much like a comedian who opens his slot with a joke about an Englishman, Irishman and a Scotsman - you know the joke is going to wander around a bit till you finally get to that entertaining/funny punch line. In the comedy club you can't flip the switch and jump to another comedian so you hang in there.

Also look at the practice we often see to build the break and finish with a big laugh or moment as we wrap it up. Leave them laughing. Run off the stage with the audience demanding more - a standing ovation. Again that works on a stage where the audience has to get up to find the exit. In our world - punch - you're gone.

We've seen a number of stories that radio programmers are pushing the talent to 'shut up.' Even the most recognized terrestrial radio jock, Ryan Seacrest, is under the gun to keep it quick according to his comments on The Kevin and Bean Show.

We all know the reality is that just being a jukebox won't do anything for radio to survive an a new media sea of jukebox options. We need the personality, entertaining elements and the information to build the unique product that broadcast radio is. Now that we can see what the audience does with the meter we also see that we have to be more focused. If we can learn to value their time and patience a lot more we can still deliver content that holds and entertains the audience. Sticking to this basic tenant of radio will turn out to be the real magic of our medium.

Perhaps a few lessons from SNL's MacGruber will illustrate it in an entertaining way.

12 Rules of Advertising and Marketing

Ran across 12 Rules of Advertising from

Bill Bernbach – Creator of the old VW – Think Small campaign in the late 60s/early 70s. Even though they come from the pre-digital age these rules still rule. Might be something to forward to your sales teams as they hit the street to help their clients.

1) The most powerful element in advertising is the truth.

2) Word of mouth is the best medium of all.

3) It is insight into human nature that is the key to the communicator's skill. For whereas the writer is concerned with what he puts into his writings, the communicator is concerned with what the reader gets out of it. He therefore becomes a student of how people read or listen.

4) Nobody counts the number of ads you run; they just remember the impression you make.

5) You can say the right thing about a product and nobody will listen. You've got to say it in such a way that people will feel it in their gut. Because if they don't feel it, nothing will happen.

6) Forget words like 'hard sell' and 'soft sell.' That will only confuse you. Just be sure your advertising is saying something with substance, something that will inform and serve the consumer, and be sure you're saying it like it's never been said before.

7) Just because your ad looks good is no insurance that it will get looked at. How many people do you know who are impeccably groomed... but dull?

8) No matter how skillful you are, you can't invent a product advantage that doesn't exist. And if you do, and it's just a gimmick, it's going to fall apart anyway.

9) Our job is to sell our clients' merchandise... not ourselves. Our job is to kill the cleverness that makes us shine instead of the product. Our job is to simplify, to tear away the unrelated, to pluck out the weeds that are smothering the product message.

10) Advertising doesn't create a product advantage. It can only convey it.

11) Advertising is fundamentally persuasion and persuasion happens to be not a science, but an art.

12) Properly practiced creativity must result in greater sales more economically achieved. Properly practiced creativity can lift your claims out of the swamp of sameness and make them accepted, believed, persuasive, urgent.

Playing it COOL

Projecting a Cool image is one of the toughest skills to pull off in marketing, branding, and creating the product/station/personality. It's a tight balance point of being noticed and making an impression without overstating or overdoing it.

Watching a Biography channel piece on Letterman he said that he wanted to get into late night talk because he watched Carson and 'he made it look SO easy that I figured I could do it.' The reality Letterman found when he started his late night show and his CBS show was that the job was anything but easy. Carson pulled it off with an style that looked effortless and COOL.

Even though Carson was probably way off the cutting edge in guests, humor or show style from 1975 on he still had enough Cool in his style to pull it off.

Cool can also be way over done. Being too cool for the room is a common phrase and for a reason.

Swing too hard and you will miss the ball a lot of the time. The same swing principle applies to your Cool on the air and in the produce. One of the 'coolest' icons in movies was probably James Dean in the 50s, but look at his movies - often his lines for a 2 hour flick would have fit on 1 page. It was his look, his eyes, his silence, and a careful pause in the timing that built his coolness.

How are you handling your cool factor? Is it in that delicate balance or is it overcooked or coming up rare?

A New Idea for the Royality Mess

The debate continues with Sound Exchange on radio stations paying royalties for the music we play to the record companies with the thought that perhaps some of these funds would go to the musicians in the performance. Of course the real 'exchange' here for many years has been that exposure radio brings far outweighs the royalty potential for all involved and many a musician and record company has made millions from the exposure. Now that the business model centered on the old school distribution of CDs and Albums is dying a fast death the record companies have clung to the old school and are tying to hang on by taxing radio.

Even though there are tons of new media outlets and streaming options Radio still remains a strong exposure vehicle for music. Just look at the remarks from the judges on American Idol. All have talked about 'hearing the performers on the radio' when gushing about their latest performance on stage. Still, the debate rages on, mostly from older musicians who haven't turned out a big song in ages and want to get more from their 'glory days' since we still play their catalog.

Sound Exchange has been pulling artists together and forcing the issue with the Congress and the NAB has been lobbying to continue the exemption. Meanwhile we sit back and wait. But, could we do something?

How about this idea:

Most of the 'force' from the Sound Exchange side comes from the record companies and their hold on the rights of the performance. Yet, we now live in a music world where the record companies no longer control distribution and no longer have the promo machines they once had to really break new artists. We all know that the next wave of new artists are more likely to come from social networks, You Tube videos, and other independent sources outside the record companies.

How about setting up an industry wide 'emerging artists' program. The program would offer exposure of any independent artist to the programmers, music directors, and DJs at commercial radio stations. The artists would be able to post their songs, radio would be able to listen to them, watch charts on them, and even chat with each other. The artists would simply agree to let radio expose their music and performance for free. Radio would pledge a percentage of their new adds to come from the emerging artists and link our audience to them on the web site - perhaps through My Space. There they can distribute the songs and build their fan base.

To fund it? How about taking the funds we were sending to Radio and Records and allocating them to this idea. I bet it would be enough to pay for a few out of work Radio and Record staffers to mind the store here and start to build a business out of it. As the site grows there could be other advertising options - how about Guitar Center??

At the least it would send a message to the Sound Exchange world that there is another way for music to get exposed on radio without their old world business model. It would also open the floodgates for new artists to build their business model on a new world of distribution that is already built and rolling - it just needs an organized way to promote itself.

If any of you folks from Radio and Records want to get started - be happy to help you brainstorm. Just reach out.

Using Imaging to SELL Not Just Identify

I always look forward to monitoring stations. When you hit the road and spend a few days immersed in a market or even just breaking down a station with an on-line monitor the area that seems to fall short is in the imaging.

All too often we work hard at just keeping it short - so it says nothing and just repeats the calls, name/frequency, and maybe some positioning.

We also tend to make such grand positioning statements. THE best rock!!, All the Hits not just some of them, Today's Hit Music, -- we throw around statements like these and expect the audience to believe them and embrace them mostly because we make sure to say them 14 times every hour.

Of course there is also the BIG production packed with sound effects, movie drops, TV clips, Music hooks, and anything else we can find to layer into the 10 second sweeper. Often these are so packed you can only hear the copy in a production room with the processing set 'just right'.

When you actually break down the message much of the time it's about recycling personalities, selling feature shows, hyping contests, promoting events, and selling that we have more music than others. It's ok to push all these important parts of the station, but does it really SELL THE STATION? Does this really build up any images in the audience's head? Or does it just try and push them around the dayparts? If it's not recycling it's usually making claims that set off the BS meter in much of the audience as quickly as humanly possible.

Think of it like a billboard for a minute. A billboard that just says McDonalds Next Exit will make the sale if I'm hungry on I-75. But, a billboard with a clever phrase or an eye catching picture that leaves a lasting image about McDonalds even if I'm not hungry goes a much longer way to building McDonalds into a real brand.

We don't just need listeners right now. We need them to have great images and feelings for our brand as much as possible to win. You won't get those great images if you don't project them on the air.

The best way is to think in campaigns. Brand building advertising works in series of well crafted messages that communicate the facets of the brand with a creative presentation that catches your ears and eyes. If you approach your imaging this way - with a clear message in mind and stick with it you will be building a real brand.

Now that's worth putting between the songs.