Industry Views

Monday Memo: Plan Now for Your Bonus Day

By Holland Cooke
Consultant

imTake a day off. You get one free this year.

Programmers: When was the last time you really listened?

— Not the way you usually hear it, at low volume in the office…but “out there,” where/when/how listeners hear radio. Schedule dedicated listening time, away from the station. I promise you will find it an ear-opening experience.

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— In 2024, you have no excuse NOT to take a day to listen…because it’s a Leap Year. You get an extra day, a February 29, courtesy of Pope Gregory XIII, in 1582 (as in “The Gregorian Calendar”). So, heaven help you if you miss this opportunity.

Holland Cooke (HollandCooke.com) is a consultant working at the intersection of broadcasting and the Internet. He is the author of “Close Like Crazy: Local Direct Leads, Pitches & Specs That Earned the Benjamins” and “Confidential: Negotiation Checklist for Weekend Talk Radio.” Follow HC on Twitter @HollandCooke

Industry News

NAB’s LeGeyt Testifies on AI Impact on Broadcasters

NAB president and CEO Curtis LeGeyt testified before the U.S. Senate Judiciary Committee’s Subcommittee on Privacy, Technology and the Law yesterday (1/10) at the hearing, Oversight of A.I.: The Future of Journalism. LeGeyt testified that while broadcasters embrace technologies thatim can advance their mission and enable them to better-serve communities with quicker alerts and more local news, he shared broadcasters’ concerns about AI without appropriate guardrails in place. He presented three primary concerns; 1) that the use of broadcasters’ news content in AI models, without authorization, diminishes their audience trust and their reinvestment in local news; 2) the use of AI to doctor, manipulate or misappropriate the likeness of trusted radio or television personalities risks spreading misinformation or even perpetrating fraud; and 3) the rising prevalence of deepfakes make it increasingly burdensome for both newsrooms and users to identify and distinguish legitimate, copyrighted broadcast content, from the unvetted and potentially inaccurate content being generated by AI.

Industry Views

SABO SEZ: Five Golden Actions for 2024

By Walter Sabo
Consultant, Sabo Media Implementers
A.K.A. Walter Sterling
Radio Host, “Sterling On Sunday”
Talk Media Network

imResearch shows that readers to trade publications like articles with five bullet points. Here are my five bullet points for 2024. If these were to be deployed, you could be thriving by the end of the year. These actions would increase sales and audience share.

1. Radio should be easy to buy. It’s not. Easy fix: Look at your website. Based on the website how would you buy time on your station? It should be as simple as a realtor’s website. Put up pictures of your salespeople with ALL of their real contact information – not a FORM. Offer their email and cell number. Offer a “tour” of the offerings with information about the talent and the audience. What does the host sell best? How about a very brief audio message from each host to your potential advertiser?
2. Every medium creates its own stars. Example – David Caruso, good on TV, bad in movies. Your hosts, good on radio, lousy at original podcasts.  Sure, edit up the interviews or bits and make them into a podcast. But don’t ask a host to get off the air and make brand new content for a podcast. Engage locals who are good at making original podcasts and offer them a stage.
3. Sell the biggest number. Your morning show probably has more listeners than the “Tonight Show” has viewers in your city. 1010 WINS has more listeners in New York than FOX News has viewers nationwide. Go check. Those are the numbers that put radio in perspective!  Stop selling the smallest number, TIME SPENT LISTENING. Who came up with that!?
4. Don’t make potential advertisers jump through hoops. If you have spent your career in programming, you may not know the tyranny of MEDIA CREDIT. New radio advertiser: Good buy, high rate, longterm business. Sounds great. Not so fast. At most companies, new business still has to go through the gauntlet of a MEDIA CREDIT CHECK. End that.
5. What’s wrong with the hosts? Many hosts use a content formula that MUST generate a diminishing audience size and older and older and older demos.  Repeat. WHY? If you start to trust that what you talk about socially, with your friends, your audience will grow and grow younger. Be more like Bruce Collins, PD at WBAP, Dallas. Bruce just hired James Parker who has been featured for years on “Sterling On Sunday.” James is going to talk about life, fatherhood and funny. He joins “New Jersey 101.5” alumnus, Casey Bartholomew, 10:00 am – 12:00 noon, who talks about life, fatherhood and funny.  It’s working so well that WBAP will now be simulcast on Class C2 FM, KLIF.

Five bullet points. Goals: HAPPY NEW YEAR!

Walter Sabo was a founding architect of SiriusXM and began the recruitment of Howard Stern. He has consulted RKO General, PARADE magazine, Hearst Broadcasting, Press Broadcasting, and other premium brands. He launched the first company to engage online video influencers, Hitviews. As an executive, he was EVP of NBC FM RADIO giving Dr. Ruth Westheimer her first media job and fostering the creation of adult contemporary. As VP ABC Radio Networks, Sabo hired Ringo Starr to be a DJ for a 24-hour special.

Features

“The Greatest Game Ever Played”

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Baltimore’s Alan Ameche plunges over the goal line for the winning touchdown!(courtesy YouTube/NFL Films)

On the field? Maybe. In its impact on pro football and sports broadcasting? Absolutely!

By Mark Wainwright

imIt was one of those indelible moments in sports history: The 1958 NFL Championship, played on December 28, 1958 at Yankee Stadium in New York. The Baltimore Colts defeated the New York Giants 23-17 in sudden death overtime. 65 years later, the events of that Sunday afternoon still resonate throughout pro sports and sports media.

In 1958, the National Football League was far from the huge phenomenon we see today. Americans generally had much more interest in baseball, and during the Fall, college football captured the attention of sports fans on Saturday afternoons. The annual Army/Navy and Harvard/Yale clashes were national news stories, and fans followed the exploits of powerhouses like Notre Dame and Michigan. For most fans, pro football was an afterthought. Even in cities with pro franchises, the NFL clubs often played runner-up to the local baseball teams.

Baltimore and New York were two exceptions. The Colts were upstarts — Baltimore didn’t get an NFL team until 1953 — and the city quickly fell in love with the Colts; on game days, Baltimore’s Memorial Stadium was described as “the world’s largest outdoor insane asylum.” Meanwhile, the Giants had been part of the NFL since 1925, and they were considered the league’s most glamorous team, located in the world’s media capital. Two very different teams, both with passionate fan bases, playing a nationally-televised title game in New York City… indeed, America was destined to notice pro football that day.

Seventeen Pro Football Hall of Fame inductees were in the stadium that afternoon, along with a Heisman Trophy winner (Baltimore running back Alan Ameche). The Colts were led by quarterback Johnny Unitas and defensive end Gino Marchetti. The New York offense revolved around halfback Frank Gifford, while linebacker Sam Huff anchored the defense.

There were all-stars in the broadcast booths, as well. NBC’s national telecast was assigned to Chris Schenkel and Chuck Thompson; both of these gentlemen are now legends of their industry. Joe Bolan and Bill McColgan called the game for NBC’s national radio feed, while Les Keiter did the play-by-play for WCBS Radio in New York. And Bob Wolff did the radio call for Baltimore’s WBAL. Wolff was assisted by an eager teenager who worked as his spotter… a young man named Maury Povich (yes, that guy).

The first half, frankly, wasn’t anywhere near “greatest game” territory. While both defenses played fairly well, the offenses looked sloppy and disorganized, and the two teams combined for six turnovers in the first thirty minutes. The Giants managed only a Pat Summerall field goal, while the Colts — almost in spite of themselves — took a 14-3 lead into halftime. It could have easily been 17-3, but Sam Huff blocked a Baltimore field goal attempt.

So, what was the halftime entertainment? Over the years, Super Bowl halftimes have featured performers like Lady Gaga and Michael Jackson. What 1950’s superstars would perform in the “super bowl” of 1958? Elvis Presley? Brenda Lee, maybe? Nope. It was the Baltimore Colts Marching Band, with their prancing majorettes looking quite fetching in their red leotards and reindeer antlers…

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The Baltimore Colts Marching Band majorettes, in “reindeer” mode!  (courtesy YouTube/NFL Films)

Baltimore’s offensive woes continued into the second half. Early on, the Colts drove the ball to New York’s 1-yard line, but Alan Ameche was stopped for no gain on third down, then Ameche was tackled for a loss when he attempted to run wide on fourth down. In an interview decades later, Baltimore’s Lenny Moore revealed that Ameche botched the play; it was supposed to be an option pass, but Ameche didn’t hear Johnny Unitas’ signals correctly, and he ran instead of throwing a short pass to a wide open Colts receiver.

That goal-line stand awakened New York’s offense, and they needed only four plays to score their first touchdown to make it 14-10. The Giants then took a 17-14 lead early in the fourth quarter on a Frank Gifford touchdown reception, and while the Colts responded with two effective drives, they came up empty on both possessions; one ended with a missed field goal, the other ended when Unitas was sacked twice, taking the Colts out of scoring range. The Giants’ offense only needed a first down or two to ice the game, but Frank Gifford was stopped on a critical third down run. For decades, Gifford insisted he made the first down; Baltimore’s Gino Marchetti suffered a badly broken ankle in the pileup, and Gifford often said that amidst the chaos and confusion of tending to Marchetti’s injury, the officials did not spot the ball properly. However, when ESPN restored the footage for a 50th anniversary broadcast in 2008, an accident reconstruction expert analyzed the images and determined that Gifford was, indeed, just short of the first down (more about that ESPN program in our Epilogue). The Giants chose to punt the ball, and the Colts took over on their own 14-yard line.

This was the moment when Johnny Unitas began his ascent to legendary status. With just two minutes left, he moved the Colts downfield quickly. While there were several misfires, he made four critical completions, including three straight passes to his star receiver Raymond Berry. Those last three plays moved the ball 62 yards to the Giants’ 13-yard line, and with just seconds remaining, the Colts rushed Steve Myhra out to attempt a tying field goal. Myhra had struggled with field goal attempts all season, and Baltimore fans held their collective breath until the ball went through the uprights. The fourth quarter ended tied 17-17.

So… what happens next? Many of the players and coaches weren’t sure. It was not unusual for football games to end in a tie, but this game was for the NFL title. Would the teams be declared co-champions? Fortunately, the NFL had recently instituted an overtime rule for championships, and it would be decided on the field. The teams would play pure “sudden death.” The first team to score in any manner would win, and they would play for as long as it took.

The Giants won the toss and chose to receive, but they were not able to mount any kind of drive, and they punted the ball back to the Colts. Unitas now had all the time in the world, and Johnny U methodically moved the Baltimore offense to the New York 8-yard line. It was first-and-goal, and then, suddenly… the NBC Television feed disappeared! Nothing but snow on the screen!

This caused immediate panic in NBC’s control room, not to mention in homes across the nation, as viewers — particularly in Baltimore — bolted from their living rooms and scrambled to find the nearest radio. It was one of the worst possible moments to lose the live feed of a TV broadcast. And then…

A fan ran onto the field! Play was halted for nearly a full minute before New York’s Finest chased him down and escorted him to the sideline. Over the years, there has been endless rumor and speculation about this incident. Photographs show the fan was well-dressed and appeared very cooperative when the cops took him away; he certainly didn’t look like a drunken lout. Who was this guy?

Whoever he was, he is now the stuff of sports broadcasting legend. More than six decades later, it is widely believed that he was an NBC employee who realized the broadcast was interrupted and ran onto the field — or perhaps was told to run onto the field — to delay the game long enough to give the TV crew enough time to find a loose cable and fix the connection. As far as I know, he was never identified and the story has never been confirmed. One hopes the fellow received a bonus and a promotion for his quick thinking!

When the game resumed, the Colts ran two plays to reach third-and-goal from just over a yard away. A field goal attempt might have been the obvious choice, but Baltimore coach Weeb Ewbank was leery of sending a struggling Steve Myhra in to kick. Meanwhile, the coach trusted Unitas completely, and he left Johnny U and the offense on the field. A routine handoff to Alan Ameche secured a 23-17 Baltimore victory.

The game was breaking news nationwide. It was a big topic of Sunday afternoon dinner conversations, and it was headline news on front pages and in sports sections the following day. NFL and television executives soon realized that professional football could become a very valuable property, and they started making plans for increasing television coverage and boosting marketing exposure for the teams, the star players, and the sport overall. And down in Dallas, Lamar Hunt — a son of oil tycoon H.L. Hunt — started thinking about owning his own football team. Those dreams eventually led to his role in establishing the rival American Football League, which merged with the NFL just over a decade later. Historians and sportswriters have studied the 1958 title game, and they generally agree that event was the start of professional football growing into the colossus it has since become. It was the aftermath and the impact  — as much as the drama of the game itself — that led them to calling it “The Greatest Game Ever Played.”

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EPILOGUE

As I’ve mentioned in previous articles, television did not put a high priority on archiving sports events back then. There is no known videotape of the game; videotape was in its infancy, and while NBC presumably had one or two of the early machines available, it seems nobody bothered racking them up. There is no known kinescope film recording of the television broadcast, either. Fortunately, there was plenty of film footage of the game, both from overhead and from sideline views. This footage was shot by NFL Films, as well as various newsreel cameramen working for different organizations.

On the 50th anniversary of the game in 2008, ESPN produced a special documentary that used the old footage to re-create much of the action. The historic clips were colorized for broadcast, and the action was interspersed with comments and memories from players, fans, and broadcasters who were there. (Sadly, many of these gentlemen have passed away in the fifteen years since.) Most of Bob Wolff’s Baltimore radio broadcast was saved, and the NBC national radio call was saved almost in entirety. This historic audio was used in conjunction with the preserved video. Several versions of the ESPN special can be found on YouTube; here is a link to one of those.

Others have collaborated on an almost-complete reconstruction of the game, using the original newsreel and NFL footage, some of the colorized ESPN content, stock footage, and still photos. The audio portion uses the NBC national radio call by Joe Bolan and Bill McColgan (complete with vintage commercials!). There are several uploads of this project on YouTube, and there is also a version on the Internet Archive, available here. If you’ve never seen any of “The Greatest Game Ever Played,” punch it up on your laptop and enjoy!

Mark Wainwright is a long-time radio personality and voiceover performer. He was most recently the morning host at WSYR in Syracuse; he is also a Baltimore native and life-long Baltimore Colts fan (and he still hasn’t gotten over the Colts leaving town and moving to Indianapolis decades ago!). He can be reached at: markwainwright@earthlink.net

Industry News

Todd Starnes Show Inks Simulcast Deal with Newsmax

Starnes Media Group reaches an agreement with Newsmax for the cable news channel to simulcastim an hour of the radio program “The Todd Starnes Show.” Additionally, Todd Starnes is hosting an exclusive, one-hour television program on Newsmax 2. Starnes says, “I’m honored to be a part of the great lineup at Newsmax. And it’s exciting to see the synergy between radio and television.” Next month, Starnes’ radio program launches in Houston on KYST-AM “920 Patriot Talk.”
Industry Views

New York Festivals VP/Exec Director Rose Anderson is This Week’s Guest on Harrison Podcast

The New York Festivals Radio Awards, currently accepting entries for 2024, honors radio content in all lengths and formats and across all platforms from radio stations, networks, and independent producers around the world. Embracing all aspects of the radio and audio industries, its categories mirror today’s global trends and encourage the next generation of storytellers by recognizing innovators in many category groups. (The organization also has divisions for advertising and TV.)  NY Festivals longtime VP/executive director, Rose Anderson is this week’s guest on the award-winning PodcastOne series, “The Michael Harrison Interview.” Anderson brings tremendous practical experience to the table in her role at NY Festivals. Prior to joining, she was director of production of the Sports Emmy Awards for the National Academy of Television Arts & Sciences. She has been an associate director of the CBS Sports Olympic Unit as well as having served as associate director of ABC Sports.  She was a history major at the University of Massachusetts and earned a Masters degree in Broadcast Journalism at Boston University. As the international broadcasting community looks forward to celebrating World Radio Day on February 13, Harrison and Anderson discuss the global state of radio and storytelling. Listen to the podcast in its entirety here

Advice

Six Reasons Radio Listeners Ignore Your Morning Show

By Gary Begin
Sound Advantage Media

imYou know the routine.

Your radio station introduces a new morning show, and you sit back and wait for the magic to happen.

And you wait…and you wait.

Still, the audience doesn’t know them, doesn’t care about them, or knows them and still doesn’t care about them.

Why is this happening?

There are six reasons:

One: Because they’re just not that good

It’s true! Radio managers are not famous for spotting and nurturing talent.

And a result: Being good is hard!

There’s a reason why Howard Stern was fired to the top. There’s a reason why it’s a safer bet to plug in Ryan Seacrest than to take a chance on somebody nobody knows (for better or worse). There’s a reason why the freshest young voice with a unique point of view prefers to launch a YouTube channel rather than work its way up the long, hard slog of the radio ladder.

Radio fans know what they like and don’t like, and everything else will likely fall in the vast, bland, vanilla middle. And while that vast, boring, vanilla middle can be tweaked with a bit of coaching or a new producer, there’s an old saying:

“You can’t polish a turd.”

Two: Because they’re not meaningfully different in a crowded field

Guy’s name and Gal’s name in the show title? Check.

Impeccable technical execution? Check.

Show producer/board op? Check.

What about plugging in all the radio morning show best practices? Check.

The problem with formulas for what makes a great morning show is that every station has access to the same procedures. And when every radio station is playing the same morning show game for the same audience at the same time using versions of the same bits, the audience will default to the show they’ve listened to longest, even if it’s not necessarily the best – because it takes a lot of time and effort to find the “best” and no time or effort at all to succumb to habit.

So why should I change the listening behavior that has served me well for years to sample YOUR show?

Three: Because listeners are barely exposed to them

It’s not only about how long a show has been on the air but also about how much exposure that show has had while it has been on.

I have a saying:

Listeners don’t listen to your morning show today; they listen to every episode of your morning show they have ever heard – today.

In other words, listeners bring their relationships with talent to each listening occasion. This makes intense morning shows powerful: They have a longstanding connection with their fans. It’s also why you can stream a market and listen to the dominant morning show without knowing why it’s so successful.

So, when you envelop your show in music, or the host opens the mic to announce a song, do a live read, announce another contest winner, check the weather, or emote some breezy phrase that dissipates into the radio ether within seven seconds, then the audience has less to know and fewer opportunities to realize it.

Why bother?

Four: Because they’re DJs and not humans

While there’s something comforting about a human voice on the radio, not every voice appears human. I’m not talking about voice-tracking here; I’m talking about content.

Humans have three dimensions – strengths and weaknesses, flaws, and blemishes. All on display.

When those dimensions are not displayed in a movie, we call the character “shallow.” And nobody (willingly) makes friends with shallow beings (although we’re happy to laugh at their expense TV).

Five: Because management doesn’t want a great morning show, they want a cheap morning show to be great

Too often, we’re not aiming for greatness; we’re aiming for extraordinary cheapness.

That’s not how Jimmy Fallon got the “Tonight Show” gig or how excellent radio talent is born. We fool ourselves into thinking the cheap voice can be better if only the audience catches on. And then we are disappointed when they never do.

This is not to say you always get what you pay for, but you certainly never get what you don’t pay for.

I recently ran into an old radio friend – a former morning host – now long out of the business. He was approached by a station in his market to do a weekend gig – live. And for this, he would be paid what he described as “the kind of money I made just out of school.”

Either he will say “no,” or the station will get from him what it’s paying for, which is precisely what it wants and much less than it pretends it wants.

Six: Because “liking them” and “listening to them” are two different things

Your new morning host may be a great guy and a model citizen, but if I’ve got 20 minutes of drive-time, I intend to spend it with the most compelling, entertaining, or informative morning show I can find, not with an audio Boy Scout.

Gary Begin can be reached at garybegin10@gmail.com.

Advice

Welcome to No-Brand Land!

By Gary Begin
Sound Advantage Media

imBroadcasting executives spend millions building their radio station’s brand in the marketplace. But is it being spent in the right place?

The frontline salesperson is a marketer’s greatest asset in creating brand justice and impact. But if you ask brand managers to look at their brand-building budgets, you’d probably see expenses allocated opposite to what drives brand purchase decisions.

Brand marketers continue to pump big bucks into extensive ad campaigns while doing next to nothing to deliver relevant, brand-supporting messages at the all-important, more significant level—the distance between a company’s sales voice and a prospect’s purchase decision.

What’s the answer?

It probably lies somewhere between (1) the unwillingness of radio stations and brand managers to go further “downstream” with their strategic recommendations and (2) the lack of useful tools to get them there.

Welcome to No Brand’s Land

Increasingly, a company’s branding success depends less on what they sell and more on how they sell it. Selected experts in branding seem to be coming around the idea that the power to make or break your brand-building effort lies not in the quality of your advertising but in the customer’s experience at the point of sale. In radio, that’s your over-the-air product and how your ad rep handles the advertiser.

On one side of No Brand’s Land, brand marketers can control all the implementation, ensuring the advertising campaign is right on, the media coverage generated by your on-air promotion is consistent, your Web site looks the same, and your corporate design is in place.

But on the other side of the No Brand’s Land, salespeople are still doing their own thing. They are cutting and pasting old proposals with outdated information and incorrect messages. They’re fabricating homegrown collateral tools and PowerPoint presentations that are, at best, inconsistent with corporate positioning or, worse, downright inaccurate.

The most frightening thing for brand marketers is that these cobbled-together documents must walk the halls of prospective customers, representing the company’s brand at the most critical points in the sales process. Ouch.

Adding insult to injury, the field-fabrication virus spreads exponentially as this lousy information is perpetuated across the channel on the brand’s intranet.

Crossing Over No Brand’s Land

To navigate and successfully cross No Brand’s Land effectively, marketers must start by adapting brand message creation and delivery to today’s strategic sales processes. Two trends will drive marketers’ efforts to create brand-supporting content that helps salespeople sell.

Trend #1: Value Selling

For more than a decade, sales training and methodology experts have focused on improving the consultative selling skills of salespeople—especially in complex selling environments. The concept is simple: first, salespeople identify customers’ needs; then, they demonstrate the ability of a solution to respond to that customer’s specific needs successfully.

Often called Value Selling or Solution Selling, this dynamic and interactive sales process replaces previously static, one-way techniques that debate the merits of competing features and functions.

While salespeople move toward creating a much more customized sales experience for each prospect, most marketing departments continue to deliver generic messaging using static collateral tools—a one-size-fits-all approach for a one-to-one world. No wonder salespeople are forced to scramble to create custom content, piecemealed from various sources, to demonstrate they have listened to the customer.

The first thing brand managers can do to help is translate their high-level positioning into street-ready value propositions and solution messaging that speak to customers the way salespeople have been trained to sell:

  • Create customer empathy by identifying and demonstrating a proper understanding of the critical do-or-die issues facing your customers. Do that for each level of the decision-making team and link it back to how they do their jobs today.
  • Next, determine and articulate the risks if they do not address these issues. Also, firmly establish and highlight the rewards if they do act. Take special care to find out how your customers will define success—determine what they want to brag about if they are successful in achieving positive results.
  • Then demonstrate how your company’s solution helps them respond specifically—and successfully—to their key do-or-die issues.

Trend #2: Dynamic, Personalized Collateral Building

Value selling has raised the bar, forever changing customer expectations about sales experiences. Customers expect company interactions to be personal, relevant, and tailored to their specific needs.

Meanwhile, marketing departments have tried to keep pace by adopting segmentation strategies, doing their best to tailor messages and create more customer-relevant positioning. However, the tools to deliver these increasingly sophisticated messages through the sales channels have lagged. So, we’ve seen a proliferation of static collateral tools designed to fit every occasion.

Unfortunately, salespeople are neither warehouse managers nor librarians, and they have difficulty tracking and finding suitable materials when needed. In response, marketers have set up sales intranets to supply 24×7 access to support materials.

While these intranets improve accessibility to materials, they don’t resolve the most significant issue facing today’s value-selling salespeople: the need to provide prospects with dynamic, personalized sales communications. With only static documentation, salespeople begin creating unique, customized documents for each sales situation.

Typically, this happens at the expense of the brand and the company. The lack of consistency between radio stations and from salesperson to salesperson—undermines the millions spent on brand awareness advertising. The extra time spent by salespeople crafting these personalized proposals, presentations, and collateral pieces keeps them from time better spent with customers.

Marketing’s big win is that every radio salesperson, even within a multi-entertainment environment, will now communicate a consistent company message. Imagine the brand-building power unleashed when sales reps begin delivering a persuasive, powerful, and pre-approved message at every point of customer contact.

Gary Begin can be contacted at: garybegin10@gmail.com.

Industry Views

Monday Memo: Be Conspicuous When Competitors Are MIA

By Holland Cooke
Consultant

imIn a recent column, I outlined win-win radio/TV station alliance tactics. This week, as stations are finalizing 2024 budgets, a tip for advertising your station on TV.

Dominate in January. Why:

— It’s a buyer’s market then, and your message won’t compete with other stations’ promotion. Slaves to conventional wisdom, they will be running DURING the Spring book, because they forgot that radio listening is habit, which will be set long before diaries and PPM will collect data. Smart stations derive a benefit message and set that habit BEFORE the book.

im

— If you can trade for over-the-air stations, the price is right. In January they’re lean too. Can you trade – or afford to pay cash for – cable? Two reasons cable might be a better deal:

1. You can target your signal pattern better than over-the-air channels, whose coverage footprint is bigger than yours; and

2. You can buy channels with programming similar to yours. FOX News Radio affiliate? Buy FOX News Channel (and Newsmax).

Holland Cooke (HollandCooke.com) is a consultant working at the intersection of broadcasting and the Internet. He is the author of “Close Like Crazy: Local Direct Leads, Pitches & Specs That Earned the Benjamins” and “Confidential: Negotiation Checklist for Weekend Talk Radio.” Follow HC on Twitter @HollandCooke

Industry News

How News/Talk Radio Should Adapt to Attract and Retain a Younger Audience

imProvidence-based talk host, podcaster, journalist and musician Bill Bartholomew says, “In a world where social media influencers and podcasters supply information to millions of young consumers, news/talk radio should be able to effectively compete for the ears of younger generations in a comparable, if not expanded way.” In a piece written for TALKERS magazine. Bartholomew says, “Unlike many digital-first content producers, radio retains a unique quality: authority. By virtue of editorial standards, FCC regulation and brand – things that social media and podcasts often lack – radio has the unique ability to deliver credible, vetted, nuanced and universally trustworthy content that can instantaneously adapt to meet the needs of the moment. This is true in everything from natural disasters to rapidly evolving breaking news stories, providing a channel for immediate, reactionary insight and analysis.” To that end, he suggests four steps news/talk stations should pursue. Read his story here.

Industry Views

Monday Memo: Radio/TV Synergies

im“If you think radio has problems,” consultant Holland Cooke says, “Netflix et al are to television stations what Pandora et al are to music stations. So local news is TV stations’ silver bullet. And – like radio – their need to promote off-air exceeds their promotion budget.” In this week’s column, he outlines tactics for “partnering with a fellow broadcaster who’s also challenged.” Read his column here.

Industry Views

Monday Memo: TV Synergies

By Holland Cooke
Consultant

imI am always impressed when I see-and-hear radio and TV stations swapping product.

— The most obvious asset is weather. Many radio stations’ forecasts are voiced by local television meteorologists, often gratis because their boss assigned them to, as part of an information alliance. So, the radio station’s weather cred’ stands on the broad shoulders of the weather brand the TV station promotes so relentlessly.

— For some news/talk stations, simulcasting a television newscast is the only way they can air local news in the afternoon. Turn lemons into lemonade. Radio people who love to hate TV audio under-estimate how loyal viewers are; and how conspicuous and convenient this can make the radio station.

— Especially if the deal includes promos – on both stations – voiced by trusted local TV anchors, offering that “If you can’t be home in time to SEE us, you can HEAR us…”

— In every market where we have executed this strategy, the TV talent has remarked about how many compliments they get for being on radio.

— Deal point: During simulcast newscasts, the TV station supers “Heard live on WXXX 8:50 AM.”

How’s THIS for resourceful?  

— A radio station’s afternoon drive newscast consists of a 60-second live shot (or prerecorded live-on-tape) from a local TV newsroom, voiced by the TV anchor who ticks-off “the stories we’re following” that will be seen on evening newscasts.

— The radio station wraps it into a four-minute package, including:

— that live headline package, at the end of which

— the TV anchor hands off to radio’s traffic reporter, then…

— the traffic reporter teases weather into a radio spot, and…

— after the commercial, the weather comes on.

— And here’s the kicker…that live shot from the TV newsroom is a commercial for the TV station! To the listener’s ear, it’s a free newscast from a credible, branded source. Possibly a trade for TV time to advertise the radio station?

im

Another win-win synergy: Reciprocal excerpting, with attribution 

Translation: Each station gives blanket permission for the other to grab, from the air, whatever it wants, crediting the originating partner.

— There will be times when someone from the radio station is on-scene; or when radio scores a newsworthy interview that TV can use the audio of. More often, thinner-staffed radio will use TV sound more than vice-versa.

— When I programmed WTOP, Washington, WUSA9 let us help ourselves to their newscast audio (“And the mayor told Channel 9…”). Each day, our desk and theirs compared assignments, and we recorded every WUSA newscast.

— True story: The news director from NBC4 came to my office and said, “You can use OUR sound, and you don’t even have to say ‘Channel 4!’ Just STOP saying ‘Channel 9.’”

— It was a flattering offer, but we remained loyal to WUSA, the once-upon-a-time WTOP-TV. Decades later we were still getting mail addressed to “WTOP-TV.” And both stations being CBS affiliates contributed to the lingering impression that we were siblings, so the confusion was actually useful. Does your radio station have a long-lost TV brother? 

Radio takes TV where it otherwise can’t go: in-car

Note how aggressively TV stations are programming their apps and websites. They want to be a news brand, not just a news station.

— A smart TV station should want to give radio a ROSR (Reporter On-Scene Report) during the day (when radio audience is high and TV audience is low), because doing so serves to promote the upcoming evening TV newscast.

— WARNING, based on experience: This can be a tough sell to over-protective TV news directors, who may fret that by going-live on radio they’re alerting other TV stations to the story. Stinkin’ thinkin.’ Other TV stations could show up anyway, and they wouldn’t be as-well-known for covering the story as the TV station that’s also already reporting it on radio.

Local TV news is a hungry critter…

…with a limited budget. Which is why some TV stations toss-live to their radio partner’s host: “Gene, what are your callers saying about the congressman’s abrupt resignation?” Arrangements like this were commonplace even decades ago, when TV had to equip the radio studio with equipment more elaborate than modern day video chat requires.

The calculus is simple

Radio + TV > Radio – TV or TV – Radio

(Radio PLUS television is greater-than Radio MINUS television or television MINUS Radio.)

Even if you’re a music station that doesn’t do much news at all, these opportunities are worth exploring. At least trade spots, because neither station can afford to promote as much as it should.

Holland Cooke (HollandCooke.com) is a consultant working at the intersection of broadcasting and the Internet. He is the author of “Close Like Crazy: Local Direct Leads, Pitches & Specs That Earned the Benjamins” and “Confidential: Negotiation Checklist for Weekend Talk Radio.” Follow HC on Twitter @HollandCooke

Industry Views

SABO SEZ: Stream to Success

By Walter Sabo
Consultant, Sabo Media Implementers
A.K.A. Walter Sterling
Radio Host, “Sterling On Sunday”
Talk Media Network

imIn May 2007, I was enjoying the brand-new app called YouTube. Still independently owned, still relatively unknown. Some of the videos pulled millions of viewers, more viewers than enjoyed by ESPN or any cable network. More interesting, the videos with high counts were not made by NBC or ESPN or any traditional video source. High view count videos were being made by people with no experience in traditional media, they were experimenters producing in their basements and bedrooms.

As these new performers were pulling major view counts, they revealed that they worked at Starbucks, were going to school and wanting to make enough money to get out of their parent’s house. Wait. Some video creators were winning more viewers than ESPN and they were broke? Simultaneously major brands like Pepsi and Budweiser knew they had to enter the online video space and each attempt was a disaster. BUD TV! Online video entertainment was a brand-new medium; USG User Generated Content.

I started a company called HITVIEWS. The goal was to placed brand messages in User Generated Content. The first company. No one had ever done it. We gathered the top video performers and started to marry them with brands like Pepsi, FOX TVTimberlandMTV,  CBS TelevisionIBMLogitech, many more. A TALKERS conference introduced the first Influencer (we called them “Web Stars”), Caitlin Hill, to radio executives.

From this pioneering initiative into online video, I can share a significant amount of information about the ingredients of a successful video campaign.

  1. Use video stars, influencers, to deliver your message. It’s a different medium and requires different stars.
  2. Engage every capability of the platform. The videos with the highest view counts demand the most interaction with the viewer. Click now. Comment below. Make a response video. Send a text back. THEN answer all responses. Every single viewer response must be answered by you or it is wasted.
  3. It’s not radio or TV. Don’t bother putting up videos at a fixed day and time. Put up as many videos as you possibly can. Two days is too old!
  4. Funny works best.

Online video success makes the medium the message. The touch screen, mouse, keyboard. Audio, video capabilities must all be integrated into the entertainment. If full functionality is not part of the show, the show is boring.

Walter Sabo has consulted the largest media companies worldwide in digital initiatives. He was the on-site consultant for SiriusXM Satellite Radio for nine years. He can be reached by email at walter@sabomedia.com and his network radio show can be discovered at  www.waltersterlingshow.com.

Industry News

Audacy Releases Modern Blueprint for Audio Advertising

Audacy is releasing the fifth installment of its bi-annual audio thought leadership series, State of Audio: Level Up, that it calls “a modern blueprint for audio advertising, designed to provide a go-to playbook – including planning tips, creative how-to’s and innovative trends – to help advertisers level up the performance of their audio investments.” Audacy chief marketing officer Paul Suchman says, “Audio is proving itself as a must-have media for marketers. Our advertisers are embracing the power of multiim-platform audio with media plans that utilize radio, digital audio and podcasts, working together to reach audiences with unprecedented precision and drive quantifiable outcomes for their brands.” Some of the findings within the guide include: 1) Audio advertising works harder – driving more than two times the attention of TV and social media at more desirable CPMs; 2) Radio and digital audio are stronger together. A multi-platform audio strategy is so powerful that advertisers see 1.5 times the return on ad spend compared to digital-only campaigns; 3) Advertisers are leaving upwards of $6 billion in revenue on the table by not including total audio – a balanced mix of traditional broadcast radio and digital audio – in their media mix, according to a study conducted by Audacy and Neustar. The report also offers actionable tips for producing effective ads under the section titled, “5 Ways the Best Audio Ads Crush the Status Quo.” Here, Audacy says, “Advertising on the #1 reach media — Audio — will get you the most ears. But to keep them, your creative can’t just be good — it needs to be really freaking great.” See the report here.

Industry News

LA Daily News: Is All-Digital the Best Future for AM?

A piece by Richard Wagoner in the Los Angeles Daily News looks at the question of whether all-digital AM is ultimately the best solution for AM radio’s fidelity and interference issues. He writes, “Over the years, technical improvements have helped make AM sound better, but the erosion of listeners from the band has continued. One potential solution was digital HD radio, but the hybrid HD system introduced itsim own problems by increasing overall interference on the band, leading many stations to abandon it.” But all-digital AM is a much better signal and as more and more infotainment systems in new cars are HD compatible, more listeners are likely. Outfitting AM stations with digital transmitters is not inexpensive, even though they use far less electricity than an analog AM transmitter. And in the United Kingdom where digital audio broadcasting (DAB) launched more than 10 years ago, most commercial radio stations still broadcast an analog signal as well. Even though about 60% of listening in the UK is to DAB signals, Ofcom recently agreed to renew analog licenses through 2032 because many Britons still listen to analog on their old radios. Read the LA Daily News piece here.

Industry Views

The Problems Facing Radio Were Not Caused by Consolidation

By Walter Sabo
Consultant, Sabo Media Implementers
A.K.A. Walter Sterling
Radio Host, “Sterling On Sunday”
Talk Media Network

imAs your friends get fired and on-air hosts are replaced with WideOrbit and Profitable Software, the mournful refrain is to unfairly blame consolidation. Consolidation has, in fact, made the medium financially viable and brought hundreds of individual stations from a river of red ink to the glow of black ink. Prior to consolidation, over half the radio stations in the U.S. lost money – year after year. Not a secret stat, those numbers were revealed annually by the NAB.

The flaw in the deregulation law was the elimination of the rules regarding financing of station acquisitions. Previous regulations required a licensee to prove it had the financial resources to cover expenses through the term of the license. Licenses could not be purchased with debt. Licensees could not sell the license until it expired. Radio stations could not be used for speculatory financial gain. When those rules were tossed, the industry hit a financial tailspin from which it has not recovered. That’s the problem.

That is not a “problem” with radio. In talks with publisher Michael Harrison about his exciting role in the United Nations as executive advisor to World Radio Day 2024, we shared a key observation: The world’s radio industry is overwhelmingly enthusiastic. Working with clients in London, Toronto, Montreal, Amsterdam, Athens and Sydney, the passion for the medium continues to grow and is supported by audience engagement and response.

Internationally, there is a robust radio set design and manufacturing industry. European listeners seek clothing featuring radio set themes and artwork. Believe me, the food at the NAB Europe is much better than that crap served here.

Follow the money. Radio is not legacy media. Radio is proven media – proven for over 100 years. Local retail advertisers are a practical lot. They buy advertising that works for this weekend. If it doesn’t bring feet to the floor and dollars to the door, sponsors just don’t repeat-buy.

I was the in-house programming guru at SiriusXM Satellite Radio for eight years starting pre-launch. The reason Sirius exists is test after test revealed that Americans liked radio so much, used radio so much, they wanted more stations. More choice. More.

Consolidation, with considerable credit to Randy Michaels, allowed radio to convert from a frequency media buy to a reach media buy. That puts radio in budgets with TV. The opportunity right now is to actually monetize radio’s clout as a reach medium. Create scarcity. More spots mean cheaper spots, smaller budgets and higher expense. More spots mean much less efficiency for media buyers. Media buyers have to spend their budgets. They would prefer to spend that money with one or two outlets before lunch rather than having to “make the buy” by purchasing dozens and dozens of stations acquiring spots that are cheap, bonused, thrown in, flanked, and here are some tickets.  The fix starts with raising the price to meet the public’s perception and usage levels of radio.

Walter Sabo has grown audience share for a roster of clients that has included SiriusXM Satellite Radio, RKO, ABC, Apollo Advisors, Hearst, Wall Street Journal Radio and many others. Reach him at walter@sabomedia.com. Learn about his unique radio show at www.waltersterlingshow.com

Industry News

NYTimes: Radio Preferred Medium for Many in India

A piece in The New York Times by Karan Deep Singh that explores how radio is used by women in rural India to learn and to communicate shows just how important the medium is to many people in the world’s most populous country. The piece focuses on the community radio station “Alfaz-e-Mewat,” – the voice of the Mewati people. Singh notes that “even in a digital era, radio remains the preferred medium for millions of Indians.” Of the radio station he writes, “Its listeners are the million or so people of Nuh, a rural, agrarian district in the foothills of the Aravali mountains in the northern Indian state of Haryana. In this region — which has some of the country’s lowest female literacy rates, where early marriages are common and where violence against women is the norm — the station is the voice of change.” TALKERS founder Michael Harrison, who was recently appointed by UNESCO as executive advisor to the United Nations celebration of World Radio Day on February 13, 2024, states, “This story illustrates just how important the medium of on-air radio is to millions of people around the world. Not only for its accessibility in the many places on Earth, including the United States, that are not fully digitized – but as a grassroots weapon against poverty and injustice in all their many forms. What could be more important?” Read the Times piece here.

Industry Views

Pending Business: Demo Talk

By Steve Lapa
Lapcom Communications Corp
President

imAttention news/talk radio sellers! Get ready to meet your new best friend… and it is not who you think it is.

Take a guess. Could it be a mega budget opening up from an advertiser targeting 55+?

No. How about your closest competitor admitting defeat and conceding it no longer makes sense to compete?

Close, but this could be better. This is the part where your new best friend becomes such a giant ally, making your demographic pitch so valid, you are left stone-cold speechless. This is where “The Golden Bachelor” answers the double “Jeopardy” question and you could become the next Ken Jennings of news/talk radio ad sales. Give up? Here is the story line.

The New York Times article “TV Networks’ Last Best Hope: Boomers” saluted, validated, recognized, and just about honored the news/talk radio 55+ audience value proposition. We could be talking about a new day for news/talk radio sellers.

When the highly resourced sales teams from linear network TV begin telling the same demographic value story that news/talk radio sellers have been telling forever, well then, it is time to start popping the champagne in your local sales department.

It seems that linear network TV programmers are finally conceding the 60+ audience is the remaining core audience for your favorite network television programs. According to the article, franchise programs like “Grey’s Anatomy,” and “The Voice” have median viewers over 64. Wait, what? Dr. Meredith Grey and the crew at Seattle Mercy are now appealing to seniors? It may have taken 400+ episodes, but the last man standing is indeed grey! The sellers at NBC, ABC, CBS, and FOX could start singing from the same demographic page as news/talk sellers and the harmonics are sounding wonderful.

Please don’t be silly enough to think this will ever get truly competitive. No friends, this is where everyone wins if the selling stays at the value level. Media habits are changing at mach 4 speed, and nobody knows the change part of the business better than the terrestrial radio business. From fragmentation to consolidation, we’ve seen it all. Is the best yet to come?

Smart radio sales teams will embrace this opportunity. Do you still pitch the “older demo” value proposition with the anecdotal Grace Slick is 83, Mick Jagger is 80, and Elton John is 76? Time to start talking about the scene where 70-year-old Jerry Seinfeld says to 74-year-old Kramer, “I’m movin’ to Florida! You comin’ with me or not?”

Steve Lapa is the president of Lapcom Communications Corp. based in Palm Beach Gardens, FL. Lapcom is a media sales, marketing, and development consultancy. Contact Steve Lapa via email at: Steve@Lapcomventures.com.