The whole concept of “reach and frequency” is one of the benchmarks of all advertising, not just radio.  But since we don’t have artwork or a camera to tell part of the story, we have to be mindful of what our words are actually saying.

Yes, the listener needs to hear something a few times for it to penetrate the world he/she lives in, like a contest, a promotion, or a feature you run.

But when it comes to “regular” Content and your vocabulary, you really don’t want to sound repetitive at all.  In real life conversations, using the same words, expressions, or “camera angles” over and over again is an indicator of laziness, lack of imagination, and lack of respect for the person you’re talking to.

Those things you “always say” are the ENEMY of communication.

I used to coach a morning show in Dallas with a host who made a little whistling noise every time he played “The Joker” by the Steve Miller Band.  (You know, that place at the end where there’s a little “slide” guitar thing that sounds like a whistle.)  Whenever that song came up, I really hoped that he WOULDN’T do the whistle – but he always did.  Aaarrrggh.

So, if the question is “when does something become stale?” then the answer may as short as “the second time I hear it.”  This is NOT something you should ever want the listener to think about.

– – – – – – –
Tommy Kramer
Talent Coach
214-632-3090 (iPhone)
e-mail: coachtommykramer@gmail.com
Member, Texas Radio Hall of Fame
© 2016 by Tommy Kramer. All rights reserved.

The whole concept of subtlety seems to have died out in the back yard, because no one heard it scratching against the door.

Go to “Catch and Release”, like in fishing.  You catch a Moment, then you let it go.  Trying to reach a second Moment is too far a “reach” for most air talents.  We’re not stand-up comedians, who work tirelessly on “constructs” where each step leads to another one.

Louis C. K. talks often about George Carlin’s process of writing for a special, then tossing that material out, which shocked Louis.  He felt like “I’ve worked for 14 years to get this one hour of good stuff.  How do you just throw that away?!”

Over time (and mustering up all his courage), he learned that you have to clear the slate to open up the mental space to create more.

Radio’s not really the medium for that “Construct” formula anyway.  Quick hits, then movement, define great radio.

I hear so many shows that sound like the people in the studio are having a good time, but like kids at recess, they don’t want to come back into the classroom and settle down.

Catch, then Release.  Stop hanging onto a falling satellite.  Your listeners will really appreciate it.

– – – – – – –
Tommy Kramer
Talent Coach
214-632-3090 (iPhone)
e-mail: coachtommykramer@gmail.com
Member, Texas Radio Hall of Fame
© 2016 by Tommy Kramer. All rights reserved.

In coaching, the typical fear is always that you, as a talent, might actually have to change some things in order to become more fully fleshed out.  Technique is a part of it, and there are many Program Directors who are very good at teaching the various techniques that work best in any given format.  I’ve got my own set (what a lot of people have called “The Kramer Rules”) that form that firmament, the solid rock foundation a talent builds on.

Caution:  Techniques that don’t grow out of a specific Strategy are just flotsam floating by.  Strategy dictates Techniques, not the other way around.

And then you have Style, which is what we work on the most.  Many air talents think they already have a certain style, but it’s really just a mish-mash of techniques wrapped around an Attitude.

So I believe the way to look at it is yes, you want to learn the right techniques – and which ones are outdated, or just wrong from the word “go”.  But how you DO those techniques are where your true Style comes from.

Example: The brilliant Mike Fisher, a truly great writer and fine air talent, was part of the staff at my last PD gig, a Talk station in Dallas.  Early on, we went over certain techniques to handle callers – no “hi, how ya doin’ today?” stuff (no one cares), ONE point from each caller, no phony “and Jess has something to say…” antiquated “entry lines” into a call, etc.

And Mike did well, but he put his own twist on it with this phone call solicitation: “Get in, get on, and be good,” followed by giving the phone number.

That statement, that “set of rules” for his callers to follow, defined his Style.  No b. s. was going to be tolerated, no filibusters, no boring analysis.  Get in, get on, and be good.  The pressure was on the CALLER, not Mike.

Brilliant.

– – – – – – –
Tommy Kramer
Talent Coach
214-632-3090 (iPhone)
e-mail: coachtommykramer@gmail.com
Member, Texas Radio Hall of Fame
© 2016 by Tommy Kramer. All rights reserved.

On the day I’m writing this tip, I just heard from my buddy Mancow Muller in Chicago.  He’s not just an outstanding talent, but he also lives a very interesting life, seemingly knows everyone, and always has great stories to tell.

Tonight he’s having dinner with The Moody Blues (I love them), and radio genius Lee Abrams.

Lee and I go back to 1973 in Chicago, later worked in Cleveland together, and have stayed friends all this time.  If you’re not familiar with Lee, just Google him.  His accomplishments are amazing, but the things I remember most about being around Lee are (1) he was encouraging, but still mindful of what a talent needed to do to get to a higher level, and (2) he always, always, always, worded everything in positive language.

“Don’t miss this one” became “Make sure to see this one,” for instance.  Our weather forecasts didn’t say “partly cloudy.”  We said “partly sunny” or (even better) “some sunshine,” etc.

This carried forward into the hallways, too.  There were no negative thoughts in a coaching session with Lee – ever.

For example, once, in Chicago, Lee wrote a post-aircheck session recap to the wonderful Gary Gears.  Lee assured him that he was going to be the most popular afternoon drive jock in the country, praised all the gifts that Gary brought to the table, etc.  Then at the bottom, Lee added:

P. S. Of course, learning to run the board is a prerequisite.

Hilarious.

I miss that time with Lee, and wonder how many stations now even THINK about things like whether something is worded as a positive or a negative, and whether board work even MATTERS.

The radio is full of sloppy, uncaring, slamming-things-on-top-of-one-another board work everywhere now.  It’s tempting to fall back on the easiest excuse: “It’s because the computer runs everything.” But remember, your listeners hear this, too.

So let me channel Lee Abrams now and put it this way:  We can CHANGE that.

– – – – – – –
Tommy Kramer
Talent Coach
214-632-3090 (iPhone)
e-mail: coachtommykramer@gmail.com
Member, Texas Radio Hall of Fame
© 2016 by Tommy Kramer. All rights reserved.

Wish I could tell you how many times a PD has said he wanted to keep someone aboard, or hire someone, because he or she “has 20 years of experience.”

On the surface, that would seem like a real plus.  But there are different types of experience.  For example, I’ve had people name off the morning shows they were part of, only to find out (after some further fact-checking) that he or she was only a Producer that appeared on the air once in a while, not a full-fledged partner.  That’s a completely different level of experience.

Look, some people have 20 years of continuous learning, while others THINK they have 20 years of “experience”, but it’s really only been 4 years of experience repeated five times.  They didn’t LEARN anything after the first few years, either because no one at their past job(s) could really teach them, or because they got to a certain level, had some success, and came to believe that they knew all they needed to know.  (Good luck with that.  That’s the dinosaur that I call Jockosauras Rex.)

When you’re looking to hire someone, don’t go by “experience”.  Go by what you hear, and what you feel in the interviewing process.  Ask specific questions about what they’ve done.  Call the people they used to work with, if you can.  Listen to the station they last worked for (or are still at).  Some people are true stars at a very young age.  Others are just repeating what they’ve always done, and are stuck there.

The first thing I do with a talent is try to get a feel for whether or not that person is still willing to LEARN, regardless of how much so-called “experience” he or she might have.

– – – – – – –
Tommy Kramer
Talent Coach
214-632-3090 (iPhone)
e-mail: coachtommykramer@gmail.com
Member, Texas Radio Hall of Fame
© 2016 by Tommy Kramer. All rights reserved.