Frost Advisory #279 – Superman, Kryptonite, and Your Radio Station

So, what’s the deal with Kryptonite? (Even my spell checker knows what it is.)  The Complete Deluxe Unabridged Marvel Comics Dictionary (yes! I have one!) says, “Kryptonite is the name given to shards of matter cast off from the planet Krypton after its destruction.”

Jeepers! This is going to be one high-falootin’ Frost Advisory, alright!

Have you ever noticed that superheroes aren’t perfect? Superman has Kryptonite, and Batman is really just Bruce Wayne who really can’t fly and has no super powers.  What’s the deal with that?

Every superhero has a flaw.  Every major character on a TV show has an imperfection. (Think Kramer entering a room, Barney and his bullet, and Gilligan’s incompetence).  And yet, we somehow insist that talent on Christian radio be perfect.  Holy Façade, Batman!

That’s what’s wrong with talent on Christian radio?

Perfection.

We don’t trust perfection because we all know perfection is a facade. If none other than Superman, able to leap tall buildings in a single bound, has imperfections why shouldn’t we?

Your listeners want real.

I once worked at a radio station that started to get complaints about the way the lady on the morning show laughed.  It was a distinctive and, if I may say so myself, rather loud laugh. She couldn’t help it.  That was just HER laugh.

Faced with that situation I’m sure that many programmers or managers would tell her, “Stop laughing! We’re getting complaints!”

Instead my bosses did the opposite! They created tee shirts with the caption, “I laughed with Toni in the morning!”  She became a star, and much beloved because she was REAL!  She had a tribe!

As you develop the talent on your station find the Kryptonite, the chink in the armor, the thing that makes them human, and build upon it.

Then, be real.

quirks

And if influence is what your radio station is ultimately about, being real can lead to trust.

“We resist being influenced by people we don’t know or don’t trust.  We are open to the influence of those whom we trust or whom we perceive have our best interests at heart.  Trust requires common ground.  Trust requires empathy.” Andy Stanley

Tommy Kramer Tip #124 – You’re A Role Model… Whether You Want To Be Or Not

Just the other day, I heard from a young man who said he does a Talk show, and wanted some coaching. He described his show as “focusing on politics, current events, and whatever else comes out of my head, with my main influences being Imus, Limbaugh, Johnny Carson, Dick Cavett, Wolfman Jack, etc.”

I felt like I was on the old TV show “Lost in Space”, with the robot saying “Danger, Will Robinson!” First of all, that’s a pretty diverse list of influences. Wolfman Jack? I loved the Wolfman, but for a talk show host? That’s like wanting your hair to look like Moe of the 3 Stooges.

Anyway, as with every inquiry, I asked him to send an aircheck, so I could see where he was in his skillset and then determine if I could help him. (I don’t take on clients just because they want to pay me. I live for making radio great.)

Turns out, he was a college kid, working on a college station—which, of course, was horrible. (No repercussions, meaning ratings = no learning.) And his show was just disjointed rants, screaming at the listener to make his points, and pretending to talk to (read that “lecture”) political candidates like Hillary Clinton in this case (who, of course, is not listening to you).

However, I really couldn’t blame him. He was just parroting back his version of his role models, without really understanding that (1) just because it works for someone else doesn’t mean it will work for you, and (2) those influences may not even be valid in today’s hummingbird-attention-span era.

I did try to help him, giving him a free coaching session, but the operative part of this is realizing that you are a role model, whether you want to be or not. Someone is listening to you, then trying to imitate you, as a first step toward finding himself.

So today, ask yourself “Am I a good role model?” I’ll tell you right now the biggest single factor in becoming one: don’t sit on your can thinking you’ve got it down and you don’t really have anything left to learn or to prove. Because the last thing you should ever want is to be cited as a role model for someone who doesn’t sound good.

– – – – – – –
Tommy Kramer
Talent Coach
214-632-3090 (iPhone)
e-mail: coachtommykramer@gmail.com
Member, Texas Radio Hall of Fame
© 2015 by Tommy Kramer. All rights reserved.

Frost Advisory #278 – October 21, 2015 and Your Radio Station

A once obscure and meaningless reference in a movie sequel has spurred tee shirt sales, conspiracy theories, and a seize-the-moment marketing campaign by Pepsi.

How can you get people to willingly pay $20.15 for a bottle of pop?  Simply connect the mythical date Marty McFly arrived in the future to the mythical soda Pepsi Perfect.

This marketing campaign is fueled by a real psychological phenomena called Baader-Meinhof, which states that whatever you notice grows in importance.

“It’s caused by two psychological processes. The first, selective attention, kicks in when you’re struck by a new word, thing, or idea; after that, you unconsciously keep an eye out for it, and as a result find it surprisingly often.  The second process, confirmation bias, reassures you that each sighting is further proof of your impression that the thing has gained overnight omnipresence.”  Pacific Standard

You’re shopping for a red convertible with leopardskin seat covers and you begin to see them everywhere.   You want a tattoo of the Donald on your trump and you begin to notice tattoo parlors on every street corner on Palm Beach.

bttf

In my journeys I regularly overhear conversations at radio stations about things we deem important simply because we notice them.  We then invest attention and they become more important still.  I could list some of them here but you’d call me a liar and say rude things about me.

“Not everything that can be counted counts, and not everything that counts can be counted.”  Albert Einstein

Tommy Kramer Tip #123 – Nonverbal Communication is Very LOUD

It’s one of the basic tenets of acting: you have to LISTEN well. There are many reasons for it:

No matter how much you’ve rehearsed something, the other person in the scene may forget a line, or feed you a line that was supposed to come later (or earlier). Unless you’re paying attention, there’s this awful, pregnant moment when panic or shock hits you—and believe me, everyone in the audience knows it.

I’ve coached somewhere around 350 team shows and dozens of Talk shows that are caller-driven or guest driven, and it’s amazing how many times I’ve heard a host or partner that’s simply not paying attention. I’ve had to remind people that should know better not to text while they’re on the air, to take their eyes off the computer screen, and instead of only thinking about what your next comment will be, actually listen to what’s being said on the air.

After all, if you’re not paying attention to what your partner, a guest, or a caller is saying, why should the listener? Non-verbal communication is very loud. And people FEEL at least as much as they hear.

– – – – – – –
Tommy Kramer
Talent Coach
214-632-3090 (iPhone)
e-mail: coachtommykramer@gmail.com
Member, Texas Radio Hall of Fame
© 2015 by Tommy Kramer. All rights reserved.

Frost Advisory #277 – Good Grief! Charlie Brown and Your Radio Station

They could have just advertised the movie. The equivalent of “here’s what it’s about, give us your money, go to the theaters!” Our radio stations do that all the time!

Instead, gave us a way to put ourselves in the movie.

peanuts

As we try to come up with ideas about how to get our listeners to do what we want them to do, perhaps we can learn a thing or two from this campaign. “Create a character” isn’t about the movie. It’s about YOU!

Roy Williams says, “We buy what we buy to remind ourselves – and tell the world around us – who we are… We’re attracted to reflections of ourselves.”

Thousands of these cartoons will be posted on line or sent to friends and not once was anyone asked to promote the movie. And yet they did.

“It’s not what a product does that matters to us so much, it’s how we socialize around it that matters.” Hugh MacLeod

Tommy Kramer Tip #122 – Say My Name, Say My Name

Time for a little “basics” check.  How good are you at saying the name of the station?  There are a lot of different factors that play into this supposedly simple thing…

First of all, you should say them first – the first thing out of your mouth when you start a break.  Not just “somewhere in there.”  There’s a reason the Jif label is on the outside of the jar.  They don’t put it inside with the peanut butter.

When you say “That’s ‘Thinking Out Loud’ by Ed Sheeran on 92.9 KSLL” that’s about Ed Sheeran, who’s on 1200 stations, one of which happens to be yours.

But when you say “92.9 KSLL and Ed Sheeran with ‘Thinking Out Loud,'” it’s YOUR song. You own it, and that’s the kind of music that YOU play.

Ownership MATTERS.

Yes, I’ve heard PD’s say “but it sounds more conversational to just drop them in at random.” But branding isn’t about being “conversational”. It’s about branding.  (Which, by the way, is why you shouldn’t just segue two songs back-to-back without a short produced piece or a jingle between them that gives your name.   You’re just throwing away a branding opportunity.  PPM will never measure someone who doesn’t tune you in a second time because they don’t remember who you are.)

But let’s move on to the performance itself – the art of saying the station’s name. Here are just a few of the techniques I coach:

1.  As a voice actor, you have to be able to deliver it in multiple ways, with several different inflections and variations in timing.  It’s easy to just toss the name out like a robot, which always sounds like you’re just trying to get it done with so you can get on to the more “important” stuff.  (I’ve actually edited together every time a talent says the station’s name in an hour so he or she could hear the bad habits that have set in – same tone of voice every time, same inflection, always going down in pitch at the end – there are tons of them.)

2.  Matching the pace of the song.  (Fast song, uptempo delivery. Slow song, slower delivery.)

3.  Matching the emotional “vibe” of the song.  (Sad song, more somber tone. Happy song, more upbeat delivery.)

4.  Starting on the same NOTE the song is on.  (The great Marice Tobias also teaches this.)

…and there’s more, but in John Lennon’s words, “I have to have money first.”

Suffice it to say that unless you’re good at saying the name of the station – the first thing you should master – chances are that people won’t remember you, and ratings won’t be as high as they could be.  I’ve seen Arbitron entries for stations that don’t exist anymore, and air talents that have been DEAD for two years. That’s the power of good branding.

– – – – – – –
Tommy Kramer
Talent Coach
214-632-3090 (iPhone)
e-mail: coachtommykramer@gmail.com
Member, Texas Radio Hall of Fame
© 2015 by Tommy Kramer. All rights reserved.

Tommy Kramer Tip #122 – Say My Name, Say My Name

Time for a little “basics” check. How good are you at saying the name of the station? There are a lot of different factors that play into this supposedly simple thing…

First of all, you should say them first—the first thing out of your mouth when you start a break. Not just “somewhere in there”. There’s a reason the Jif label is on the outside of the jar. They don’t put it inside with the peanut butter.
When you say “That’s ‘Thinking Out Loud’ by Ed Sheeran on 92.9 KSLL” that’s about Ed Sheeran, who’s on 1200 stations, one of which happens to be yours.
But when you say “92.9 KSLL and Ed Sheeran with ‘Thinking Out Loud,’” it’s YOUR song. You own it, and that’s the kind of music that YOU play.
Ownership MATTERS.

Yes, I’ve heard PD’s say “but it sounds more conversational to just drop them in at random.” But branding isn’t about being “conversational”. It’s about branding. (Which, by the way, is why you shouldn’t just segue two songs back-to-back without a short produced piece or a jingle between them that gives your name. You’re just throwing away a branding opportunity. PPM will never measure someone who doesn’t tune you in a second time because they don’t remember who you are.)

But let’s move on to the performance itself—the art of saying the station’s name. Here are just a few of the techniques I coach:

1. As a voice actor, you have to be able to deliver it in multiple ways, with several different inflections and variations in timing. It’s easy to just toss the name out like a robot, which always sounds like you’re just trying to get it done with so you can get on to the more “important” stuff. (I’ve actually edited together every time a talent says the station’s name in an hour so he or she could hear the bad habits that have set in — same tone of voice every time, same inflection, always going down in pitch at the end—there are tons of them.)

2. Matching the pace of the song. (Fast song, uptempo delivery. Slow song, slower delivery.)

3. Matching the emotional “vibe” of the song. (Sad song, more somber tone. Happy song, more upbeat delivery.)

4. Starting on the same NOTE the song is on. (The great Marice Tobias also teaches this.)

…and there’s more, but in John Lennon’s words, “I have to have money first.”

Suffice it to say that unless you’re good at saying the name of the station—the first thing you should master—chances are that people won’t remember you, and ratings won’t be as high as they could be. I’ve seen Arbitron entries for stations that don’t exist anymore, and air talents that have been DEAD for two years. That’s the power of good branding.

– – – – – – –
Tommy Kramer
Talent Coach
214-632-3090 (iPhone)
e-mail: coachtommykramer@gmail.com
Member, Texas Radio Hall of Fame
© 2015 by Tommy Kramer. All rights reserved.

Frost Advisory #276 – When You Have a Need, Plant a Seed

I met a guy at the health club this afternoon and now he’s my best friend ever.  Just like that!

Silly, of course. We all know that relationships don’t happen instantly. I reckon’ some of the deepest relationships in your life are those you’ve had the longest.

“Whoever sows sparingly will also reap sparingly, and whoever sows generously will also reap generously”  2 Corinthians 9:6 NIV

The ratings are down! What happened? The fundraiser was off! What’s wrong?

“People are drawn to black and white opinions because they are simple, not because they are true.  Truth demands serious effort and thought.”  Donald Miller

This weekend’s super moon lunar eclipse doesn’t just appear spontaneously.  There are numerous distinct phases; seasons, in a sense.  If we considered only the brief moment of the maximum eclipse at 10:48 pm (analogous to the snapshot of weekly ratings, perhaps?), we’d fail to notice that the partial eclipse began an hour and a half before.  Or more importantly, that the seemingly simple occurrence of the Earth’s shadow passing across the moon was a result of a much more amazing and miraculous trajectory.  God’s bigger plan, don’tchaknow!

Many radio stations operate as if there is no bigger plan, viewing their success (and worse, making their decisions) based only in terms of that singular 10:48pm moment in time fundraiser or ratings report card.

eclipse

We ran this contest and didn’t see the results in the next weekly ratings!

We went all Christmas music and didn’t see an increase in listenership right away.

“There’s always a delay between planting and harvest. When you plant a seed in the ground, do you get an ear of corn the next day?  Of course not.  You plant in one season, and you harvest in another.”  Rick Warren

The success of your radio station will be determined by sowing the seeds of sound strategic principles and building relationships.  And relationships, counter to the what-have-you-done-for-me-lately navel gazing of weekly or monthly ratings, take time.

“A farmer has four sacks of seed in his barn and he looks at his empty field.  He doesn’t complain, ‘There’s no crop!  I wish there was a crop!’  He just goes out and starts planting seed.

When you have a need, plant a seed.” Rick Warren

Tommy Kramer Tip #121 – The Beau Weaver Tips

Beau Weaver was simply the best radio jock I ever heard, period.

Now he’s now a very successful voice actor based out of Los Angeles, and still one of my closest friends. We first met and worked together as babies several hundred years ago, when Gordon McLendon hired us as part of the staff at KNUS 99, the station that put FM on the map in Dallas.

We were all very young, and constantly running thoughts and techniques by each other, trying to find ourselves as jocks and Production talents. The other day, Beau reminded me of how he’d often play me a spot or promo that he’d done, and I’d keep repeating two things to him: “Don’t use your voice, and don’t try.”

Those are still the two starting places, either for young talent, or for old pros trying to update their sound to still be valid in the 21st century. Let me explain why…

Don’t use your voice.
When you “use” your voice, it sounds phony. The broadcasting world is still far too stocked with people on the air who just LOVE their own voices, and “puke” too much or shout at the listener in an effort to sound “big” or to “impress” them. (Are you listening, Kenny Albert? I’m not 40 feet away. There’s no reason to scream at me.)
Just talk.

Don’t “try”.
It’s not that you don’t want to give it a professional effort. Of course you do, but when you try too hard, you sound strident. That doesn’t bring anyone closer to you; it pushes them away. You pull people toward you by really understanding your “instrument”. Study great actors, and you see the value of LESS volume, less projection. For instance, Tom Hanks doesn’t have what radio people would call a great voice, but he can make you cry. Here’s another great example: Matt Damon at the end of “Saving Private Ryan” at that graveside, turning to his wife and softly saying, “Tell me I’m a good man.” It gets me every time.

Until you fully realize all the techniques available to you that can sway people, you’re just going to be one more voice in a sea of voices, quacking away on the air every day. (And good luck trying to be a voice actor. I’ve been to auditions where they’ve asked “Anyone in radio?” and when some people raised their hands, they were told “Thank you; you can leave.” They never even got a CHANCE to read, because the last thing anyone wants for a national spot is the “deejay” delivery.)

If you’re not in touch with this yet, you need a coach.

Oh, and go to www.spokenword.com to hear Beau Weaver’s work. Whatever he doesn’t have, you don’t need.

– – – – – – –
Tommy Kramer
Talent Coach
214-632-3090 (iPhone)
e-mail: coachtommykramer@gmail.com
Member, Texas Radio Hall of Fame
© 2015 by Tommy Kramer. All rights reserved.

Frost Advisory #275 – Is Anybody Out There?

I recently attended a church in another city that is very strategic about the things it does, the things it doesn’t do, and how it communicates.  As a result, more and more people are being drawn to that church resulting in additional services, building facilities, and three satellite campuses.

Most Christian radio stations aren’t growing their audiences at all. In fact, it is the format with more stations and fewer listeners than any other format, according to our buddies at Nielsen.

Growing stations are ones that are purposeful about everything they do. Here’s a suggestion on how you can evaluate your station.

Understand who you’re trying to communicate with.  John Maxwell says, “People are not persuaded by what they hear. They are persuaded by what they understand.”

The pastor at that church would never consider giving a message to preschoolers the same way as he does to seniors.  Nor would he consider communicating in the same way to the college crowd as to those in elementary school.

To be an effective communicator or an effective radio station you must understand who you are talking to.

Most stations get the “target demo” thing, but I’m suggesting it is also important to understand the life cycle of how people listen to your radio station.

customers

Let’s pretend that your station has three main types of listeners -new listeners, casual longer term listeners, and fans.

New listeners are like window shoppers.  They aren’t very familiar with the music and may have a vague sense of what your station is about.  They don’t get the secret handshake.

Casual listeners tune to your station from time to time, perhaps when they are in a particular mood, but for some reason haven’t yet bonded with your station.  They don’t get the secret handshake either.  (Detect a trend?)

Your fans love the music and are the ones most likely to give you their opinions and get involved with station events or concerts. Since these are the only people we ever hear from we tend to make our programming decisions, particularly when we react to complaints, assuming that everyone thinks this way.  (Not even these folks get the secret handshake! ‘Reckon that’s why it’s called ‘secret’).

If you think about the scope of things on your station, it is a relatively simple exercise to determine which programming elements would most appeal to which group of listeners.  If your radio station isn’t growing its audience it is likely because your station isn’t consistent with the programming elements and presentation style that would most appeal to new listeners.

“If you do something remarkable, something new and something important, not everyone will understand it (at first).  Your work is for someone, not everyone.

Unless you’re surrounded only by someones, you will almost certainly encounter everyone.  And when you do, they will jeer.

That’s how you’ll know you might be onto something.” Seth Godin