I watched a TED Video this week on the origins of pleasure. Psychologist Paul Bloom argues that our beliefs about the history of an object changes how we experience it, not simply as an illusion, but as a deep feature of what pleasure (and pain) is. Which explains, in part, why some “heritage” radio stations and hosts across the country continue to get great ratings, despite the poor programming. People love (take great pleasure in) the idea of listening to the station that their Mom or Dad or grandparents listened to. It’s a connection to a simpler time, your childhood, and a shared experience with your parents/grandparents.
It also makes me believe that it’s important that each personality and radio station needs to have a story. Seth Godin coincidentally touched on this same idea this week with his blog post “Just a myth.” Godin concludes his blog by encouraging brands (which could be a personality, a show or a station) to create their own mythology (or story.)
So, if I were trying to invent a mythic brand, I’d want to be sure that there was a story, not just a product or a pile of facts. That story would promise (and deliver) an heroic outcome. And there needs to be growth and mystery as well, so the user can fill in her own blanks. Endorsement by a respected ruler or priest helps as well.
The key word, I think, is spiritual. Mythological brands make a spiritual connection with the user, delivering something that we can’t find on our own… or, at the very least, giving us a slate we can use to write our own spirituality on.
The most successful in broadcasting have these mythologies or stories that help define their brand; Oprah, Rush, and Howard Stern all have overcome great adversity to find success (triumph over tragedy.)
So, it begs the question. What’s your story? Start at the beginning and remember how your personality, show or station went from being a germ of idea to transforming into what it is today. What did you overcome? How are you spiritually serving your fans? If you’re a super hero – what’s are your special powers?
Taking the time to write your story / myth is an investment into being a something people listen to and being something people live for, experience and claim as their own.
Arbitron released a study recently on the key indicators of highly rated PPM stations. They surveyed stations in 48 markets and most every format. The gist is that the dominate #1 stations in PPM have a high DAILY CUME and a high number of LISTENING OCCASIONS (getting people to listen more often is more important than listening longer). So, yes you need more listeners to listen more often in order to be #1. I’ve read some blogs who’ve dismissed this as far from enlightening. Bully for them.
As a programmer it gives me more of a focus to dig deeper. (I’ve changed days of week and actual numbers for competitive purposes). My GM and I decided to look at these key indicators closely. We took a 6-month look at each day of the week to see where we are performing the best and worst (based on DAILY CUME for listeners who spend 1:00+ daily with the station). It opened our eyes to new opportunities. We knew our weekends were vulnerable, but we didn’t have a clear sense of how negatively it impacted the DAILY CUME on Monday. It takes a while to get those listeners to come back after we push them out the door on Friday.
We also looked at LISTENING OCCASIONS. We have a relatively high daily occasion count (about 7), but a lower weekly occasions number (about 21). That means when our P1s decide to listen to the station, they are listening and coming back throughout the day. The opportunity is we only get our core listeners about 3 of 7 days per week on average.
So now we have a better sense of what needs done. We need to convert more of P2, P3, and P4 listeners into P1 listeners by giving them a reason to come back more and more often each day of the week. And encourage our current P1s to spend more days per week with us. It involves appointment listening opportunities throughout each day (coming up today at 4:37…) and appointment listening day-to-day (coming up tomorrow at this time…). It also involves creating a relationship with these fans through facebook, twitter, and email blasts. I want all my core listeners thinking about the radio station, when they’re not even listening to the radio station. (That’s a blog entry for another day.)
This research and exercise is a great reminder for me that each minute, each hour, each day, each week is an opportunity to grow ratings. Everything we do – every topic we choose, every promo we air, every news cast, every e-blast, tweet and facebook post matters and can make a difference.
Nearly everyday I get a request from somebody for “feedback.” Sometimes it’s an employee, sometimes a peer or mentor, and sometimes a complete stranger out-of-the-blue wanting “an honest assessment of their work.”
This is tricky.
In nearly every situation, I find most people — and yes, you maybe the exception – are looking to find out what’s “right” about what they are doing. They are looking for positive feedback, affirmation, and reassurance. They crave a verbal hug.
But, “feedback” and “honest assessments” are typically just the opposite.
Programmers are taught to listen for what’s wrong, not what’s right. And it’s still my instinct too.
I listen to a tape/cd/mp3 and think, ”that was weak, that’s not right, that missed the mark, what is she thinking?, why would he say that? where are they going with this bit?”
Is that what you’re looking for? Or do you want to know what’s right?
My experience tells me the latter. Nearly every time I’ve provided an “honest assessment” of a talent’s work it leads to defensiveness, excuses, and rebellion (ie. I don’t care what you think, I’m going with my gut.)
The key, as with most things, is balance. I’m working hard to focus on strengths and weaknesses, knowing it’s easier to enhance a strength than overcome a weakness. This doesn’t mean weaknesses aren’t worth overcoming, but it certainly takes more effort and time.
The easiest solution to this is to ask for what you want. Instead of asking for general feedback, ask for specifics;
- What am I doing right?
- How can I do better?
- What’s missing from my performance?
- How can I increase TSL?
- What can I do differently to be more valuable to the radio station?
- How can improve the listener experience?
- Where should I focus more of my effort?
Specific questions lead to specific answers. Be prepared – you may just get what you ask for.
“Updates? Sports? Talk host? Farm Report? I’m your gal!”
More than one applicant has told me, “I can do anything and everything. Just tell me what you want.”
That’s a warning sign to me. I believe talent is art, not manufacturing.
I want unique. I want different. I want authentic. I want clever, creative, and distinctive. I want someone who fits in to my station and stands out. I am always looking for talent who are true to themselves.
When I listen to demos I’m listening for talent who have found their voice, who are certain who they are and know what they do best. If talent tries to cater their demo to what they think I’m looking for, I can hear it. It comes across as trying too hard to impress, uncomfortable, uncertain, or as playing the role of a host or anchor, instead of being it.
How do you do that? Practice, practice, practice. And it probably takes 10,000 hours of doing radio to truly find your voice and personality. (see: Malcolm Gladwell’s 10,000 hour rule from “Outliers”). Your voice is an instrument. It takes time and reps to figure out all that it can do and how to do it. For me, the journey included re-learning how to breathe to better support my voice, how to use pacing, pausing, pitch, tone, enunciation, intonation and body movement, and how to write specifically for my voice and listener’s ears and not for my eyes.
The other thing to remember is one program director‘s opinion is just that — one program director’s opinion. What I perceive of your talent is personal to me and my experiences. The next program director that listens to your demo will evaluate your talent differently. That’s why it is so important to be yourself. Otherwise, you’ll have to reinvent your style and personality everywhere you go. That’s a lot of work and will make it very difficult to build your brand. Imagine if Rush Limbaugh, Howard Stern, Rick Dees, Carson Daly, and Ryan Seacrest changed who they were and what they did at every stop along their career path.
The balancing act as a talent comes when you get hired. It’s a delicate dance of being yourself and integrating your brand into the radio station brand. Ideally, the sum is greater than the parts (1 + 1 = 3). You AND the station are exponentially better. That means working with the program director and station colleagues to maximize results without compromising your art.