Pandora is buying a real radio station (article here); 102.7 The Hits in South Dakota. They have a theory that this puts them in the same category as iHeartRadio as it relates to affordable music rights fees. It may work. But, it got me thinking, what if Pandora started to act like a radio station?
Eight Things Pandora Will Do Now That It Bought The Radio Station 102.7 The Hits
7. Update the logo. Keep it familiar, but leverage the Pandora name, but make it more “radio-y.” (notice no mention of the website)
6. Buy more banner roll. One sad logo isn’t going to cut it anymore.
5. New Slogan:
OLD “Today’s Best Hits Without The Rap” (seriously, that’s the slogan. I didn’t realize my Mom was writing radio slogans. She’s always going on about “the rap” music.)
NEW: “If you like Nickelback….we are playing songs that are similar to them”
4. New 10×10 tent for the grocery store remotes. No radio station is complete without one.
3. Understand Added Value. Give clients spots on Pandora.com at no charge in exchange for paying for terrestrial radio buys. This works, trust us Pandora, we know radio.
2. Update the Bieber cutout. He’s much cooler these days.
1. Use streaming audio for promotion! Make sure the web stream pushes terrestrial listening, otherwise it doesn’t count!
Okay, I’m cheeky and sarcastic. I know. But, it does make you stop think about why radio does some of the things it does. Evolution involves change and change is uncomfortable. To adapt and survive, radio is going to have to get pretty uncomfortable, pretty quickly.
Interviewing is a passion of mine. I was taught technique and principles by John Sawatsky. Yes, that smiling, unassuming man in the picture is an interviewing assassin. He’s a former investigative reporter turned full-time interview guru for ESPN.
All that to support what I’m about to say. In fact, some have already heard this, but it bears repeating. In Episode 2 of the Radio Stuff podcast (here), about 20 minutes in you can hear my autopsy of an interview gone horribly wrong. This blog post gives you a taste.
The interview was conducted by Guardian associate editor of music Michael Hann with Ginger Baker, the renowned drummer of Cream, Blind Faith and others. It was such a train wreck of an interview it inspired the Guardian to release a list of the six most excruciating interviews of all time. If you watch or listen to the Ginger Baker interview, your initial instinct will probably be that he is a real bitter pill and the interview went badly, because he’s a bad guest.
You would be wrong. Hopefully, I’ll convince you of that.
Here are some initial, basic Sawatsky principles of interviewing that I follow and preach:
- You should always establish a goal for an interview.
- Every question should move the interview forward towards your goal.
- Every question should gather new information that gets you closer to your goal.
- Questions should be open, neutral and lean.
The interview, which was conducted on stage in front of a live audience, was part of a promotion for a documentary that was being released on Ginger Baker. Michael Hann’s (MH) first exchange with Ginger Baker (GB) went like this.
MH: In the film, your time in Africa was obviously very, very important to you. Was that the time when you felt most musically fulfilled?
GB: What? Who?
MH: Your time in Africa. It seems from the film to be very, very important to you. Was it?
MH: You speak about the musicians and music with such warmth.
BG: Totally silly questions, really. (Applause, laughter) It was,… I just went there. I didn’t go there for any particular musical education or anything like that. I mean there were good years before I went there.
See, I told you you’d think Ginger Baker is a little hard to swallow. Here’s why he’s not at fault. The question is closed, overloaded, includes remarks, and is rich with hyperbole. Let’s take it one at a time.
CLOSED QUESTION: Was that the time when you felt most musically fulfilled? When you ask a closed query, you are limiting the answer that the guest can give to either affirming or denying your own personal theory. Interviewers do this all the time: Were you scared? Did it hurt? Did you want to leave? And you’ll hear the guests say, “yes” and then rethink it, “no, I wasn’t scared, more nervous.” Better to ask, “how did it make you feel?” In this case, Ginger rejects the basis of the question outright.
OVERLOADED: When you are too broad with your topics it puts a lot of pressure on the guest and they often don’t know where or how to begin. In this case, what exactly does “most musically fulfilled” mean? You can even hear Ginger trying to find an entrance by asking “Why?” (Michael thinks that.) It’s too broad and big of a concept for Ginger to wrap his brain around.
REMARKS: These are superfluous statements that get in the way of the interview. In the film, your time in Africa was obviously very, very important to you. These are Michael’s impression based on what he saw on film, and how he interpreted it, but not something that Ginger has actually claimed. When you add remarks the guest typically will respond to your opinion on the subject rather than giving a genuine, personal response. There really is no reason to include a remark in a question.
HYPERBOLE: While you may be attempting to compliment your guest most people are not comfortable with over statements about themselves and will counter-balance the opposite direction in an effort to clear the record. In this case, Ginger responds to Michael’s “very, very important to you” and “most musically fulfilled” by first discrediting the question,”Totally silly questions, really.” Secondly, he down-played the importance of Africa in his musical development, “it was,… I just went there. I didn’t go there for any particular musical education or anything like that.” Finally, to drive home the point, he defended his career prior to the trip to Africa, “I mean there were good years before I went there.”
And that was just the first question. There’s more on the podcast. In the meantime, here are some more principles to get you started.
- Have a goal.
- Ask questions that are lean, neutral and open and avoid making statements or remarks
- Ask one question at a time.
- Be mindful of the words you use.
- Listen to answers for follow-up.
- Stay out-of-the-way of the guest. They are the expert, let them shine. Don’t use this time to prove to them how smart you are.
Disclaimer: there are no rules to interviewing, just principles. Most of the people considered as great interviewers ignore most of this and it will drive you crazy (Larry King, I’m looking at you.)
If you come across a murdered interview, send it my way. I’d love to perform another autopsy.
Radio can be cool, fun, exciting, breath-taking, and memorable. Over the weekend BBC Radio 1 showed me something that blew me away, “Radio 1′s BIG WEEKEND!” Watch this and remember this is radio.
As a radio manager, I’ve had a mix of hit and misses when it comes to events. I’m probably most remembered for Mike & Mike’s Marriage Madness at ESPN Radio. It was the NCAA Tournament meets “The Today Show Throws a Wedding.” It culminated in the ultimate sports fan’s wedding on the campus of ESPN, broadcast live on radio and TV during Mike & Mike in the Morning. It was big in 2006. Since then most of the internet has forgotten, except for some snarky barbs from the folks at Deadspin. I’ve done others since like this and this.
Today, Inside Radio featured several big time summer radio events, festivals, and concerts.
When done properly, a radio station event is a bunch of hard work and logistics that brings together the radio station, the listeners, partners, and advertisers to help create a buzz around the station (internally and externally), reinforce the brand, build fan loyalty, raise incremental sponsorship dollars, and gives your radio station a story to tell.
Here are five steps you can take to create a radio event with a “WOW! Factor”…
1. Have a vision, a goal, a budget, and define success up front. Start with the biggest, best idea you have and revise the idea over and over again. Be realistic about costs and expectations. Keep the concept simple, but make the event memorable and remarkable. Remember to make it about the listener, not the radio station. Why are people going to show up, what’s the draw? And expect greatness. We can’t be great if we only expect to be good enough.
2. Create a pitch and sell it to everybody in the radio station. You, or someone on the staff who is passionate about the event, needs to OWN the event, but everyone needs to pitch in. You can’t do this alone. Delegate, delegate, delegate.
3. Details make all the difference. If you’re aren’t a detail person, get someone who is. The color of napkins, or the shape of a gobo, or the size of the ticket matters.
4. Be inspired. Don’t just copy another radio station’s event, however take notes, evolve a concept, personalize and customize what you see to make it reflect your radio station. Own the event, don’t lease it from another radio station in a neighboring town.
5. Make sure it tells a story to the listeners. What are you going to tell your listeners and what are they going to tell their friends? Tell them what you are going to do for them, tell them what you are doing for them, and then tell them what you did for them.
Listen to the inaugural “Radio Stuff” podcast with Deb Slater (@deb_slater and www.debslater.com) and me. This first podcast we listen to how different radio sources treated the Cleveland story about the three women found after years in captivity; WTAM, Fox News Radio, NPR, Rush Limbuagh, BBC, and Radio Australia. We also talk about Paula White who got drunk before her final Friday night shift at BBC Radio Stoke. We listen to News Talk 980 CJME (Regina, Canada) and host John Himpe’s thoughts on a would-be seriel killer allowed to watch Dexter. We listen to radio station imaging from 100.3 The Sound in LA and 99.3 The Vine in Wine Country. We talked to XL 1010 Jacksonville’s Chad Scott about a new sports radio chat on twitter #srchat, and we debate the decency of a Fresh N Easy commercial. There’s a lot here! Enjoy. Let us know what you like, what you want more of, and what you could do without. And please send contributions, tips, audio, insights to both of us at firstname.lastname@example.org
Talk show hosts, news anchors, editors, producers, production staff, and programmers need to always know and remember who is consuming the content they are creating. What is your target demo? What news, events, and entertainment were influential and formative in their lives?
If you focus your programming towards a 40-year-old woman or man remember that they were 18 in 1989. That was the same year George Bush Sr. became President, Ted Bundy was executed in Florida, and the Exxon-Valdez spilled 240,000 barrels of oil in Alaska’s Prince William Sound. That was the year Microsoft released its first version of “Office” and Fox debuted a little cartoon show called “The Simpsons.” At the movies, When Harry Met Sally was released along with Back to the Future II, Driving Miss Daisy, Parenthood, and The Little Mermaid. On the radio, these high school seniors were listening to Bobby Brown‘s “My Prerogative,” Paul Abdul’s “Straight Up,” Mike and the Mechanics “The Living Years,” and Madonna’s “Like a Prayer.”
Yet, listen to some news-talk and music radio stations trying to cater to these listeners and the references are still off. I still hear mentions of the Mary Tyler Moore, The Odd Couple and Abbott & Costello. Mary Tyler Moore’s Show was off the air in 1977. It was formative for women who are now in their late 50′s and early 60′s. The Odd Couple came out in 1968. Which means you’re targeting a 61-year-old. Bud Abbott was born in 1897. 114 years ago. Hello radio, it’s time for everyone to update our reference points.
Try this exercise. Let me know how it goes.
The Life is good Company – known for t-shirts and hats that spread the power of optimism – is extending its brand through radio. Unfortunately, Life is good is not buying radio advertising, but instead creating its’ own radio station.
Life is good radio can be found on the Life is good homepage (www.lifeisgood.com) and heard in Life is good company-owned retail locations. The programming will be eclectic, stemming from a variety of genres and era and specifically selected to reflect the company’s positive outlook. Users will also be able to download tracks from the Life is good playlist directly from Amazon and iTunes.
So why can’t your radio station create a unique stream of content exclusively for one of your advertisers reflecting the advertisers brand and values? It can. Think of the promotional opportunities, the in-store exposure, and the client satisfaction.
Why is Life is good doing this?
“Our mission has always been to spread the power of optimism,” said Bert Jacobs, Chief Executive Optimist of Life is good. “Nothing does that like great music. Life is good Radio is another way for us to bring good people together.”
The company also discovered it had a huge following of music lovers who were willing to rally behind a cause when it held a two-day, live music festival last summer; it brought 25,000 fans together in Boston with acts like Jason Mraz, Ben Harper and Ziggy Marley and raised over $724,000 for The Life is good Kids Foundation. Organizers are already planning the 2011 Life is good festival, where live performances will be recorded and played exclusively on Life is good radio.
So I ask again, do you see Life is good radio as a threat or an opportunity?