Tag Archives: Apple

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.

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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.

Roads To Nowhere

 

“If you don’t know where you’re going you might wind up somewhere else.” – Yogi Berra

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I was cruising along the freeway on one of those amazing “sun break” Friday’s in Seattle when I saw a freeway exit that didn’t go anywhere.  It was just a blocked off dead-end exit ramp.  There was a lot of poor government planning and financial problems involved, but being a fan of metaphors I couldn’t help think about radio’s future.

I’ve been involved in a major project since January looking at Millennials, and it’s very sobering.  There are a lot of stories in the trades about the reach radio has with that generation, but you don’t see a lot of them talking about their shrinking TSL.  You don’t see any articles about their use of radio in context with their use of other media.  It’s as if we boomers don’t know any Millennials or see their actual media use.

These people are digital natives, and are in almost continual use of media, averaging around 11 hours a day.  But they are multi-media consumers, not single media consumers.  Considering radio’s financial model, that’s disconcerting.

There are plenty of off ramps on the media highway, but we’re not using them for what they are.  All of our social media, community building, video and such, is built around reinforcing radio, not complimenting it.  The answers are there, but someone needs to act on them.

The cool part about the coming convergence between digital and media is that those startup costs are much less than buying a major market signal.  Again, the answers are there, but someone needs to act on them.

 

 

The Secret To Bigger Is Better

“Programming today is a race between software engineers striving to build bigger and better idiot-proof programs, and the Universe trying to produce bigger and better idiots. So far, the Universe is winning.”  Rick Cook, The Wizardry Compiled

Yes, it’s a different “programming,” but the message is the same.

Everyone wants bigger.  It’s part of radio and part of our culture.  We seem obsessed with having the biggest city, the tallest building, the busiest airport or the largest house.  Of course that’s why the universe is winning.

But the term “bigger is better” isn’t true very often.  First we have to look at the words themselves. “Bigger” is a quantitative word, while “better” is an ambiguous qualitative word.  But most of the time people don’t realize they’re playing that bigger vs. better game.

So what do you want, quantitative or qualitative?

P.S.  You CAN have both, but you need to start with the qualitative.

Tommy Kramer Tip #115 – The Dangers of Repetition and Repetition

Repeating a bit or a game later in the show is something that some consultants and talent coaches believe in, but I don’t. Think about “Who Wants to be a Millionaire” as a good example of why.

After it was hatched in the United Kingdom, the U.S. version of the show was launched in “prime time” by ABC in August of 1999, and was originally hosted by Regis Philbin. The original network version was the highest-rated of all television shows in the 1999–2000 season, reaching an average audience of approximately 29 million viewers.

That’s pretty incredible, and it made a LOT of money. But then, of course, ABC overexposed it, running it multiple times a week, and sure enough, the audience got tired of the show. It was cancelled in June of 2002. Yes, it has limped along as a daytime game show with several different hosts – I think the most recent is Chris Harrison, but they could use George Harrison – who’s dead – and probably get the same results.

It’s very tempting to think “If it worked once, then do it again a couple of hours later.” But know that at some point that’s going to come back and bite you. I’ve heard a lot of “paint by numbers” morning shows, and so has your listener.

Burn material like jet fuel. Constantly be trying to come up with new stuff. Artistically, creativity is a muscle, and it has to be exercised or it atrophies.

But what about “benchmarks?” If you actually have one or more (and no, “Battle of the Sexes” isn’t one), run with it – but only ONCE a show. (Maybe just once a week.)

– – – – – – –
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.

Creativity vs. Innovation

“Where do you put the fear when you choose to innovate? The fear is there, but you have to find a place to put it.” –  Seth Godin

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I remember sitting on the floor in the house in Portland with a bunch of friends watching TV, absolutely mesmerized. Disney’s Fantasia was playing, and no one was talking. Usually we were talking with each other, making fun of what was in, or telling dumb grade school kid jokes. You didn’t have money for a lot of movies in a military family, so TV, even a black and white one, was where you went.

Fantasia made a huge impact on me, and later I realized why. It was beyond the usual creativity you’d find in Cinderella, it was innovative!

People tend to put innovation and creativity in the same box, but they shouldn’t. Innovation is when you come up with something new – like Fantasia. Creativity is when you put a new spin on something existing. So, while all true innovations are creative, all creativity isn’t innovative.

I hear a lot of radio people talking about how innovative their station is when it’s either creative, or in that third, unmentionable category, unremarkable.

We’re afraid to take a chance any more. Radio doesn’t seem to be looking for the crazy people, those outliers who are different from everyone else. In fact those people frighten some of the “modern” breed of broadcasters looking for the normal people who are compliant and submissive… in other words, unremarkable.

Content will win in the end, but only if it’s innovative, creative, or at least remarkable.

Tommy Kramer Tip #114 – Time versus Timing

It’s not the time it takes to do a break, it’s the TIMING.

Many times in a coaching session, I’ve criticized a break, and the talent has said something like “but it was only a minute and ten seconds long.” But as we all know, the actual “stopwatch” time of a break means very little.

I get the feeling that if most jocks were doing Hamlet, they’d say “To be or not to be that is the question” instead of “To be, or not to be. That is the question.”

When you rush, or run sentences together, it makes the listener feel antsy.

Often, the way to get on course in your air work is to simply think of how real life conversation unfolds. If someone is just a little hurried when he talks to you, it smacks of an agenda. Or even worse, like he’s just trying to get the conversation over with. Discomfort is the emotional takeaway.

Real people breathe, and pause between thoughts. I’m willing to bet that in real life, you breathe, too.

So beginning today, try to slow down just a little bit. Pause when there would be a comma or a period if what you’re saying were written out. It’ll only cost you a second or two of total time to sound much more real and engaged in what you’re saying. It’s a conversation with the listener, not a speed-reading course.

– – – – – – –
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.

I Guess I’m Glad I’m Not On The Air

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“However you make your living is where your talent lies.” – Ernest Hemingway

I used to worry about whether I could “hit the post” or not.  Or if I could come up with something worth hearing.   If it was a really good break, sometimes the GM would poke his head in the door and say something.  I really loved being on the air.

Now, in a world of continual partial attention, and diminishing interest from the higher ups, I can’t imagine being on-air.

That’s why I admire the people I meet who are dedicated to being the best they can be.  They’re just as enthusiastic and having the time of their lives.  They care about what they’re doing.

So I just wanted to say thanks, you’re keeping radio alive when ownership and other media have given up on you.  I know you feel strongly about creativity in radio.  I wish people had a better understanding of the value of talent relative to the music but I’m not sure they do.  I can’t tell you how many times I’ve heard, “It’s all about the music.”  Or met on-air people who seem to just be “doing their time.”

But many of you defy that.  You’re doing what you know will relate and be relevant, and I admire you more than any media mogul I know of.

 

 

Tommy Kramer Tip #113 – Double Duty

Recently on a station I work with, a contest winner call led to a dramatic and touching story. My wife was listening to it with me, and tears came to her eyes as she heard the winner talk lovingly about his son, who has several serious medical issues.

As a coach, I saluted the morning host, Dave Arthur, because people don’t just open up to someone like this unless they TRUST you. However, from a time standpoint, the call could’ve used a couple of edits. There was a lot of medical talk—many ailments (with those Latin names), and we always have to guard against the mediocre audio quality and partial dropouts that are indigenous to cell phones and could force a listener away. I showed him where an edit or two could’ve cut some of that out, and allowed him to wrap it up with both congratulations on the win, and a hopeful and heartfelt thought Dave had offered to the dad.

Then we went on to how things can serve Double Duty. I would have run the edited call on the air, then put the entire call on the website (or link to his Facebook page). Now you’d have the opportunity to promote that different door to the station with something like “There was a lot more to that call that we didn’t have time to air, but you can hear the whole call at ktsy.org. It’s amazing.” Re-purposing it that way could have created two related but distinctly different “moments” for the listener, and spurred some traffic on the website.

Many stations don’t have the savvy (or sadly, the work ethic) to do this sort of thing, and it results in missed opportunities. I’ve worked with several syndicated shows where website visits are the currency for clients.

Two lessons from this:
1. Don’t EVER waste the listener’s time on the air. Hard decisions have to be made sometimes in order to accomplish this.
2. Your website has to offer something of VALUE besides just lists, promotional items, and “USA Today”-type lifestyle stuff. (We’ve seen enough recipes for your special combination Hungarian/Mexican goulash tacos.)

My friend and colleague Alan Mason says “Everything matters.” He’s right.

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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.

What Are You Looking For?

“You get what you expect. If your expectation is great then you’ll receive of its greatness but if you are expecting something small you’ll receive of its smallness. It’s not about how much you’ll receive but how big or small is your vessel.” – Unknown

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How do you see the people you’re working with?

You’ll see in them whatever you’re looking for. If you’re expecting them to do something wrong, you’ll find it. If you’re expecting something good, you’ll find it. There’s even a name for it – the Pygmalion effect. The more positive expectations you put on people, the higher they perform.

The Rosenthal–Jacobson study divided school children into equal groups, and then told the teacher who the high achievers were. Of course,the children that were expected to do better, actually did better.

On the other side is the Golem effect. If you have low expectations you’ll find what you’re looking for. The effect is named after the golem, a clay creature  in Jewish mythology.  The effect was named after the golem legend because it represents  the concerns of social scientists and educators, which are focused on the negative effects of self-fulfilling prophecies.

That’s right, it’s named for a monster. It’s been in several movies, too. Never has it been the kind of creature you’d want to have a beer with.  That’s what you’ll get with low expectations and an attitude of looking for something wrong – a monster.

I’m familiar with this one.  I see people who expect another to say or do something wrong, and they always manage to find it.  The idea of expecting the best of people is mostly reserved for “how people see me.”

Whether it’s positive growth or negative wrong-doings, you’ll get what you’re looking for.  So who do you want walking your halls, a Pygmalion or a monster?

Or better yet, are you that monster?

Tommy Kramer Tip #112 – Audacity: a lesson from Gordon McLendon

Research is finally showing what we always knew—that talent really does matter if you want people to listen to your station. So here’s a little history lesson. If you’re not familiar with Gordon McLendon, he was one of the true pioneers of radio. McLendon established the first mobile News units in American radio, the first Traffic reports, the first jingles, the first all-News radio station, and the first “easy-listening” programming. He also was among the first broadcasters in the United States to editorialize on the air, and he made headlines doing it…often. Nicknamed “the Maverick of Radio,” McLendon perfected and spread like wildfire the Top 40 radio format created by Todd Storz. (Storz and McLendon were kind of that era’s radio version of Steve Wozniak and Steve Jobs.)

Gordon had highly successful stations in many markets, including Dallas and Houston. And he was one of the first guys to bring FM radio into the spotlight by selling AM Top 40 giant KLIF in Dallas, then turning around and beating them with his FM station, KNUS. (I was part of that staff.)

One of McLendon’s mantras was “Be informative, be entertaining, or be quiet.”
However, those of us that worked for him and had heard stories of how volatile he could be knew that the “quiet” thing was not really an option. So we thought of it as “Be informative, be entertaining, or be fired.”
Because above all else, McLendon loved Audacity—always Audacity. He wanted PERSONALITIES who weren’t afraid to push the envelope.

Now I’m not saying you need to break the rules, and certainly you don’t want to do anything that would get the station in trouble with the FCC. But like Mr. McLendon, I am saying “Show some guts.” Never settle for just being another cookie-cutter, plain vanilla jock. (If you need some coaching on this, call me.)

– – – – – – –
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.