Thursday, November 12, 2009

THANKSGIVING FUN AND MUSIC Chuck Geiger


Thanksgiving is a fun holiday to image and produce. We usually voice track or part-timers take to the air on Thanksgiving Day. Now you can image and write around the part-time, voice tracked or cold segue dead zone. We came up with a cool concept called NO TALK, NO TURKEY THANKSGIVING in 1999 in Allentown at WCTO. The brainchild of Ed Walker, my APD, now PD of Star 102.1 in Kansas City, this is an imaging concept that ties the talent and the artists to the Thanksgiving holiday and feast.

Start with a series of sweepers that connect the talent to the holiday - These take the place of talent breaks:

BIG MIKE ADAMS KEEPING THE WORLD SAFE FROM LEFTOVERS, IT'S A NO TALK, NO TURKEYS THANKSGIVING SPECIAL ON CAT COUNTRY 101.5

THAT'S NOT A LUMP IN THE MASHED POTATOES, LISA ADAMS DROPPED HER GEORGE STRAIT CD IN EM - IT'S A NO TALK, NO TURKEYS THANKSGIVING SPECIAL ON CAT COUNTRY 101.5 - THAT'S WHAT I CALL "TWANG".

OUR RELATIVES BOTHER US TOO - IT'S A NO TALK, NO TURKEYS THANKSGIVING SPECIAL ON CAT COUNTRY 101.5

IF TAYLOR SWIFT CAME TO THANKSGIVING DINNER, WOULD SHE HAVE TO EAT AT THE KIDS TABLE - IT'S A NO TALK, NO TURKEYS THANKSGIVING SPECIAL ON CAT COUNTRY 101.5

Here's an idea of the promo:

KISSIN' COUNTRY 102.1 KNOWS HOW STRESSING THANKSGIVING CAN BE. LOTS OF FOOD TO PREPARE, FEEDING RELATIVES YOU DON'T EVEN LIKE, WHO SPEND MORE TIME IN YOUR HOUSE THAN YOU WISH, THAT WILL BE TRASHED AFTER THE DAY IS OVER - BY THE WAY WHICH WON'T BE OVER FOR YOU FOR WHO KNOWS HOW LONG - RELAX....AND TURN UP  YOUR FAVORITE PAIR OF LIPS ALL DAY ON TURKEY DAY - IT'S OUR NO TALK, NO TURKEYS THANKSGIVING SPECIAL. ALL DAY LONG WE'VE STUFFED A DRUMSTICK IN OUR MOUTH AND WON'T BE TALKING. WE'LL TAKE A TRIP TO ALICE'S RESTAURANT  AT 9A, NOON AND 3P FOR LEFTOVERS. DON'T RIP YOUR HAIR OUT BY THE ROOTS AND CONTEMPLATE KILLING YOUR IN-LAWS - WE WON'T TALK AND WE WON'T PLAY ANY TURKEYS, JUST COUNTRY HITS WITH EXTRA STUFFING ALL DAY - OUR NO TALK, NO TURKEYS THANKSGIVING SPECIAL FROM THE STATION THAT KNOWS TURKEYS CAN'T FLY - KISSIN' COUNTRY 102.1 - Arthur Carlson close: AS GOD IS MY WITNESS, I THOUGHT TURKEYS COULD FLY


Recorded fun weather breaks:

FROM THE KISSIN' COUNTRY 102.1 WEATHER CENTER - A COLD BEER COMING IN FROM THE KITCHEN, THE TURKEY SHOULD LAST WELL INTO THE WEEKEND WITH A SLIGHT CHANCE OF HEART BURN - NOW MORE NO TALK, NO TURKEYS FUN FROM KISSIN' COUNTRY 102.1.

All together you need about 25-35 imaging pieces to roll from 12m on Thanksgiving Day through 11:59p. Then at 12m on 11-27-09, you roll into BLACK AND WHITE FRIDAY. Featuring nothing but Country Christmas Hits all day....Music to shop til' you drop to.

102.1 ON FM - K-Z-S-N HUTCHINSON-WICHITA...BROADKISSIN' FROM HIGH ATOP THE WORLD'S LARGEST CANDY CANE - BLACK FRIDAY FUN AND MUSIC - MERRY KISSMAS FROM KISSIN' COUNTRY 102.1!

Promo idea:

KISSIN' COUNTRY 102.1 IS YOUR HOLIDAY SOUNDTRACK ALL DAY TODAY - THE BUSIEST RETAIL DAY OF THE YEAR - WELCOME TO BLACK FRIDAY. NOTHING BUT CONTINIOUS COUNTRY KISSMAS FAVORITES WHILE YOU SEARCH FOR THE PERFECT KISSMAS GIFT - THE RAMPAGE ON ROCK ROAD, THE COOL YULE ON KELLOGG AND YOU AREMD WITH CREDIT AND CASH MAKING THE DASH - FROM THE STATION THAT FEELS YOUR HOLIDAY PAIN WHILE YOU WORK OFF THANKSGIVING DINNER - KISSIN COUNTRY 102.1


The idea here is to add some sizzle to the Holidays, to keep up with the Holiday saturated AC which is doing this naturally through the music. If you want the NO TALK, NO TURKEYS and BLACK FRIDAY COPY, send me an email and I will send it to you: provencountrypd@gmail.com 

Wednesday, November 11, 2009

Wednesday Morning Meeting for November 11, 2009




Your eBlast is a total piece of….


If image is everything in the radio business, why is your station wasting an opportunity to impress with an eBlast? In 2008, the eBlast market grew exponentially as eco-conscious consumers and business embraced the medium with enthusiasm. I, like many media buyers, subscribe to several-dozen radio station eBlasts to get a better sense of out-of-market products. A well-produced eBlast helps us to formulate opinions about your product. 


Over the years, I’ve seen some great eBlasts—especially from Clear Channel and Citadel brands, and CBS Radio properties in major markets.  But some (especially from smaller companies and independents) are total pieces of garbage.  The graphics are all wrong, the content is as compelling as toast, and many are syndicated too frequently.  So, I’ll offer some advice: here are a few quick steps you can take to improve your station’s eBlasts:


1.  Be visually appealing! Use an easy-to-read font.  Need help?  Take a look at a few print ads in some magazines that attract your target audience. Don’t forget to select attractive images/photos.


2.  It’s an ad for you!  Your eBlast is essentially an ad for your radio station.  What does your eBlast say about you, your product, your market, and your listener?  


3.  Keep it simple! Stick to no more than 2-3 topics in your eBlast.  Readers won’t stick with a cluttered blast that involves scrolling down significantly.  


4.  Powers first! Most compelling topics belong at the beginning, always.  What your listener cares about goes first, (not a weak NTR promotion).


5.  Ease up, man! If the eBlast is about a big station promotion or big announcement, it can be sent out at any time.  For lesser news, try blasting bi-weekly or monthly.  If you have significant revenue tied to your eBlast and need to send weekly, consider repositioning it as a “what to do in the local area” blast. You can then list important community happenings (like a H1N1 flu shot clinic or a farmer’s market to benefit the Girl Scouts), then provide station information and sell a few banner and skyscraper ads on the side.   


By taking these small steps to improve your eBlast, your open rate should begin to increase, and more importantly, your audience (and media buyers) will begin to view your product as more important.


As always, I welcome your thoughts.  Please e-mail me: bknight@harrison-edwardspr.com or follow me on Twitter @BobKnightAdMan  


Next week:  Gross means gross!

Bob Knight is Vice President, Advertising and Digital Media with Harrison Edwards PR & Marketing in New York and oversees the company’s advertising and HEdigital divisions, which include podcasting, webcasting, blogging; and print, electronic, and broadcast advertising and media buying. Prior to joining Harrison Edwards in 2005, Bob worked for some of the nation’s largest broadcasting companies, successfully developing programming in some of the most competitive markets including Chicago and San Francisco; his stations and shows were consistently top-rated.  In addition to Bob’s work as program director and on-air personality at AMFM, Inc., Clear Channel Communications, Citadel Broadcasting, Entercom, and NextMedia Group, he served as a consultant to Internet radio stations during the dot com boom. Bob’s national and regional radio commercials have won a Gold Clarion Award (AWC) and Gold “Big W” Awards (Ad Club) for commercials he produced. In 2008, Bob was named a “Rising Star Forty Under Forty” by the Business Council of Westchester and is a graduate of Leadership Westchester (Class of 2009).
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Tuesday, November 10, 2009

What Happens If You Do Nothing? Loyd Ford


We all know the easy answer is that you save money if you do nothing. Ah, it is the relaxing benefit from downsizing and reducing costs. You literally save your way to profitability for a time, and there is nothing wrong with that in an economic environment like the one we have just all passed through in the last two years.

Well, there’s nothing wrong with that unless that is all you do.

In today’s economy, it is more important than ever to be efficient. You want to be the person on the team that showcases how to save the company money, but you also don’t want to be someone who is only interested in saving money. Why? Because companies that only save money produce less and decay over time. They fall apart.

You know the word decay. Your dentist used to tell your mom that if you only ate candy all the time, your teeth would rot. The same is true when a business of any kind works to cut costs all the time without an eye on quality, customers and growth.

Some radio managers believe you can pause or stop spending in areas like programming, marketing, research and contesting. Let’s face it. They are right. You can stop all those things for a temporary period of time.

However, just because you can does not mean you should.

You’ve seen examples of some brands that have “paused” marketing and lost share. Some have “fallen out” of the market and had to be re-launched or reformatted.

If you’ve cut your engines that determine product value and growth, how much damage has been done to your brand? How much more recession have you had because your product isn’t worth what it was 6 months ago? What is the value of time without investment in growth potential?

As an industry, we warn others that they must invest in growth or they won’t have any. What makes radio any different?

Coming out of the recession gives broadcasters the opportunity to gain market share and add revenue dollars vs. competitors. In order to do this, right-size investment in the pillars of growth are needed. The era of cuts and consolidation are passing away. This may not be as dramatically seen because of recession we have all unwillingly participated in over this last period of time, but the time is coming when the monster shift brought on by consolidation will again begin to move radio stations. Only this time, monster consolidation won’t be the order of the day. A new era will develop. While this does not mean you won’t see more job losses and you won’t see managers attempt to save additional dollars, it does mean you will start to see the smart operators want to take advantage of this fresh environment where lead can change. Brands that have suffered over the last two years have a unique opportunity to gain advantage in 2010 if they invest in the basic elements that propel growth.

Most of us know the phrase “This is a football” uttered by Vince Lombardi. We all know that business moves in cycles. The current cycle is ending and a new one is developing. If you are working in radio today, you must move to take advantage of the new cycle and protect yourself and your own value now.
In many markets across the U.S. radio has benefited from consolidation and the use of public money (just look at the buildings). However, the value of broadcast radio has always been people. It is probably the biggest overused phrase in radio, but “our people are our most valuable asset.”

Now is the time to evaluate how we have done on with our people and reinvest in our people. Now is the time to evaluate brands and properties and invest in their growth with right-sized strategies that include “finding what the people want and giving it to them.” As a part of that, you must also consider the ways you use external marketing to produce value that turns into direct dollars for your radio station, cluster and company.

Here’s to the new era developing for broadcast. While radio has in many ways taught listeners over the consolidation era to have lower expectations about us, radio can still innovate and should refocus on the basics that make it so attractive in the first place. Those elements that make radio unique are the keys to defining and driving new sources of revenue for the 21st Century based upon key performance and value of the brands we give to our local communities.

Here’s to the innovators coming on deck now to reestablish the power of local radio.

Loyd Ford is the ratings and marketing strategist for Americalist Media Marketing. Americalist has been helping radio stations boost ratings with the use of both strategic direct mail and live and recorded telemarketing since 1987. They develop market exclusive strategies (including The Magnet Program™ for PPM, FastCUME Tactic™, viral e-mail and the above mentioned telemarketing and direct mail along with social networking recommendations to increase the value of your brand to listeners and generate more dollars for your station, cluster and company). While Loyd has a long background in day to day programming in medium, small and large markets across the U.S., his focus at Americalist is providing custom strategies based upon your needs and your set of circumstances and market. You can contact Loyd at 877-475-6864 or Americalist1@aol.com, or check out www.boostmyratings.com. You can also join the free “Social Networking for Radio Stations” group on Facebook to learn more about social networking and what stations are doing now to increase their value and boost ratings.

Monday, November 9, 2009

IS YOUR MORNING SHOW WORKING? Bob Glasco


Here’s a litmus test that may help you find out.
  • Does it out perform the station as a whole by one to one and half shares in demo?
  • Does at least 65% of the station cume listen in the morning?
  • Is it doing something to garner TV or newspaper coverage at least once a month?
  • When you listen, does it give you all the information you need for your day in each half hour?
  • Does it give the listener something to talk about each half hour?
  • Is there an emotional moment each half hour?
  • Are the listeners involved in the show? How often?
  • Are they talking about local people, places and things, or are they tying what they are talking about into local people, places or things?
  • Do they sound like people you’d like to know? Like to hang with?
  • Be subjective: Are they measurably better than other morning shows in your market vying for the same target?
  • Do they understand their target and what moves them emotionally? 
  • Are they in touch, physically with their audience on a regular basis?
  • Are they preparing their show together?
  • Is the show always pointed “out”?
  • Are they communicating with their listeners on social media sites about more than contests coming up?
Some of these points only touch the tip of a very large iceberg. And, I’m sure if you think about it, you can add to the list.
 Bottom line: Your morning show must be working if your radio station is going to not only be a winner, but also be able to either play offense or defense successfully.
Bob Glasco
Glasco Media
480-488-0903

Sunday, November 8, 2009

FTC SAFE LIST FOR 11-8



Rank LW Rank TW Artist Title Label Category
3 1 CARRIE UNDERWOOD Cowboy Casanova 19/Arista POWER
4 2 LADY ANTEBELLUM Need You Now Capitol Nashville POWER
1 3 ZAC BROWN BAND Toes Atlantic/HomeGrown/BigPic POWER
8 4 LUKE BRYAN Do I Capitol Nashville POWER
2 5 BRAD PAISLEY Welcome To The Future Arista POWER
9 6 CRAIG MORGAN Bonfire BNA POWER
13 7 REBA Consider Me Gone Starstruck/Valory POWER
5 8 KEITH URBAN Only You Can Love Me This Way Capitol Nashville STAY
11 9 KENNY CHESNEY I'm Alive w/Dave Matthews BNA MEDIUM
10 10 TAYLOR SWIFT Fifteen Big Machine MEDIUM
14 11 DIERKS BENTLEY I Wanna Make You Close Your... Capitol Nashville MEDIUM
6 12 TOBY KEITH American Ride Show Dog STAY
7 13 CHRIS YOUNG Gettin' You Home (The Black..) RCA STAY
17 14 DAVID NAIL Red Light MCA MEDIUM
16 15 TIM MCGRAW Southern Voice Curb MEDIUM
12 16 LOVE AND THEFT Runaway Carolwood MEDIUM
23 17 DARIUS RUCKER History In The Making Capitol Nashville MEDIUM
15 18 JASON ALDEAN Big Green Tractor BBR MEDIUM
20 19 TRACE ADKINS All I Ask For Anymore Capitol Nashville MEDIUM
27 20 JAKE OWEN Eight Second Ride RCA LIGHT
21 21 BILLY CURRINGTON People Are Crazy Mercury STAY
26 22 MIRANDA LAMBERT White Liar Columbia Nashville LIGHT
25 23 RASCAL FLATTS Why Lyric Street LIGHT
28 24 GEORGE STRAIT Twang MCA Nashville LIGHT
18 25 DARIUS RUCKER Alright Capitol Nashville STAY
24 26 MARTINA MCBRIDE I Just Call You Mine RCA LIGHT
22 27 JUSTIN MOORE Small Town USA Valory STAY
31 28 JASON ALDEAN The Truth BBR LIGHT
29 29 DARRYL WORLEY Sounds Like Life To Me Stroudavarious STAY
35 30 JASON MICHAEL CARROLL Hurry Home Arista LIGHT
37 31 BILLY CURRINGTON That's How Country Boys Roll Mercury LIGHT
19 32 BROOKS & DUNN Honky Tonk Stomp Arista OFF
32 33 ZAC BROWN BAND Whatever It Is Atlantic/HomeGrown/BigPic REC
34 34 TAYLOR SWIFT You Belong With Me Big Machine/Uni Republic REC
30 35 RANDY HOUSER Boots On Universal South REC
33 36 BRAD PAISLEY Then Arista REC
42 37 JOSH TURNER Why Don't We Just Dance MCA LIGHT
36 38 DIERKS BENTLEY Sideways Capitol Nashville REC
38 39 LADY ANTEBELLUM I Run To You Capitol Nashville/Capitol REC
40 40 SUGARLAND It Happens Mercury REC
43 41 KENNY CHESNEY Out Last Night BNA REC
39 42 JASON ALDEAN She's Country BBR REC
41 43 KEITH URBAN Kiss A Girl Capitol Nashville/Capitol REC
45 44 GEORGE STRAIT Living For The Night MCA Nashville REC
52 45 KELLIE PICKLER Didn't You Know How Much I ... 19/BNA LIGHT
46 46 ZAC BROWN BAND Chicken Fried Atlantic/HomeGrown/BigPic REC
49 47 SARAH BUXTON Outside My Window Lyric Street LIGHT
51 48 GARY ALLAN Today MCA Nashville LIGHT
83 49 TOBY KEITH Cryin' For Me (Wayman's Song) Show Dog LIGHT
47 50 RODNEY ATKINS It's America Curb REC
57 51 DARIUS RUCKER Don't Think I Don't Think... Capitol Nashville REC
66 52 JOSH THOMPSON Beer On The Table Columbia Nashville LIGHT
50 53 ERIC CHURCH Love Your Love The Most Capitol Nashville REC
53 54 EASTON CORBIN Little More Country Than That Mercury LIGHT

Saturday, November 7, 2009

AUSTIN AND BEN ONE-ONE ON COMPRESSION

Austin Keyes Multimedia


You’d be surprised, or maybe not, but you should be prepared.  Quite often now as I deal with more production/creative guys at radio, I hear this statement…”I just really don’t know much about compression/EQ/limiting etc.  How do you get that crisp punch and presence while keeping it natural sounding and not over processed?”   The short and simple is experimentation with your voice and gear.  There are three parts to achieving great audio landscaping.  #1 writing (a strong message), #2 proper interpretation (acting ability), #3 clean and strong audio processing (so it cuts through and sonically delivers the message).  In this episode we will focus on post audio techniques to build vocal strength (the sound of the voice tracks in your imaging/production), along with clarity and style.  My buddy in VO Ben Blankenship has years of experience capturing and manipulating audio from many different voices (station DJ’s), outside voice-guys, and clients.  Ben is Creative Director for Saga in Jonesboro AR.


Ben Blankenship

Today I want to talk about compression.  When we receive VO from our station imaging voices or after we’ve recorded someone in our studios for a promo or commercial, we generally still need to make some changes to the compression.

In some cases your imaging voice guy/gal may have just sound you’re looking for, in other cases they need LOTS of help.


Even though I run everyone recorded in my studio through a great channel strip it still needs some “beefing up”.  


The trick is to learn when to use just a little (for that pro sound), or when to use a lot of compression for effect on an imaging piece.


Let’s attack simple “pro sounding” compression first…


You know that sound the agencies get on their pro level, national ads?  It’s usually a mix of good EQ and simple compression. So keep it simple. I like to run the raw audio through a limiter first.  That is, after I’ve completed putting it together and dubbing it down to a master track of just vocals.  The reason for the limiting is to bring it all up to the same volume level so it stays consistent throughout the ad or promo.  For this you can use any Limiter Plug-In you have access to on your DAW.   I’ll tell you that I always record everything I do on Stereo tracks.  They sound better that way when adding effects.  The channel strip I use for recording is generally set for a 4:1 compression ratio.  Some VO guys/gals set them at 2:1 or use none at all.  For the Limiting try these settings, but remember you’ll have to experiment to achieve the right levels for your system.

Limiter Simple Settings…
Input at 0.0, Threshold at –7.0, Out Ceiling at –2.5, and Release at –10.0.
That should be a very light, but leveling, setting.

Now open your Compression plug-in and use these settings for Simple compression…

Threshold at –10, Ratio 2:1, Attack at 2.0, Release at 50ms, and you can use the Makeup Gain if you like to add some loudness to it.  Just make sure you don’t peg the meters.

For heavier compression geared towards pumpin’ promos or imaging…

Threshold at:  –24, Ratio at:  4:1, Attack at:  2.0, and Release at:  50 ms.

When going after that “Pro Sound” on commercial production, keep it simple.  Less is more.  Most of the time your radio station has post processing on the signal before it goes to “air” anyway, and you must keep that in mind.

Now, if you want that really funky, distorted, imaging sound for sweepers and promos here’s what a good friend turned me on to…

First use a 1 band EQ set at about 400 Hz and process the region.  Then on to the Limiter…set it with Threshold at –25 and Out Ceiling at 0.0, leaving the Input volume alone, process the region again.  Then to your general Compressor Plug-in…because after you use that limiter, the audio piece will be extremely loud.  Set the Compressor with Makeup Gain at 6.0, Threshold at – 9.0, Ratio at 4:1, Attack at 0.15,  Release at 15ms, AND the Output at –5.   Process the region once again, and there you are, or should be. Many systems allow you to make an “automation” of these settings in this order to save you time.

As always, most programs come with pre-sets.  You should always try these, but make sure to notice or write down the settings so you can play with them and “tweak” them.  Have fun, but try not to over- do your compression in normal ads and promos.  The vocals can get lost in the final “on air” mix.

Reach out if you have any questions specifically about this article.

Thanks,
Ben Blankenship

Friday, November 6, 2009

Don’t Just Get Lucky-Get Results! 21 Ways To Get The Most From Twitter!


I write about Twitter a lot because next to Myspace it is the easiest way to grow your Social Media Network. Facebook and LinkedIn are limited to the people you already know so it can be difficult to grow outside your existing network. Twitter is also a great tool to increase traffic to your website, Facebook Fan Page, Myspace or even LinkedIn.  I have clients who report increases of website traffic up to 5000% through Twitter efforts.


About a month ago I achieved my personal goal of getting 10,000 followers. As it stands today I have over 21,500.  I still try different stuff on my account all the time and experiment to see what works.  RSS feeds, quotes, great articles, Re-Tweets, strategically following people who follow people I think I have things in common with to increase the potential for them following me back as well as helpful Twitter Applications. I am also developing my own Socialality…Socialality is different for everyone and just like your ‘Personality,’ your Socialality should reflect your brands unique attributes including behavioral, temperamental, emotional and mental that give you character.


Here are some of the ways you can get the most out of Twitter: 

1.) Define your goals and manage your own Social Media expectations!
2.) Use a great photo of you that is engaging and shows your personality, this will be your benchmark for success. 
3.) Only use your logo if you have a personal AND a company profile (Some Radio Stations may want to have station and individual On-Air Personality Day-part Twitter Accounts-this will depend on ability to manage and your own internal PR rules.)
4.) List a website, blog, Myspace or url link (test that it works) to a place where followers can get more information about you.
5.)  Make sure that “Protect My Updates” is NOT checked!
6.) You need a great bio that includes keywords that are strategic to the market you are trying to grow you/your brand too. 
7.) Re-Tweet and Re-Tweet  again, this is a great way to validate others. It shows that you are listening and care about what they are saying!
8.) Use the Twitter Search tool (http://search.twitter.com) to find subjects, keywords, trending topics that are important to you and follow the people who are talking about them.
9.) Use anything but the default Twitter Avatar and Background.  Nothing says, ‘I don’t care’ MORE than the default Twitter Bird Avatar or default Blue Cloud Background. 
10.) Promote Twitter on your other Social Media Networks and vice versa.  This is GREAT for SEO-Search Engine Optimization.)
11.) Consistently talk about your Social Media Participation when you are out in public or on the air.
12.) Download a Twitter Application into your phone. It is just like texting and should be treated the same.
13.) You really DO NOT need an automatic Direct Message.  It can come off as insincere and most people are put off by them.
14.) Thank EVERYONE who Retweets you and reply to EVERYONE who @replies to you.
15.) No one cares what you had for breakfast or the last time you made a bowel movement! There is such a thing as TMI
16.) Try to make Social Media useful for your Followers by providing information and tips that benefit THEM!.
17.) Twitter is GLOBAL and PUBLIC. Everyone who follows you can see what you are saying.  That means if you are Twittering you will want to make sure you use the same public relations rules you use for yourself or your company. 
18.) Use Twitter to have discussions with your followers. You can ask them what they want!
19.) Download Tweetdeck, Seismic or Twitterific for a better understanding of how to use Twitter to its full potential.
20.) Try to spend at least a half an hour a day on Twitter
21.) Try to spend only a half an hour a day on Twitter.

Jessica is the Social Media Editor for Full Throttle Country-Country
 Radio's newest full-service and free interactive idea sharing and new media on-line service. She has over 19 years experience including Radio, Television, Internet and Print Sales as well as an On-Air Radio personality.  She is an Entrepreneur who owns MediaJess.com servicing all website needs including domain names, hosting, SSL Certificates etc. She specializes in big ideas and is known for the ability to create complete marketing campaigns and bridge marketing partnerships. Her company Finger Candy provides social and new media optimization planning for businesses, brands and individuals. 
You can also read her blog, “Observations from the Peanut Gallery” at  
http://www.imwithjessica.com/ and follow me on Twitter http://twitter.com/JessicaNorthey


FOR MORE INFORMATION OR TO SET UP A CONSULTATION YOU CAN CONTACT JESSICA NORTHEY 559-349-5933 or
JessicaNorthey@gmail.com 
Even if you are starting from scratch or have already created Twitter, Facebook, Blog or any Social Media Platform accounts, we can work with you to design a comprehensive system with synergy and content that provides an interactive experience for your audience.
There is not a "One-Size-Fits-All" answer and prices vary per project so call or contact today for a quote!


Thursday, November 5, 2009

KNOW YOUR NEEDS Chuck Geiger


Entercom took their time and will announce a great hire in SF to the staff shortly, to join Mike Preston a perfect hire in Seattle. We are seeing a trend of proven program manager’s being hired who get the market, due to their past longevity in the city, understanding of PPM metrics and one who gets the mission and vision of the station. Tidwell in Hartford, Allen in Wichita, Medina in Phoenix, and Lindy in Atlanta and Gamble in Chicago - all hires that fit the needs of the stations. There are hundreds of applicants and only a few jobs; Companies can take their time to find the “perfect hire”.

Managers have to know their needs and trust the corporate programming team to aid them in their hires. Great hires verses team induced hires. Do not hire based on the staff and trying to appease the staff. Hire on the super human strength the programmer brings to the process. If they are successful programmers, they got that way with their people skills and ability to coach, motivate and counsel. Programmers; don’t apply for positions where they are looking for something you are not and you pass like two ships in the night. The industry employment picture is not that bleak, that you have to jump at the first offer, to quote my wife.


This works with the hiring of talent and the programmer’s basic needs, what they need and how to capture that in the applicant. You cannot teach radio, the X-factor and vibe to a rank and file staff – It never works, Programmer’s need to be hired to program and talent hired to bring show biz to the product. New talent coming to a station needs to take on a fast, imprint, audience bonding and administrative acumen like Superman would have had if he worked at the paper and Clark Kent leaped tall buildings and STL’s in a single leap.

Yesterday – PPM’s showed earlier gainers down, as the PPM panels shift out after 6 months in these markets. Build up the brand so these replacing panelists come from the life group and love your station. Lose some and add some more, almost like cumulative listening. Keep the shift in life group PPM panelists down by mirroring your station to their expectations, not the music industry or yours. Great morning show and a staff of entertainers who don’t have to be spoon fed fuel the fire. A new group of Country programmers, some veterans and some rookies are carving a landscape in the sonic sound of Country radio. And it sounds awesome and will help in the return of ad dollars in bulk to Country radio, Miller-Kaplan reported a few years ago that agencies loved Country radio (25-54 P) because of the ROI and life group appeal and use of their products. We’re on the way to get right back to where we started from. (Maxine Nightingale).

Wednesday, November 4, 2009

Wednesday Morning Meeting for November 4, 2009:

Helping the agency to visualize the listener


When I programmed several years ago, I would always insist that everyone in the radio station could visualize the listener, so I created "Janet, " a fictitious listener whose detailed profile was up on every wall of the radio station.  “Janet” was based on knowledge of the market and conducting a small amount of research among the P1 audience. Everyone knew "Janet" and we knew everything about her, too.  “Janet” had three kids, drove a Chrysler Town & Country, lived in a beige house and worked at the local hospital as a nurse.  She shopped at a certain grocery chain, she ate at certain restaurants, and drove certain roads.  On the weekends, "Janet" shopped certain stores, and after hours, she even slept.  The air staff knew (read: hated) “Janet,” the sales department grew to love her, and the traffic department would look at me like I had two heads.  See, "Janet" kept the air staff on message and allowed the sales staff to sell to her routine.  Some of the better sellers would even present a "Janet" power point to clients/agencies to showcase the listener profile. When used effectively, "Janet" was a marvelous sales tool.  

In many cases, the media buyer does not reside or work in your market.  The buyer has no clue what your audience looks or feels like--or values.  On paper, "Janet" was W25-54 with a HHI: $75-$100K.  In reality, she drove a certain vehicle, shopped at certain stores, used certain products, and followed certain behavioral patterns.  If you can manage to bring your listener to life, you'll probably have a more meaningful conversation with your favorite media buyer.  


As always, I welcome your thoughts.  Please e-mail me: bknight@harrison-edwardspr.com or follow me on Twitter @BobKnightAdMan 

Next week:  Your weekly eBlast is a total piece of crap!


Bob Knight is Vice President, Advertising and Digital Media with Harrison Edwards PR & Marketing in New York and oversees the company’s advertising and HEdigital divisions, which include podcasting, webcasting, blogging; and print, electronic, and broadcast advertising and media buying. Prior to joining Harrison Edwards in 2005, Bob worked for some of the nation’s largest broadcasting companies, successfully developing programming in some of the most competitive markets including Chicago and San Francisco; his stations and shows were consistently top-rated.  In addition to Bob’s work as program director and on-air personality at AMFM, Inc., Clear Channel Communications, Citadel Broadcasting, Entercom, and NextMedia Group, he served as a consultant to Internet radio stations during the dot com boom. Bob’s national and regional radio commercials have won a Gold Clarion Award (AWC) and Gold “Big W” Awards (Ad Club) for commercials he produced. In 2008, Bob was named a “Rising Star Forty Under Forty” by the Business Council of Westchester and is a graduate of Leadership Westchester (Class of 2009).

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Tuesday, November 3, 2009

RESCUING RADIO - LARRY WILSON (FROM TIME/CNN)


Larry Wilson has three big rescue dogs; he took them in after they had suffered at the hands of previous owners. They used to live with him on his two ranches in Montana, but they moved recently to his riverfront apartment in Portland, Ore. It's not ideal; they need to be walked at least four times a day. So on weekends they all pile into Wilson's private jet and fly back to Montana.
Wilson, 64, moved with his pooches to Portland because he bought six radio stations there, two from Microsoft co-founder Paul Allen and four from CBS. To many people, buying radio stations in the current climate is a little like taking in rescue dogs. There's a high probability of getting bitten in the butt.
Saying that radio is in dire straits is like saying Don Imus is chatty. As with nearly all media, it was hit with the nasty one-two punch of a dramatic falloff in local advertising because of the recession and the digital revolution, which not only offers listeners myriad new ways to get the content they want but also lets advertisers know exactly whom their ads are reaching. A series of mergers and buyouts that consolidated ownership and added enormous leverage has proved disastrous. In 2000 the industry was worth $20.1 billion. This year it's worth about $14 billion. Last year, radio's revenue fell 9%, to $19.5 billion; this year the numbers are off 20%.
Wilson knows all this, since he is one of the creators of the roll-up strategy. A former lawyer, he co-founded Citadel Communications Corp. in 1984, when he purchased two Tucson, Ariz., stations. By the time he sold it in 2001 to private-equity firm Forstmann Little & Co. for $2 billion in cash, it had grown to 205 stations in 42 cities. As it turned out, 2001 was a catastrophic year for business, because of the 9/11 attacks, and for Wilson personally. His wife, who had cancer, had her fifth brain surgery, and it left her in a wheelchair. He quit the business to be with her.
While Wilson was out, the buying spree that had been sparked when the Telecommunications Act of 1996 deregulated the broadcast industry hit a lull. From 1996 to 2000, 18.5% of all U.S. radio stations changed hands. From 2001 to 2006, that number dropped to 7.8% as broadcasters tried to figure out how to manage their assets. Nevertheless, in 2006, Citadel bought ABC Radio from Disney, making it the third largest radio group in the U.S.
When the financial crisis hit, Wilson's old outfit was stuck with a punishing amount of debt just as its cash flow dwindled and the credit market tightened up. And it's not alone in the quicksand. Clear Channel Communications, the country's biggest network, went through a tortured $24 billion leveraged buyout last year that left it--and its banks--sinking fast. "Most big radio companies have highly leveraged balance sheets and face a very tough future," says Standard & Poor's analyst Tuna Amobi.
Claire Wilson died in February 2008; later that year, her widower fell down some stairs and broke a lot of bones. As he lay recuperating, Wilson began to think about radio. "I thought I should get back in," he says. "I saw the industry make knee-jerk reactions--eliminating programming and salespeople. Going after the talent. Research was gone and external promotions were gone."
Luckily, Wilson still had some of that Forstmann Little cash lying around. He called an old Citadel hand, the fortunately named Bob Proffitt, and found a local private-equity firm, Endeavour Capital, that was willing to back Wilson's new venture, Alpha Broadcasting. It paid $11 million for Paul Allen's Portland stations--Allen bought them for about $50 million. Experts say the price premium for radio stations has fallen from 20 times earnings to eight times.
Radio has many would-be saviors. There are those, like the recently merged Sirius and XM, that have put all their chips on the pay-radio table. Others, including iBiquity Corp., believe the future is in HD radio. And there are others, like Mike Agovino, COO of Triton Digital Media, who believe that all radio stations need to create a digital infrastructure: ESPN Radio apps, Internet video of musicians or a morning-show host, online audio streamed through your computer at work. "We talk about the infinite dial," says Agovino. "The ability to access 20-, 30-, 40,000 radio stations in your car."
But so far, like much radio content, it's mostly talk. Satellite radio has been stunted by the recession and a lack of must-have content beyond Howard Stern. Consumers have taken slowly to HD radio receivers--there's an industry joke that HD stands for Huge Disaster. And there's no money to invest in digital. "The biggest challenge we've got right now in the industry," says Agovino, "is that companies are struggling to stay out of the way of their bankers."
Wilson's strategy is to take radio back to its local roots while at the same time keeping his company private and well capitalized. "When you cut the costs out of this business, you cut the product. Then you don't have anything to distinguish you from iPods or anything," he says.
It's also a repudiation of the consolidation strategy, which tried to increase profits by centralizing sales and programming. "People say, 'We'll program five markets from X city and we'll have one team doing it, and we'll save all this money,'" he says. "Doesn't work. Listeners want to talk about the mayor, the new light rail that's going in, the local sports teams." Wilson acquired the rights to air the games of three local sports teams for his FM sports channel. According to Arbitron, it has already started to poach listeners from the local AM sports channel.
Wilson isn't finished buying. His Alpha Broadcasting hopes to buy another station in Portland, and when revenues hit $10 million, he'll go after another city in the West. It all sounds like the actions of a confident man, but perhaps Alpha's logo is telling. It's a picture of his rescue dog Bear. "It looks like he's cocky and winking at you," says Wilson. "But really he just has one eye."