Robby Bridges paraphrases Bill Clinton and learns “there is nothing wrong with radio that cannot be fixed by what is right with radio.” Bridges suggests new ways to reinvent traditional terrestrial radio in an era where media consumption is changing at a rapid pace, with new approaches to programming instead of cutting back on jobs as a method to get better results.
Robby Bridges
by Robby Bridges
If you know me, then you know how much I love Presidential politics and David Letterman‘s show. Of course, when Dave did the bit “Great Moments in Presidential Speeches” I loved it. The bit showcased two actual great moments and one humorous flub; two great quotes struck me. Ronald Regan saying, “Government isn’t answering the problem because now government is the problem.” How true is this if you bait and switch the word government with radio today? The next clip was Bill Clinton’s “There is nothing wrong with America that cannot be fixed by what is right with America.” Again, insert the word radio and how true.
I’m not only a political junkie; I’m a news junkie so I monitor economic trends, index stats and of course broadcast stock performances. Also, I keep an eye on the businesses that spend the most on radio advertising. Obviously, the news is grim just about across the board. We’ve all become numb in the radio industry to constant layoffs, cuts, consolidation of positions (as a matter of fact, this has been going on in our business well before this economic tsunami hit other sectors). With this backdrop, let’s keep in mind terrestrial American radio reaches about 93% of the population every week. And, while TSL is down due in part to the rise of new technology usage (computers and video games more so than iPods or satcasters), radio is well positioned with online streaming and tuners in every automobile, new multimedia phones and a growing number of other portable devices. Yet, what you’ll find reading opinion pieces and news stories on radio and certainly from people in or formerly in the industry is widespread negativity and pessimism. There are at least three online editorials I’ve been forwarded on how the syndicated weekday Ryan Seacrest show is an “evil virus” killing off local radio. All of this negativity is counterproductive and, for me, agitating. First off, I firmly believe terrestrial radio is here to stay, the economic forecast will improve and, if the opportunity is seized, we can reinvent ourselves as a medium.
There are contributing factors that have changed the game at programming local music radio to some degree. Corporate consolidation, regional VPs, consultants now have better than ever audience measurement data that show radio performing remarkably in some circumstances and not well in others. The listeners’ time is so much more fragmented and valuable today, such that programming has to have massive impact every time or the content is lost. There have always been tight, conservative format clocks and playlists so this is nothing new. Additionally, nobody wants to run imaging from the ’60s on their station, not even gold formatted stations. Further, a TV program from 35-years-ago is instantly dated when it comes on TV today.
Yet the concept of what music radio does really hasn’t changed all that much over the years while media consumption, usage and plain old styles/tastes have. So while it is, I believe, a fair critique of corporate radio being far too short sighted in its actions and policies of under staffing and budgeting, a lot of what is seen as so terminal for radio is nothing new really. And, I’m suggesting a lot of what we do is in need of an overhaul anyway. I am not for a moment suggesting it makes sense to cut talent on and off air just to cut costs regardless of circumstances. While the economy is rough and ad spending/revenue is off, operating on 50% or more profit margins for clusters is unrealistic. It’s based on pressure from impatient shareholders and boards rather than long term market share growth of ratings and revenue as used to be the case. So too is cutting sales, promotional and marketing staff when the new sponsorship opportunities existing in the delivery of great radio content are more abundant than ever. Plus, sales force finding new business is more crucial than ever. Radio is free and viable; this ought to be a strong selling point.
Lastly, why cut successful programming talent and personalities if they are performing? It’s short sighted. That said, there are plenty of stations whose marketing will consist of trade for mugs with the logo and car remotes where key chains are handed out. We all know there was a time when sales execs could still bill while essentially drinking coffee at their desk and hitting up the same car dealerships for said remote and spot buy. And, even now, there are all too many jocks who throw away content by either adding nothing when they talk or saying nothing by talking too much. Any business struggling to stay above water (past mistakes aside — see banking or automotive crisis) will look at what its overhead is and what the ROI is on it and ought to reasonably.
Let’s focus on personalities as this is “programming to win.” Times are tough, everyone is multi-tasking. If the local talent on-the-air has lost their discipline or is just plain green, they are not offering compelling content. Listeners (especially younger demos) know they can get the music they want on demand when they want it. What can terrestrial music radio offer? Content and branding. If you’re a Pop oriented CHR, everything the station does ought to reek that branding which is the programmer’s absolute responsibility, and why it is important in all market sizes to have some sort of marketing force. (If budgets are tight, bring in eager college interns and trade out promotional items and station banners, vehicles, tee-shirts etc. It’s fundamental.) But, air talent must deliver content to match. Programmers can give them the tools but the talent must sell it.
I listen to U.K. radio online all the time. From Absolute Radio to the BBC channels, I often think our British counterparts do a far better job of integrating artist drops and interviews, Web extras, special features and specialty shows and more — much as American television does. Further, I find the national U.K. stations often do a better job of executing the basics: title and artist, album, show prep. Listeners care about these things because they want to download for purchase. Service elements are still key too. Traffic couldn’t be more paramount for any format as so much radio usage is in the car. What content do we hear too often? Phone bits. Do they have a place? Sure. Are they engaging and well executed enough to stop down the format in most instances? Think about the last one you heard on your airwaves. Then, what I call non-raps or wallpaper: these are breaks that are so meaningless and thrown away I’d rather run a liner or a dead segue so as not to risk a listener hearing chatter, thinking “commercial!” and punching away. Example: “WXYZ, and I’m DJ with 10 in a row coming down at you… here’s something from Pink… oh yeah, crank it up.” Just meaningless clutter, this is the kind of “DJ talk” that turns up negative results in the PPM data now coming out. Worse still are breaks where a jock will use unneeded verbiage to communicate; talk about themselves without relating it with a “Do YOU notice, are YOU like me?” qualifier or, worst of all, stop down and talk doing all of the above.
People lament the days of a Dan Ingram on WABC, but let’s remember how tight and hyper focused their formatics were. Listen to an aircheck of Dan on ABC from say 1970 and you’ll know what the top hits were, forecast, contest and top Pop culture of the afternoon in minutes. Is that true of most Pop stations today? Think about it. One of the best Ingram breaks I’ve ever heard was over Three Dog Night‘s “One.” The piano starts following a jingle and Dan says just this “Ah…woof woof woof….” that’s brilliant content too. So while there is and will continue to be a role for local and hopefully live talent, they’ve got to be providing meaningful, brand consistent content every break and both seasoned personalities and newbie jocks have got to be coached to stay focused/on message. I think, like the national stations of the U.K., live company-wide format channels, offering the kind of super content not possible at the local level with some local shows, service elements and promotions, is actually a meaningful idea. (That’s what the original intent behind Seacrest, Delilah, Test, Kid Kraddick was about.)
Radio is not going anywhere but back to really selling what it does best, and exploiting it in new media as it hasn’t before. Radio is an intimate, theatre-of-mind-medium capable of engaging and tapping into the mind and imagination of the listener. Also, it is still a fantastic venue for every kind of music and top-of-mind for community needs from PSAs to traffic and local interest information. But first, we have got to shake off the negativity and embrace the times this industry finds itself in to march on. Radio ought to celebrate its grand past and look forward hopefully toward what we air tomorrow and beyond. If every manager who reads this communicates this focus and passion for as a directive to their team today, they improve morale and juice what comes on the air… and we’ve taken a positive step forward.
Robby Bridges is host of the Ride Home Show on WEBE-FM Bridgeport, CT. He is also President of BBOR Productions, developing and marketing syndication, music and production pieces nationally. Previously Bridges has worked in various capacities at WCTK/Providence, Z100/New York, Q102/Philadelphia, WODS and Mix 98.5/Boston and elsewhere in New England. Robby can be reached at 203-333-9108 or bridges@bborproductions.com
