Robby Bridges
by Robby Bridges
Each and every day there seems to be more and more bad press coming out declaring the death, demise or degradation of terrestrial radio. The RIAA wants broadcasters to fork out millions in royalties for performers, and for the first time the legislation seems to have at least a pair of legs (Internet and satellite radio have already been hit with these costs). There’s the new technology dilemma: iPods, mp3 downloads, file sharing, yes online and satcasted radio and other new media from PSPs to cell phones are all eating away at the time consumers, particularly younger consumers, spend with terrestrial radio and changing how they value it in contrast to previous generations. Then there’s the economy which is sour in most sectors, and radio ad buyers are shakier than ever on spending with all this bad press, poor quarterly cash flow and stock performance estimates for major broadcast companies, and now the PPM reslicing the cuts of the pie in the markets it’s in use and disputed; further fear on ROI for radio advertisers are also being caused by everything from falling TSL, stagnation in programming reaching new audiences, failure by broadcasters to sell radio in new marketing platforms effectively, and even a ratings Diary scandal in my hometown of Providence!
However, as I’ve argued before in this forum, radio as a medium has been here before. To paraphrase a portion of a marvelous 1998 documentary from Oliver Drake called “Rock and Roll Invaders: The AM Radios DJs,” in the early 1950s advertising houses were moving their big clients from radio to TV leaving it to die. The budget and audience for grand variety shows, comedies and dramas and full orchestra performances on the local level and by the radio networks had been reallocated to TV. Radio was at a crossroads; it needed to reinvent its relevance to the consumer and it largely had to do so with the support of local advertisers in the community with shoe string budget programming. So it hired announcers and gave them a mic, turntable, wing and a prayer. And even when the power of programming discretion went to management and away from individual jockeys post Payola scandal, the host’s job remained to create exciting content to maintain audience and advertisers.
So in 2008 and beyond I think we’ve come to a point where radio needs to aggressively reinvent what it does and what its relevance is to the consumer as it did to survive once before. So I thought it might be a fun exercise to strategize new programming initiatives right here together in this forum, and then discuss them (my e-mail and phone number is below.) We must invest in our on-air product. We must create new exciting programming to attract and maintain listeners. We must embrace new on-demand media distribution of the kind of programming radio already so effectively does offer, and we need to consider what steps we’d take if needed to become a medium that offers very different kinds of programming in the coming years should something like the RIAA royalty legislation pass and inhibit business-as-usual in a new and financially challenging way. Finally I think we programmers must be careful to avoid knee jerk reactions in what we do based on research or the new audience measurement data we get in the PPM. Remember, people can only give reaction to what is presented to them, meaning test any five songs one will test on top, that doesn’t make it a hit. Allow a one jock creative freedom and watch PPM listener levels plummet, hire another to do the same and watch them skyrocket.
FORMAT INIATIVE ONE: Just as radio as a medium was forced to create a new formula for success when TV was born and stole its thunder, as we continue to evolve in the variety of programming we offer and how we offer it we can borrow several pages from how TV functions. First, in your existing conventional music format it’s always about what’s coming up next and when. Tease and billboard your music, your contesting, service elements and, most importantly, your talent. That’s right, the talent ought to be marketed as much as your music brand identity on air and off. This summer at least five different formats shared Kid Rock’s “All Summer Long” and Leona Lewis’ “Bleeding Love.” Let’s also remember all the new media that allows for these same records on demand. Your stationality and your talent set you apart.
Further, I don’t much like the sports analogy when it comes to radio. Sure any successful organization/business is about team work, cooperation and communication. But I think radio is much more like a restaurant than a ball team. A lot of places sell burgers, but the iconic brands create a unique atmosphere where they sell generally the same beef to the consumer and it’s the charm of servers and staff that create a positive experience that a manager couldn’t teach them — they either have a personality or not.
Radio is also like a movie studio. Studios seek financial backers of the pictures they make and they do it by hiring skilled directors to lead marquee name stars through marketable storylines, just as media companies ought to hire managers and PDs to get advertising from a format and star performers executing it. Micro-management of a talent or six VP’s super ceding a programming manager is counter productive in this process if we agree the creative edge has to be re-sharpened.
FORMAT INITATIVE TWO: TV also does a great job of narrowcasting. Who’s to say new local advertisers wouldn’t make a buy they might not have otherwise made if a music station also offers specialty features or full programming aside from music, like a documentary on the local Rock music scene or radio-reality show about what it’s like to be a cheerleader at the local high school on a station that also plays Pop records. TV also loves to celebrate itself. How many ‘101 great moments’ or ‘All time Funniest Blooper Shows’ have you seen? Radio could very well write engaging specials of the like. Last, if you are paying a staff of jocks and asking them to do production, what stops you from asking them to lend their voices to radio dramas? With solid writing and production value, short radio serials can be an effective addition to even a music format. When I was in Providence we produced a 40 min. adaptation of “A Christmas Carol” that aired uninterrupted and began a tradition. A profile of a local business or community event blended as a part of traditional programming, the sky’s the limit.
FORMAT INITATIVE THREE: The emotional radio format. A radio format based not so much specifically on a niche musical genre or focus, but a focus on the mood created by the format. I’ve found the audience’s interest is peaked when you speak to their emotions and relate to their lifestyle and then supplement that with songs and imaging that does the same. Its “audio wall paper” in the realities of radio as a medium in 2008 to think (Station name) with 10 songs in a row and here’s __________ on your #1 is an effective jock rap. This format would begin: “Ever notice how as a mom it seems like you’ll never get everything done you need to in a day?” Or, “Didn’t the sensation of a first kiss in your backseat as a kid just send a spark up your spine? Memba this song?” Consider allowing your talent freedom to select music beds, sfx and choosing some of their own records or at least the order they’re played. Re-think the old rule book and take creative steps to success. You get the idea… Radio, let’s create again!
