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June, 1997 (continued): After a flight from Nuremberg, Germany, to Frankfurt and a missed flight to Oslo followed by one that put me 3 hours behind schedule, I arrived in Norway.

My visit to Norway was typically brief: Upon landing in Oslo, I took a four-minute taxi ride to my hotel, checked in, went to sleep, got up the next morning, and spent the day with the air staff of Radio 1.

Then it was back to the airport and on to Vienna (changing planes in what rapidly was becoming one of my less-than-favorite airports, Frankfurt).

With a 10:45PM arrival, I would be lucky to log anywhere near my required eight hours’ sleep.

At 11:45PM, a taxi deposited me in front of the Hotel Das Triest. As the cab drove away, a hotel employee hurried to meet me, exclaiming, “Mr. O’Day?”

Never having been thus greeted by a hotel employee, I figured it meant one of two things. Either I was an incredibly important guest and the hotel staff had breathlessly been awaiting my arrival…

…or there was some sort of problem with my room and/or reservation.

“Mr. O’Day, I am very sorry, but there is a problem with your room,” said the flustered desk clerk.

Warily, I asked, “What is the problem?”

“Well….Someone already is in it.”

The hotel was overbooked. The desk clerk — and then the manager, whom I demanded to see — swore they had nothing at all available, not even a suite.

They were very apologetic and explained that a pop music group was staying in the hotel and had unexpectedly extended their stay.

My normal routine of acting stern and stomping my feet did not succeed in making a room become available. Finally, grudgingly, I climbed into another taxi and went to the Radisson SAS Park Hotel, where a replacement room awaited me.

The pop music group? They were in town to perform as back-up to Diana Ross. (Ross herself wasn’t there yet; she would arrive later in her private jet.)

I never did like her much.

 

 

 

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It’s a weekly show devoted to the Beatles, on a Classic Rock station.

You know the kind: “Breakfast With The Beatles,” “Brunch With The Beatles,” “Beatles Brunch,” “Sunday Morning With The Beatles,” etc.

The host often creates a “theme” for each week’s program.

That’s a good idea. There’s not much new Beatles music these days, so it’s smart to look for fresh contexts in which to present the familiar music.

But this was a less-than-good idea:

One program was devoted solely to instrumental versions of Beatles songs.

Five hours of instrumentals.

There isn’t a pop music station in the world that would deliberately play two instrumentals in a row.

Five hours of instrumentals??

I don’t blame the host. He doesn’t know better.

Moral: If you’re a program director, do you listen to your weekend hosts? Do you do everything in your power to make your weekend programming sound at least as good as your weekday programming?

Or do you just hand the keys to the station to your part-timers/satellite shows/brokered programs and hope you still have an audience on Monday?

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(video) THE TYPICAL RADIO ADVERTISING CLIENT

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radio morning shows

A Loyal Reader Writes:

“I’m always trying to find things of interest to listeners, but I’m never sure if I’m on target. Are people truly interested in artist news, tops at box office, top TV shows for the week, etc.?”

It all depends upon how interestingly and relatably you present it.

If you do it like most radio people — “Here’s a list, delivered over a music bed” — it makes very little impact.

Sometimes in my seminars I play an aircheck of an “Entertainment Extra” as presented on a large market, music station morning show.

For 90 seconds, the two hosts list the upcoming weekend’s television programs.

“Entertainment Extra?” It’s definitely not Entertainment.

But it is Extra, in the sense that it’s irrelevant and of no use to anyone.

Guess what? If your listeners want to know what’s on TV, they have ways of finding out.

They also can find out the week’s best-selling records, top movie box office hits, etc.

Trust me, no one in your audience awakened this morning thinking, “Oh, if only someone would tell me last week’s ten highest rated TV shows, starting from #10 and ending with #1!”

Does that mean you should avoid any use of such listed information?

No.

But you should utilize such “boiler plate” copy only if it serves a purpose grander than just “reading a list”:

  • Giving the host something to talk about in an interesting, entertaining or compelling manner. (Not just reading the list.)
  • Sparking a conversation among on-air team members
  • Sparking listener phone calls
  • Providing an excuse to involve a character
  • Ultimately, connecting to your listeners in a meaningful way

But following the typical radio model of “Here’s a list of stuff. I’ll read it for you, and then I’ll move on to something else” makes no impact on your audience and does your radio station no good.

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This radio commercial has two major flaws. Can you spot them?

The biggest problem: If after hearing that commercial you picture only one thing, that one thing isn’t Children’s Hospital Los Angeles. It’s not a children’s hospital. It’s not even a hospital.

If you picture only one thing, you picture those children in pre-school, singing their A-B-C’s. Too bad this isn’t a commercial for a pre-school.

If you picture anything else, it’s a copy of U.S. News and World Report.

radio advertising tip commercials

Here comes the clue train.

In a radio commercial, the picture you paint in the listener’s mind is what the listener will remember about your ad.

Oh, the other Big Dumb Thing is their Call To Action: “To learn more, visit CHLA.org.”

Umm….To learn more about…what? To learn more about your hospital? Your award?

On the other hand, this radio spot accomplished the client’s most likely goal: to brag about its award. (Take that, UCLA Medical Center!)

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