I was a little kid when this song became a country crossover hit.
I liked it. But somehow it was different from everything else on the radio. Not the sound; it was the song that was different.
Years later in the Patsy Cline biopic, Cline complains, “I don’t know how to sing this guy’s songs!” (She learned.)
That guy who wrote the songs that were so different she didn’t know how to sing them? Same guy who wrote this so-different, simple, excellent song.
Fella name of Willie Nelson.
When KFWB program director Chuck Blore told the air staff about his exciting new concept, “Color Radio,” everyone loved the idea…
…except for “America’s first DJ,” Al Jarvis….
September, 1996 (continued):
After a few days at home following my New Zealand trip, on Friday I left for Atlanta to present How To Critique & Coach Radio Talent for a radio conference.
Because I was scheduled for just two hours on Saturday afternoon, I gave Matthew permission to miss a day of first grade so he could come with me.
This proved to be one of my better decisions, because we had an absolutely great time.
After checking into the hotel and eating dinner, we ordered ice cream sundaes from Room Service and ate them while watching a baseball game on TV.
Afterward, Matthew held his green slippers up to his ears and said, “Who am I??”
“I give up. Who?”
“Krusty the Clown!”
The next morning began with a pillow fight.
While the attendees were at lunch, we checked out the meeting room — a very state-of-the-art conference room with tiered seating, built-in desks with individual lamps, fancy swivel chairs, etc.
I tested the A/V equipment and offered Matthew a chance to speak into the microphone — an opportunity he immediately transformed into an impromptu rock concert.
Then we turned out all the lights and chased each other around the room, twisting between the narrow rows of tables.
Just before my session began, Brian Lowring and his two-year old son took Matthew to a nearby zoo. (I had suggested to Matthew that he might prefer to stay and watch me work; he chose the zoo without hesitation.)
The evening was highlighted by more pillow fights.
A Loyal Reader Writes:
“I have a problem with a customer we had on the air for many years.
Either we didn’t do our job and build a commercial that would bring
customers in the door or the product that our client was selling was
too expensive or of no interest to our listeners; at any rate he
dropped his radio advertising budget.“After about two years of banging on his door he has finally decided
to do something with us again, but only if he can get results.“Normally I can build a commercial that gets noticed and that people will comment about and the customer is pleased, but this business has several obstacles that I can’t get past.
“First of all he has one of the highest priced auto repair shops in the
area; he uses the highest quality parts with a small mark-up and his
labor is high.“He is very detail-oriented and uses gloves when he works on your
vehicle and even goes so far as putting a plastic slip cover over the
seat and steering wheel as to not get grease inside the car.“The shop has the newest equipment and is very clean.
“We have used all of the above items in his commercial before, and
I’m not sure if we should just come right out and say that you pay
more and get more. What would you do?”
Naturally, I wouldn’t attempt to write a commercial without getting a lot more information first. But the “obstacles” you refer to clearly should form the basis of his entire campaign.
The commercial’s job is not to get noticed; it’s to drive customers to his repair shop.
What type of customer is likely to patronize this sponsor?
Well, many people will choose the absolutely cheapest mechanic.
You want to target your message to the people who take great pride in their car’s appearance. Car owners who are greatly motivated by price aren’t likely to patronize this place anyway, so forget about them.
For readers who are familiar with my Guaranteed 5-Step System For Creating Radio Commercials That Get Results, here are some sample headlines (i.e., the opening line of the commercial) we could use to launch some spots.
(You don’t have to have been taught my system in order to use the headlines, of course.)
YOU’RE GETTING RIPPED OFF BY AUTO BODY SHOPS THAT CHARGE LESS THAN ED’S AUTO REPAIR!
SOMETIMES, THE CHEAPEST AUTO BODY SHOP TURNS OUT TO BE THE MOST EXPENSIVE.
YOU SHOULDN’T HAVE TO WASH, WAX AND VACUUM YOUR CAR EVERY TIME YOU LET YOUR MECHANIC TOUCH IT.
IF YOU WANT YOUR CAR TO GET THE VERY BEST TREATMENT IN SMALLVILLE, THERE’S ONLY ONE PLACE TO GO.
WOULDN’T IT BE NICE IF YOU DIDN’T HAVE TO BE SURE TO WEAR OLD CLOTHES WHEN YOU DRIVE YOUR CAR HOME FROM YOUR AUTO MECHANIC?
I’M SICK AND TIRED OF SEEING SMALLVILLE CAR OWNERS ALLOW SOME DIRTY, CARELESS GREASE MONKEY MAKE A MESS OF THEIR TREASURED AUTOMOBILES!
WHEN YOUR CAR NEEDS FIXING, YOU CAN TAKE IT TO A SUPER-CHEAP MECHANIC WHO CUTS HIS PRICES BY USING THE CHEAPEST PARTS & LABOR HE CAN FIND. OR YOU CAN PUT YOUR FAMILY’S SAFETY IN THE HANDS OF SOMEONE WHO WON’T SETTLE FOR ANYTHING LESS THAN THE BEST FOR YOU.
I ACTUALLY THOUGHT THAT AFTER THE MECHANIC IS DONE WORKING ON IT, YOUR CAR IS *SUPPOSED* TO LOOK LIKE A MESS…UNTIL I TOOK MY CAR TO ED’S AUTO REPAIR.
IF YOU TAKE PRIDE IN YOUR CAR, YOU DON’T WANT TO LEAVE IT IN THE HANDS OF SOMEONE WHO JUST DOESN’T CARE.
IF YOU CAN FIND A MORE EXPENSIVE AUTO REPAIR SHOP THAN ED’S, ED WILL RAISE HIS PRICES!
Does at least one of those headlines spark an idea for a commercial? The hardest part of writing is starting. When you don’t know where to begin, just start writing some headlines. Soon your only problem will be stopping.
For a great resource of headlines, check out COMMERCIAL EMERGENCY.
Meanwhile, would any intrepid readers like to take one of those headlines (above) and turn it into a full-blown commercial script?
John Frost
John Frost was a special guest speaker at this year’s International Radio Creative & Production Summit.
After all these years — his first Summit appearance was 1997 — he’s still doing great work.
In the video of the 90-minute session, John does actually move. During this clip, however, you get the rare privilege of watching John look at the iPod from which he’s playing this audio clip.
The laughter toward the end, by the way, isn’t from a layered-in laugh track. It’s from the live audience.
Notice the dialog’s great timing.
