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May, 1995 (continued): From Weimar, Germany, I had to travel to Berlin. Rather than drive the hour back to Leipzig, fly an hour to Frankfurt, and then change planes and fly another hour to Berlin, I had the bright idea of taking a 4-hour train ride from Weimar to Berlin.

As I arrived at the train station, I noticed scores of police officers, outfitted in riot gear.

“Gee,”  I thought, “my departure must be a big event here.”

It turned out that a soccer match had just been played in Weimar, and 150 visiting fans were returning to their homes in Berlin. Almost exclusively young men, many of them bearing (and baring, as they went shirtless so people could view them) many tattoos. A number of whom definitely would be classified as “skinheads.”

They had just attended a soccer match, where their emotions had run wild. It was a hot day, so they had consumed (and continued to consume) a lot of beer.

And their team had lost.

And they were to be my companions on the four-hour train ride.

I asked Andy Schneider, who drove me to the train station, if I should be concerned about this. No, he replied. Because there was a police officer for every fan, and the police would be traveling on the train, too.

Also, he said, I’d be in the First Class compartment, and the soccer fans would not.

(By the way, while waiting to board the train, I learned about a quaint custom of loud, drunken young German males: howling at the sight of a woman. They howled {like a wolf} at every woman they saw — including the riot gear-clad female police officers.)

So I got on the train, made my way to a First Class compartment in a non-smoking car, stowed my luggage, and sat down. An attractive woman in her 30s was the only other passenger there.

For about 2 minutes.

Then five skinheads spilled into our compartment. They were rather boisterous and, at first, amused themselves by teasing the female passenger — primarily by pretending to grab her purse and by making various comments in German (which I didn’t understand literally but the substance of which I could guess at).

I sat and watched, trying to figure out what to do about this situation. And then one of them — “the ringleader” — lit a cigarette.

Now, harassing a defenseless woman is one thing.  But lighting up in front of me in a non-smoking car is something altogether different. I immediately stood up, approached the smoker, pointed to his cigarette, smiled slightly and in a firm voice said — depleting fully half of my German vocabulary —  “Bitte…Nein.” (Please….No.)

The ringleader looked at me in shock, calculated his response…and then shrugged and extinguished the cigarette. And they stopped teasing the woman. They remained in our compartment for the 4-hour journey; I suspect the train was sold out. Although they remained high spirited, they didn’t bother either of us again.

This group’s make-up seemed to be modeled on “juvenile delinquent” movies of the 1950s: There was The Ringleader…The Sullen Guy…The Dumb Guy Who Would Do Whatever The Ringleader Told Him To Do…The Fat Guy Who Would Do Anything To Be Accepted By The Others…and The Sensitive Guy Who Knows He Really Doesn’t Belong With The Others.

Upon arriving in Berlin, I managed to gather up all of my belongings (suitcase, computer, tote bag of audio tapes, etc.) and stumble off the train. Just as it pulled away, about a dozen young German men stuck their heads out the windows and yelled at me, “Yankee go home!”

I’m pretty sure they meant it as a joke.

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radio commercials graphic
This is a tale of someone who gets it…and a company that doesn’t.

Zed Williamson of Clear Channel/New Orleans sent me a nice message:

I was showing someone in the office how effective your email subject lines are at getting someone to at least open the message.

The subject lines are worth it by themselves.

I walked past a sales rep as he was typing an email. The title was “Advertising Package.” Or, in other words, “Hey, I want you to give me money for something I’m sending to every person on the planet with no specific design for it to be effective for you.”

It turns out that this client refuses human contact by phone or by person and requires everything by email.

I personally believe they would not have opened that email, so we changed it to:

“This may not make sense for you…”

The client opened. And bought.

Why I am writing about email marketing?

Because the “Subject” line of an email is the equivalent of the opening line of a radio commercial. It’s your one chance to capture the attention of your target audience.

In a radio spot, the opening line is the commercial for the commercial. In an email, the Subject is the commercial for the email.

Today I received an email from a company that doesn’t quite understand:

radio commercials graphic

Holy cow! It’s here! I can customize a newsletter from some company whose list I’m on but who I don’t quite remember exactly who they are or  what it is they do!

I guarantee their “open rate” could be greatly improved by a better Subject line.

Are you a radio advertising person? Do you agree that Subject line is embarrassingly bad?

If so, I assume you now will go back and rewrite every commercial that begins with “It’s that time of year again” or “(CLIENT) proudly announces….”

Right?

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STEALING YOUR WAY TO RADIO GREATNESS

LEAP OF FAITH RADIO PRODUCTION with Bobby Ocean

radio personality graphicLately the discussion of “Stealing From Other Performers” has been popping up among VO and radio folks I know. They’re talking about sounding like another well known star when they complain, “The specs call for a Chris Rock sound-alike.”

There is sometimes guilt and more than slight embarrassment when a
performer’s style, or “brand” is found to be derivative. Sometimes there
is mocking. (I, for example, thought little of Madonna’s Marilyn photo
shoot long ago)

But, really, we all do it. That’s how we learned to walk. We try to repeat that which interests us. The way to avoid being ridiculed is to not get caught being a bad actor.

This is what everybody has been doing all along. look at our entertainment menu: Johnny Carson imitated Jack Benny. Mick Jagger pranced like Tina Turner. Imus and Morgan borrowed heavily from Don McKinnon. The Real Don Steele was a Boss Jock imitating a stage announcer in a black and white movie. It’s endless.

Isn’t that in the bio of EVERY JOCK YOU AND I KNOW, and, really, every star we’ve ever seen perform? These people inspire us and we want to emulate.

DJs and VO folk are not thieves, they’re actors, recalling a performer’s trademark inflection, tick, quirk or style, then, through practice, MAKING IT THEIR OWN. That’s one of the primal means Storytellers have of learning our craft. We mimic, copy, impersonate, do an impression, even mock and ape, depending on the energy asked for by the story.

If we’re really smart, we’ll never stop learning.

Along my way to this square on the checkerboard of time, I have borrowed
from the absolute best, the people who knocked my socks down around my
ankles. Here, I’ve begun a list, but please know it’s just a rough sketch. My brain cells were more plentiful once and I’m leaving out entire phone books of deserving people. This, however, gets it started.

Among those from whom I have admired to the point of pinching some of their seasonings, are:

Clayton Moore (The Lone Ranger)
Jerry Lewis
Rod McEwan
Paul Frees
TV’s Betty White (c’mon, the double takes alone)
Stan Freberg
Groucho Marx
Daws Butler
Don Sherwood
Robert W. Morgan & The Real Don Steele, of course.
Ron Jacobs
Gene Nelson (best “Good morning” to which I’ve ever awakened)
Owen Spann
Russ The Moose Syracuse
Don McKinnon; used to listen to him out of Oakland, as well as Casey Kasem, and Don Bowman.
Larry Sherman (yeah I know, you never heard of him. I did. I was impressed)
Jack Hammer (Jay Mack)
Scotty Brink (peak-believability, one on one anything)
same deal with Laurie Sanders (open mic, open heart)
Linda Cassidy (smoother than a baby’s smoothest part)
The Slim One (sex that works)
Tom Donahue
Rod Serling
and anyone in a TV drama, urgently whispering.

Obviously, this list could go on quite a bit longer, but time and space restraints require that I inadvertently omit an entire population. I’ll just look at this as a work in progress that perhaps you’ll finish one day.

Bet you’ve got a list already started between your ears..

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A loyal reader writes from the UK:

I have a difference of opinion with a colleague regarding the positioning statement, “Commercial Free” — as in “40 minutes commercial free.”

Can you please explain the reason so many U.S. stations use this statement? Is it not raising too many questions about the amount of commercials there usually are? Would it not be better using “40 minutes nonstop music” instead?

Here are the arguments on both sides.

“Commercial Free”:
You’re telling listeners, “We know you’d rather not have your music interrupted by commercials. For the next 40 minutes, you’ll hear only music, no commercials.”

“Nonstop Music”: 1) That’s really what we’re selling, isn’t it? Nonstop music?  2) We don’t want to imply that commercials have any sort of negative connotation.  3) We don’t want to offend our advertisers (by implying that commercials have some sort of negative connotation).

My opinion:

I can argue both sides, but “Commercial Free” is stronger.

To music station listeners, commercials are interruptions. To listeners, “Commercial Free” = “It’s safe to keep this station on for the next 40 minutes without hearing any commercials.”

Some people, of course, will argue that you shouldn’t promote what people won’t be hearing (commercials) but what they will be hearing (nonstop music). But promising not to inflict a negative in a situation where people otherwise would expect it can be effective.

“Painless dentistry” (dentistry without pain) for example, will attract more patients than “neutral experience dentistry.”

You’ve heard TiVo users say they like “being able to skip past the commercials,” right? But I doubt you’ve heard even one of them say, “I like being able to enjoy the programs nonstop.”

But what about your advertisers?

They know that, in general, people don’t enjoy having their favorite music interrupted by commercials. (The exception, of course, being each advertiser’s own commercial, which is a timeless work of art.)

Meanwhile, for the audience it goes beyond which pair of words you choose to describe your programming. The station in my market that boasts “another half hour of nonstop music” and runs 10-second promos before and after every song reminding people that they’re hearing 30 minutes of nonstop music:

1.  Doesn’t get it.

2.  Is lying.

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WHEN TAXPAYERS FUND ADVERTISING CAMPAIGNS

radio commercials graphicWelcome to another look at award winning radio commercials — spotlighting the good and the bad from the  2007 Radio Mercury Awards. This one was a finalist.

Question: What’s wrong with this radio commercial?

Answer: Everything.

It features one of the most amateurish, incompetent uses of sound effects I’ve ever heard. Those voices are not airline passengers. They’re generic crowd conversation voices.

Why is that important?

Your sounds are supposed to help paint the desired picture in the targeted listener’s mind. That SFX selection doesn’t paint the picture of passengers on an airplane. And the sounds of people screaming? Maybe on a roller coaster, not in a pressured aircraft.

In addition to being the wrong sound effects, they’re utilized — sorry to repeat the adverb, but it’s the most accurate word choice — incompetently.

According to this lame story, the pilot terrifies the passengers by saying he’s going to take a nap. They scream in horror.

But as soon as he cracks the intercom microphone again (but before he speaks), the crowd stops screaming and reverts to its generic, loud multiple conversations. They don’t continue screaming, and they don’t stop talking  in order to hear the pilot reassure them that, despite their tremendous fears, he was only kidding.

Even with the inane sound effects, you might have pictured the pilot, perhaps the frightened passengers.

But did you picture yourself buying a lottery ticket? Or your life that has changed for the better because you won the lottery?

Highly unlikely.

The announcer says, “There’s a place for fun & games” and that the Georgia Lottery is “all fun & games.”

Clue #1:
People don’t buy lottery tickets because it’s fun.

Clue #2: Ask 1,000 Georgians to list all the games they can think of. Then notice that not one of them includes “lottery” in his or her list.

Clue #3: People buy lottery tickets in the hopes of changing their lives. That concept, however, is nowhere to be found in that stupid airline story.

This was a story about an airline pilot messing with people’s minds — apparently that jerk’s idea of fun & games.

But the announcer tells us the Georgia Lottery is the “place for fun & games.”

So let’s rework the tag line for them, shall we?

“The Georgia Lottery. We’ll mess with your mind.”

Do you really believe that approach sold even a single extra lottery ticket?

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