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WHAT DO YOU DO WHEN IT’S TIME TO LEAVE?

I just came across a letter from a longtime major market jock that I printed nine years ago in my Radio Programming Letter.

That was long before the financial world collapsed and so many radio jobs (and retirement accounts) disappeared.

But perhaps some of it will strike you as still being relevant….

“Even though I have retired from the biz, I do like to keep up- to-date and enjoy your newsletter tremendously.

“This is probably one of the things you have never thought about; I know sure didn’t: What do you do when it is time to get out? I spent 23 years as an on-air personality, filling about every position there is. At one time or another the burn-out gets to all of us, and I must say my choice to leave at the time I did was the right one.

“What I wasn’t prepared for is how much I miss being on-air. It is something that everyone needs to think about. To work that long in the radio business constitutes a love affair, and it is just as traumatic when it ends as any relationship is.

“It is unfortunate, but in many cases age really does make a difference when you are applying for even a part-time job. It’s never spoken; everyone knows you can’t say it. But after you have talked to a few PDs you can see the signs, the look of fear. They wonder, ‘Is this going to be me in another 15 or 20 years?’ Then the reality hits: Yes, it could be them.

“We all need to give a little thought and preparation for when that day comes.”

Probably the most memorable moment of that year’s PD Grad School — perhaps of ANY radio event I’ve ever attended or been part of — occurred when the legendary Dr. Don Rose reflected on his career….

Dr. Don Rose

Dr. Don Rose

O’DAY: Don, at my request you sent me a bunch of tapes (some of which we’re hearing today) to go through in preparation for this event. And you included a note saying, “I’m sorry it took so long to get these to you. I couldn’t understand why I kept putting it off until I was dubbing the WFIL tapes and I noticed there were tears streaming down my face.”

What did you mean by that?

DON: The memories were great, but they also were painful. To think that such a big part of my life was gone, never to return, and that the only place Dr. Don Rose exists is somewhere in outer space, where I’m sure the radio signals are still traveling….

Later during that session, Dr. Don offered a piece of advice to all radio people:

“Spend as much time on your family as you do on your career.”

Sooner or later, your career will end.

Do you have a plan for what happens then?

Financially? Personally? Spiritually?

Do you have ANY interests outside of radio?

Have you invested the time and effort required to build rich, lasting relationships with family and friends?

Do you assiduously save some portion of every paycheck? Do you care enough about yourself to insure your financial security for the rest of your post-radio life?

Here’s a tip that can turn you into a millionaire…eventually. Give yourself a 15% pay cut. That is, automatically deposit 15% of each paycheck into a savings plan. If you start doing that at least 20 years before you retire, your retirement probably will be more financially comfortable than your radio career.

You can’t do that? You make too little already? Here’s a test:

What would happen if tomorrow your employer said that due to economic hard times, your salary is being reduced by 15%?

Would you starve? Be evicted from your apartment or have the mortgage on your house foreclosed ?

Probably not. Probably you’d find a way to cut corners, do some belt-tightening, and continue.

If you’re a typical credit-card borrowing radio workaholic, do yourself a favor. Give yourself a 15% pay cut. And take 15% of the time you’re spending at work and invest it at home.

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Dave Foxx

1. LUST – Dumping every effect at your disposal into the piece, even though it has nothing to do with the subject at hand.

2. GLUTTONY – Overusing a favorite effect.

3. GREED – Allowing your effects to take over the promo. Your effects never should dominate the mix.

4. SLOTH – Sloppy music edits. A good producer never says, “It’s good enough.” If you can’t dance to it, it needs to be fixed.

5. WRATH – Getting mad about what the competition is doing and letting that affect your promos. (Example: You believe the competition is copying you, so you start adding words such as “original” and “first.”) Those words only invite the listener to check out the competition.

6. ENVY – Making your work sound like someone else’s. Aspiring to sound as good as Eric Chase or John Frost is healthy…until you start ripping off their work.

7. PRIDE – Don’t believe your own hype.

Z100/New York’s Dave Foxx will conduct a live radio station imaging teleseminar, fielding questions from imaging professionals around the world. Here’s all the info.

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When we needed to hire a morning how producer, we put an ad in the CBS corporate listings. We said we were looking for a producer, but it was an entry level job, because we wanted to train her.

We also sent information to broadcast schools around the area.

We sent messages out to local college stations that we were looking for a producer.

We also put the word out at different radio stations around the area that we were looking for a producer. I didn’t care if we hired somebody from another station.

We got about 50 responses.

When they came in, the first thing we asked them was:

“What did you think of the morning show? Did you listen to it this morning?”

Forty of those 50 said, “Oh, I didn’t hear it.”

What the hell is that? You’re interviewing for a show….

The ten who listened to the show had a valid comment and knew what they were talking about. So we immediately cut out 80% of the applicants.

We tested for organizational skills. When someone walks into your office with a Blackberry or one of those appointment books, that’s pretty much a tip-off that they’re a detail oriented person.

We had the morning team ask questions about various things they were interested in. There were general pop culture questions, and we did a “hot box round” with the final candidates.

We gave them a test of general knowledge of the geographical area, so we were sure they could relate to Philadelphia.

A producer should have read the day’s paper and know the top four or five stories, for your age group, for your target demographic.

They should have the ability to use Microsoft Word. They should be able to know how to word process; they should be able to use audio software.

They have to interact well with a group. You’re not looking for a loner. You can pretty much tell if somebody’s sitting huddled in their seat whether or not they’re going to interact well with the rest of the team.

But you need a producer who’s going to interact well and can be forceful in that initial meeting.

At the follow-up interview, we asked for ideas for phone topics, thought starters, Internet polls — because we have an Internet poll that we do every day to increase traffic to the website. We asked them for three ideas for each of those.

We looked for somebody with a sense of humor, who’s able to not take stuff too seriously.

Also, I believe a producer should not be interested in being on the air initially.

Now, it’s one thing if you’re going to put these people on the air when somebody’s on vacation. But unless you’re specifically looking to combine the jobs of on-air talent and producer, the producer has enough on his or her plate to do off the air.

Some people don’t have the budget for that, and I understand that, but one of our criteria was that they should not be interested in being on the air. Going in, we told them this was not an on-air job. When you say that initially, you screen out a lot of people who are into it for their egos.

(Excerpted from Ross Brittain’s How To Find, Hire And Train A Great Morning Show Producer.)

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Here is yet another bad radio commercial that won a $5,000 Radio Mercury Award because it entertained the judges.

But that’s not why I’m sharing it with you.

I’m sharing this spot with you because I love his explanation of why that was incorrect grammar:

“This isn’t France.”

Lousy commercial, but that’s funny.

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SPECIFICITY; REACTIONS TO MY COMMERCIAL CRITIQUE

The latest issue of my Radio Advertising Letter explores the principle of Specificity and features my critique of a radio commercial designed to attract more advertisers to that radio station.

This post is for my subscribers to use to add their own comments, thoughts, objections, examples, etc.

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