COUNTRY’S TWO YEAR SUMMER SLIDE: YOU MAY BE SURPRISED AT THE BACKSTORY

Quick: What’s down but up at the same time?

 

Answer: Country this summer.

 

Country’s strongest months still happen over the summer, though looking at the latest trends (thanks to Nielsen’s Tony Hereau for providing A&O&B this chart) country is clearly off in share compared to the previous two summers. 

 

In discussing country’s summer, Nielsen’s VP of Audience Insights Jon Miller shared with me that, while country’s PPM share is in fact down, the format’s AQH is up.

 

“Country’s PPM-market AQH persons has actually increased year to year slightly but the share is down. That’s because overall radio AQH (or what we call PUMM) has increased to a larger degree…”

 

Jon credits eCBET as contributing factor to the larger total audience saying that while cume is up slightly for all radio, overall TSL increases have been significantly greater.

 

“Everything we have seen from eCBET is TSL driven, which makes total sense. Upgraded codes are not finding new listeners out of thin air – they are extending listening occasions, bridging gaps and thus building TSL.”

To that point, here’s a slide Nielsen presented at last year’s December Audio CLIENT Conference (blue bar = no AQH Ratings change Standard vs. Enhanced, red bar = higher AQH ratings Standard vs. Enhanced). A greater percentage of news/talk/sports stations (left pair of bars) had increases compared to music stations (right pair of bars on).

 

For Country, the news was worse.

 

This past February Nielsen posted year-over-year AQH Persons data that showed country as one of the formats that benefitted the least from eCBET (additionally, and not illogically, 6+ appeared to increase more than 18-34 or 25-54).

At music stations, TSL discussions often revolve around music; good TSL is equated with the music being “right” and vice-versa.

 

And there’s certainly been a lot of discussion about the current state of music for mainstream country stations.

 

Here’s A&O&B’s comparison of our music test scores through September 1, 2016 with our full year, final music scores of the previous 5 years. This year (at least so far) has produced softer numbers (A&O&B tracks 25-54 so there’s not a clean correlation between Nielsen’s 6+ chart above and A&O&B’s music chart below).

 

	2016	2015	2014	2013	2012	2011
Average of All Songs Tested (LAL)	10.0	9.6	9.9	9.7	9.5	8.1

 

2016 scores are through 09/01 and refer to final Like A Lot rank as a current.

Because these are rankings, lower scores are better.

But music, while critically important, is still just one of more than 20 factors that can impact TSL.

 

Some of these are station-controllable (like music and talent performance), others are not (such as weighting or the percent of a format’s Lifegroup in a survey sample).

 

With our music arguably not as strong as in years past and country’s share of the AQH pie smaller given the lastest PUMM information, managing those TSL influencers that we do have control over has taken on even greater importance.

Some Labor Day Thoughts and Songs for Those Who Labor In the Greatest Business in the World: Radio

Labor Day honors the contributions workers have made to better our lives.

It became a US federal holiday in 1894 – though 30 states already officially celebrated Labor Day.  In Canada, Labour Day (also celebrated on the first Monday of September) has been a holiday since the 1880s.

While we celebrate in song many occupations, radio jobs tend to be maligned – especially by those who apply rather limited evaluative criteria (read about that here).

But even for those of us who still find this the most exciting and rewarding career we could imagine – and are still amazed that we get to do this every day – the grind the industry extracts on us can take its toll.

Fortunately singers and song writers have left us inspiration to encourage us when the going gets challenging.

You no doubt have songs that personally inspire you; feel free to add them to this list by commenting.

Here are a few from the country format that remind us of why we continue to do what we do.

Your Impact on Others:

“What a difference you’ve made in my life. What a difference you’ve made in my life. You’re my sunshine day and night. Oh what a difference you’ve made in my life.”

“What A Difference You’ve Made In My Life”

Written by Archie Paul Jordan, © Universal Music Publishing Group.

In the hundreds of focus groups I’ve done through the years, talent is the subject that listeners most want to talk about.  

I’ve seen listeners express real appreciation for talent who remembered their names or the names of their children. 

I’ve seen them recall the impact of meeting a talent in person – perhaps years ago though they share in detail this cherished memory as if it happened last month.

And I’ve seen listeners tear up while recalling something a talent has said that touched them personally.  

As talent we have opportunities to ‘make a difference’ with every mic break.  Don’t waste a single one.

Your Work Ethic Matters

“Hey, I’m not bragging or complainin’, I’m just talking to myself man-to-man, this mental fat I’m chewin’ didn’t take a lotta doing’, But I take a lot of pride in what I am.”

I Take A Lot of Pride in What I Am

Written by Merle Haggard; © Sony/ATV Music Publishing LLC

It’s easy to blow off a break or two (or not put your heart into a piece of copy you have to write, or to fall back on something safe rather than suggest something out of the box to a client, or to not want to do an air check session with your talent).

And sometimes it takes a conversation with yourself to bring about what you know needs to happen. Perhaps it’s a personal pep talk or maybe reminding yourself that you have knowledge/ideas/creativity/talent that’s worth sharing. 

Of course going ‘half in’ doesn’t cut it.

Full throttle, wide open

You get tired, you don’t show it,

Dig a little deeper when you think you can’t dig no more

That’s the only way I know

“The Only Way I Know”

Written by Ben Hayslip, David Lee Murphy • Copyright © Warner/Chappell Music, Inc

Lots of people around you will quit at “good enough.” But not you; you know the benefits of digging deep.

The bottom line is that pride in your work is what will separate you from the rest of the pack.

“I Feel Like I Know Him/Her”

If you want to know the real me, just turn the page in my dirt road diary.

It’s right there for you to see, every kiss, every beer, every cotton field memory.

“Dirt Road Diary”

Written by Luke Bryan, Dallas Davidson, Rhett Akins, Ben Hayslip • Copyright © Sony/ATV Music Publishing LLC, Warner/Chappell Music, Inc.

Ask listeners about talent they most connect with and you’ll usually hear something about being real, being an open book, etc. 

But what they’re really saying is that the relationship they have with you the talent is the same type of relationship they have with their best friends. 

That’s powerful.

Follow Your Dreams

And when you get the choice to sit it out or dance, I hope you dance….

Tell me who wants to look back on their years and wonder where those years have gone

“I Hope You Dance”

Written by Tia Sillers, Mark Sanders • © Sony/ATV Music Publishing LLC, Universal Music Publishing Group

One of the greatest gifts you can give someone you care about is encouragement and support as they follow their dreams. 

Just like you did.

Take a Risk

I could have missed the pain

But I’d have had to miss the dance

“The Dance”

Written by Tony Arata; Copyright ©  Warner/Chappell Music, Inc

The performing arts are a risky business to begin with and today’s environment has only amplified that risk. 

Still, the risk-reward is something performers willingly sign up for knowing that there’s a cost to bringing happiness/insight/entertainment with the world. 

Don’t Forget to Enjoy the Ride

If you’re coming with me you need nerves of steel
‘Cause I take corners on two wheels
It’s a never-ending circus ride
The faint of heart need not apply

“Mi Vida Loca”

Written by Jess Leary, Pam Tillis • Copyright © Sony/ATV Music Publishing LLC

Sure, other careers may pay more handsomely, have more security, etc., etc.  But probably none of your non-industry friends have met Garth, been on Luke Bryan’s bus, or had a drink with Blake Shelton. 

Unless they were your guest.

Why It’s All Worth It

The wealthiest person is a pauper at times

Compared to the man with a satisfied mind.

“Satisfied Mind”
Written by Jack Rhodes, Red Hays; Copyright (c) BMG Rights Management US, LLC, Carlin America Inc.

If it was about the money, we’d have done something else. But performers play by a different set of rules.  Sure, it’s about the applause, but it’s more about knowing that YOU made people feel something. 

Parting Thoughts

I laid in bed that night and thought about the day

And how my life is like a roller coaster ride

The ups and downs and crazy turns along the way

It’ll throw you off if you don’t hold on tight…

I love this crazy, tragic,

Sometimes almost magic,

Awful beautiful life.

“Awful Beautiful Life”

Written by Darrly Worley, Harley Allen; Copyright (c) Sony/ATV Music Publishing LLC, Ten Ten Music Group Inc. 

Happy Labor/Labour Day!

16 Bullets from Podcast Movement 16

There’s nothing like spending two days with people who are “over the top” passionate about something.

In this case that something was podcasting with the excitement surrounding it on display at “Podcast Movement 16” in Chicago this past Thursday and Friday.

Some of our radio clients and friends have been asking questions like:

Is podcasting a “thing?” (Yes).

Are there revenue opportunities? (Yes, there are many – though they may be different than ones you’ve been considering).

Will it build my brand and my relationship with my listeners? (Yes, if it becomes a “must hear” – and that’s not easy).

Will it bring me higher ratings? (Maybe – it could introduce the station or talent to new listeners or it could give you another edge over a competitor. Again, it depends on the strength of the creative as well as other factors like focus and deadlines).

While radio attendees were clearly in the minority, the convention offered our industry ample food for thought – especially when it comes to jumping in.

Here are 16 bullets from Podcast Movement 16 that are worth considering in today’s on-demand environment (comments paraphrased):

1. Define the show with 300 words; use this to pitch the show and to keep it focused as you execute it.  (Anna Sale, “Death, Sex and Money” podcast)
2. 35-million people over the age of 11 have listened to a podcast in the last week; that’s 12% of the US population. Among (Edison Research) diary keepers who listened to a podcast on the day they kept a diary, their podcast listening accounted for 32% of all their listening that day.  (Larry Rosin, Edison Research)
3. What content marketing is supposed to be is solving a problem that your business solves.  Through your podcast, prove that you’re s passionate about solving the sample problems the listener is. (Jay Acunzo, Traction)
4. Most commercial broadcasters haven’t jumped in because music radio doesn’t lend itself to podcasting. However many morning shows have a feature which listeners would like to time shift. A podcast is about a show. Radio is about a format. There’s a conflict between the show concept and the format concept. NPR already knew how to make shows. (Larry Rosin)
5. “It’s an incredibly robust time to be in the audio business…if you put out good content, you’re going to find a pathway to someone’s ears.” (Traug Keller/Sr. VP ESPN Audio)
6. We do good audio content and let it flow to the various platforms. That decision left us free to be a multi-platform entity. (Traug Keller)
7. As dynamic ad insertion increases, many different products will emerge. There will be shows created for ads that will command a premium dollar. (Sara Van Mosel/WNYC, Acast)
8. Less than 1% of all podcasts come from radio. (Steve Goldstein, Amplifi)
9. The vast majority of listening to pure plays is about 75% via the phone. For broadcasters, it’s now 50% on the phone. There’s going to be more phone consumption because there are more opportunities. (John Rosso/Pres Marketing Dev Triton Digital)
10. Scale doesn’t have to be about thousands, but about fifty or a hundred. (Erik Harbison, Aweber)
11. Build an audience that loves what you talk about, then sell them your solutions to their problems (Tim Paige, Leadpages)
12. When it comes to monetization, “many streams make a river.”  Grab a little money every month from different sources. (Aaron Mahnke, @amahnke; creator of “Lore” which is a very successful podcast that is now headed to TV)
13. CPM goes away when you’re doing local. (Rob Walch, Libsyn)
14. When they advertise on podcasts, local businesses don’t need to spend a lot of money on production; they just have to talk to you. (Bryan Moffett, NPR)
15. The Spanish language podcast audience is under-served. (Mignon Fogarty, Quick and Dirty Tips, Grammar Girl)
16. Always remember you’re forming a relationship.  (Anna Sale)

.

As Forbesnoted this spring, “…podcast content lives alongside music.  This is important to note, as it means users with no deliberate intention of seeking out podcast content will now encounter it…”

As an industry, we have some of the greatest talent and story tellers in the world who deserve to be “encountered” on the podcast platform as well. 

Remembering the Great Dan Daniel: Six Principles Behind the Success of One of America’s Premiere Air Talents

Dan Daniel was one of the great air talents in America, being a standout in New York City for 42-plus years before he passed last week all too soon at 81.

With minor edits, this is a piece I wrote at the end of 2002 when, while still at the top of his game, “Dandy Dan” chose to retire from doing a daily show. At the time I wanted to share some of what I believed to be pillars of success of one of America’s best talents.  Now I’d like to share them again as part of Dan’s legacy: a gift to everyone who puts their heart into their work every day – because that’s what Dan did.

Thanks, Dan for the joy you gave us through the years on the air… and off the air for the priceless gift of friendship.

Miss you, “Trip.”

_____________________________________________________

For 42 years he’d been “king of the hill, top of the heap, a-number one” in New York, New York. 

WCBS-FM midday host Dan Daniel (5th from left), one of America’s greatest talents and a fixture in New York City radio for 42 years, chose to relinquish his daily show Tuesday while still at the top of his game.

The effect will be as impossible to ignore as a person with a missing front tooth.

Dan left an indelible mark on me during the nearly five years I was privileged to be his Program Director at WYNY-FM in New York City. In the 11 years that have passed since then, I’ve thought a lot about the things that made Dan such a great talent (they’re also what make him a great human being). I’ve distilled that rather long list down to six principles I believe not only contributed significantly to Dan’s incredible success but also helped define him as a person.

Put your heart in it.

Dan never sounded like he wished he were anywhere but on the air. Every show was like a gathering of close friends who you were truly glad to see, and it was only when Dan was there that the get-together was complete.

No one knew this better than listeners. They’d call. They’d write. They’d show up at remotes to see him even though it may have taken them hours to get there and even though they’d already met him dozens of times before.

And they’d tune-in faithfully. Dan’s daily passion for his show became our daily passion for listening. We loved listening to him because we knew he loved being with us – which is pillar number two.

  

Love your listeners.

Early on I concluded that Dan loved his listeners just about as much as they loved him. And like any relationship, he worked at keeping the bond strong.

He tuned in to what was important to them and paid attention to what they said.

He was patient with them, faithfully answering the same questions they’d been posing for years (“Hey Dan – who’s size 9?” referring to his sign off “Love you all especially you size 9.” With a hearty laugh, Dan always said, “My wife thinks it’s her!”) with such genuineness and enthusiasm that you’d swear it was the first time in his life that anyone cared enough to ask for his input.

Dan made it a point to seek out listeners at appearances – not that this was necessary. Listeners would have found him even if he tried to hide. One time when the Marlboro Country Music Show was in New York, I accompanied Dan as he worked nearly all of Madison Square Garden. It went on for hours! Every smile from Dan was genuine, every handshake an appreciative “thank you” for listening.

Simply put, Dan Daniel made people feel special. He made them feel as if they were the only ones in a sea of thousands. He made them feel that in fact it was he who wanted to spend time with them, not the other way around.

And it was the same way when you listened. Dan’s cume may have been a quarter-million, but on my radio it always seemed like it was just Dan and me.

Be an observer.

Dan could research anything for his show and regularly did, but his greatest content was more often rooted in the things he saw around him, what he thought about those things, and how those things made us all feel.

“All” and “feel” are key words.

When I’d go with Dan to an appearance, I could count on hearing listeners recite edited versions of Dan’s breaks. They’d wait in line to retell Dan something they’d heard him say perhaps months earlier – and then often they’d remark that when they heard it, they were just thinking or feeling the same way. These weren’t soapboxes or rants they recalled, but Dan’s observations and brief asides on life that cut through the noise of New York and found a home in listeners’ hearts and memories.

What seemed to come so naturally and effortlessly for Dan is, in fact, a skill not easily mastered.  But Dan had it honed and perfected, the result no doubt of a lifelong practice of observation, being in the midst of listeners whom he well understood, and weaving these moments into stories and points-of-view.

Paint local pictures

Think it’s hard “being local” where you are? Try it in New York with over 14-million people 12+ and 20 metro counties. Dan did it with word snapshots of neighborhoods, by referring to products by their local brand name rather than their generic categories, and by using New York-isms as naturally as any native (which Dan wasn’t).

Dan talked the way we talked (albeit with a slight drawl sometimes) and talked about what we were talking about.

He rooted for the home teams, always using just enough information to let you know he was a fan like you. But Dan talked less about the score or facts you could find out anywhere. Instead, Dan helped you experience the fans’ reaction when Bernie hit the game-winner. He’d let you feel what it was like on the subway there and back.

Dan painted accurate pictures because he knew his market and his listeners so well.

Be real

Dan was always “one of us.” His words and attitude let you know he was your fellow commuter and your walk-to-work-pal, trudging through slushy winters and sweating through sticky summers.

For years he defined afternoons in New York, and drives home on the Turnpike, the L.I.E., the Sawmill, the Belt and the Major Deegan were tolerable only because you had Dan going through it with you.

Dan actually DID commute like so many of us, taking the train into the City and walking to the station from Grand Central; he walked the walk.

He was compelling because he was real.

Be a Cheerleader

Dan championed the music he played, the stations he worked at, and the people he worked with.

Frequently his song wraparounds would include a piece of a lyric with a tie-in to something relevant. Or he’d point out a previously unknown fact or share a positive comment about the song or singer.

I swear that there are some songs I began to like only after hearing one of Dan’s intros or outros.

Station events and promos received the same treatment. No hype, just the right phrasing delivered with genuine enthusiasm and a specific reason or two that would make me want to participate.

He never failed to mention his fellow on-air talent – whether it was something he heard on their show or something that gave listeners a peek behind the curtain. It was always positive and heartfelt.

What you got on the air you also got in the halls. As a programmer, I can’t recall a time that I didn’t look forward to one o’clock, because that would mean I’d see Dan in the building. He never failed to elevate my spirits. We could talk about anything together – from family to business. He was as great a listener and observer inside as well as outside the building,

In every conversation I recall having with Dan, it was evident that I had his complete attention. This had nothing to do with my position because, PD or part-timer, you were all the same to Dan – special. He was never above or below your level. Never hot or cold. Never asked for any privilege that 42 years in New York radio entitles one to. To do so would have been way out of character.

Dan frequently told me that he wasn’t interested in reliving his past glories (trust me, if he ever wants to do so, he has enough to keep him busy for years). To him it was the excitement of today and the promise of tomorrow that mattered.

As of today, I’m just one of a quarter-million New Yorkers who already misses hearing Dan Daniel on the air. But maybe our loss will be another town’s gain.

Around the country perhaps some PD or talent who is very passionate about their craft will read this and be inspired by Dan, just as I have been.  And maybe soon, listeners in these cities will experience some of Dan’s “secrets” subtly woven into their favorite jocks’ shows and appearances. 

Now wouldn’t THAT be some cume to brag about! 

Huffington Post writer David Hinckley who for 35 years wrote for the New York Daily News has Dan’s career highlights here.

Related posts: The Kings of Radio here; Traits of Market Icons here.

Photo credit: Joanie Chin @Joanie_ues. L to R: WYNY Team Members Jay Michaels, Mike O’Malley, Bill Rock, Shelli Sonstein, Dan Daniel, an unidentified person, Randy Davis and Jim Kerr

Honored by the Country Radio Hall of Fame Forever and Ever Amen

Tonight is a special night for Country Radio – it’s the night when the Country Radio Broadcasters honors some of radio’s best with inductions into the Country Radio Hall of Fame and presentations of special awards.

One of the Honorees will be this year’s Artist Career Achievement Recipient, Randy Travis.

Randy, who was also announced as this year’s Modern Era Inductee to the Country Music Hall of Fame didn’t initiate the “post-Urban Cowboy movement” of the early 80’s. That arguably started with the April, 1981 release of “Unwound” and, a few months later, Reba McEntire’s “(You Lift Me) Up to Heaven.”

George would have 11 more top ten songs, Reba would have 8 more and the Judds would release their first charted single in 1983 – “Had A Dream (For the Heart)” – and begin their run of eight consecutive number one songs with “Mama He’s Crazy” before Randy released what would be his first Top 10: 1985’s “1982.” 

Through the rest of the decade, Randy would score 10 more number ones and one number two, and then in the 90’s and 2000’s 17 more top 10’s, the streak ending with his final number one, “Three Wooden Crosses” in 2002. 

George Strait (2013), Reba (2003) and the Judds (2011) have all received the CRB’s Artist Career Achievement Award.

This year, they’ll be joined by Randy Travis.

Awesome.

CRB Executive Director Bill Mayne and I got to know each other well in the early 80’s when I was programming in Washington, DC and Bill was programming in Dallas. I asked him if he had a Randy Travis story and he shared this:

“I remember doing focus groups in Dallas/Ft. Worth when “Forever & Ever Amen” was a hit, many previous ‘non-country’ fans were brought into the fold ‘specifically’ by Randy’s performance of that song & the timing of its release. The public truly had a new definition on what the sound of country music was.”

Bill with Randy.

As country radio programmers we’ve had the opportunity to champion some truly amazing artists – some, like Randy, have changed the game.

“Randy’s contribution to Country Music is beyond measurement,” Bill added. “Country Radio & the Country Music industry were given a tremendous gift with Randy Travis as its beacon. This recognition for him, could not be more appropriate.”

Congratulations Randy – and to all of this year’s honorees:

• On Air: Blair Garner, Mike and Dana Schuff, and Lisa Dent
• Radio: Mick Anselmo, Kerby Confer, Jack Reno, Tim Roberts, and Jim Slone
• President’s Award: Carole Bowen

That you were acknowledged/“went in” with Randy Travis is in itself an honor.

As I wrote last year, “the Country Radio Hall of Fame is a reminder that excellence matters and is still acknowledged and celebrated.  At its best, the Hall and inductees inspire us all to make a daily, “significant contribution to the radio industry.” 

Country: Jumping the Shark and Growing the Beard?

We may look back on last week as a time when country “jumped the shark.” 

There was Pitbull (@Pitbull), Cheap Trick, Fifth Harmony and Pharrell (you could make a case for Pharrell given his collaboration with Little Big Town) on a country awards show. 

Then there were releases to country radio that had some programmers feeling the pop envelope had been pushed too far.

A the same time a “growing the beard” trend may also have started, rooted in conversations about the expectations of country P1s and P2s, what constitutes a balanced country playlist, and a “music line” which one crosses at their own risk.

The phrase “jump the shark” of course marks a point in time when something takes a noticeable downturn (see its origins here).

Meanwhile “growing the beard” (origins here) marks a moment of turn-around.

But before we go back down the rabbit hole of last week, perhaps we should first ask, “So what?”

The 18-49 numbers from last week’s CMT Awards Show came in with a 0.97 rating and 3.3 million viewers; and that was the combined audience on three different networks. 

This pales in comparison to both the most recent CMA Awards Show (3.8 rating,13.58 million viewers) and ACM Awards Show (2.3 rating,11.18 million viewers). 

Even May’s American Country Countdown Awards show on Fox had more eyeballs (1.0 rating, 3.8 million viewers).

But again, so what?  If a TV show disappoints the audience, that’s on the television network, not on radio.

Similarly, if an artist wants to release something that we, as programmers and music curators believe in our heart of hearts is too far outside the parameters as our listeners have defined them and as we understand them, then so what? We don’t play it.

On this subject – music – listeners have given us solid guidance. 

In A&O&B‘s “Roadmap 2016” – our national online perceptual study of 9000-plus country radio format users – 18-54 format listeners told us that “current music from today’s stars” is their preferred music cluster. 

But they’ve also told us to be careful with the mix – especially with music that is on the fringe.

For me, it’s perfectly fine if an awards show or an artist wants to push or push past the boundaries. It’s art, and art needs to be true to itself. I can choose to embrace it or not.

However there are boundaries on winning radio stations. While they may be unique across stations, they exist to help stations meet the desires and expectations of their audience.

Last week provided us multiple opportunities to thoroughly dissect, bisect, scrutinize and analyze all things country and non-country.

As we start this week, let’s embrace the art and the boundaries and we’ll all be helping to “grow the beard.”

Ten Take Aways from Hivio Audio Future Festival (20-Somethings and Radio? See #8)

Audience, content and platforms – notably podcasting – were some of the more frequently discussed topics at the Hivio Audio Future Festival 2016 last week (see Hivio word cloud).

Mark Ramsey Media‘s annual Hivio event is a “hive” of audio ideas and actions shared by people who normally wouldn’t collectively make up a typical radio convention agenda – from NPR to ESPN to content providers to podcast sellers.

Becky Brenner (@BeckyBrenner) attended the LA event in person, I watched via the online stream (thanks, Mark for providing that!).

Here are ten of our takeaways:

1. Commercials: be relevant, funny and clever. Tell a story with a surprise. 15-second spots scored better than any other commercial length (Mark Ramsey and Novoodoo).
2. Apply the “rat in a maze” approach – allow audience to shift platforms but keep them on your content (Howard Lapidis)
3. The goal is to translate the best of what is happening in the talent’s life to Radio, TV and the web. Make a determination on how best to distribute content – from podcasts to building what the talent needs (Chris Balfe, Red Seat Ventures)
4. The focus on digital has been transformative – radio is an amazing medium and we can still be vital and fabulous. Podcasting is not detracting from the Radio Listening.  It is actually growing the audience. (Anya Grundman, VP Programming and Audience Development for NPR)
5. Rise above the noise by creating your own wave or riding waves around you. (Todd Beck, Beck Media and Marketing)
6. Podcasts are generally too long, not “social sized,” and it is an increasingly crowded universe (1,400 new podcasts per week) David Silverman Co-Founder Clammr
7. There is stupid money out there right now for these types of projects in video and audio. Peter Kafka, Senior Editor, Media, Re/Code
8. I don’t have a radio at home. Radio is ancient – it is like having a laser disc – I have so many ways to listen to radio without having to have another device.  Convenient and compact is what everything needs to be, nobody wants excess baggage. (Heather, Millennial)
9. Podcasting revenue been highly underrepresented in the press…probably $85-$100 million last year and it is going to be exponentially higher this year. Sarah Van Mosel, Chief Commercial Officer, ACAST @sarahvm
10. Content, Content, Content.  You can’t say it enough, or focus on it enough.  It was lost in deregulation and it has to come back into focus. (Advice for radio from Traug Keller, ESPN Audio

Albright & O’Malley & Brenner’s Becky Brenner has full notes and slides in the Clients Only section of AandOandB.com.

Comments paraphrased.

Infographic: How to Create Amazing Content for Every Show, Every Day In Seven Steps

Facts are forgettable. Stories are sticky.

But going from that knowledge to daily creation can be challenging.

Here are seven steps to help you create and  tell a story that’s both relevant and entertaining:

Try it out and let me know how it goes.

LES WAAS: MORE THAN JUST THE MISTER SOFTEE JINGLE CREATOR: His Thoughts on Today’s Ads Plus Three Take-Aways For Better Creative

Like most of us in the business, you have my attention when you start talking about “creative” and about the people behind the work.

So it was predictable that I wanted to learn more about Les Waas who’s passing at 94 has been getting coverage everywhere. 

After a few hours of enjoyable research, I now know a lot more about the ad man who wrote the Mister Softee jingle in 1960.

For instance, he didn’t know how to read or write music.

That’s not only amazing for a man who wrote nearly 1000 jingles over his career, it’s courageous – even outrageous (in the best sense).

A spirit of courage and crazy-creative plays out in an interview Les did for the Pioneers of Philadelphia Broadcasting – particularly when he recounted some of his Philadelphia ad agency’s ideas and campaigns.

“I would never do anything inside the box,” he said in the interview before sharing a story about a campaign for a car dealer that increased the dealer’s business fivefold (the idea involved selling the dealer’s emblem to people who didn’t buy their cars at the client’s business).

He also shared a story about a car dealer that advertised such a low price it drew a huge crowd. However that didn’t work out so well once people discovered that the price didn’t include things like the engine.

While automotive was a subject he came back to a few times, Les had thoughts about the lack of advertising creative in general and radio ads in particular.

“It took a creative brain to get into advertising…I don’t think I could do something straight. That’s writing a commercial. And a lot of that you hear now on radio is just an announcer. And they do a good job and everything, but they don’t go into creativity as much as they used to…the ads or commercials don’t seem to grab your attention. Some do…but the percentage is very small.”

While listening to Les’ recollections in the interview and time traveling to the advertising world of the 60s was fun and helped to tell a great backstory about the creator of the Mister Softee jingle, obviously many of these 50 year-old campaigns are, today, appropriately curiosities.

But there were relevant take-aways from this ad man, too: 

Les’ litmus test for success: If you can’t remember it after the recording session then it wasn’t a good ad. 

To come coming up with new ideas, surround yourself with a lot of different people.

Act immediately when creativity or inspiration strikes. “I couldn‘t hold back coming up with a creative idea. I had to do it right away.”

Being creatively courageous requires letting go of fears that could otherwise hold you back.

After all, a man who didn’t know how to read or write music created more than 950 jingles.

Oh, one more thing: make sure the advertised price for a car includes the engine.

PS: As you may know, Les Waas’ Mister Softee had lyrics (lyric sheet here) 

For a real treat, you can hear the jingle’s creator bring them to life in the last few minutes of this YouTube video.

You can hear the produced version of the jingle in the first of these black and white TV spots here.

Best Jobs Survey: Entertaining on the One Hand, An Opportunity for Growth, Respect and Recruitment on the Other

Not that I spend a lot of time thinking about surveys like this, but the latest CareerCast.com 2016 Jobs Report ranks “Disc Jockey” 197^th out of 200 (we’ve apparently lost our bullet; in 2012 we were 180^th).

Obviously if you love what you do, your job is at or near the top of your own list and no survey (other than consistently bad ratings reports or reviews if you’re in radio) is likely to make you re-think your career choice.

Still, it’s interesting that many of the things that are most rewarding about being a Talent – such as competitiveness, having your work be highly visible by the public, and working in situations where you’re face-to-face with people – are seen as job negatives in the survey methodology. 

To compile the list, CareerCast.com uses four “Core Criteria:”

1 – Job Factors including the emotional environment. The survey sees such things as competitiveness and public contact as potential negatives. Most talent would see these as positives.

2 – Income: OK, you’ve got us there. But, show of hands please, how many of us got into performing for the money? So maybe this is only worth half the negative weight.

3 – Employment and Income growth potential: Uh, let’s move on.

4 – Stress Factors: Again the survey takes such things as Competitiveness, Travel, Working in the Public Eye, and Meeting the Public as job negatives; hopefully we all see these as things to embrace not avoid.

Also, the survey’s “Disc Jockey” job description is “Broadcasts Music for Radio Stations.”

That’s pretty narrow.

Running through the rest of the 200 jobs CareerCast.com ranked, I found another 35 jobs that are (or should be) at least part of being a “Disc Jockey” including the survey’s number one occupation, “Data Scientist” described as someone who “Combines information technology, statistical analysis and other disciplines to interpret trends from data.” Sounds like thoroughly breaking out ratings data to see how your show has grown.

Or how about career number 48 – “Social Media Manager” who “plans and directs online, social media presence.” Most successful talent are working hard at using Social every day.

Or Historian (61), Actor (112), PR Executive (121), Author (144) or Photographer – Instagram and Snapchat anyone? (162).

Averaging the ranks of all the jobs that are part of being a highly successful talent today would make our new rank 111. 

Adjust those aspects of the Core Criteria seen as negative to most jobs to positives in the world of talent and we’d rank higher still.

Of course no ranking should change how we feel about what we do – especially if we embrace challenge, competition, public performance, and relish the fact that our job allows us to be successful in at least 35 other jobs from Data Scientist (#1) to Advertising Sales Person (#193).

These oft unnoticed abilities we have, the work leading up to a performance, and the new growth challenges we take on and attempt to excel at daily should be a source of pride – and dare I say, be an opportunity to showcase what we do as an attractive and exciting career.

No disrespect at all to the work CareerCast.com does. In fact, their survey points out a very real truth.

If you’re a Disc Jockey and all you do at your job is “Broadcast Music for Radio Stations,” then perhaps a rank of 197 is appropriate.

The last time I commented on this survey was 2012; you can read that blog here.