Blog – The Randy Lane Company

Get Interactive

Tue, 29 Sep 2026 02:24:00 GMT

When I start coaching a show, talents often say:
“Nobody calls anymore.” Or: “Listeners in this market don’t call radio shows.”

My response is, “That’s interesting, because several of our shows get more calls than they need.”

The difference isn’t necessarily the market. It’s often how the show invites people into the conversation.

Airing callers and text interaction gives your show several distinct advantages:

ENGAGEMENT

Listeners become participants instead of passive consumers.
“Will they read my text?” or “Will they put me on the air?” gives listeners a reason to continue listening or come back.
Hearing other people makes the show feel like a conversation they’re part of, rather than a broadcast they’re listening to.

CONTENT GENERATION

Callers and texters supply real, unscripted material, and hosts don’t have to create every piece of content.
Local color and authentic reactions are hard to fake.
Texts in particular give shows a quick pulse on what’s landing and what isn’t, in real time.

TEXTS OVER CALLS

Callers require risk; texting doesn’t. People who’d never call in will text.
No dead air risk, no screening awkwardness, no live caller going off the rails or rambling.
Texts can be queued and paced to fit the show’s rhythm

CALLERS OVER TEXTS

Hearing real people on air makes the show feel less like a broadcast and more like a shared experience.
Creates companionship, like the caller is sitting in the studio with the hosts.
Callers can add entertaining stories to your topic (“ This happened to me too”).
Callers can challenge the host and create opposition.
Create genuine emotion versus a host reading a text.

You need callers and texts.

THE MAGIC IS IN THE REACTION
Too many hosts take a call or read the text and move on. They set you up to:
React…Follow up…Challenge it…Agree or disagree with it…Ask another question…Laugh…Show emotion…Tell your own story.

The biggest benefit of airing callers and interacting with texts is that it changes the show from something the audience listens to into something the audience participates in. That distinction matters a lot for personality radio.

There’s a new way to get texts and voices on your show to increase audience interaction…See the App of the Week below.

Photo by Gilles Lambert on Unsplash

Go Analog!

Mon, 21 Sep 2026 18:00:00 GMT

Jerry Seinfeld wrote every episode of Seinfeld longhand, on a yellow legal pad, with a blue Bic pen. He still writes that way. He’s said the flashing cursor on a screen makes him anxious, like it’s asking, “So, whaddaya got?”

Why Start With Pen and Paper?
Writing by hand slows you down just enough for ideas to emerge. Creativity needs room to wander, take wrong turns, and sit there doing nothing for a minute. That’s incubation.

A blank sheet of paper gives your brain permission to explore without judging whether an idea is good, logical, or even usable yet. The keyboard doesn’t offer that permission; it’s wired to email, social, notifications, AI, and a hundred other things that pull your attention.

Even when none of them are calling your name, the computer can drag you into editing mode before you’ve finished creating.

Think Visually
On paper, you can write half a thought, circle something, cross it out, draw an arrow, write sideways, doodle in the margin, put one ridiculous idea right next to a good one. Sometimes those two ideas collide and make something neither could’ve made alone.

A keyboard makes everything look finished too fast. I’ll catch myself fixing punctuation and formatting when I’m supposed to be generating ideas; the keyboard tricks you into thinking you’re further along than you are.

When I write a blog, I start on paper. Ideas, connections, phrases, examples- just get them down. Then I move to the laptop to organize, develop, and edit.

Paper is where you discover what you want to say. The keyboard is where you figure out how to say it.

Free-Associate
One association triggers another.

Taylor Swift… breakup songs… my first breakup… my mother’s advice… terrible advice.
That’s a celebrity story turning into a personal one, into a funny observation, into a piece of content you could use.

Paper makes those jumps easier to see because you’re not stuck in a straight line. Mind-map it, sketch it, connect ideas with arrows, follow whatever catches your eye. That’s where the unexpected stuff lives, and sticky content lives in the unexpected.

Analog vs. Digital
It’s not paper instead of technology. It’s using each tool for what it does best.

Analog is built for:

Brainstorming
Free association
Intuition
Memories and observations
Mind-mapping
Finding unexpected connections
Getting past the inner critic

Digital is built for:

Organizing
Developing
Editing
Rearranging
Searching, saving, sharing
revision

You’re not just typing what you wrote; you’re finding the better version of it. Don’t worry about spelling. Don’t worry about structure. Don’t worry about whether it’s good yet. Just get it out. Then bring the best pieces to the keyboard and build something with them.

Pen = Create. Keyboard = Develop.

Photo by Debby Hudson on Unsplash

Asking Versus Telling

Tue, 15 Sep 2026 01:41:00 GMT

In the era of loud, fast-talking announcer DJs, my radio mentor, Todd Wallace , asked my fellow DJs and me, “Would you talk to your neighbor over the back fence like a pukey DJ or just in natural conversation?” Of course we all said we’d talk to them conversationally. Todd concluded, “Talk to listeners on air like you’re talking to your neighbor.”

Todd made us think about connecting with listeners by asking a relevant question. In coaching talent, both on-air personalities and salespeople, why is asking more effective than telling?

Telling gives people your answer; asking helps them discover their own . In coaching, that distinction is powerful. The goal isn’t simply to relay information. It’s to create ownership, awareness, and behavior change.

1. Asking creates ownership
If you tell a talent: “You need to be more vulnerable.” They may agree intellectually, but the idea still belongs to you. If you ask:

“What do you think the audience learns about you in that story?”
or:
“Where could we let them see more of you?”

Now they’re analyzing their own performance and coaching themselves.

The same applies to a salesperson. Instead of: “You’re talking too much about the product.” Ask:

“At what point in that conversation did you learn what the client actually needed?”

The salesperson discovers the problem rather than being handed the diagnosis.

2. Questions activate the brain
A good question makes your brain start searching.

“Why did that segment feel flat?”
“What was missing?”
“What would make someone care about this?”

That search process produces deeper learning than simply receiving an answer. It’s like solving a math problem for a child vs. explaining the formula: Doing the homework gets it done now, but understanding the rule helps them pass the next test.

3. Questions uncover the real problem
The first problem someone presents isn’t always the real problem. You want the salesperson asking:

Did I listen or pitch?
What problem did I solve?
What did the client reveal that I didn’t follow up on?

Questions help the coach move from symptom to cause.

4. Questions build self-awareness
You want the talent or show to listen to their own audio and ask:

What was the emotional payoff?
Did I really listen to my co-host?
Where else could I have taken the topic?

Now you’re creating independent thinkers.

5. Questions reduce defensiveness
Telling can feel judgy. “That segment was all informational.” versus:
“What do you think the listener’s emotional reaction was there?”

The second approach lowers the person’s defenses and increases curiosity. You’re saying, “Let’s find out what happened.”

6. The best questions create the “aha”
There’s a special moment in coaching when the person suddenly says: “Oh… I see it.” That’s more valuable than: “Okay, I’ll do that.” The first creates insight . The second creates compliance.

Insight tends to stick.

The ultimate goal
Telling creates followers. Asking creates thinkers. The best talent coaches, sales coaches, and leaders in general aren’t trying to create people who need them for every decision.

They’re trying to create people who eventually ask themselves the questions the coach used to ask them.
That’s when coaching becomes transformational.

Photo by Laurin Steffens on Unsplash

The World’s #1 Brand

Tue, 08 Sep 2026 02:01:00 GMT

(What Personalities Can Learn From Dolly)

We all came together over Dolly Parton.

That’s quite a statement in this divided world. Left, right, young, old loved Dolly. Are there any other public personalities that are universally loved? Hmm…Dolly Parton pulled it off.

Dolly represents something our culture craves: joy, authenticity, humor, generosity, and a unifying spirit.

My wife, JoAnn, and I were fortunate to see Dolly’s last appearance at the Hollywood Bowl in 2016. She was an outstanding singer and musician, but what struck me most was how captivating she was as a personality .

She was authentic. She was funny. She told great stories. And she connected with the audience as if she were sitting across the kitchen table talking to you.

That’s a good blueprint for any personality.

DOLLY WAS A STORYTELLER
Dolly often set up songs and led you to anticipate them with a story, a personal experience, or a funny observation. The same principle applies to radio personalities. Don’t just tell us what happened . Tell us why it mattered, how it made you feel, or what surprised you.

DOLLY WAS FUNNY
Dolly’s humor was conversational, self-deprecating, and perfectly timed. During her Hollywood Bowl performance, she got a little too close to the orchestra pit and joked:
“I better not fall in; they’ll have to milk me to get me up!”

She could make fun of herself without diminishing herself. The safest person to make fun of is yourself, and it enhances your likability.

DOLLY HAD HEART
Dolly’s generosity is legendary.

Her philanthropy has supported childhood literacy, education, healthcare, disaster relief, and numerous other causes. Dolly Parton’s Imagination Library was created in honor of her father, who never learned to read, and has provided hundreds of millions of free books to children around the world.

But there’s another story about Dolly that says even more about her character .

When her former mentor and business partner, Porter Wagoner, was experiencing serious financial problems later in life, Dolly bought his music catalog. She returned the rights to him as an act of gratitude and forgiveness from their falling out.

SHE COULD WALK A FINE LINE
Dolly also had a remarkable ability to address controversial subjects without becoming controversial herself. When asked about same-sex marriage, she responded with her trademark humor:

“ I think gay couples should be allowed to marry. They should suffer just like us heterosexuals !”

THE CONSUMMATE PERSONALITY BRAND
Dolly was extraordinarily talented. But talent alone doesn’t create a personality brand.
Dolly combined talent with a clearly defined human being. She knew who she was, and shared it with her audience.

5 Dolly Lessons

1. Be Real and Vulnerable
Dolly wasn’t afraid to talk about her humble beginnings, struggles, insecurities, or imperfections.

People don’t connect with perfection. They connect with humanity.

2. Be a Storyteller
Dolly’s stories were filled with sensory details, emotion, humor, conflict, and life lessons.

Great personalities don’t just deliver information . They make us feel something .

3. Be Funny
Dolly’s humor felt natural and conversational. She had punchlines, but more importantly, her personality was funny.

You don’t have to be a comedian, but you need to be someone who sees the funny side of life.

4. Have Heart
Her charitable work became part of her legacy because it was an authentic expression of who she is.

Having something you genuinely care about gives your personality depth. People want to know what you stand for, not just what you talk about.

5. Be Likable
Dolly’s talent, authenticity, storytelling, humor, and generosity created something incredibly powerful: likability.

Dolly Parton Blueprint
For media personalities, Dolly’s brand can be reduced to a simple recipe:

Talent + Authenticity + Storytelling + Humor + Heart = Likability
But there’s one more lesson. Dolly didn’t create a character and then spend her career maintaining it. She amplified who she already was.

Photo by __ drz __ on Unsplash

Begin at the End

Mon, 31 Aug 2026 02:03:00 GMT

Albert Einstein famously said , “Imagination is more important than knowledge.” He went on to state, “Logic will get you from A to B. Imagination will take you everywhere.” It’s no wonder that so many performers in media and sports use their imagination to visualize success.

Jim Carrey was a struggling, broke comedian when he drove up Mulholland Drive in Los Angeles, looked out at the city lights, and wrote himself a check for $10 million for “acting services rendered.” He kept it in his wallet until he made $10 million.

Serena Williams lies in bed before matches and imagines winning every single point. She uses multisensory imagery to feel the physical movements, pressure, and environment. This mental toughness helps her stay calm during high-stakes Grand Slam moments.

Comedians work backward using a process called reverse engineering , starting with the punchline and reconstructing the setup to fit perfectly.

Feeling the result tells the brain “this is important”

Whether you’re a talent putting together a show segment, a manager leading a meeting, or a salesperson negotiating with a client, align your energy by visualizing and feeling a successful result.

It doesn’t work to merely say, “This show is going to be great.” Your subconscious mind responds to emotion . That’s why rote affirmations don’t work. In addition to seeing a successful result, you must feel the emotion of it, like Serena Williams.

That simulation activates the same neural pathways involved in performing the goal. For talent, once the show plan is in place, visualize and feel each segment flowing effortlessly and successfully.

Believing Cements Your Imagination
Your subconscious mind and imagination operate in images, symbols, and feelings.

In Jimmy Johnson’s Hall of Fame speech, he said that he didn’t just hope or dream about winning a Super Bowl; he knew and believed it would happen. When you see it, feel it, and believe it, your subconscious mind accepts it as truth and works in the background to make it happen.

Putting It All Together

What is your desire or goal?
See the result you want in detail.
Feel the emotion of your goal realized.
Believe and trust that it has already happened.

Photo by Josh Hild on Unsplash

3 Is the Magic Number

Mon, 10 Aug 2026 02:30:00 GMT

The Rule of 3 is one of the most powerful communication principles because it’s how the human brain naturally organizes and remembers information. Whether you’re writing, coaching, or entertaining, three creates a sense of completeness and rhythm.

For media personalities, it’s especially valuable because most listeners can’t retain more than three points. Three is the smallest number that creates a pattern. Two feels incomplete. Four and beyond start to blur.

Why the Rule of 3 works:

Three establishes a natural cadence to a beginning, middle, and end.
Complex subjects become easier to understand when reduced to three major ideas.
Three drives action. Listeners are more likely to remember and apply three takeaways than ten.

Famous Examples

“Life, Liberty, and the pursuit of Happiness.”
“Stop, Look, Listen.”
“Blood, Sweat, and Tears.”

Comedy Rule of 3 .
The setup establishes a pattern. The second reinforces it. The third delivers the surprise or punchline. Example:

Three things I learned from my first heartbreak: patience, self-love, and the home address of her new boyfriend.”
Well, kinda funny. You get the idea.

Storytelling
Great stories follow three acts.

Setup
Conflict
Resolution

Content Execution
Every successful segment answers three questions:

What’s a captivating setup? (The hook)
Why should I care? (The emotional connection)
What’s the payoff? (The laugh, surprise, insight, or takeaway)

Features and Lists
The Rule of 3 isn’t just a comedy or speaking technique; it’s a cognitive shortcut. It helps listeners understand more easily, remember longer, and stay engaged. Features and lists content benefit from three great stories/points rather than five with a couple of OK ones.

3 Things You Need to Know is a good example of the power of three. Features like Good News, Bizarre News, and sports segments all work best with three stories. Three headline stories leave space for commentary from the cast, which drives the entertainment.
The skill is cutting a seven-item list down to the best three that bring out compelling commentary and character. Everything past three is diluting the message.

Topic Execution
Rather than discussing every angle of a topic, identify the three with the most emotion. Support your point with three examples followed by the story.

“I knew this vacation was going badly when…

The airline lost my luggage.
The rental car broke down.
Then the hotel gave our room away.”

Takeaway
Whether you’re coaching talent, building a segment, or hosting a meeting, organizing ideas into three clear points makes your communication stick.

Photo by Colin White on Unsplash

Wishes for Radio Programming 2026 & Beyond

Wed, 29 Jul 2026 14:43:00 GMT

My friend and colleague Paul Kaye is the incoming President for Pattison Media , Canada’s largest Western-based media company.

Since his recent post as VP Media, Product, and Talent Development at Roger Sports & Media, Paul Kaye has traveled the world observing radio. His travels include the US, UK, Germany, and Asia.

Paul believes radio has become good at protecting what it already does, but thinks it needs to become much braver about imagining what it could be to thrive. Enjoy his insightful blog. – Randy Lane

I still believe in radio. When radio is at its best, it can make people laugh, feel less alone, discover something new, understand their community, and feel part of a moment happening right now. Radio is, as it always has been, about human connection… and today we all crave connection more than ever before.

Despite my love for radio, I’m not someone who harps on about the “good old days”, not because I don’t miss elements of the industry’s past (of course I do) but because it serves no purpose. What I do spend my time worrying about, though, is that radio is focusing too much on preservation instead of focusing on what radio could and should be. Actually, what it needs to be!

I’ve been fortunate to travel a lot the last year or so, and have heard good (and not so good radio around the world. In fact, I’m writing this from the UK, where I think commercial radio is evolving well. As I have traveled, I’ve been scribbling down the wishes I have for radio stations and for those programming them…

1. Stop programming radio stations and start creating experiences.
I hear lots of technically well-crafted hours on stations, but that attempt to be perfect often dilutes the experience. This is most notable in markets like North America where the execution feels almost mechanical.

Your music, personalities, imaging, promotions, and content should all work together to create a feeling. Listeners often don’t remember much of what they heard, but they do remember how the station made them feel. Worry less about being ‘technically’ brilliant and ask, what is the experience you are trying to create for your audience?

We need to focus our efforts on delivering more of what algorithms can’t… that genuine human connection.

Read the rest of the Radio Playbook for 2026 & Beyond here .

Photo credit: BoliviaInteligente

Retire Your Persona Before It Retires You

Mon, 20 Jul 2026 15:59:00 GMT

I once hired and coached a morning host in a Top 3 market who enjoyed tremendous success for years. Twelve years later, he was still doing the same bits, delivering the same energy, and making the same cultural references.

The audience had changed. He hadn’t.

He lost his job and never regained success again.

One of the biggest mistakes personalities make is trying to be the same person at 55 that they were at 25. Your audience grows, and if you’re fortunate enough to stay with them, your on-air character should grow, too.

The most successful media personalities don’t abandon who they are. They reveal new dimensions of who they’ve become.

Aging Isn’t the Issue
Age isn’t what costs personalities their careers. Stagnation does.

Howard Stern is in his 70s and remains one of the most captivating personalities in media because he evolved from a shock jock into one of the best interviewers, if not the best. His character developed from an immature provocateur to a curious, self-aware, vulnerable, and surprisingly thoughtful persona.

Ryan Seacrest has made a similar transition. Twenty years ago, his appeal centered on youthful energy and pop culture. Today, he projects calm confidence and credibility. It’s less “Look at me” and more “I’m here to make everyone else shine.”

Jimmy Kimmel also evolved. Early in his career, he leaned heavily on irreverent, juvenile humor. He’s still funny and irreverent today, but his comedy now has greater emotional depth. He’s more personal, more reflective, and isn’t afraid to tackle meaningful issues.

None of them became different people. They simply became more complete versions of themselves.

Three Common Radio Personality Character Arcs
Here are three evolutions we frequently see in successful radio talent.

1. Class Clown to Humorous Storyteller
The laughs remain, but they’re born of life experience rather than one-liners. Humor becomes richer because it’s rooted in authentic stories.

2. Party Girl to Family Woman
Wild weekend adventures naturally give way to stories about parenting, relationships, health, aging, reinvention, or becoming an empty nester. The content changes because life changes, and listeners appreciate the honesty.

3. Edgy Rebel to Truth Teller
Instead of pushing buttons simply to get attention, great personalities challenge ideas that genuinely matter to their audience. The edge remains, but it now has purpose.

Don’t Wait for the Audience to Tell You
We encourage personalities to revisit their character definitions at least once a year. Major life events, such as getting married, becoming a parent, experiencing loss, or reaching a new stage of life, are all signals that it’s time to update your character even sooner.

As personalities accumulate wisdom, confidence, vulnerability, and perspective, they become more relatable and more compelling. Those qualities create a deeper and more enduring connection with the audience.

Photo by Chris Lawton on Unsplash

What Can Radio Steal From Disney?

Tue, 14 Jul 2026 16:15:00 GMT

Disney has a performance policy that most guests have never heard of, but every Imagineer understands.

It’s called Low Ride Out .

When a ride consistently ranks at the bottom of attendance rankings, Disney doesn’t launch a marketing campaign to save it. And it certainly doesn’t keep it around because of nostalgia.

They replace it.

That’s one of Disney’s competitive advantages. The company is willing to let go of yesterday’s success to make room for tomorrow’s hit.

Smart radio shows adopt the same philosophy.

Every Benchmark Has an Expiration Date
Every feature, game, contest, and benchmark has a lifecycle. Some last six months, others twenty years.

The challenge isn’t knowing when to create something new. It’s knowing when to let something old go.

A benchmark that dominated five years ago may not connect with today’s audience. Listener expectations evolve. Pop culture evolves. Media consumption evolves.

Disney asks one simple question: If we built this attraction today, would people line up for it?

Radio must ask the same question: “If we introduced this feature today, would listeners be excited to hear it?”

If the answer isn’t an enthusiastic yes, it’s time to review it.

Your Audience Is Already Voting
Some stations are fortunate to have PPM data that reveals tune-in and tune-out patterns around specific features. But every show has audience feedback if it’s paying attention.

Ask yourself:

Which features consistently generate texts, phone calls, and social engagement?
Which benchmarks produce memorable moments people talk about?
Which segments get clipped, shared, and replayed?
Which features seem to disappear into thin air the moment they’re over?

RLC Feature Mapping Exercise (recommended every six months)
Have each cast member listen to every recurring feature individually before meeting as a team. Then evaluate every benchmark using three simple categories.

A-Level
A signature feature that helps define your show. Ask, “How do we make it even better?”

B-Level
A solid feature that’s losing energy or needs an upgrade. Freshen it with new twists, different pacing, or a new execution.

C-Level
It’s no longer earning its airtime. Rest it. Reinvent it. Or retire it.

Here’s where most shows get into trouble.

They keep a feature because they still enjoy doing it, even though it’s not connecting or testing. The opposite mistake is retiring a benchmark simply because the cast is tired of it, even though listeners still love it.

Neither decision should be based on the show’s emotions. Base it on audience response.

Give New Ideas a Fair Chance
Disney doesn’t evaluate a new attraction after opening weekend. Likewise, radio shouldn’t judge a new benchmark after a few airings.

Give it four to six weeks to develop. Refine it. Promote it. Learn from it.

In most cases, you’ll know within about 90 days whether it deserves a place on the show.

Great Shows Are Never Finished
A major threat to long-term success is becoming emotionally attached to content that’s run it course. Every great show must make room for the next great benchmark.

In the End
Listeners come back because today’s show created a moment they couldn’t get anywhere else.

The healthiest shows continually retire average content to make room to create remarkable content.

Photo by Christian Lambert on Unsplash

Radio’s Greatest Threat: Itself

Mon, 06 Jul 2026 13:30:00 GMT

“We have met the enemy, and he is us.” Walt Kelly’s famous Pogo line perfectly captures how radio executives and owners engineered their own crisis. It applies just as well to other legacy media companies, like Paramount and The Washington Post.

Many executives point to external factors, especially all the tech platforms, as the source of the radio’s debt and declining revenue. But the truth is harder to swallow: the wave of mass layoffs is largely the result of their own strategic missteps.

How We Got Here
In defense of today’s corporate executives, much of the debt that’s saddling radio’s biggest broadcasters was inherited.

Broad strokes: it goes back to deregulation in 1996, when corporations like Clear Channel, Cumulus, and Citadel went on enormous acquisition sprees, largely financed with debt, betting that sales revenue would pay it off.

Then the dot-com bubble burst in 2000, stalling that growth. The Great Recession of 2008-09 delivered a sharp downturn, piling on debt and triggering sweeping job cuts. The 2020 pandemic accelerated cuts again, and the cutting unfortunately continues.

The Rub
Radio’s financial storm worsened with the rise of digital. Music is universally accessible, and podcasts are flooded with personality-driven shows competing for the same attention radio once owned outright.

Here’s what makes the cuts so shortsighted: Jacobs Media’s Tech Survey found, seven years ago, that people choose radio first for its personalities and DJs, not for the music. And yet radio companies keep making deep cuts to their talent.

Radio’s Competitive Edge: Personalities
Radio Ink recently published a study from Katz Radio Group that drives this point home with data on personalities and their impact on listeners and advertisers alike.

The study’s central takeaway: personalities drive loyalty . They are trusted voices in their communities. Here’s what the data shows:

Nearly two-thirds of listeners (63%) say personalities are important or extremely important to their enjoyment of a station, and more than half (57%) can name a favorite on-air personality.
Six in ten listeners (61%) say they’re more likely to consider a brand when it’s endorsed by an on-air personality.
Nearly 40% say those endorsements feel more personal and authentic than traditional advertising.

A Note to Talent

Up your game and consistently create memorable content.
Prioritize developing your endorsement skills. Go to sales meetings. Work it.
Use multiple digital platforms to expand your brand.

Don’t Kill the Goose
Radio companies would be wise not to follow Paramount’s lead and risk losing the very personalities who create their value. Any young or seasoned air talent with a following is worth saving and investing in.

Podcast listeners consistently say they tune in for authenticity, conversation, and genuine connection with the host. That intimacy and companionship have always been radio’s true north.

Radio’s True North: Talent
Music and information matter, but they’re secondary to personality. According to Inc. Magazine and Loeb Leadership , there are three pillars to a company’s “true north”:

Purpose Over Profit : Defining why the company exists beyond making money, like delivering an exceptional experience for listeners and clients alike.
The “Tie-breaker” Tool : When leaders must choose where to invest or where to cut, they should ask one question: Does this strengthen or weaken our connection with listeners?
Aspirational Vision : Great companies continually invest in developing their people, products, and culture.

Radio has the answer to its own crisis sitting behind the mic. The question is whether the people making the cuts are willing to see it.

Dave Ryan’s Eternal Morning Show Truths

Mon, 15 Jun 2026 13:35:00 GMT

My long-time collaborator and friend, the legendary Dave Ryan, shares his wisdom after recently retiring from dominating morning radio in Minneapolis-St. Paul for three decades.

Dave is not only a highly creative personality, but he’s also a sharp businessman. There are only a handful of morning show truths, and we are honored to share them with you through Dave Ryan. You will benefit from Dave’s reflections and advice on morning shows, no matter where you are on your career journey. – Randy Lane

It’s so great to sleep in. I don’t even set an alarm anymore, which is something I’ve done every day since I started doing mornings at 21 years old.

Yep, I’m officially retired from KDWB, and it feels great. It’s something I’ve wanted for the past few years. I am confused by people who continue working themselves to the bone as long as they can.

Doing a great radio show is both exhilarating and exhausting, and that wears on you after 42 years. But, there’s so much more to life than coming up with “Second Date Updates” and playing “Top Dog Law” commercials.

My good friend Randy Lane messaged me the other day and asked if I could write some things I’ve learned about morning radio over the years. Although radio has changed dramatically in the past few decades, there are still many eternal truths that matter, and some new ones as well. Let’s look at a few.

CONTENT IS KING.

One of the reasons anyone even knows me in this industry is that I love sharing original content I create. It’s totally fine to get a few ideas from Studio Think Tank or Randy’s weekly email. But you need to do bits that are uniquely yours. Work that creative muscle. It truly does get stronger the more you use it.

HAVE A LIFE.

Have a life that is relatable to your listeners. Go do something interesting. Get a tattoo. Buy a motorcycle. Watch that show everyone is watching. Learn to play disc golf. Join a community band. Don’t worry if it’s cool or not. The days of DJs being cool went out with tramp stamps and trucker hats. Now, you need to…

BE AUTHENTIC.

Falen, on my show a few years ago, got bad hemorrhoids. Most people wouldn’t even tell a co-worker, much less talk about it on the air. Falen did, and it told everyone that she’s authentically herself. People who listen to my show have heard me tell the story of losing my virginity to a hole I carved in a Nerf Ball.

From arguments with your spouse to the fact that you haven’t enjoyed the sweet, sweet lovin’ since the Obama years are all things that make people go, “Hey, they’re a lot like me! I could be friends with this person.”

THEY’RE NOT LISTENERS. THEY’RE PEOPLE.

I hate the word “listener,” although I use it myself sometimes, because it’s an easy way to describe people who tune in and actually follow and know your show. BUT they’re more than a “listener.”

They’re a new mom. They’re a divorced dad. They’re a college kid struggling with classes. They’re a lonely, single person. They’re a successful salon owner. They’re people and should be treated like people.

I’ve heard way too many jocks mock people who listen just because they love the show. If someone brings you homemade fudge to your Costco appearance and you make fun of them to your summer intern, you don’t get it. Creating loyalty and a connection like that should be your daily goal.

PEOPLE LIKE YOU, SO IGNORE THE NEGATIVE COMMENTS

People will talk trash about you on social media. Sadly, it’s almost always dudes. Bill Michaels in the Quad Cities once said, “You can get 500 great comments on your show, but that one mean comment is the one that sticks with you.” He’s so right, and it’s easy to dwell on them. Just remember, people like you, or you wouldn’t have the job you have.

Next week , “Your PD can make or break your show, and how to keep growing.” Part 2 of Dave Ryan’s Eternal Morning Show Truths.

Photo by Samuel Regan-Asante on Unsplash

The Morning Show Inner Game

Mon, 08 Jun 2026 01:44:00 GMT

When I was a baby DJ in Phoenix, as Scott Shannon likes to call them, I learned how not to coach talent.

I was hosting middays at KUPD and had just delivered what I thought was a pretty good intro over a song ramp. I turned off the mic, feeling confident.

Suddenly, the program director burst into the control room and barked, “Don’t ever say anything that stupid again!”

I froze.

For the next month, every time I opened the mic, my only goal was not to say something stupid. My confidence dropped. My performance suffered. My fun disappeared. That moment changed the course of my career because I knew there had to be a better way to help talent grow.

Shortly afterward, I discovered The Inner Game of Tennis by Timothy Gallwey. It became one of the most influential works on performance coaching ever written.

Gallwey’s ideas served me well as a program director and later as a coach through RLC. Years later, while browsing a FedEx Kinko’s book stand, I picked up Coaching for Performance by John Whitmore.

Whitmore translated Gallwey’s ideas into a practical coaching framework for business and leadership through the GROW model.

Whether you’re leading air talent, salespeople, or an entire staff, the principles Gallwey and Whitmore share align perfectly with effective management and show coaching:

THE INNER GAME
Gallwey’s central insight was simple:

The opponent in your head is often tougher than the opponent in front of you.
Both Gallwey and Whitmore believed that internal interference, not lack of talent, is usually the biggest obstacle to peak performance.

Whether you’re playing pickleball or hosting a morning show, the challenge is often managing what’s happening between your ears.

Five coaching principles they shared:

1. The Inner Game Shapes the Outer Game
Self-doubt, fear, distractions, assumptions, and negative self-talk all create interference.
Often, the fastest path to improvement is removing what’s getting in the way of the skills already there.

2. Awareness and Responsibility Drive Improvement
The coach’s job is to help performers become more aware of their behavior, performance, and options. Greater awareness leads to better decisions, and better decisions lead to better performance.

3. Observe Without Judgment
When coaches replace criticism with objective observation, performers become less defensive, more receptive, and more capable of self-correction.

4. Coaching Unlocks Potential
Great coaching isn’t about filling a performer with answers.
It’s about helping people discover and develop abilities they already possess.

5. Questions Are More Powerful Than Answers
Effective coaches are not dictators; they’re facilitators, collaborators. They ask the right questions.

Questions create awareness, stimulate thinking, and generate ownership. People are far more committed to improvements they discover for themselves than those dictated to them.

WHAT THIS MEANS FOR COACHING RADIO SHOWS

Build awareness before offering advice.
Ask questions before providing feedback.
Help talent identify what’s interfering with performance.
Reduce fear, overthinking, and self-limiting beliefs.
Replace judgment with objective observation.

A Gallwey-Whitmore-style coach might ask a morning show one simple question:
“What’s the biggest interference preventing you from becoming the show you want to be?”

That single question can often produce more growth than an hour of instructions.

The shared philosophy of Gallwey and Whitmore can be summarized simply like this:

PERFORMANCE = POTENTIAL – INTERFERENCE

Photo by Moises Alex on Unsplash

New Show Timeline

Thu, 04 Jun 2026 12:07:00 GMT

How long is best to give a new show before management pulls the plug?

Traditionally, the answer was at least 18 months. In 2026, many companies don’t have that kind of patience, but that could be a big mistake.

Why 18 Months?

This standard originated in the diary era, and it still applies today because it takes time for new shows to gain traction. Morning is the most routine part of the day. Listeners are barely awake; they don’t want to think, adjust, or break their habits.

Even in PPM markets, it takes time for people to get familiar with a show’s content and characters. The old show may not have been better, but it was comfortable and familiar.

Give It Two Years!

We live in a world where corporate America thinks in quarters. I get it. But if you have a new personality show and you’re relying on Nielsen ratings, I’d give it two years, when :

Management, programmers, and the talent coach believe in the show.
Caller, text, and digital engagement are strong and growing.
There’s real word-of-mouth buzz building.

Nielsen now allows meter holders to keep meters for up to three years. The sample is too small to be consistently stable, and when meters fall outside a station’s target demographics or metro area, the data can be misleading… for years.

If your team believes the show sounds great, the engagement boxes are checked, and you’re quietly building an audience, don’t let wobbly early ratings talk you into pulling the plug too soon.

Let’s look at some huge television shows that were not instant hits:

TV Shows That Almost Didn’t Make It

Seinfeld had weak ratings in its first couple of seasons and nearly got canceled multiple times. Once viewers locked into the characters and the humor, it became one of the most influential sitcoms ever made.
The Office was almost done after Season 1. NBC stuck with it; the writers softened Michael Scott’s character; and the show exploded on streaming and through relentless word of mouth.
Schitt’s Creek launched quietly on a small Canadian network. Streaming exposure and passionate word-of-mouth eventually turned it into an Emmy-sweeping phenomenon.

Legendary Morning Shows That Took Time

Howard Stern bounced through stations and formats before finding his footing. Once he was fully committed to authenticity, unpredictability, and emotional honesty, the audience became enormous.
The Kidd Kraddick Morning Show : Kidd’s brilliance was obvious, but the long-term success came from years of refining cast roles, benchmarking content, and building deep emotional familiarity with the audience.
The Bert Show started slow in Atlanta and grew as the cast dynamics, emotional storytelling, and listener interaction sharpened over time.

The Pattern Behind Every Slow-Build Hit

When you study successful slow builds, a familiar pattern emerges:

Management didn’t panic.
Word of mouth and buzz mattered more than early ratings.
Cast characters, chemistry, and content sharpened over time.
The audience slowly and surely formed emotional habits around the show.

Great radio shows aren’t launched, they’re built. And building usually takes longer than management wants, but less time than people fear.

Photo by Samuel Regan-Asante on Unsplash

How to Evaluate a Show

Fri, 29 May 2026 12:37:00 GMT

Evaluating a radio show well is both an art and a science. Whether you’re a programmer assessing your station’s talent or a host critiquing your own show, having a reliable process makes all the difference.

Knowing how to listen and what to listen for is the foundation of a thorough review. Here’s the process we use at RLC.

THE 3-POINT HOW PROCESS

Start by recording 90 minutes of the show. That gives you a complete picture, even though most listeners tune in for far less each day. Use a tool like DAR.fm , Futuri’s Post , or your skimmer to rewind and re-listen to specific moments. Your feedback will be sharper for it.

Then work through the recording in three distinct passes:

Transcribe: Pick a 30-minute segment and transcribe it, by hand or on your computer, whichever works faster. Writing it out forces you to slow down and get specific. Vague feedback doesn’t help talent grow.
Take Notes: In the second 30-minute segment, jot bullet points as you go. Mark where the show connects and entertains, and where it loses you.
Just Listen: For the final 30 minutes, put the pen down. Listen without stopping. When it’s over, write down what you remember and what stood out. Pay attention to the emotions you felt, or didn’t feel. That gut reaction tells you a lot.

WHAT TO LISTEN FOR

At RLC, we evaluate every show against three essential standards:

Killer Content
Flawless Execution
HD Characters

Killer Content

There’s much more to assess, but these are the questions that matter most:

Does the segment hold your attention all the way through?
Where did you feel laughter, heart, tension, or conflict?
Is the content original, innovative, and sticky?
Are the personal and external stories genuinely engaging?
How well is the show connecting with callers, texters, and the online audience?

Flawless Execution

A great idea can fall flat with poor execution. Listen for these fundamentals:

Do setups open with a headline that grabs listeners within the first ten seconds?
Are resets clear and concise enough for people tuning in?
Do teasers create a genuine sense of mystery or an unanswered question that makes you feel compelled to keep listening?
Is the show consistently teasing at the end of content segments?

HD Characters

High-definition characters share their viewpoints, personal stories, and real-life experiences freely and with confidence. Listen for these touchstones:

Are the roles and character definitions clear and distinct?
Are the personal and external stories genuinely engaging?
Are the hosts building on each other with the “yes, and” dynamic?
Does the cast sound real and conversational?

Presentation Is Everything

Feedback needs to be specific and delivered matter-of-factly, without personalizing it. The best coaches aren’t dictators, they’re facilitators.

They know how to ask the right questions, draw out the talent’s own thinking, and give them ownership of their growth. That’s where real development happens.

Photo by David Travis on Unsplash

Repetition Builds Identity

Mon, 18 May 2026 15:15:00 GMT

Almost 30 years ago, I started journaling after reading Julie Cameron’s The Artist’s Way . One of her key recommendations was “The Morning Pages,” a daily journaling exercise designed to unlock creativity and improve well-being.

Like many habits, I did it consistently for a while, even several weeks. Then life would get busy. I’d miss a day, then another, and before long I’d realize months had passed since I last journaled.

That cycle continued until January 1 of last year.

After discovering the “66-Day Rule” from The 5 AM Club , I committed to journaling every morning for at least 66 days. What started as an experiment has now become a permanent part of my morning routine well into 2026.

The idea behind the 66-Day Rule comes from research that it takes approximately 66 days for a behavior to become automatic. That fascinated me because it explains why so many of us struggle with habits. Most don’t fail because they lack motivation. They fail because they stop repeating the behavior long enough for it to become part of their identity.

The power of repetition
According to research in Scientific American and Psychology Today , the brain is wired to learn through repetition. Repeated thoughts and actions strengthen neural pathways, gradually turning intentional behavior into automatic behavior.

That’s why repetition creates muscle memory in sports, driving, music, and broadcasting. Eventually, the brain no longer has to work hard to perform the behavior consciously because it becomes involuntary.

Repetition doesn’t just improve performance. It shapes identity.

Repetition improves radio shows

Consistent prep as a group and individually (daily, weekly)
Repeated storytelling reps (headline opens, dialogue, sensory details, etc.)
Repeated aircheck coaching (weekly)
Repeated creative habits (journaling, digital detox)

Great shows are rarely built from breakthroughs. They’re built from positive repeated habits compounded over time.

Elite performers thrive on repetition

Athletes run drills repeatedly
Comedians test bits night after night
Musicians practice scales constantly
Media personalities rehearse storytelling, headlines, teases, and exits

Repetition creates instinct. Instinct creates confidence.

In the end
We are largely defined by our habits. Repetition frees the mind when behaviors eventually become automatic, allowing more space for creativity, spontaneity, and focus.
Over time, repeated behaviors stop feeling like effort and simply become part of who you are.

Note: For another thought-provoking perspective on forming habits and repetition, regarding content, check out Fred Jacobs’ Friday morning blog, T he Anatomy of Habit-Forming Content .

Photo by Aaron Burden on Unsplash

The Future of Radio Morning Shows Is…

Mon, 18 May 2026 14:12:00 GMT

What will radio morning shows sound like ten years from now? Will War of the Roses and Florida Man still be staples? And is the talent even live, or human?

Those are the questions Barrett Media ‘s Keith Cunningham recently put to me in our interview. My first instinct was, “Honestly, my guess is as good as anyone’s.” But after thinking it through, I’m confident about one thing: radio morning shows will still be human ten years from now.

Futurist John Naisbitt saw this coming back in 1982. In his landmark book Megatrends, he predicted that the more technological advances there are, the more people crave personal, human connections. He called it High Tech/High Touch, and it’s playing out right in front of us.

We’ve been seeing a major shift toward authentic media personalities for some time. Hosts who show a full range of emotions, tell compelling stories, and aren’t afraid to be vulnerable are the ones winning. That won’t change.

Technology will be a smart tool in your toolbox, helping you prepare and create better content. AI will absolutely have its place with quick IDs, background music formatting, and comedy sketches. But it won’t replace the human at the center of it all.

The decline of social media
Social media isn’t going away, but something interesting is happening. Gen Z and Millennials are quietly leading a push back toward real-world connection. I came across a CNBC piece titled “A ‘quiet revolution’: Why young people are swapping social media for lunch dates, vinyl records, and brick phones.” Being offline, it turns out, is becoming cool.

NYU social psychologist Jonathan Haidt, author of the bestselling book on the effect of smartphones on teens, put it well: “What we’re seeing among Gen Z is a self-correction back toward real-world connection.” Multiple studies back that up, showing social media use has been declining steadily since its 2022 peak.

Radio, with its live, local, human voice, is perfectly positioned to fill that void.

What about staple bits like 2nd Date Update?
Relationship-driven features like 2nd Date Update and War of the Roses may survive, just under different names, in different forms, and likely made smoother with new technology. Let’s hope something new, fun, and innovative will be created.

A bigger question is prank calls. Research suggests those bits now only work on shows that have been doing them for years and have built the trust to pull them off. For newer shows? That concept appears to be on its way out.

Radio’s future
The radio landscape ten years from now will probably have fewer shows on fewer stations, but the shows that remain will operate at a higher level, with personalities who are true multimedia stars. Expect continued growth in syndication, both nationally and regionally, and deeper consolidation within companies.

Here’s the bigger opportunity: personality brands build genuine, trusted relationships with listeners. That kind of loyalty is rare and valuable, and it doesn’t fade the way a hit song does. Music will continue to be more accessible everywhere, which means that personality, more than ever, is radio’s true differentiator.

North America would be smart to take a page from the UK and Australia, where personalities are front and center in marketing, research, and revenue strategy.

The future of radio isn’t technology or a new format.

It’s talent.

Photo by Samuel Regan-Asante on Unsplash

The Wisdom of the 5 AM Club

Tue, 05 May 2026 15:19:00 GMT

Jeff Bezos is the latest high-profile believer in The 5 AM Club : Own Your Morning, Elevate Your Life . Other early-risers include Tim Cook, Michelle Obama, Richard Branson, Oprah Winfrey, and many more.

The core philosophy of the book and podcas t is to use the early, undisturbed hours to cultivate personal growth, leading to long-term success and elite performance.

I read Robin Sharma’s book a couple of years ago and realized I was already using some of his principles, while also discovering a few new ones. My current ritual is getting up at 6:00 a.m. to watch the sunrise outside. I’m working on gradually moving that back to 5:00.

5 AM CLUB CONCEPTS & TECHNIQUES

The 20/20/20 Formula
The first hour of the day is divided into three 20-minute segments:

Move : Exercise to boost dopamine and serotonin while lowering stress.
Reflect: Meditation, journaling, or prayer to create gratitude and clarity.
Grow : Read, study, or listen to audiobooks to sharpen your skills.

After sunrise, I usually journal, meditate, and then exercise. I like doing the inner work first because it feels more natural while still close to that relaxed sleep state.

Reading is part of my evening routine. I often learn from the biographies and autobiographies of high achievers such as Steve Jobs, Phil Jackson, and Bill Gates.

I intend to try Sharma’s exact sequence, all in the morning, to compare results. But the bigger point is this: whenever you adopt these habits, they will improve your life.

The 4 Inner Domains
Success is more than mindset. Sharma says sustained performance is about balance:

Heartset : Emotional health
Healthset : Physical wellness
Soulset : Inner peace and purpose

The 66-Day Rule
The book suggests it takes 66 days to build a lasting habit. Positive habits are formed through repetition.

The 5 AM Victory Hour
Early mornings provide something increasingly rare: silence. No texts. No interruptions. No chaos.

That quiet time can build focus, discipline, and mental toughness. It also gives you a head start before the demands of the day begin.

If you host a morning show or work unusual hours like Tim Cook, who reportedly rises at 3:45 a.m., you can still apply these principles before your day starts.

The End of the Day

Sharma also prioritizes how you finish your day:

Wrap up dinner by 8:00 p.m.
Power down devices early
Spend time with family, read, or listen to podcasts/audiobooks
Use the final hour to unwind, reflect, like with a gratitude journal, and prepare for sleep

Strong mornings usually begin with smart evenings.

Exit Ticker
We are largely shaped by our habits and stories. It’s easy to drift into routines that don’t serve us: no exercise, too much screen time, too much couch time.

The real message of The 5 AM Club is about making self-care and growth a daily ritual.
And for many people, the quiet early morning may be the best place to start.

Photo by Dawid Zawiła on Unsplash

Do Opposites Really Attract?

Mon, 27 Apr 2026 17:57:00 GMT

Back in the day, there was a morning show character formula called “Dick, Dork, Dear.” It was simple and easy to remember. Many shows tried to force themselves into that three-person box.

But today’s successful shows don’t follow a fixed formula. We see four-person casts (a few), three-person teams (several), two-person shows (the most common), and more solo hosts than ever. There are endless character combinations that can work.

The old “Dick, Dork, Dear” model is still useful as a reference point:

Dick : The contrarian. A lightning rod that sparks a reaction.
Dork : Historically, the goofy, unpolished, un-hip character.
Dear : The heart. Grounded, empathetic, and keeps everyone in check.

It worked for some shows because it created contrast. And that’s the real takeaway, not the labels.

Today’s Character Archetypes

When we run the RLC character exercise, we consistently see a handful of core archetypes show up across successful shows, regardless of cast size:

1. The Everyman/Everywoman
Relatable, likable, grounded. The voice of reason. They say what the audience is thinking and call out nonsense.

This is often the host or driver.

2. The Instigator
The disruptor or lightning rod. Opinionated, playfully confrontational, and willing to push buttons.

Usually, a second or third mic, but it can be anyone.

3. The Comic
Delivers the funny. Punchlines, riffs, improvisation. They heighten moments and maintain fun.

Any position on the show.

4. The Heart
Open, vulnerable, and real. Shares personal regrets, struggles, and emotional perspectives.

Connects more deeply with the audience.

5. The Head
Analytical and curious. Brings logic, detail, and an intellectual lens to the conversation.

Balances emotion with a practical perspective.

Additional Character Types
Beyond the core archetypes, there are endless character perspectives:

Life of the party
People pleaser
Family man/woman
Diva (yes, men too)
Hot mess
Rule follower
Guy’s guy
Independant woman
Control freak
Old soul

…and plenty more.

So, Do Opposites Attract?
Yes, but not in the way most people think. It’s not about pairing extremes just for the sake of conflict. It’s about creating contrast.

Contrast is what fuels great content. When your cast sees the world differently, conversations naturally produce:

Humor and fun
Relatability
Playful conflict
Engaging storytelling

The goal isn’t to force roles. It’s about understanding who you are, leaning into it, and building a cast that highlights those differences.

Photo by David Werbrouck on Unsplash

Your Show or Digital: What Matters Most?

Tue, 14 Apr 2026 18:33:00 GMT

“ Is our show or digital more important ?” That’s a question I hear often from talent and programmers.

Today’s personalities are expected to do everything: host a radio show, a podcast, a YouTube channel, and stay active on all the socials. In many ways, today’s talent has the same opportunity that made Howard Stern the “King of All Media.”

Being visible across multiple platforms can absolutely help build your personal brand. But there’s always one limiting factor: time.

So where should you focus first?

The return on investment now favors your radio show, with digital as an important extension. Watching trends is an essential practice because they change so fast. Note that radio revenue is not growing, and digital is growing rapidly.

The challenge is that most shows don’t have producers, phone screeners, or even interns in many top-50 markets. That’s why success today requires mastering time management.

One way to create more time is to prerecord more of your show. Many syndicated programs do this effectively; they sound live and deliver strong ratings.

Show & Digital Priorities

1. The Radio Show
Your biggest paycheck is most likely coming from your radio show, including endorsements and paid appearances. The stronger your show becomes, the stronger your podcasts, videos, and social media presence become.

Do the work. Plan captivating A-level content consistently. Master the fundamentals of execution and build your character.

When the show is great, you have a large body of content to repurpose across multiple platforms.

2. On-Demand Content
Ratings are a game of inches. Every tune-in and quarter-hour matters, especially in condensed PPM markets. That’s why on-demand content is a must.

Listeners expect to be able to hear your content whenever they want. Posting the full show daily (audio-coded for Nielsen) can generate additional tune-ins and listening occasions.
The KVJ Show in West Palm Beach streams its morning show live on YouTube through KVJ TV. Several top shows are now doing the same, while creating additional ratings and revenue opportunities.
Post highlights and benchmark segments as well. Clips encourage sampling and satisfy listeners who don’t have time for the full show.
Progressive shows now post both audio and video highlights daily.

3. Social Media
Social media is a powerful tool for deepening your brand and expanding your audience. It’s marketing, awareness, and engagement for your brand. Shows are also generating revenue through platforms like Facebook and Instagram.

Caution : Avoid making the mistake that some large corporate broadcasters make: totally replacing talent-forward entertainment with constant pleading for clicks.

The smart rule is: “Content first, clicks second.”

Video travels

Studios well into the top-100 markets are now equipped with cameras to stream live or capture moments from the show. Grab funny or emotional moments in the studio, and post content from your personal life.

A great example is Tino Cochino, who has built an impressive online video presence. His short-form content, mostly on I nstagram and TikTok, works because he’s funny, engaging, and vulnerable.

4. Original Podcasts
Original podcasts are another opportunity to extend your brand. If you have a strong interest or passion outside the show, a podcast can attract new fans and create sponsorship opportunities.

The Digital Content Pyramid

The radio show
The full show podcast & highlight clips
Social media & video
Original podcast

Photo by Donald Wu on Unsplash

Radio’s Ultimate Ad Power: Endorsements

Mon, 06 Apr 2026 17:27:00 GMT

Endorsements from trusted radio and podcast personalities can have as much, or even more, impact than a personal recommendation from a friend.

When endorsements work, they deepen the host’s relationship with the audience. When they don’t, they sound like a speed bump that can weaken your brand.

8 WAYS TO MAKE ENDORSEMENTS WORK

1. Only Endorse What You’d Use
Listeners can smell fake in seconds. If you wouldn’t use it, don’t endorse it. Your real currency isn’t cash, it’s trust.

Before signing:

Would I recommend this to my sister?
Would I pay full price for this?
Would I still talk about it if the deal ended?

If the answer isn’t yes, pass.

2. Not a Script, a Story
The fastest way to kill credibility is reading copy.
Instead:

Tell a personal story about your experience with the product/service.
Use names.
Describe a moment or a conversation.
Share a problem that got solved.

Weak:
“They offer great service and flexible financing.”

Better:
“I walked in thinking this was going to be challenging. Instead, Mike greeted me by name and had three options ready in 10 minutes.”

3. Make It About You , Not Copy
Endorsements fail when they sound like commercials.
Instead of:

Listing features
Repeating taglines
Using corporate language

Talk about:

Your experience
Your hesitation
Your surprise
Your takeaway

Listeners don’t care about the brand’s messaging. They care about your filter.

4. Avoid the “Voice Change.”
The credibility crash happens when the host shifts from conversational into “commercial voice.”
Keep the:

Same tempo
Same rhythm
Same personality
Same humor level

If you’re funny on the show, be funny on the endorsement. If you’re self-deprecating or vulnerable on-air, be the same on endorsements.

Consistency equals branding.

5. Integrate Into Content
The best endorsements flow seamlessly from show content.
They:

Connect to a segment theme
Follow a topic discussion
Bridge from content naturally

Example:
Talking about home disasters → “That’s why I finally called…”

Not:
“By the way…”

The smoother the entry, the stronger the retention.

6. Rotate Angles
If your deal runs 90 days and you only have one angle, listeners tune out from the repetition.
Plan multiple storylines like:

First impression
Unexpected benefit
Cost/value
Emotional win
A mistake you made
A listener who tried it

Think of it like content arcs.

7. Protect Your Brand Long-Term
Short-term revenue is never worth long-term brand loss.
Ask:

Does this align with my brand?
Does this align with my audience?
Would I be proud of this in five years?

Your endorsement list says as much about you as your content.

8. What You’re Really Selling
You’re not selling a mattress or an app.
You’re selling:

Your viewpoint
Your taste
Your experience
Your trust

That’s the asset.

A Simple Endorsement Format

Relatable setup
Personal experience
Specific details
How you felt
Clear call-to-action

Keep it human.

Photo by Tash Williams on Unsplash

Competitive Review Insights

Mon, 23 Mar 2026 15:46:00 GMT

Evaluating the competition is one of the most underused growth tools for radio shows. Many teams either ignore competitors or pay attention only when the ratings come out.

But when done intentionally, competitive analysis can sharpen a show in several important ways.

Here are some of the key benefits.

1. Clarifies Your Positioning
When you study other shows, you quickly see what lanes are crowded and what lanes are open.

Questions that emerge:

Who owns the funny lane?
Who owns the edgy, safe lane?
Who owns the local lane?
Who dominates pop culture?
Who is strongest in listener interaction?

This helps your show answer the most important strategic question:
“Why should someone listen to us instead of them?” The clearer the answer, the stronger the brand.

2. Reveals Content Gaps
Competitor reviews often uncover missing content opportunities.
For example:

Nobody is doing great relationship dilemmas
Nobody is executing high-energy audience games
Competitors are weak on storytelling
No show has heart or emotional moments

When a show consistently fills a gap, it can quickly become signature content.

3. Prevents Creative Autopilot
One of the biggest dangers for long-running shows is routine. When hosts stop monitoring the market (local or syndicated), they assume, “What we’re doing is still working.” But competitive listening exposes:

pacing issues
emerging talent
execution problems

It keeps teams creatively alert.

4. Identify What NOT to Do
Competitive analysis is often more valuable for spotting mistakes to avoid, such as:

segments that drag
confusing features or contests
weak caller management
inside talk

Listening to others’ flaws can sharpen your own execution.

5. Sparks New Ideas
Great programmers and hosts don’t steal ideas; they remix them. A competitor might trigger thoughts like:

“That premise is good, but what if we flipped it?”
“Their bit is funny, but ours could be more emotional.”
“They talk about dating, we could do a listener dilemma around it.”

Competition can become a creativity trigger.

6. Keeps the Team Humble
When shows stop evaluating the market, ego can creep in.
Hearing strong competitors reminds teams:

good talent exists everywhere
someone is always improving
listeners have options

That mindset keeps shows hungry.

7. Improves Strategic Planning
Competitive listening also informs bigger decisions like:

where to set or replay benchmarks
what topics to own
how to better differentiate personalities

Instead of programming in isolation, the show programs within the market ecosystem.

A Simple Competitive Listening Exercise
Listen to two competitors for one hour each and answer:

What are they doing better than we are?
What are we doing better?
What are they doing that we should never do?
What idea sparked a new twist for our show?

For a more comprehensive competitive exercise, check out Jeff McHugh’s blog, Insights From a Competitive Review .

Photo by Tash Williams on Unsplash

Don’t Look At the Ratings

Mon, 23 Mar 2026 15:27:00 GMT

When I was a young PD, some managers would urge me to conceal ratings from talent. Most often, because when ratings were high, they didn’t want talent letting them go to their head, or worse, asking for a raise!

Today, most managers share ratings with talent. That can be a positive, but many talent freak out over low trends when they could use that energy to improve their show. It’s no secret that Nielsen’s ratings are unstable, to be polite.

As we enter March Madness, rather than obsessing over wobbly and often inaccurate ratings, take coaching advice from college basketball’s winningest coach of all time, UCLA’s John Wooden .

The Wisdom of Wooden
John Wooden famously avoided talking about winning , in our case, ratings. His philosophy shaped one of the greatest dynasties in sports (10 national titles in 12 years).

Here are five of his most influential ideas and principles that I’ve adapted to coaching radio talent:

1. Focus on Effort, Not Ratings
Wooden defined success this way:

“Success is peace of mind, which is a direct result of self-satisfaction in knowing you made the effort to become the best you are capable of becoming.”

Ratings are the scoreboard. They’re important, but they are a lagging indicator. Ratings are outside your control, but effort and preparation are not.

What you can control:

show planning
content execution
storytelling structure
segment pacing
active listening

2. Master the Fundamentals
Wooden practiced fundamentals constantly. For radio, fundamentals include:

hook headline tease setups
clear topic framing
concise, inclusive resets
story structure
must-listen teases
listening and reacting

3 . Make Every Show Your Masterpiece
Treat every show like it matters. Listeners don’t know it’s:

a slow news day
the middle of March
a non-rating period
you’re tired

Every show is someone’s first time listening to you.

4. Build Team Chemistry
Wooden believed friendship and trust created great teams. I’ve coached successful shows where the hosts didn’t get along, but they eventually imploded. Morning shows thrive when hosts:

genuinely like each other
feel safe disagreeing
support each other’s content
build on each other’s stories

Great radio sounds like a group conversation where listeners have a seat at the table.

5. “Be Quick, But Don’t Hurry”
One of Wooden’s most famous sayings. For radio talent, this means:

Be quick: sharp reactions, fast pacing, conversational flow
Don’t hurry: talking over each other, rushing setups, stepping on laughs

Top shows allow moments to breathe. The goal is natural rhythm, not frantic energy.

In the End
The goal isn’t ratings. The goal is to achieve your individual peak performance and deliver the best show you and the team are capable of.

If you do that consistently, the ratings will follow.

Photo by Tash Williams on Unsplash

How Your Off-Air Self Drives On-Air Success

Mon, 09 Mar 2026 19:37:00 GMT

Here’s one sentence that changed the path of my life: “Manage internally before managing others.”

That was wisdom from Dr. Holly Latty-Mann, president of The Leadership Trust years ago at Wake Forest University. “Care for your instrument,” the phrase Dr. Holly used to help me realize that my “instrument” was a wreck.

As a first-time program director, I had never considered how a program director’s self-care and emotional state affected the team or the product. My first step in becoming an okay leader was getting my personal self in tune with therapy, exercise, and later, PTSD treatment.

I continue to learn how inner work affects top performers in all fields. My friend, Kelly of The Kelly Jordan Show got me thinking about it this week with an email:

“I wanted to let you know some of the things I have been working on and how I feel it has led to the massive success of the morning show right now.

Walking 6-8 miles a day. This has been like jet fuel for my brain. It has helped me shake the anxiety and fear and put me in almost a euphoric mood when I wake up in the mornings. Probably because it is helping me sleep better. And it has made me not really want to drink on weekends, so I feel better on Mondays.
Recognizing the negativity before it becomes a roadblock. Even simple things, like listening to the audio we reviewed in our coaching session, can totally derail me and make me think I suck at this. But asking myself, “What is the evidence that you are no good at radio?” Usually, I can’t find any. I have had success with ratings throughout my career.
Trying to act like a leader even when no one is watching. I have tried to carry myself as a leader even when no one is around. I believe it changes the way I look to people and makes them view me as a leader with no title needed.
Having the courage to try things that might not work. It leads to a lot of cool segments we would not have normally done. One of my biggest downfalls is that I am afraid to try things because I don’t want to hear from a coworker that it wasn’t good. I now realize that even when something isn’t working perfectly, most people don’t know it.”

What do other ultra-successful people do away from work that makes their work better?

NBA star LeBron James invests in sleep optimization. His goal is 8-10 hours, plus naps. Room temperature is 68-70 degrees, and he uses the Calm sleep app.
Jeff Weiner , CEO of LinkedIn, builds “buffer time” in his daily calendar for quiet thinking and reflection.
Oprah, Seinfeld, and Howard Stern are big advocates of daily Transcendental Meditation.

What do ultra-successful radio presenters do away from work that makes their work better?

Chris Kelly, Two Guys Named Chris

I run almost every day. It’s usually on the treadmill for about 45 minutes. I always zone out and think about the morning show while running. I often walk the dog and do the same. Sometimes in the evening, I like to sit without the TV on (no distractions). Sometimes on long car rides, I don’t have the radio or any music on… letting my mind wander.

Rona, Rise and Shine with Rona , Today’s 95.5 Martinsburg, West Virginia

I tend to listen to ambient music/sounds in my downtime (fireplaces, ocean waves, binaural beats). Life is so noisy, and listening to something without words helps me quiet my mind. I find that when I turn down the other noise, little kernels of self-connection come through.

Cat Bellah, Robbie and Cat Show , Ten Country 973 Reno

Yoga, running, and gratitude. Sounds corny, but I think a lot about how lucky I am to work at the best company, be paid fairly, and have an awesome partner on a show I am proud of. And – grateful for our #1 morning-drive Fall Nielsen ratings!

Ben Davis, Ben Davis and Kelly K Show , 997 DJX Louisville

I run. That 40-90 mins of alone time with my thoughts helps exponentially.

Kelly K, Ben Davis and Kelly K Show , 997 DJX Louisville

I’ve been trying to spend time on my neck massage pillow and under a red therapy light for quiet time, weight training, and snuggles with my pugs.

What do you do to care for the mind, body, and spirit of the human vehicle that you rely on to turn your dreams into reality?

Photo by Jérôme Bussière on Unsplash

Creativity Dies on Autopilot

Wed, 04 Mar 2026 17:06:00 GMT

What’s the most dangerous thing that can happen to a successful show?

It’s comfort and familiarity . Not trying anything new or going anywhere unfamiliar. It’s walking through your day, half paying attention. It’s having conversations and not really listening.

That’s autopilot. And autopilot is where creativity goes to die.

Your Unique Perspective
Radio people often ask me, “How do we come up with better content?” You don’t “come up” with better content. You notice it.

Content is everywhere. I don’t mean the internet or prep services. They’re recipes for sounding like every other show. Content is found in:

The awkward exchange at a Starbucks.
The weird text your friend sent.
The moment your kid embarrassed you in public.

But if you’re on autopilot, your brain filters out those moments; it defaults to habit. You just missed tomorrow’s best segment.

Creativity Requires Emotional Reaction
The beginning of great content is almost always a feeling:

“Why did that bother me so much?”
“That was an unexpected and kind surprise.”
“That was humiliating.”

If you don’t pause long enough to register the emotion, you missed a segment.

The Best Hosts Are Observers
The most creative personalities I’ve coached over the years aren’t always the funniest. They’re the most observant. They notice:

Words said and not said.
Tone shifts.
Body language.
Social tension.

They see contrast. Contrast is conflict. Conflict is content. But you can’t see contrast when you’re rushing through your day, mentally checked out.

In his book The Creative Act , famed producer Rick Rubin notes, “ Widening one’s scope allows for more moments of interest to be noted and collected, building a treasury of material to draw from later.”

The Best Prep
For one week, have each host bring prep from three real-life situations:

One emotional reaction.
One regret, something you’d do differently.
One real-life dilemma, something you’re torn over (it could be from your past).

Creativity doesn’t die because you aren’t talented or you’re burned out. It dies because you stopped paying attention. Notice everything. Expand your awareness.

Your show depends on it.

Photo by John Schaidler on Unsplash

Make Guests Sticky Content

Sun, 22 Feb 2026 12:55:00 GMT

One of the best growth tools you have is simple: listen back to your own show.

Sometimes it’s cringy, sometimes it’s inspiring.

Guest segments, even with big stars, often tank in PPM. They can slow the pace and feel promotional. And the second, the conversation drifts into industry talk, listeners bail.

But guest interviews don’t have to take a hit. They can be sticky.

I was reminded of that this week in a coaching session with the DJ Walker Morning Show i n Stockton-Modesto. DJ, Jaimee Lee, and Tori D interviewed The Band Perry . The segments were funny, fun, and well-paced. Solid B content.

Then OM Andy Winford asked the right question: “ How do we make this A-level?”

The goal isn’t good, it’s memorable .

Moving Guest Segments from Good to Great

1. Build anticipation.
The show recorded the interview and promoted it the day before. Smart.
Most listeners tune in at the same time every day. Tease the guest at 7:20 today. Air it at 7:20 tomorrow. That’s horizontal TSL appointment listening. Tease one or two of the most provocative real-life questions you’re going to ask.

“Tomorrow at 7:20, we’re asking Kimberly Perry the craziest thing she’s ever done to an ex.” Now you’ve created curiosity.

2. Tease emotion.
The day of the interview, tease the segment with lifestyle, conflict, humor, or vulnerability questions.

Emotion is what people lean in for.

3. Start with the hook.
Since you’ve recorded the interview, move the most compelling, emotional, or provocative question to the beginning of the segment.

4. Cut the industry talk.
Listeners don’t care who produced the record, track titles, or tour details. If it doesn’t connect to real life, delete it.

5. Ask questions that trigger stories.
The strongest moments weren’t about music. They were about life.

“What’s the craziest thing you’ve ever done to an ex?”
“How did you two meet?”
“You went from a sibling trio to a married duo. What family drama happened?”
“Years ago, you said, ‘Mama always told us to eat plenty of fiber.’ How’s your diet now?”

Those questions sparked storytelling, laughter, vulnerability, and relatability.
That’s sticky.

6. Create a signature close.
They ended with a rapid-fire game called “Psycho or Logical.” Example questions:

“10,043 unread messages.” (Psycho or logical?)
“Toilet paper under instead of over.”

It’s quick. It reveals personality and character, and it humanizes the guest.
We decided to make it their signature guest closer.

7. Replay strategically.
Run the tightened version in other dayparts and on other days to expand reach.
Guest interviews don’t fail because guests are boring. They fail when we make them about the guest instead of the listener.

Shift the focus to real life, relationships, conflict, humor, vulnerability, and you turn interviews into stories. And stories are sticky.

That’s how you move guest interviews from tanking to A-level sticky content.

Photo by Cristina Marin on Unsplash

Elevate Your Show’s Emotion

Sun, 22 Feb 2026 12:42:00 GMT

Personality radio shows often believe they’re in the content business.
They’re not.

They’re in the emotional experience business.

Portland, ME morning ace, Blake Hayes at Coast 93.1, shared an episode with me from the brand-oriented How I Built This podcast with Guy Raz.

Guy advised a businesswoman who owns a puzzle company that she’s not selling puzzles; “What you’re selling is an emotional experience, family time.”

In radio, music is a commodity. Topics and games are content vehicles. Benchmarks add structure. But none of that is the product.

Yes, killer content is king, but to be killer, it must have emotion. The product is how the audience feels when they’re with you.

The Real Brand of a Personality Show
Strong shows don’t just “execute good segments,” they own an emotional position in the market. After a segment, listeners should feel something specific:

Laughter, joy
Nostalgia
Companionship
Authenticity
Included
Validated

On music stations, listeners don’t return for information. They return for a consistent emotional payoff.

The Emotional Gap Test
Ask your team this question: “If our show disappeared tomorrow, what emotional gap would exist in the market?”

Would your market lose:

The playful chaos crew?
The safe, fun family team?
The funny, edgy truth-tellers?
Your city’s group chat?

If you can’t answer that clearly, you risk being interchangeable and generic, which means you’re not connecting.

Who Are You to the Audience?
Every personality show has a relational identity that sparks an emotion from each character. You are more than entertaining hosts to listeners, you could be:

Big sister
Unfiltered friend
Nice guy
Class clown
Heart of the show
Voice of reason
Instigator

Identity creates expectation. When listeners anticipate how you’ll react to a story, you’ve built character clarity.

Emotional Consistency Beats Content Variety
Too many shows prioritize variety over emotion.

They do a trending benchmark
A topic
Another benchmark
A game
Repeat

Content variety is beneficial, provided it doesn’t lack emotion. The real question isn’t “Was that segment good?” The question is: What emotions did we tap?

The best shows don’t just talk about topical stories or relationship scenarios; they show listeners how they feel about any story.

That’s brand.

The Chemistry Contrast Factor
On multi-host shows, emotional positioning is critical. Contrast builds dynamic emotion.

Optimist vs. skeptic
Chill vs. volatile
Rule-follower vs. rebel
Emotional vs. analytical

More often, chemistry isn’t accidental. It’s a structured contrast.

The Upshot
Personality shows don’t succeed solely because of content. They win because their content evokes an emotional experience in listeners.

Photo by Domingo Alvarez E on Unsplash

Contrast Becomes the Picture

Thu, 12 Feb 2026 13:53:00 GMT

The Jamie & Danny Show was a forced marriage between Jamie White and Danny Bonaduce at Star 98.7 in Los Angeles in 1999. Despite early ratings success, the show lacked contrast. Jamie and Danny were both alphas, both drivers, and both edgy.

Jamie had to be the driver because she established herself as a star with Frosty and Frank over the previous two years. The show eventually imploded because the conflict on and off-air wasn’t always friendly; it was real.

Audio is a One-Dimensional Medium
There’s no visual variety to lean on, so contrast becomes the picture.
Contrast can be:

Driver vs. reactor
Optimist vs. skeptic
Heart vs. head
Veteran vs. disruptor
Comic edge vs. grounded realist

Without contrast, shows flatten out. Everything sounds agreeable… and agreement doesn’t stand out. The best movies and television shows never have two characters alike. The same is true for radio and podcast shows.

Listeners don’t tune in to hear people think, act, and react the same way. They tune in to hear how different personalities collide and coexist .

Friendly Contrast Signals Authenticity
Real people disagree, respectfully, passionately, and sometimes awkwardly.
When co-hosts:

Challenge each other
Question assumptions
Push back respectfully

…it signals to the audience, “This isn’t scripted. These people are real.”

That kind of credibility is gold. Especially now, when listeners can smell fake chemistry in about ten seconds.

Contrast Represents the Listener’s Inner Dialogue
Contrast fully engages the audience emotionally. One voice says what the listener wants to believe. Another says what the listener fears might be true.

Contrast Creates Moments and Clips
In our clip-culture, agreement isn’t shared. Healthy conflict creates:

Sharp exchanges
Quotable lines
“Wait, what did they just say?” moments

Those moments:

Travel better on social
Trigger-like and counter comments
Invite listener response
Extend the show beyond its runtime

Hosts who echo points rather than expanding them fail in the long run. Contrasting characters and viewpoints prevents sameness. Healthy conflict leads to better preparation, clearer positions, and stronger storytelling.

The Keyword Is Friendly
Contrast only works when respect and trust are obvious, and egos are secondary to the show. Listeners can tell the difference between:

Playful tension (energizing)
Passive-aggressive sniping (fatiguing)

Friendly conflict gives that relationship an arc.

In the End
Contrast gives a show shape. Conflict gives it motion. Friendliness gives it longevity.

Photo by Simone Hutsch on Unsplash

What if It Happened in Your Market?

Thu, 12 Feb 2026 13:41:00 GMT

What if the Alex Pretti shooting in Minneapolis happened in your listening area?

How would you handle this on a music station morning show that doesn’t talk politics?

That was the question KDWB Minneapolis’ legendary morning host Dave Ryan was wrestling with last Monday morning. And it wasn’t theoretical. It was deeply personal.

Dave said he’s always known what to do when tragedy strikes. Even during something as painful and complex as the George Floyd story, he felt grounded in his role and responsibility as a broadcaster.

But last weekend’s events were different.

He barely slept Sunday night. When Monday morning came, he was still grappling with how to execute the show. He admitted that, for the first time, the thought of taking the day off crossed his mind.

Then reality set in.

His city was in crisis—and not doing the show wasn’t an option.

How the Show Handled the Minneapolis Tragedy
Like the champion he is, Dave opened the mic with honesty, sincerity, and vulnerability.

He expressed exactly where he and the cast were emotionally. He said they would have to feel their way through the morning, and that this would not be a wacky, zany attempt to pretend everything was fine.

Because it wasn’t.

Dave said,
“There is a family planning a funeral right now for Alex Pretti. It shouldn’t be that way. A healthy, giving, young person is gone. I have hope that things will get better.”

He went on to say,
“Even though I’m good at being a pessimist, what about hope that this won’t happen again? What about the hope that people will stop canceling, blocking, and unfriending friends and family? What about the hope we all want for a better place?”

He then invited listeners to text their thoughts and feelings about the situation in Minneapolis.

Throughout the show, Dave and the cast acknowledged something critical: they were scared. They felt unsafe. And they were experiencing the same fear and uncertainty as their audience.

That shared humanity is what made the show resonate.

Five Tips for Handling a Tragedy in Your Market

Acknowledge it regularly.
At least once every half-hour. Morning TSL is short, and people listen at the same time every day. Don’t assume they’ve already heard you address it.
Express your feelings, human to human.
You don’t need answers. You need honesty. Listeners don’t expect perfection; they expect authenticity.
Invite listener response.
Ask people to call or text with their thoughts and emotions. Community starts with conversation.
Tell relevant stories and ask listeners for theirs.
Stories create connection. They also help people process their feelings.
Study great execution.
When emotions are high, great execution comes from more planning, like bullet-pointing what you want to say to avoid meandering or being at a loss for words. Be sure your words match your feelings.

Listen to how Dave Ryan, Jenny, Bailey, and Vont opened the show and navigated the catastrophe on a music station here.

It’s a master class in leadership, empathy, and restraint.

When something devastating happens in your city, silence isn’t neutral. And pretending everything is “normal” isn’t comforting.

What is comforting—and powerful—is a trusted voice opening the mic and saying, “We’re going through this together.”

That’s what great broadcasters do when it matters most.

Photo by Gregory Hayes on Unsplash

Replacing a Legacy Host

Sat, 24 Jan 2026 14:22:00 GMT

Consultant Mark St. John and I learned, painfully, just how hard it is to replace a successful show when the legendary Mark & Brian left I-95 Birmingham for KLOS Los Angeles.

We tried to do everything right. We “cleansed the palate” with more music before launching the new show. We recruited a creative night host from a top-10 market and paired him with an inventive cohost from a top-30 market.

On paper, it looked strong. With Mark & Brian’s massive popularity, we believed we had the ingredients for another top-notch show.

We didn’t.

The two personalities never developed chemistry. Worse, they didn’t like each other off-air. Ratings declined sharply.

That experience reinforced a hard truth: replacing a trusted voice, or a show that’s been part of listeners’ lives for years, is one of the most difficult transitions in radio.

Now imagine replacing a 40-year morning host on a successful Classic Rock station in a big market.

Milwaukee’s Success Story

Dave Luczak hosted mornings on Saga Communications’ 96.5 WKLH in Milwaukee for four decades. When he retired at the end of 2024, his ratings were still strong, and his bond with listeners ran deep.

Replacing him could have been disastrous.

Instead, Saga played it smart. They have a bench of proven talent and a long-term view.

The Replacement

Dave Coombs was on Saga’s Lazer 99.3 and Rock 102 in Springfield, MA, and had also been tracking middays on WKLH for a couple of years. He was tapped as the potential successor to Luczak.

Rather than rushing the handoff, Coombs relocated to Milwaukee and began hosting a daily segment on Luczak’s morning show in 2024, his final year on the air.

The Rollout

Saga Milwaukee President and GM Bob Bellini puts it this way: “Foundationally, the bedrock is understanding that changing a legacy personality is hard, no matter how good the replacement is. You must prepare the audience over time.”

Bellini and WKLH Program Director Borna Velic emphasized chemistry on and off air. Coombs built audience familiarity and trust through daily segments with Luczak, interactions with remaining cohosts Dorene and Marcus, live remotes, and public events at venues such as the Harley-Davidson Museum and the historic Pabst Brewery.

By the time Dave Luczak signed off, Dave Coombs wasn’t “the new guy.” He was already part of the fabric.

Just as important, Luczak gave his public seal of approval. The transition wasn’t framed as a loss; it was an upbeat celebration of a host going out on top.

The station leaned into the show’s history: archived audio, guest comedians, local TV personalities, and even a Dave Luczak bobblehead.

Dave Luczak’s Final Broadcast

The last show was a true red carpet event. A limo is transporting his family to the station. A surprise appearance by his out-of-state son and grandchildren. Special guests like Dan Patrick and performers packed the studio and spilled into the hallways. A reception followed, complete with tributes and presentations.

It was radio at its best, honoring the past while thoughtfully ushering in the future.

The lesson: replacing a legacy host isn’t about finding “the next version.” It’s about preparation, patience, chemistry, and respect—for the audience and the legacy you’re inheriting.

Photo by Samuel Regan-Asante on Unsplash

Champion the Clip Culture

Tue, 13 Jan 2026 15:03:00 GMT

We don’t “sit down” with content the way we once did.

Today, we consume ideas, information, and entertainment in short, fast, compressed moments, clips instead of complete narratives. We scroll. We swipe. We sample. We move on.

I typically skim headlines unless something grabs me. Even with non-fiction books, I’ll skip long setups and background and jump straight to the bullet points to get to the takeaway.

It’s a cultural shift.

How Did We Get Here?
Clip culture is the byproduct of social media, mobile devices, and unlimited choice. Platforms reward brevity, speed, and emotional punch. (Sound familiar? Radio listeners behave this way too.)

In clip culture, the highlight replaces the full story.

How Clip Culture Rewired Attention
Our brains adapt to what we practice. Clip culture trains us to:

Decide in seconds whether something is “worth it.”
Expect an immediate payoff

With endless options, if content doesn’t earn attention quickly, it’s gone.
The downside? Complex ideas get oversimplified. Context gets lost.

What It Means for Radio
Clips are a doorway.

A great highlight clip can spark curiosity, introduce your show to new cume, and pull people in to hear the show. For radio personalities, programmers, and podcasters, clip culture has changed the rules.

Perfect the art of the hook
The opening matters more than ever. You don’t have minutes to get there, you have seconds.

Design Clips for a First Listen
A clip must stand on its own. It must make sense and be entertaining, concisely.

Balance Hooks with Substance
The clip pulls people in. Content depth builds trust and loyalty.

The Opportunity: Think in Moments
Radio has always been moment-driven—a great line, a laugh, a confession, a surprise.

On-air talent must constantly ask:

Where’s the clip here?
What moment will someone share?

Clips are Discovery Tools
Most new listeners won’t find your show by scanning the dial or downloading your app. They’ll discover you because:

A clip showed up in their feed
Someone shared a moment
An algorithm rewarded engagement

A 20-second clip can instantly introduce a personality/show and showcase it across platforms and dayparts. Many listeners who listen at work may never have heard your morning show.

What Makes the Most Effective Clips?
The best clips highlight:

Humor
Humanity
Point of view
Reaction, not information

Not More Content, Wider Distribution
One great on-air moment can become:

Audio snippets
Short video clips
Teasers for tomorrow’s show

Rather than creating more content, extend the life of what you already do well.

Attract Advertisers With Clips
Too many stations still underuse one of their most valuable revenue assets: talent endorsements.

Arm the sales team with audio and video clips featuring your established, trusted voices to entice clients. Talent-delivered messages usually drive higher engagement and command higher rates on most stations.

The Long Game
Radio wins on relationships. Clips win attention in moments.

Radio’s greatest strength has always been connection. Clips simply gives that connection more places to show up.

Photo by Christian Englmeier on Unsplash

Intentions, Declarations, or Resolutions?

Sun, 04 Jan 2026 14:01:00 GMT

By the first week of the new year, many people are already wobbling on their resolutions. Estimates point to about 20-25%. We’ve all been there.

Additionally, many people use the words “intentions” and “declarations” to make positive change. So, the real question isn’t why they fail, it’s how we make change stick.

I delved into the meanings and uses of intentions, declarations, and resolutions, and part of the problem is that we treat them as if they mean the same thing. They don’t; they point to different levels of commitment and action.

When you understand how these three growth words work together, your odds of lasting change go way up.

INTENTIONS
Intentions are strategic. They’re about direction, not deadlines.

Intentions shape mindset and awareness.
They point to what you want to move toward , not necessarily what you’ll do next.
They guide energy and internal choices rather than specific outcomes.

Examples:

“I intend to be an active listener in my conversations.”
“I intend to choose healthy foods and liquids.”

Best used for:

Creativity, mindfulness, personal growth, and value-based living.
Intentions set up alignment.

DECLARATIONS
Declarations create momentum and make what’s internal visible.

They are commitments stated out loud and/or in writing.
They turn intention into identity.
Declarations create accountability through language.

Examples:

“I write down all my creative ideas.”
“This year, I choose to lead with authenticity.”

Best used for:

Identity shifts, leadership, momentum, and signaling change to yourself and others.
When you declare something, you’re saying, “This is who I am now .”

RESOLUTIONS
Resolutions are where the rubber meets the road.

A resolution is a decision paired with action.
It usually includes structure: rules, timelines, or metrics.
Resolutions are two-fold: you either do them or you don’t.

Examples:

“I will spend at least two hours every day planning my show.”
“I resolve to exercise three times a week.”

Best used for:

Habits, performance goals, and measurable change.
Resolutions work best when they’re clear, realistic, and supported by intentions and declarations.

How They Work Best Together
The most sustainable change uses all three:

Intention sets the why
Declaration sets the who
Resolution sets how

Example:

Intention: “I want to approach my work with joy.”
Declaration: “I create content consistently.”
Resolution: “I will block 90 minutes each day for focused creation.”

When you stack intention, declaration, and resolution, you’re no longer just hoping for change; you’re designing it.

That’s how things stick.

Photo by BoliviaInteligente on Unsplash

Curiosity + Imagination = Innovation

Wed, 17 Dec 2025 13:19:00 GMT

When I was a kid, I asked so many questions that it drove my parents and older siblings crazy. They’d say, “Stop asking so many questions!” I never did, and I’m glad. Curiosity is one of the most powerful drivers of creativity and innovation.

My radio mentor, Todd Wallace , encouraged that curiosity from day one. In airstaff meetings, he’d always say, “There are no stupid questions. If there’s anything you don’t understand about your on-air role, ask.” That simple permission created an environment where ideas thrived.

Curiosity and imagination are inseparable in the creative process. Curiosity is the spark; imagination is the fire. Einstein captured it perfectly: “Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world.”

Steve Jobs understood this connection instinctively. He once took a calligraphy class in college just because he was curious, and it interested him. Years later, that curiosity shaped Apple’s design philosophy and helped distinguish the brand. He called it “connecting the dots.”

CULTIVATING CURIOSITY & IMAGINATION

Curiosity

Ask more questions . Approach life like a kid again, with a “why?” and “how?” mindset. On your show, probe for details to get more entertaining stories, deeper guest interviews, and better banter among cohosts.
Create curiosity. We teach talent to apply George Loewenstein’s Information Gap Theory of Curiosity theory to generate must-hear teases and hooky headlines. Set up a mystery. Create tension. Make listeners think, What happens next?
Listen and observe . Listen to cohosts, callers, and guests actively without planning your response. Notice details when you’re standing in line, walking through the grocery store, or people-watching. Everyday moments are raw material for content.
Read widely. Step outside your usual topics. Explore unusual (for you) books, articles, and websites. Some of the best ideas come from surprising, unfamiliar sources.
Expand your circle . Talk to people from different backgrounds, professions, and perspectives. New awareness leads to new insights.
Be OK not knowing . Curiosity begins with humility. Admitting you don’t know something opens the door to learning and, often, to stronger ideas.

Imagination

Break your routine. Take a new route to work. Try a new restaurant. Rearrange your workspace. And travel, nothing expands your worldview faster.
Play and experiment . Paint, cook something new, try a new hobby, or restart an old one. Play fuels creativity.
Use the “What if?” and “What else?” tools. When planning content, ask, “What if we tried ___?” Then push it further: “What else could make this stickier?”
Let your mind wander. Take short, tech-free walks. When your brain gets a break, your ideas can percolate.
Keep an ideas journal. Jot down questions, observations, overheard lines, and random thoughts. Review them regularly; your next great concept may be on the page.

Curiosity opens the door. Imagination walks you through it. When you nurture both, innovation is not just possible, it’s likely.

Photo by Tien Vu Ngoc on Unsplash

Get In the Zone

Fri, 12 Dec 2025 14:33:00 GMT

There are times I sit down to jot down a few notes on a blog idea. An hour later, I look up to find that two pages are finished!

We know this psychological state as “being in the zone” or “flow.” You’re not thinking, you’re in the moment doing .

Think about the times you’ve been so absorbed in an activity that distractions fall away, time blurs, and you’re completely present. It happens in sports, in content creation, during a project, or in gaming.

The term originated in athletics to describe peak performance, but it applies to any meaningful task, crafting bits, problem-solving, or even everyday moments. Hours seem to pass in minutes.

EXAMPLES OF BEING IN THE ZONE

A basketball player hits a streak of 3-pointers and says afterward, “I was in a rhythm, just feeling it.”
A host starts a break, and the words flow effortlessly, funny, natural, and connected. They finish and think, “Where did that come from?”
You’re driving and suddenly realize you’ve covered several miles without noticing or remembering it. It’s an everyday (and slightly scary) version of “highway hypnosis.”

WHAT IT MEANS TO BE IN THE ZONE

You’re out of mind, in the moment, not thinking.
You’re outside of time. Time speeds up.
Your inner critic goes silent.
You forget performance and become a real human.
Setups, reactions, and ideas flow automatically.

CONTENT EXAMPLES

Storytelling in the Zone
Details sharpen. Your pacing is perfect. Your voice hits emotional peaks without overthinking them. You’re one with the moment, and that’s when listeners remember and retell your story.

Chemistry Moments With Co-Hosts
You hit a run where you can practically finish each other’s sentences. Reactions, jokes, and curious questions volley back and forth without stepping on one another. It sounds effortless, and listeners feel like they’re hanging out with friends.

Interviews/Callers:
Every smart broadcaster knows the difference between a Q&A session and a conversation.

When you’re in the zone, you’re not checking your notes or thinking about your next question. You’re curious. You’re listening deeply. You’re asking follow-up questions because you’re fully present.

This is when guests reveal the story they didn’t plan to share.

BUILD IN THE ZONE/FLOW HABITS
Great talent and management don’t wait for lightning to strike. They build habits and environments that encourage flow.

Talent:

Warm up (even five minutes) together before the show starts, like basketball teams, your rhythm and flow will be better from the start.
Prepare broadly more than scripting.
Simplify the show plan and have enough detail.
Leave room for spontaneity . The magic happens where structure meets unpredictability.

Management:

Reduce micro-management. It kills intuition.
Build trust and psychological safety . Talent performs best when they feel supported.
Celebrate spontaneous moments .
Avoid overwhelming talent . Mental overload is the enemy of flow.

LIVE IN THE ZONE

When you’re in the zone, listeners feel it. They lean in. They trust you more. They listen longer. The zone is where your best content lives, and your innovative ideas are born.

Photo by Alex Kotliarskyi on Unsplash

Happy Thanksgiving!

Fri, 05 Dec 2025 14:08:00 GMT

Thanksgiving has a way of slowing us down, just enough to notice what truly matters. It reminds us that no matter how noisy, unpredictable, or fast-paced life gets, there is real power in pausing and being thankful for our families and the people around us who help shape our world.

It has been a challenging year for many people, and I hope that this Hopi-inspired Thanksgiving message will lift you through the holiday season and well into 2026:

May the morning sun bring warmth to your heart.
May the soft winds remind you that all life moves together.
May we walk gently on the Earth,
in gratitude for the corn, the rain, and the gifts of all living beings.
May our thoughts be good, our words be true, and our actions bring harmony.
In this season of giving thanks,
may we remember that we are part of all that is,
and all that is, is part of us.

Photo by simon on Unsplash

Disrupt the Pattern!

Mon, 24 Nov 2025 13:59:00 GMT

When I’m listening to a radio show or podcast that rolls on too long with a monologue or back-and-forth dialogue, my mind wanders. Before I know it, I’m checking scores on ESPN.

It happens to listeners, too. Hosts, especially in Talk and Sports formats, can easily get stuck in long stretches of unbroken talk. And when there’s no shift in the pattern, attention drifts.

Think about how quickly breaking news, a loud noise, or the ping of an incoming text snaps you to attention. That’s the essence of a pattern disruptor. It interrupts the flow just enough to re-engage your brain. Intentional disruptors in audio and video work the same way.

At its core, entertainment comes down to two things:

Getting the audience’s attention and keeping it.

It’s true for movies, television, radio, and podcasts.

Today, there are more entertainment options than ever, and attention is scattered. When a show talks too long without an energy shift or a change in texture, casual listeners often tune out. Podcast listeners hit fast-forward. Even loyal P1 fans can drift.

That’s why pattern disruptors matter. They’re deliberate, noticeable changes in the show’s flow that refresh the listener’s ear and boost time spent listening.

10 Pattern Disruption Strategies

Content quality always comes first. But even A-level content can sound like B-level execution if it never changes gears.

When planning your show, intentionally build in moments that break the pattern. We’re an audio medium, and those changes always involve sound.

Air a caller. The sound instantly changes, and callers often elevate the content.
Pause for dramatic impact. A well-timed pause makes listeners lean in.
Use vocal variation. Emphasis, pacing, and expression keep narratives alive.
Start stories with a hook headline. Don’t warm up; grab attention immediately.
Hit a punchline. Humor is a natural attention-getter.
Deliver a provocative viewpoint. Bold ideas recharge attention.
Add audio clips liberally. In news stories and when referencing movies, TV shows, or celebrities. We’re in the audio business!
Use sound effects. They animate stories, bits, and features.
Change music beds when shifting topics . This simple cue resets the listener’s ear.
Pose a challenge or question to cohosts, listeners, or guests.

Video Disruptors

Pattern disruptors matter just as much on screen:

Zoom in or out
Change camera angles
Add B-roll
Use voiceovers
Switch music beds
Add sound effects
Change the background
Drop in a comical bit

Pattern disruptors aren’t gimmicks; they’re tools. Used intentionally, they keep your content lively, your pace dynamic, and your audience engaged longer. In a world full of distractions, a well-timed change in rhythm may be the difference between a listener staying… or tuning away.

Photo by Martin Adams on Unsplash

7 Habits of Highly Successful Personalities

Mon, 17 Nov 2025 18:30:00 GMT

What makes certain radio and podcast personalities rise above the rest? Why do some hosts create instant connection, loyalty, and talk-worthy moments while others sound like background noise?

After coaching talent for decades, I’ve noticed that the most successful personalities share a common set of creative habits, practices that sharpen their craft and deepen their connection with audiences.

Seven Habits that Separate the Good from the Great

1. Authenticity
Authenticity is the foundation of great talent. Audiences today have finely tuned BS detectors; they sense when you sound rehearsed, performing, or trying too hard. The best personalities express their real thoughts, quirks, vulnerabilities, humor, and perspectives.

They allow listeners to know them, not the version of themselves they think they’re supposed to be. Authenticity builds trust, and trust builds fans.

2. Humor
You don’t have to be a stand-up comedian. You do need a sense of humor. Great personalities find the funny in everyday life, those small, relatable moments that spark a smile, chuckle, or full belly laugh.

Humor is a connection tool. It disarms, unites, and creates memorability. And often, the funniest moments come from simply reacting honestly to what’s happening in the room.

3. Master Storyteller
At their core, every top talent is a storyteller. They know how to take an ordinary experience—losing their keys, awkward first dates, parenting fails, and turn it into a story with shape, tension, payoff, and emotional resonance.

They’re intentional about details and pacing to draw listeners into the moment. And most importantly, they understand that stories aren’t about events and information, they’re about people.

4. Innovative Content Creator
Successful personalities are constantly scanning life, culture, social media, and their communities for new angles and ideas. Sticky content is about treatment. They experiment. They throw out what’s tired and double down on what’s fresh. Innovation isn’t about reinventing the wheel; it’s about reframing the everyday in surprising ways that make listeners think, “That’s a twist I haven’t heard.”

5. Vulnerability & Self-Deprecation
Vulnerability is where connection deepens. When you share your insecurities, missteps, and flawed moments, audiences lean in, and it creates memorability.

Self-deprecation signals that you don’t take yourself too seriously. It humanizes you and enhances likability. In a world of curated perfection, self-deprecation and vulnerability are a competitive edge. They’re also the heart of impactful storytelling.

6. Active Listening
The best moments in radio and podcasting don’t come from monologues; they come from reactions. Great talent listens deeply to callers, co-hosts, and guests, and the energy in the room.

They respond in real time, elevate what others say, and know when to pause, pivot, or probe. Active listening is the secret ingredient of chemistry and the spark that turns conversations into compelling audio.

7. Multi-Platform Skills—Especially Video
Today’s personalities build communities across platforms, especially video, which is now a primary driver of brand discovery. Video is no longer optional; it’s a powerful growth accelerator.

Final Thought
Great personalities aren’t born, they’re built through consistent habits and intentional practice. The 7 habits above are ongoing daily commitments that deepen your craft and your connection.

When you practice these habits, you don’t just perform, you become someone your audience invites into their lives. That’s when you become a trusted personality brand.

Photo by Austin Distel on Unsplash

A Job-Winning Media Kit

Thu, 13 Nov 2025 15:58:00 GMT

If you are one of the many air talents who have lost their jobs this year, an impressive demo package has never been more critical, as opportunities are limited.

Our guest blog this week is from highly regarded programmer Kevin Callahan , former Audacy Regional VP based in San Diego, and now Pamal Broadcasting Corporate Director of Operations and Programming. Kevin put together a stellar framework for talent submitting content packages.

This is a must-read for anyone seeking a new opportunity.
Randy Lane

When reviewing a content package, I still go straight to the audio. The audio should give me an idea of who you are. I want to see how you handle social media and if I will get to know you through those platforms as well.

It’s important to know how talent handles appearances and endorsements. Community involvement at several levels is part of the vision Pamal prioritizes, and endorsements are an effective sales tool. After reviewing the entire submission, I should have a sense of what is important to you.

BASIC DOS:
Your entire submission should require a minimum of clicks. If you have a website, THAT’S GREAT, but some require “going down the rabbit hole” to find what you’re looking for.

Go beyond just sending the link to your site. Instead, provide links to specific pages or elements so you can go straight to what you’re looking for.
Make sure the most important “stuff” is part of the submission so it is front and center. It’s ok if it is also on the site.

Audio is still the most essential part of the submission.

Music shows under 3 minutes—make me ask for more.
Morning shows under 12 minutes—make me ask for more.
Best material up front.
Ask, “Will the listener get to know my personality after hearing this?”

Social

Include links and screenshots, etc.
Ensure your social/digital presence accurately reflects who you are, just as your audio does.
Highlight engagement without sacrificing your personality. I’m hiring you! Not your engagement (although that is important too).

Experience

Keep resume, CRV or history to one page.
Customize your application for the role you are applying for if your experience cannot be summarized on one page.
If you’re including a cover letter, tell me a brief story. This will reinforce who you are again. It will showcase your writing skills (increasingly important) and highlight your storytelling ability.

Other Content

Do you have a video? I want to see it!
Do you have a podcast or audio-on-demand content? I want to hear it!
Awards are great, but don’t lead with them. They are not nearly as important as the other points above.
Been on the news for something other than an arrest or something similar. Include it!

Follow up
Use various follow-up methods—some people like the phone, others email, and some like text (not me).

Be creative. Remember, the job (if you get it) is to be noticed by the person hiring you.

You can learn a lot about a company, programmer, etc., by who responds. If you don’t at least get an email that says “No Thanks,” then you didn’t want to work there anyway.

BASIC DON’TS:

Don’t skip your homework

Research the company. Find out everything you can about the station and the opening.

Know the programmer or person hiring you.
Don’t be afraid to ask for feedback if you didn’t get the job.
Don’t get discouraged, or if you do, convert the energy to accomplish your goal.
Don’t forget that everyone is doing multiple jobs and patience is something few of us (including me) are good at… Try.

Photo by Samuel Regan-Asante on Unsplash

Radio’s Superpower: Companionship

Tue, 04 Nov 2025 15:53:00 GMT

One of the biggest reasons people listen to the radio isn’t for music or traffic updates, it’s for connection.

I had the pleasure of being on a CRS webinar earlier this week with Jacobs Media President Fred Jacobs, talent coach Steve Reynolds, Pamal Programming VP Kevin Callahan, and CRS’s RJ Curtis. We discussed Fred’s research, which highlights the value listeners place on air talent and connection. Watch the webinar here .

Listeners tune in for connection, for company, and for that familiar voice that makes their day feel a little less lonely.

And right now, that connection matters more than ever.

The Loneliness Epidemic
We’re living in one of the most connected and disconnected times in history.
Studies from the U.S. Surgeon General , Pew Research , and Gallup all show the same trend:

More than half of American adults say they feel lonely.
Younger generations report higher isolation than ever.
Loneliness is now considered a public health crisis, tied to depression, anxiety, and even heart disease.

Technology gave us more ways to communicate, but fewer ways to truly connect.
That’s where radio shines. Radio isn’t background noise, it’s emotional companionship.

The Human Connection
A streaming service can’t ask, react, or laugh. But a live personality can.
When a host shares something real, a story, a laugh, a moment of vulnerability, it reminds listeners they’re not alone.

That’s why people say things like, “I listen to you every morning, it feels like we’re friends.” That’s not just a compliment. That’s emotional brand loyalty.

Companionship is Your Superpower
In a world of endless entertainment choices, personality is what makes radio irreplaceable.

Here’s how to lean into it

Be present. Talent connects by having touches, including music sweeps. You can’t connect running mostly produced imaging.
Share real moments. Your dog’s antics, your kid’s first word, or the weird thing that happened at the store, these are the connective threads of daily life.
Get more voices on the air. Yes, it’s harder to get callers, but it’s worth the work. Real listener calls can be unpredictable, emotional, and magnetic.
Stay hopeful and human. Acknowledge what’s happening in the world, but be the voice of optimism and unity.

The Wrap
Radio’s true magic is the human connection. In a world filled with AI voices and scrolling feeds, your authenticity cuts through the noise.

You’re not just filling airtime, you’re filling a space in people’s lives. So, the next time you open the mic, remember:

Someone out there needs a friend today.

Be that friend.

Photo by Duy Pham on Unsplash

How to Launch a New Show (From a Guy Who’s Won & Lost at the Highest Levels)

Tue, 04 Nov 2025 15:36:00 GMT

Rich Shertenlieb is one of the most creative and talented personalities I’ve ever coached. We worked together on the 99X Atlanta Morning Show and with Kidd Kraddick.

Rich won the Marconi Award for Major Market Personality of the Year, The Toucher & Rich Show set the record for the highest ratings share in Boston radio history, and he has been on the #1-rated morning show in three different formats (Rock, Top 40, and Sports).

His guest blog How to Launch a New Show: from a Guy Who’s Won & Lost at the Highest Levels is full of wisdom and insight for both talent and management.
~ Randy Lane

I’ve touched the sun and rolled in the mud at the highest levels. I’ve been with Bill Belichick with and without his 24-year-old girlfriend.

I’ve won a Marconi Award and set the record for the highest ratings ever in a major market.

And I’ve also had a show canceled after just five months. Radio, huh?

That combination of both success and failure has given me a rare perspective on what it truly takes to launch a new show. I’ve seen firsthand what makes a show connect—and what makes it fall flat.

Over the years, I’ve also talked with countless others who’ve shared the same highs and lows. Through it all, I’ve been lucky to learn from some of the best in the business—managers and programmers like Mike Thomas, Mark Hannon, Leslie Fram, Patrick Davis, and Chris Oliviero.

If every broadcaster could learn from mentors like these, they’d be lucky, too.
Here are a few of the lessons I’ve learned about launching a new show along the way.

IGNORE THE NOISE

Face it—for the first six months of its existence, your new program is the worst show in the history of the world. Everybody hates you. The newspapers, the bloggers, social media… “Why aren’t you the old show?” “You’re not from here!” “I’m never listening to (insert station name) again!”

An inexperienced program director might be tempted to react to the noise and frantically try to change course. I’ve seen this happen numerous times before, and it rarely works out in the end for that show.

The best program directors help their talent ignore the noise and focus on getting better every day. I’ll never forget the early days of The Sports Hub, when every article was about when I was going to get fired and when the station was finally going to hire a “real” sports guy for the slot.

My PD, Mike Thomas, and GM Mark Hannon sat me down and said, “Never mind the noise. You’re our guy, and we’re invested in this working for the long run.” From that moment on, I truly felt free to focus 100% on the show’s quality—not the outside nonsense.

WORK OUT AS MANY OF THE FORMATICS AS YOU CAN BEFORE LAUNCH

First, consider the spot load. When a new show launches, competing shows will sometimes lessen their commercial load for the first month or two to gain an advantage. It’s a smart move.

So if you’re playing 24 minutes of commercials an hour while the competitor is only playing 13, you’re putting your new show in a no-win situation. Help your team out by staying competitive in the early days of the launch and limiting commercial loads if you can.
Second, make sure the entire show is available as a podcast, and the podcast is properly encoded for PPM.
Third, ensure that the stream is ready, PPM-encoded, and glitch-free, since we know many people are listening away from their traditional AM/FM radios.

BE THE SALES DEPARTMENT’S BEST FRIEND

Remember: the launch of a new show is tough for the sales team too because it means uncertainty for advertisers and, in most cases, low ratings at the start. Let the sales department know right away that you’re willing to do almost anything to help build relationships with their current and future accounts.

Join them on client visits. Provide a list of companies you’ve worked with in the past or would like to partner with. Make short videos talking about how much you love a product for the salespeople to send to their clients. Anything you can do to make the sales staff’s jobs easier will build goodwill—and that goodwill will matter as your ratings begin to rise.

PATIENCE

A wise man named Randy Lane once said, “Developing new shows takes patience. You can be looking at one to two years for a show to achieve ratings and revenue success.”

A new show on Day One sounds almost nothing like that same show six months later. Chemistry must be built. The host must learn more about their co-workers to bring out their best. Speech patterns must be established so no one talks over anyone else. Emotional hot buttons must be discovered, and the rhythm of jokes, setups, and strengths and weaknesses all need to fall into place.

When I first launched The Sports Hub, for six months, it seemed like everyone hated us. Even worse, it felt like no one was listening. But then something happened. The “you’ll never last” calls stopped, and people began to accept that we were, in fact, the morning show that was here to stay. Listeners became familiar with us, learned our personalities and quirks, then came the calls and emails, then the ratings.

It was like watching popcorn pop. You wait forever, thinking nothing’s happening, and then suddenly—boom—it all happens at once. Zero to sixty.

On my most recent show, the first few months felt the same. It seemed like we were talking to ourselves. And then, four months later, the calls came, the emails came, the social media came, and people started stopping us on the street. And in our fifth month, we skyrocketed from 14th to 5th place. We jumped nine spots in one month. Zero to sixty. Popcorn. Popped.

STAY HUMBLE BUT STAY FOCUSED

People love underdogs. I remember when The Boston Herald reached out to me for a quote about the competing show across the street when we first launched. I told them I was just going to focus on my show, and may the best show win. After all, who the hell was I? I hadn’t won anything yet.

Across the street, our competitors mockingly told the newspaper that they were “hiding under their desks,” they were so scared. We surpassed them in the ratings a year later—and unfortunately for them, that quote came back to haunt them.

Stay humble, but stay focused.

The bottom line is every show starts rough. But with talent that’s willing to grow and leaders who stand by them, it’s amazing how quickly “the worst show ever” becomes “I knew them first.”

Photo by Samuel Regan-Asante on Unsplash

The Most Important 8 Seconds of Your Show

Tue, 21 Oct 2025 14:37:00 GMT

Back in 2007, when PPM ratings rolled out, Jeff McHugh attended an Arbitron seminar that revealed something shocking.

The presenter paused, like he was about to deliver bad news about a loved one, and said:
“ The point in any given hour when the most listeners leave a radio station is not during commercials. It’s when the deejay starts talking.”

Hmmm, but here’s the kicker: PPM data still shows the same thing today. Yet we still hear many shows start with the same old pattern: “Station name, show name, back-sell the song, artist, slogan, weather, time.”

By the time you finish all that wallpaper? Ten to twenty seconds have gone by, and many listeners have gone with it.

Why Start with a Hook Headline?

As a host, you’ve got about eight seconds to grab attention.
Think about your own media habits. When you’re scrolling online, what makes you stop and click? It’s the headline, the hook. It grabs you emotionally or sparks curiosity.
Radio works the same way.

Sure, attention spans are shorter today, but the bigger challenge is competition. Most radio listening occurs in the automobile. The dashboard is now packed with choices, streaming, podcasts, and playlists, not just AM/FM. You can’t afford to ease in slowly.

Anatomy of a Hook Headline

A must-listen hook headline teases what’s coming next without giving it away.
Here’s what makes one work:

Hook headlines are teasers to get listeners’ attention without giving away the story or content.
It sets the tone. A flat or generic open signals “same old, same old,” and listeners tune out.
They build clarity and trust—frame “why you should care” right away. Let them know they’re in for entertainment, laughter, or drama.
Headlines fuel energy. A strong open energizes both you and your audience.
They spark curiosity. Set up a mystery that makes listeners lean in.
Hook headlines ask intriguing questions. Curiosity is a magnet for attention.
They trigger emotion. The best hooks make us feel something:

Wow or amazement
Humor or joy
Heartfelt emotion
Vulnerability
Fear or danger

3 Keys to Crafting Great Hook Headlines

Keep them short, specific, and emotional.
Set up a mystery that piques curiosity.
Test it out loud.
If it makes you curious, laugh, or lean in, it’ll likely do the same for your audience. If it feels flat, tweak it using the principles above.
Think movie trailer.
Trailers get your attention. You know what the movie’s about, but they don’t give away the story.

Photo by Wilson Blanco on Unsplash

Personalities: The Face of Your Brand

Wed, 15 Oct 2025 01:04:00 GMT

A recent Gallup Survey and The Hollywood Reporter ’s Morning Consult poll reveal what most of us already sense: public trust in “the media,” radio, TV, and newspapers has hit another low. Only 28% of respondents report trusting the media.

The polarization of news into left and right viewpoints continues to erode overall confidence.

But here’s the twist, and it’s a big one. While “the media” ranks near the bottom in trust, individual news anchors scored dramatically higher.

The Power of People

At the top of the 80 anchors surveyed sits David Muir of ABC News, with a 63% trust rating. That’s more than double the trust people place in “the media” overall. People may not trust “the media,” but they still trust people .

Late-Night Lessons

Late-night television ratings have been declining because fewer people watch in real time. Audiences more often watch highlights and viral clips at their convenience.

Late-night comedians are still major influencers. When Stephen Colbert or other late-night hosts hit a nerve with a smart, funny moment, millions will watch the clip online, often far exceeding their broadcast ratings, which hover around two million viewers for the top three.

Radio’s Takeaway

The Howard Stern Show has 1.7 million Instagram followers, and SiriusXM has 647k. On a local level, The KVJ Show in West Palm Beach has 36,400 Instagram followers, and 97.9 WRMF has 8,290 followers.

Music is everywhere, but your talent is the brand distinction. That’s your edge.

Make Your Personalities the Face of Your Brand

Promote your trusted personalities.
Build your brand around talent. Use their faces and voices in marketing. They’re your biggest differentiator.
Use your stars for imaging.
Instead of relying on generic voice talents, let your trusted hosts voice much of your promos and imaging. Familiar voices build connection and credibility.
Post your content daily
It’s shocking how many shows in 2025 still don’t post their content. Audiences expect content access on their time. Highlights, benchmarks, and full shows must be available on demand.

Stop obsessing over slogans, positioning statements, and freshening your station voiceover. Instead, make your personalities the face and voice of your brand.

Photo by Matheus Ferrero on Unsplash

The 6-Point Content Filter Every Show Needs

Wed, 08 Oct 2025 16:41:00 GMT

I once worked with a PD who would ask after every idea in a planning meeting: “Do they care? Do they care? Do they care?” It drove the show nuts, but he was right. All content must be relevant to the audience.

The most successful shows pass every idea through a content filter before it makes it on the air. Here’s a basic content filter for maintaining engaging and audience-focused content.

1. Relevant: Does your audience care?

It could be the hottest trend on TikTok, but will your 35-54 male audience care?

Pro Tip: If you can’t explain why the idea is relevant to your audience in one sentence, it’s probably not ready for airing.

2. Topicality: What’s everyone talking about?

Topicality is the common thread that instantly connects all shows with the audience. It’s especially critical for newer shows still building their brand.

This is where the Theory of the Third applies: when two strangers meet at a landmark like the Washington Monument, they talk about the monument, not themselves. For newer shows, that means leaning into more topical, shared content first. Build character content over time.
Every show has access to the same prep services. What sets you apart and sticks is your unique angle and perspective.

3. Is it funny?

Funny and fun win every time. Humor tops every type of content in drive times.

If the content is not naturally funny, be open and allow it to occur organically in conversation. A serious story might have an ironic twist or a relatable, light-hearted angle. Laughter is sticky.

4. What’s the story?

Think about today’s most popular streaming shows like The Summer I Turned Pretty , Wayward , or hit podcasts like Call Her Daddy. They’re built on captivating stories.

The same holds for radio and podcast shows. Your personal stories and listener stories build character, create intrigue, and spark connection. A story well told keeps listeners hooked.

5. Where’s the drama?

The magic formula is humor + drama. That’s why features like Second Date Update , To Catch a Cheater, and Phone Taps create high-tune-in appointment listening.

Relationship content, whether romantic, family, friends, or coworkers, is packed with both. Drama drives emotion, and emotion drives loyalty.

6. The Content Filter Test

In your planning process, grade your content like you would your station’s music:

A’s = Powers
B’s = Solid secondaries
C’s = Don’t get on the show

If it’s C-level content, workshop it until it’s at least a B. If it’s a B, brainstorm how to push it into an A-level. Don’t settle for “good enough.”

Photo by Firmbee.com on Unsplash

Master Hot Button News Stories

Tue, 30 Sep 2025 15:29:00 GMT

“One man lost his life, and one man lost his job over free speech.” — Bert Weiss, The Bert Show

Music station shows live by a simple rule: talk about what everyone else is talking about. But when gigantic stories like Charlie Kirk and Jimmy Kimmel collide, it gets tricky.

Some shows avoided the stories. Others barely touched it. But here’s the risk: if you ignore what everyone’s buzzing about, your show can feel inauthentic, or worse, out of touch.

Listeners come for entertainment first, but they also want real, human emotion. Authenticity is the bedrock of today’s successful shows.

Universal News Story Guidelines for Music Stations

For Fun/Feel-Good Shows:

If you have a trending or news segment, deliver the headline in 1–3 sentences. Skip the commentary.
If you have an N/T or TV partner, let them handle it in headline form.
Play audio headline clips that tell the story.
No trending or news segment? Drop a quick mention at the end of a break with a note like, “It’s unfortunate, but we know you’re here to be entertained.”
Repeat every hour (or even every half-hour in mornings with uber-short TSL).

(There are exceptions when avoiding a story makes sense for your brand, but use them sparingly.)

For Trusted Voices:

If you or your show has earned audience trust through longevity with consistently top ratings over the years, you can share how you feel about any story. Additionally, you can acknowledge both sides of divisive stories while steering clear of political hot takes.

In the End:

The worst move is spreading rumors, misinformation, or disinformation. At the minimum, acknowledge universal stories everyone is talking about.

Be real.
Be relevant.
Be accurate.

That’s how to stay authentic, even with huge polarizing stories.

Photo by Jonathan Gong on Unsplash

The Pictures Are Better on Radio

Tue, 23 Sep 2025 14:44:00 GMT

Using only audio, great broadcasters and podcasters make listeners “see.” How can your show create more impactful theater of the mind when you have too many tasks and not enough time?

A couple of weeks ago, I was running up a shady mountain trail here in Portland when through my headphones came the voice of radio news legend Susan Stamberg.

Ms. Stamberg is known for saying, “The pictures are better on radio.” When asked to explain, she says, “ Anything you can imagine is better than anything you can see .”

That made me think of some theater-of-the-mind techniques that we hear – and see – in our coaching work with stations around North America.

Vocal emotion . A blockbuster daily benchmark on WDJX Louisville’s Ben Davis and Kelly K show is Feel Good Stories. Listen to Kelly K lower her voice in a story about a bride whose life was saved by a heart donation from an 11-year-old boy. The bride invited the parents of the lost son to her wedding. Grab a tissue .

Voice effects. During The Bizarre Files on WMMR, Philadelphia’s Preston and Steve, Preston Elliott reported on a man on a mobility scooter who fell down an open elevator shaft. Steve Morrison quickly added an echo effect and ad-libbed what the fallen man might be saying. “I thought I could make that opening… but I couldn’t.”

Reenactments. One Thanksgiving, Dick Broadcasting’s Two Guys Named Chris had one Chris once recounting a family dinner while the other Chris ad-libbed voices of family members. “Where’s the MEAT?! I’ll be damned if I am eating Tofurky!”

Visual language. Instead of saying she wore a “yellow dress,” consider visual language that evokes a memory. “Her cheap dress was the color of my first-grade school bus.” According to brain scientists, detailed visual information lights up listeners’ heads like a fireworks display.

Character voice vs generic voice . When Cumulus Chief Content Officer Brian Phillips directed programming for 995 The Wolf in Dallas, he hired Hollywood actor and Lubbock native Barry Corbin to voice station imaging. Listen to Corbin preach the values of “Texas Country.” Compare that delivery to a monotone, cookie-cutter station voice common on many corporate stations today. A Hollywood actor may certainly be outside your budget, but you can hire other interesting character actors for the same fee as a generic voice.

Sound effects. At Froggy 99 Fargo, The Wake-Up Call with Scotch, Tank and Mandy brings their sound-effect A-game by pre-recording and editing most segments. Scotch adds the cherry on top of the cake by dubbing in noises that add visuals to each story.

Music . A great on-air game needs a good opening theme song. A sad story is sadder with a violin. Remember to use music intentionally and in a way that adds to the content. A generic, unrelated music bed droning in the background detracts from the content.

Actualities and clips. We recommend that any mention of a TV show, movie, or performer be accompanied by a clip of the same. Delicious Audio is a helpful, affordable service that often provides actualities with stories. Newscasts are more engaging with voice actualities, sound, and even music with reports.

Sensory details . Naming what listeners would smell, touch, hear, see, or taste instantly transports them right inside the picture you want them to see.

Photo by Derick McKinney on Unsplash

Radio Can Do What Politics Can’t: Bring Us Together

Wed, 17 Sep 2025 12:02:00 GMT

The United States has been rocked by political violence this year, from the tragic assassination this week of conservative activist Charlie Kirk to the senseless killing of Minnesota Democratic state senator Melissa Hortman and her husband earlier this summer.

These heartbreaking events are a stark reminder: people with different views are not enemies. We’re neighbors, coworkers, friends, and family members.

As broadcast influencers, we have a powerful platform. We can either add to the hate and division, or we can be the voice of connection, collaboration, and positivity. Radio has always been about bringing people together, and in this moment, that role is more important than ever.

Radio’s Responsibility
Radio personalities hold a unique space in our culture. Unlike most media platforms, our shows feel personal; listeners hear our voices every day and feel like they know us. That companionship means we can influence tone, perspective, and even healing.

This is a moment to rise above polarization. We can:

Model respectful dialogue. Demonstrate how to treat one another by how we handle disagreements on air, respectfully.
Focus on common ground. Celebrate stories of collaboration, kindness, and resilience that transcend politics. Fortunately, this week, we’ve heard politicians on both sides of the aisle call for more cooperation and collaboration within Congress.
Promote positivity and unity over division. Most Americans identify as center-right or center-left. The loud extremes are the minority and the ones creating enemies and violence.

Listeners Are Hungry for Connection
People are tired of the polarization that dominates headlines and social feeds. They crave hope, empathy, and connection. Your show can become a safe space where listeners are reminded that we have far more in common than what divides us.

Thursday, after the Charlie Kirk assassination and on 9/11, Dave Coombs, Dorene & Marcus on WKLH, called for Milwaukee listeners to unite the way Americans did in the aftermath of 9/11.

The Classic Rock show highlighted listeners calling for unity and featured a “positive playlist” with songs like “Don’t Stop Believing,” “All You Need Is Love,” and “Us and Them.”

A Call to Action
You can be a voice for accepting our differences and focus on the values we share: safety, opportunity for all, freedom for all, and community. Radio can help amplify that message.

As hosts, you don’t want to be preachy. On the right stories, a simple reminder that peaceful dialogue is the path forward can inspire listeners more than you realize.

The Wrap
In times like these, the most powerful thing we can do is use our platform to remind people: disagreement is not hate and danger, and diversity of thought is not division.
Encourage no violence, more conversation. Less finger-pointing, more listening.

Radio can lead the way.

Photo by Lucas Sankey on Unsplash

Turn Listeners Into Co-Creators

Mon, 08 Sep 2025 14:25:00 GMT

Radio hosts have pulled back from live calls in recent years, mostly because of texting and social media posting. Reading listener comments is good for engagement, but it’s not the best way to connect.

High Tech, High Touch
RLC: “Texts are quick, but calls bring the emotion and entertainment value.”

Text and post responses are quick and easy, but they lack the emotion, dynamics, and unpredictability of a live voice on the air. It takes more effort to generate phone calls, but the payoff in entertainment and connection is worth it.

In the 1980s, Futurist John Naisbitt’s book Megatrends predicted that we would transition from an industrial society to an information society. He also foresaw that in a digital world, we’d crave “high tech/high touch,” more humanity in the midst of all the technology.

Far too many shows rely only on social media and texts for interaction. Digital feedback ideally supplements live calls, not replaces them. Callers connect you directly to your audience and instantly localize your show.

The Loyalty Factor
RLC: “When listeners help create the content, they feel ownership and loyalty increases.”

When you empower listeners as co-creators, they don’t just engage, they feel like part of the show. That sense of ownership drives loyalty. And loyalty = P1 growth = higher ratings.

“Turn your show into a community hub, not just a broadcast.”

When you give listeners a voice in your show, you transform them from passive listeners into active participants. The show feels less like a broadcast and more like a community, and that’s where loyalty, connection, and ratings growth come from.

Photo by Yevgeniy Mironov on Unsplash

Your Brand Speaks Louder Than Ratings

Sun, 24 Aug 2025 11:15:00 GMT

The most valuable asset you have as a talent isn’t your last Nielsen trend; it’s your brand.

The most successful hosts extend their brand well beyond the studio. They launch podcasts, host live events, write books, create businesses, and build personal platforms. Why? Because stations flip formats, companies downsize, merge, or sell. You can’t wait for the station or syndicator to define you.

Dave Ramey took a local talk show and built it into a national financial empire with books, live events, and a podcast network. To thrive in today’s gloomy radio revenue cycle, you must create, grow, and own your brand.

Ratings Won’t Save You
Your show could be #1 18–34 or 25–54, but revenue can be down 25%, and that top ranking won’t always protect your job.

How can you expand your brand and boost your value beyond ratings? Consider these 8 strategies:

1. Define Your Brand
Decide what you want to be known for, and ensure it remains consistent across all platforms. Is your superpower Humor? Heart? Controversy? Community?

2. Control Your Digital Presence
Don’t rely only on station pages. Create your own show website. Make it your digital home base with show audio, podcasts, videos, blogs, and event links.

3. Endorsements = Revenue & Job Security
When your contract comes up, you better believe GMs look at endorsement revenue.

Jeff Wicker of Richmond’s Wicker & Wilde on Mix 98.1 has as many as 10 endorsements. He builds strong relationships with clients by remembering birthdays, dropping by with popcorn, and connecting with staff, from managers to admin assistants.
You don’t have endorsements yet? Get to know the sales and promotions people. Attend sales meetings.
Use AI tools to create spec spots for potential clients.

4. Podcast Your Personality
Posting your full show, top benchmarks, and highlight moments daily is now fundamental to your brand. But don’t stop there.

Josh Spiegel from Justin, Scott & Spiegel (98 Rock, Baltimore) just launched Lunatic in the Newsroom , an original podcast outside the daily show.
Have a hobby or interest? Launch a second podcast to widen and deepen your brand. Bob & Sheri ’s Sheri Lynch has a podcast outside the show called True Weird Stuff .

5. Create Events and Use Other Media
Events extend your brand and create revenue opportunities.

2 Guys Named Chris , a syndicated show in the Southeast, created the Comedy All-Star Show , taking comedians on the road to boost brand awareness and drive new income.
Baltimore’s Justin, Scott & Spiegel host a WBAL-TV show after SNL called Justin, Scott & Spiegel Shouldn’t Be on TV , and it pulls big ratings.

6. Start a Blog or Newsletter
Share free creative tips, show prep ideas, or your personal interests to broaden your character. Many successful blogs later become books.

7. Experiment with Video
From fun shorts like Tino Cochino to thoughtful commentary to passion projects, video builds equity in your name and creates new touchpoints for your audience.

8. Your Brand is a Business
Endorsements, podcasts, events, and partnerships are all brand extensions. Ask yourself: Does this align with the image I want to project?

The Wrap
Radio stations and companies come and go. Formats change and ownership shifts. But your brand follows you wherever you go.

If you build a brand to last, your audience will follow.

Photo by Samuel Regan-Asante on Unsplash

Radio Show Superpower: Listener Inclusion

Mon, 18 Aug 2025 17:08:00 GMT

By Mike Donovan

Personality radio isn’t just about clever benchmarks, trending stories, or the latest celebrity drama. It’s about belonging .

Listeners don’t want to feel like they’re on the outside looking in; they want to feel like part of the show, part of the family.

In crowded markets, so many shows sound alike. How you involve your audience can be the single biggest factor that makes you distinctive and unforgettable. Let’s look at two game-changing areas:
Inclusion and Competition .

LISTENER INCLUSION: Make Them Feel Like They’re in the Room

When a listener hears their voice, their text, or even their idea on air, it’s not just interaction; it’s a micro-moment of ownership. That’s where loyalty is born.

1. Ditch “Caller #9” Contests
The “You’re caller #9, you win!” model is quick, transactional, and forgettable. It’s fine for filling a prize giveaway, but it doesn’t build a connection or give listeners a story they’ll still be talking about tomorrow.

Instead:
Turn listeners into contributors, not just contestants.

Ask for voice memos through your app’s talkback feature:
“Tell us the most ridiculous thing you’ve ever had to explain to a coworker.”
Highlight your number prominently in imaging:
“Be part of the show, call us at ___.”
Text listeners back who have engaging stories or points. Invite them to go on air with you.
Try a “Finish This Story” segment where the audience delivers the punchline or twist. Shout out listeners with the best story finishes.

2. Make the Listener the Hero
When a listener shares something funny, shocking, or heartfelt, put them in the spotlight, not just their story.

Example:
“We’ll never forget Julie from Raleigh and her raccoon-in-the-kitchen saga… which somehow ended with her meeting a fireman, now her husband. Julie, you’re officially part of our show lore.”

3. Let Them “Win” Without a Prize
Validation is a powerful currency. Feature the “best text” of the morning, the “most savage clapback,” or the “comment that made us laugh out loud.” Often, hearing their name and words on air is the best prize of all.

STAYING COMPETITIVE: Standing Out in a Prep-Service World

Many shows use the same prep services, cover the same headlines, and deliver them the same way. That’s the fast lane to blending in and not standing out.

1. Filter Everything Through You
Your competitor can tell the same Taylor Swift album update, but only you can tell it through your character lens, your city, and your show’s chemistry. Always ask:

“What’s the angle here that only we could do?”

2. Localize Big Stories
Start with a national story hook, then bring it home.

Example: Rising beef prices.
“Where have you seen the most overpriced beef in town?” Did you talk to the manager? Are you still shopping there?”

3. Turn Information into Interaction
Don’t just report the story, pull the audience into it with a live reaction.

Run a quick audience poll.
Initiated an interactive topic with listeners who have similar stories.
Make a bet between hosts and let listeners decide the outcome.

4. Audit for “Could Be Anywhere” Content
Once a month, listen to your whole show and flag anything that could air in any market with any team. Those are your danger zones. Add to or replace them with moments that sound unmistakably you .

KEY TAKEAWAYS

Inclusion builds loyalty. Differentiation wins the market.
If you make listeners feel like they belong and give them reasons to choose you over similar-sounding shows, you’ve built a moat your competition can’t easily cross.
For your next prep meeting, ask:
“How can we make the listener part of today’s story, and tell it in a way only we could?”
Do that consistently, and your audience won’t just listen. They’ll feel invested. And that’s when you’ve got more than a morning show… you’ve got a community.

Contact Mike Donovan here .

Photo by Samuel Regan-Asante on Unsplash

Conflict Sparks Engagement

Tue, 12 Aug 2025 00:55:00 GMT

Conflict on your show isn’t the enemy; it’s the secret sauce for deeper listener engagement.

Think about your favorite sitcom, podcast, or morning show. Most of the laughs, tension, and memorable moments come from conflict.

When it’s intentional and well-managed, conflict is a goldmine for connection, comedy, and character development. When it’s mishandled, it turns into petty bickering, inflated egos, or awkward tension that makes listeners feel like they’ve wandered into a therapy session they didn’t sign up for.

Some music station morning shows avoid conflict entirely, believing positivity requires constant agreement. The problem? Forced harmony flattens the energy. Listeners crave contrast. They want to take sides, provided it feels like friendly sparring, not emotional warfare. Conflict wrapped in care and chemistry keeps them hooked and boosts time spent listening.

Here’s how to make conflict work for you, not against you:

1. Earn It with Trust

The team must genuinely like and respect each other. Without that, conflict becomes uncomfortable fast, and listeners can hear it. Build trust with regular check-ins, shared experiences, and genuine feedback.

Try a weekly or at least monthly “no ego” session where each host offers one improvement suggestion to another, framed positively and non-personally. If the foundation is solid, disagreements feel natural, not explosive.

2. Assign the Tension

Disagreement works best when it’s channeled through clearly defined on-air roles:

The Cynic rolls their eyes at feel-good stories.
The Romantic believes in love at first sight.
The Rule Follower reads all the fine print.
The Wild Card orders a burger at a sushi joint.

This isn’t about faking beliefs; it’s about leaning into authentic character differences for the sake of the conversation. Plan and decide who will take the “stretch” or unpopular opinion and exaggerate it just enough for entertainment. You’re playing a role, not picking a fight.

3. Pro, Con, and Neutral

A three-position setup covers every listener’s perspective. The “neutral” voice reflects the undecided audience and can shift to pro or con by the end of the segment(s) after hearing both sides. This naturally builds suspense and engagement.

4. Agree for Different Reasons

Conflict isn’t always about disagreement. You can give a topic depth when two people agree, but for different reasons:

No cell phones in school : “They’re a distraction in class.” vs. “They contribute to cyberbullying.”

5. Wrap It in a Hug

Disagreement works when it’s delivered with warmth, humor, and self-awareness. It sends the message: We’re all good here, just having fun.

Lines like:

“That’s why we love you, Billy. We’re glad you’re comfortable being wrong!”
“You decide who’s right. Text us… Spoiler alert: it’s me.”

Say it with a smile, then move on.

The goal isn’t to win the argument, it’s to win the audience.

Thanks to consultant and talent coach Mike Donovan for his contributions to this blog.

Photo by Cherrydeck on Unsplash

Revamp Radio With AI, Keep It Human

Wed, 06 Aug 2025 12:29:00 GMT

AI isn’t just changing the way we live; it’s changing the way we prep, produce, and perform on the air. The best radio shows don’t ignore it. They’re learning to work with it.

We’re coaching talent and teams across the country to use AI as a creative partner. Used effectively, it saves time, sparks ideas, and frees you up to focus on what matters most: connecting with your audience on an emotional and authentic level.

Smarter Show Prep

AI tools like ChatGPT and Jasper can quickly generate content angles, rewrite teases, or reframe topics. Think of it as a brainstorming assistant. You still drive the execution, but AI helps get you there faster.

Build Characters and Audio Bits

Want to create a parody song, or if your company allows it, an AI-generated celebrity call-in? Milwaukee’s Dave Coombs, Dorene & Marcus on WKLH created an AI Ellen to enhance a pop culture story here .

Platforms like ElevenLabs make it easier to build voices and characters without overloading your cast or producer. That means more room for content and personality and less time wrestling with production.

Audience Insight in Real Time

Research budgets are tight or nonexistent. Tools like Descript and Veritone analyze your audio and give feedback fast on tone, timing, and content structure.

Save Time—So You Can Be More You

AI can automate repetitive tasks like writing promos, podcast descriptions, editing audio clips, or drafting social posts. That means more time for the things only you can do , connecting emotionally, building characters, and creating memorable moments.

Photo by Immo Wegmann on Unsplash

Why Talent Coaching Matters (And Why I Love It)

Wed, 30 Jul 2025 14:41:00 GMT

Great content starts with great talent. Always has. But in today’s media landscape, especially in radio, talent matters more than ever.

Radio isn’t just about music, contests, or promotions anymore. It’s about connections. The voices behind the mic are what keep people tuning in day after day. And even the most naturally gifted personalities need guidance to sharpen their edge, keep growing, and stay relevant.

That’s where coaching comes in. And for me, it’s still the most rewarding part of the business.

Turning Good Into Great

Great coaching doesn’t “fix” people, it frees them. It’s not about critiquing; it’s a collaborative process that helps unlock creative potential.

At RLC, we give talent structure with room for innovation. We’re not trying to change personalities; we’re here to amplify what they already do best. Maybe it’s a storyteller who needs a stronger framework. Maybe it’s a funny cast member who just needs a cleaner setup and better timing.

Our approach is simple: minimize the weaknesses, maximize the strengths.

Every Show Is a New Puzzle

There’s no one-size-fits-all formula. And that’s what makes coaching so energizing.

Some teams need help defining their characters. Others want to break out of predictable patterns and generate fresh, original content. Some shows need better alignment across radio, social, and podcast platforms to keep their voice consistent and on-brand.

Every show is different. Every team brings a new creative challenge.

Personality Drives Everything

Listeners don’t fall in love with radio stations. They fall in love with people.
That’s why we always lead with personality. The more you reveal who you are, your quirks, your point of view, your sense of humor, the more listeners lean in. When talent is authentic and memorable, loyalty follows.

I Love Lightbulb Moments

There’s nothing better than when it clicks, when a show tries something new, and you can feel the shift.

You hear it on the air. The energy lifts. The phones ring. Social engagement pops. The segment feels more alive, more real, more them.

That’s the magic.

The Wrap

A great coach is part strategist, part creative partner, and part truth-teller. Coaching gives talent the one thing they rarely get enough of: honest feedback, real support, and the tools to get better, fast.

Photo by Austin Distel on Unsplash

The 8-Second Grab

Wed, 23 Jul 2025 16:28:00 GMT

Pixar knows how to hook an audience. Within seconds, they pull you into the story.

In Finding Nemo , we’re hit with a jolt. Nemo is taken, and Marlin has to act fast.
In Up , Carl is about to lose everything that connects him to his late wife’s dream.

Why does this work? Because it gives us something to care about, quickly. Something’s at stake, and we’re emotionally invested.

Radio is no different. It’s even more urgent.

With attention spans shorter than ever, Nielsen PPM data shows that listeners often decide to listen to your segment in the first 8 or 9 seconds, particularly if they’re a casual (cume) listener.

That’s why your segment intros matter…a lot.

Open the mic with a bold, clear headline that poses a choice, raises the stakes, or sets up a mystery. If you don’t grab their attention right away, they mentally check out or worse, change the station.

Why the 8-Second Rule Works

Humans are wired to pay attention when stakes are high.
We want to know how something turns out.
We’re drawn in by unresolved dilemmas.
We stay because we care about the outcome.

Headline Examples That Hook:

Urgency or risk:
“My husband told me not to open the letter. But I did. And now I can’t undo what I read.”

Time pressure:
“Lila from Santa Monica has 9 minutes to call us back—or she loses $1,000!”

Relationship fallout:
“I confided in a friend, and now my secret’s on Facebook. But I never said a word.”

Workplace drama:
“I accidentally sent a voice memo to my boss—and it included the wrong Jeff.”

Surprise or contradiction:
“Why was I banned from Costco?”

Curiosity hook:
“I broke a parenting rule this weekend… and it worked.”

Pro Tip: Prep and rehearse your hooks.

The best shows have a system:
Each cast member writes a headline for every segment.
Together, they pick the most compelling one to lead with.

When writing yours, ask:

Does it spark curiosity?
Does it create tension or surprise?
Does it raise a question or emotional stakes?
Would you keep listening?

And skip the gimmicks. Avoid “you won’t believe what happened” type clickbait. Instead, lean into real stories, real stakes, and real consequences.

The wrap:
The 8-second headline grab isn’t about hype, it’s about clarity and intention.
Nail the first 8 seconds… and you’ll earn the next 3 minutes.

Photo by Wilson Blanco on Unsplash

Trust: The Essence of Talent Coaching

Mon, 14 Jul 2025 19:31:00 GMT

Photo by Alex Shute on Unsplash

Games Over Giveaways

Wed, 09 Jul 2025 15:23:00 GMT

Radio is the only entertainment medium that emphasizes prizes over programming.

Games are more entertaining content than giveaways. Giveaways are a promotion and an interruption in content. Jacobs Media’s annual Techsurvey routinely lists prize giveaways at the very bottom of reasons why people choose AM/FM radio.

Radio giveaways can sometimes spike short-term listening if executed well with a “wow” prize. Some of the companies that we work with use them during crucial ratings periods to good effect.

Text-to-win is sometimes effective for building a listener database. The tricky part is getting permission to text P1s in the future. And giveaways can be a way to involve local sponsors after most or all of the local personalities have been downsized.

But giveaways are boring. So many stations do giveaways; they have become generic. And a lot of listeners are skeptical that the games are even real and that anyone wins.

Games are better. A fun game allows listeners to play along and delivers emotional impact. The interaction between the hosts/contestants can be entertaining, and games are memorable, which aids diary recall and repeat listening.

However, there are problems in putting a game on the air. Here are a few common barriers and clever solutions from some of our favorite radio hosts.

NO PRIZE, NO PROBLEM

Last week, Dave Ryan at KDWB Minneapolis told me, “Listeners love to play even without a prize. People play Wordle every day, and there’s no prize there.”

When there is no prize available, Dave, Jenny, Vont and Bailey often play against each other and here are a couple of their favorite go-to games.

Lyric Shuffle . Dave says, “We have an electronic wheel spinning sound effect and it lands on a word (which we have pre-recorded in a voice from someone not on the show.) Let’s say the word is “Red.” Two of us on the show take turns trying to name a song with that word in the lyrics. Red, Red Wine, for example, would be a winner. Start by taking turns. If I can’t name a song with the word in a few seconds, a buzzer goes off and my opponent gets a chance to steal. This is my favorite game of the week.”

Think Fast. “We pit two show members against each other. They blurt out answers to questions/clues, and the first one to get 7 right is the winner. After we get a winner, we give a few more questions/clues just for listeners, where we don’t try to answer. We give the question and wait about 10 seconds while the music bed plays so listeners can try to answer.

Here’s a sample:
A spring activity starting with the letter B – birdwatching
A word describing spring weather starting with R – rainy
A spring clothing item starting with the letter S –
A popular travel destination starting with F – Florida, Florence
A spring chore starting with the letter R – raking

NO PARTNER, NO PROBLEM

What if you are hosting by yourself? I shared cocktails with Mitch Elliott at KINK FM Portland recently, and he says, “Before the pandemic, Corey Foley and I used to play a game on the morning show called Smarter Than Corey. Corey would step out of the studio while I asked the listener five random trivia questions. They had 40 seconds to answer. Then Corey would come back in and try to beat their score with the same five questions in the same amount of time. If the listener tied or beat Corey, they won.

When COVID hit and Corey was let go, I had to come up with a new version of the game. I kept it simple: now the listener gets 40 seconds to answer five trivia questions, and if they get at least three correct, they win a prize. It’s not groundbreaking, but it’s become the most popular feature on the morning show. When school is in session, I often get a parent in the car with their kids, and the whole carload will play the game. The key is keeping the questions fresh and covering a broad range of topics.

NO QUESTIONS, NO PROBLEM

A trivia game should be easy, but finding questions can be time-consuming. Steve Bishop of V100 Charleston’s Steve and Jenny tells me, “My go-to website is Random Trivia Generator.com.

There are always more questions that don’t work for me, versus the ones that do. I click on the question in the quiz I believe I’ll use, then right click and highlight it to do a Google search to confirm it is correct. Sometimes they are not. I search every question, regardless of where I find it. I don’t like being wrong, even for this silly radio game that seems to have an incredible following.”

NO WINNER, NO PROBLEM

Does there have to be a winner in every game? Griff Henderson of Griff and Caroline at Jack FM Halifax, Nova Scotia, says maybe not.

“We are currently doing a twice-weekly contest with ALMOST no prizing. Seven Deadly Spins features trying to identify seven 02-second song clips, with a growing cash prize. We’ve given out very little cash, but the contest has become a hit because if the contestant loses, we ring the Shame Bell (taken from Game of Thrones) and listeners want the contestant to lose so we ring the damn bell!”

Photo by Andrey Metelev on Unsplash

Boost Your Content’s Lifespan

Tue, 01 Jul 2025 16:03:00 GMT

I’m still surprised how many big-market shows—some in top 20 cities like San Diego—aren’t consistently posting their content on demand. One show hasn’t posted audio since November . That’s a missed opportunity.

Let’s be real: the audience has changed. We’re in a Netflix, YouTube, and podcast world. People expect to listen on their time, not yours. If you’re not there when they want you, they’ll find someone who is.

Think about it: if your content isn’t on demand, you’re asking listeners to adjust to you . But on-demand content adjusts to them .

In listener labs, even your biggest fans tell us they miss their favorite benchmarks, or they only catch part of the show before work. Many go back and listen later, often at work on their computers, phones, whatever’s handy.

On-demand content = ratings and marketing.

The PPM game is a game of inches. Every minute of listening counts. Post your full show—coded for Nielsen—on your station site. If you’re syndicated or have your own site, post it there, too. Nielsen gives you ratings credit for time-shifted listening within 24 hours.

Also: chop up those benchmarks and highlight moments. Post them to your website and social feeds. These clips can tease the full show, drive engagement, and bring in younger listeners—and they’re easy to monetize.

When a listener hears something great and shares it with a friend, you become part of their life.

Don’t sleep on video, either.

Short video highlights aren’t just nice to have—they’re essential now. They help grow your brand, build loyalty, and can lead to new revenue streams.

And yes, even in diary markets.

You won’t get ratings credit, but listeners still want easy access to your show. On-demand content boosts recall and works as free marketing. Social media makes your show discoverable to people who’ve never heard you live.

The bottom line:

If your content only lives on-air, it dies fast. On-demand gives your best stuff a longer life—and a bigger audience.

Thanks to consultant and talent coach Mike Donovan for his contributions to this blog.

Photo by Alexander Dummer on Unsplash

Attention Span Blueprint

Tue, 24 Jun 2025 22:46:00 GMT

Let’s face it: your audience is in a big hurry. They’ve got short attention spans and a million options. If you’re not interesting, they’re gone.

Think of attention as currency. Your job is to grab it—and keep it.

One key to remember: attention resets when something changes. Build those moments into every segment.

How to Win the Attention Game

Start strong. Don’t waste the first 10 seconds.

Listeners decide fast. Open with something that makes them want to stay:

A bold question
A strong statement
A teaser: “Can you imagine getting a call that changed your life?”

Involve listeners right away.

Move quickly to content. Go straight to a caller after your hook, before texts and posts. New voices and emotion = instant engagement.

Use audio to your advantage.

Sound bites, clips, effects—all help break up the sound and grab attention. Use music beds or sound effects between stories and topics.

Keep the pace moving.

Don’t let energy and attention wane. Shift tone or topic every:

2–3 minutes on music shows
5 minutes on talk shows

Change it up:

Fast → slow
Story → call → audio → comment
Funny → real → uplifting
Add well-timed pauses

Tell great stories.

Start with a hook
Use vivid, sensory details
Let dialogue shine
Cut the filler—don’t ramble or repeat

Be human. Be a little unpredictable.

Today’s listeners love authenticity. Share:

Real feelings
Honest reactions
Vulnerable, relatable moments

Always end with a tease.

Leave them wanting more:
“Coming up in 5: The one moment that made Taylor Swift lose it backstage.”

Photo by Headway on Unsplash

The Care Factor

Wed, 18 Jun 2025 19:34:00 GMT

Randy Lane and Mike Donovan

Imagine people so passionate about a grocery store that they joyfully stand in long lines anticipating the opening of a new one, and get tattoos to show their loyalty.

CBS Sunday Morning recently aired a story about Wegman’s Supermarket and its focus on the “care factor” for its food, employees, and the people it hires. Wegmans puts extra care into all its food products, and it honors employees with higher pay and benefits.

Consultant, talent coach, and friend Mike Donovan told me a GM once said to him, “The biggest problem you’re going to have as PD is that no one on the staff will care as much as you do.” As a programmer or manager, how do you get your staff to care as much about the product and content as Wegmans?

The difference between a manager and a talent who shows up and checks the boxes is someone who makes an impact on audience engagement and overall station success because they care.

TALENT & PD CHECKLIST

Consider these points to assess your talent and programmer’s care factor, or to evaluate a potential hire.

Programmer: Team Collaboration

Cares about the team dynamic. They make co-hosts, producers, and contributors feel heard, supported, and part of the mission.
Works to elevate staff performance in a collaborative and non-personal manner.

Preparation & Curiosity

Does extensive prep. They research local stories, pop culture, and audience trends to facilitate fresh content for their show.
Shows genuine curiosity about the audience, community, and the craft of radio. They ask you questions, seek feedback, and are students of successful brands.

Strategic Thinking & Ownership

See the station and show as a brand. They offer initiatives to improve content, sound, and benchmarks.
Respectfully challenge the status quo: suggests thoughtful changes to improve content and marketing on-air and online.

Natural Enthusiasm

Talks about radio as a calling, not just a career: expresses deep love for the medium, storytelling, and audience connection.
Listens to other formats and successful shows for inspiration and trends.

Audience-First Mentality

Consistently consider the listener’s experience: focuses on inclusion, entertainment value, and emotional payoff in every segment.
Understands emotional connection: puts effort into moments that surprise, delight, or resonate emotionally with the audience.

Time Investment Beyond the Clock

Invests time off-air to rehearse, edit, collaborate with team members, and plan captivating segments.
Volunteers for events and promotions that help deepen station-audience relationships (remotes, charity drives, etc.).

Risk & Personal Touch

Cares enough to take creative risks: brings unique, personal, and sometimes vulnerable content that humanizes the brand.
Tailors original content to local or audience culture, not cookie-cutter radio.

Feedback Responsiveness

Proactively asks for feedback , not only accepting it but also seeking it to grow and refine their craft.
Implements feedback consistently: not by giving lip service, but shows improvement over time.

Follow-Through and Detail Orientation

Double-checks show elements, audio, promos, and transitions are in place, eliminating the chance for error.
Follows through on ideas to completion , going beyond brainstorming and implementing ideas consistently and thoroughly.

Photo by Austin Distel on Unsplash

Boost Engagement: Embrace Vulnerability

Tue, 10 Jun 2025 00:48:00 GMT

In Jockline Daily Friday, Kidd Kraddick Show cohost Kellie Rasberry said, “ I got to where I am today with 90 percent of the credit going to Kidd Kraddick, who taught me the importance of being authentic, despite the risks.”

Authenticity is one of the two attributes that listeners are attracted to most in a radio or podcast personality. The other is humor.

The most potent ingredient of authenticity is vulnerability. It creates a deep connection, emotional impact, and meaningful resonance with the audience. If you saw Good Will Hunting , Matt Damon’s character Will’s breakthrough comes when he allows himself to be emotionally vulnerable.

If your goal as a media personality is to make a deeper connection with your audience and create fans, here are four reasons to be vulnerable:

VULNERABILITY:

1. Builds Trust and Connection

When you open up about fears, failures, doubts, or regrets, it signals honesty and courage. Listeners are drawn to authenticity as it mirrors their own experiences, making the story relatable and you trustworthy.

In Brené Brown’s TED Talk on vulnerability, she connects deeply with millions by sharing her struggles with shame and imperfection.

2. Heightens Emotional Engagement

Vulnerability taps into universal human emotions—loss, hope, shame, love, resilience. It evokes empathy, which makes the audience feel rather than observe. Emotional engagement makes a story unforgettable.

3. Creates Character Depth

Perfect characters feel flat or inauthentic. I once conducted a character definition for a female host who had all positives. I told her, “If you don’t have any flaws, we’ll need to make some up.” People are intrigued by flawed characters because they are real, human, and relatable.

4. Invites Reflection and Growth

When listeners witness someone else’s vulnerability, they often reflect on their own experiences. It creates space for introspection, healing, and growth.

THE WRAP

Like in social media, many air personalities tend to only show their positive characteristics. Others will be self-deprecating, a humorous cousin to vulnerability. Self-deprecation is a good step toward being vulnerable.

Vulnerability is the ultimate heartbeat of authenticity. It transforms narratives from entertainment into shared human experience. It takes risk. It takes courage. Listeners will never forget it.

Photo by Toa Heftiba on Unsplash

The Magic of Audio Storytelling

Mon, 02 Jun 2025 15:36:00 GMT

When Cumulus Media’s Chief Content Officer Brian Philips was President of CMT, I asked him if being in television had given him a fresh perspective on radio.

Brian said, “ TV is a visual medium and it’s all about video. Radio is an audio medium, and it generally does a poor job with audio.”

Radio is facing a fierce audio battle. Podcasting and audiobooks are still strong, and Edison ’s recent study revealed that over half of Americans have at least one audio subscription service.

One of the ways radio can thrive in the mix of all this competition is to focus on its strength, audio.

The missing element in radio storytelling

Storytelling is a key ingredient in A-level content across all media, including radio. What’s the missing element in most radio storytelling? Immersive storytelling that includes sound effects, sound bites, and music.

Immersive storytelling with sound adds emotional depth and engages listeners in ways words cannot.

Here are three shows with audio that demonstrate the entertainment value of audio storytelling:

We hear many shows use generic music beds throughout their show with no relation to the content. KRTH 101 LA’s top morning host, Gary Bryan , and cohost Lisa Stanley often use sound effects and clips in concert with the content and to elevate the dynamics in their entertainment benchmark. Listen to this example .
Jack FM’s former Vancouver morning show, Kiah & Tara Jean, used sound effects in their “Who Saw You Naked” topic. Notice the drum beat while Kiah is hopping and the electronic effect bridge from the story to their commentary. Enjoy the audio here.
In Preston & Steve ’s daily “Bizarre Files” feature at WMMR Philly, Steve provides character voices, and they utilize production effects to illustrate their stories. Check out one of their stories here .
Audio teases make more impact. When you have audio coming up in story features like news, trending, or good news, play a snippet of the audio in the tease, and it’ll drive more listeners to hear the story. Here’s an excellent example from WKZL Greensboro, NC’s Jared & Katie . Listen here .

Tips for Creating Immersive Audio Stories

Write visually and sonically: Imagine how a story sounds as much as how it reads.
Use sound to show, not tell: Let listeners discover the world through audio cues.
Have a checklist of audio tools in your planning process, including:

Sound effects (real life and electronic)
Music
Sound bites and clips
TV shows, streaming series, and movies always need a clip for context.

Photo by Marius Masalar on Unsplash

Master the Art of Coaching

Sat, 31 May 2025 03:00:00 GMT

Programmers and talent coaches often focus their feedback on execution fundamentals, missing the bigger issues of what could make an emotional impact with listeners. I’m guilty of this, too.

Typical talent feedback includes:

The segment went long.
The tease was vague.
You didn’t reset often enough.
You missed the station name and frequency.
The setup wasn’t clear and to the point.

These points support TSL maintenance, but they’re all from the shallow end of the pool. If you want a show to push the numbers, focus your attention and coaching on content and character development .

CONTENT EVALUATION

Humor is the top quality listeners want in an entertainment-based morning show. When you have a funny show or personality, humor will transcend most mechanical and execution flaws.

Not all personalities and shows can be funny, but they all can have fun. They can be fun with one another, with callers, and with guests. Humor can be added with comedy clips to support content segments and features. Recurring funny and quirky characters can also elevate the show’s humor factor.

Content Premises

Does your show’s content premises lead to:

Captivating stories
Drama/conflict/action/dilemmas
A high tune-in benchmark
Interactive games that listeners play along with in their minds
Entertaining and interactive topic discussions

CHARACTER EVALUATION

Authenticity is the holy grail of successful personalities. High-definition characters share relevant life experiences with the audience. They are comfortable being vulnerable by revealing their character flaws. Vulnerability evokes empathy and makes listeners feel rather than observe.

Key character evaluation questions:

Storytelling skills?
Does the show have heart? Community involvement?
Do the hosts support each other with “Yes, and?”
Is the team chemistry and rapport cohesive and harmonious?

THE WRAP

My intent is not to diminish the importance of execution. Sticky content with poor execution often results in mediocre content. The bigger point is to put more emphasis on the content and the characters. They are the soul of radio shows and podcasts .
Direct more of your coaching to the content and character development, and the show will turn listeners into fans.

Photo by Samuel Regan-Asante on Unsplash

Make or Break Your Show With Production

Wed, 21 May 2025 16:53:00 GMT

Great production can help image a show’s brand, make benchmarks more memorable, and help pump up the excitement. But like any sharp-edged tool, production sometimes does more harm than good.

Here are five checkpoints that help you assess if your radio show or podcast is using production effectively.

1. Use music beds intentionally . Running generic music beds under conversations is a multi-format convention that’s designed to increase the perceived energy and improve pacing. However, they create a barrier between you and the audience.

Instead, select music beds to set a mood and match the topic and set a mood to create an emotional listener experience. Play the Monday Night Football theme when discussing the NFL, or a Taylor Swift song clip while dissecting her love life.

In PPM markets, a music bed helps Nielsen devices hear your talk content. Keep the volume low and lean more towards background drones instead of driving drumbeats, guitar licks, and horns that distract the audience.

2. Kill the show open . Do you ever notice that the “cold opens” on NBC’s Saturday Night Live air before the title credits? It would be less compelling if they aired the credits first like back in I Love Lucy days. Today’s audience wants you to start the show. Find that long, produced “show open” that runs once a day at 6:00 AM and click “delete.”

Listeners do not care that it is your first break of the day. Their first break of the day is the one they happen to hear whenever they start listening. Open your first segment of the day like you do all the other segments – strong!

3. Keep it short between songs. When playing songs back-to-back, avoid stopping the music for a piece of production. We see PPM respondents tune away because of a 10-second plus imaging piece that makes listeners think you’re going into commercials. Keep between-song imaging super-short, run imaging over the intro, or consider a segue.

4. Keep it short in the setup . Selling the show’s brand with quick killer production in the first few seconds of a content segment is an effective practice. The average attention span of your listener is 8 seconds . Cut your imaging down to under five seconds and get to the entertainment immediately.

5. Always use the cast names. Listeners relate to people, not show names. No one calls it The Tonight Show . Audiences call the show “Jimmy Fallon or Fallon.” At San Diego’s Rock 1053, the imaging for “The Show” always includes, “with Eddie, Sky, Thor, and Emily.”

Photo by Samuel Regan-Asante on Unsplash

Is the Future of Radio Syndication?

Wed, 14 May 2025 01:41:00 GMT

Research such as The Jacobs Tech Survey highlights the growing appeal of local content. Yet, despite this trend, syndicated programming is gaining traction, particularly inside broadcasting companies.

One prominent industry executive, who asked to remain anonymous, confidently asserts: “Syndication is the future of radio.”

Why? Because syndication addresses two of the industry’s most pressing challenges:

Elevating content quality across the board, ensuring listeners receive highly engaging shows no matter where they live.
Reducing the painfully long stop-sets that drive listeners to streaming alternatives.

“Syndication introduces a new kind of local,” the executive explains. “Thanks to AI, syndicated shows can now be hyper-personalized—with station names, local references, and even regional nuances blended seamlessly into the programming.”

Our source parallels modern commerce: “Look around—many thriving global companies operate without a single brick-and-mortar location. We shop online, stream everything, and rarely shop at physical stores. Radio can evolve in the same way.

Advancements in technology allow radio to shed traditional infrastructure costs, like buildings and real estate. The result? Lower overhead, fewer commercials, and increased ad rates. Need a meeting space? There’s WeWork .”

Time Spent Listening (TSL) to radio is short. Our source suggests, “Instead of two 6–7-minute breaks per hour, a smarter approach is three shorter breaks—2 minutes and 30 seconds each.”

LOCAL VERSUS SYNDICATION

This week, I spoke with three top executives to get their take on the evolving debate between local programming and syndication:

Greg Strassell, EVP Programming, Hubbard Radio

We must be open to what’s right for a particular market or station.  We will always start by discussing a local opportunity and available programming budget.

What matters is a good personality that entertains and shares their life with the audience. If you can get that and have the budget to do it locally, perfect! If you can’t get the budget, there are amazing possibilities from self-syndication within companies or a syndicator, provided they can fit into the sound and vision of the brand.

When Brooke & Jeffrey launched on our station in Chicago, Throwback100.3, the naysayers said it would never work. Several years later, Brooke & Jeffrey are 4th in Chicago with women, and we see a steady growth pattern over the years.

Syndication requires the efforts of both the content producer and the receiving brand to keep in touch daily to wisely integrate a syndicated product. Our teams in St. Louis and Cincinnati have invested much time to launch “Jesse & Anna” and get it right for WIL St. Louis.

Whether it’s local or syndicated, is your brand vital to your audience? If not, how do you make it vital? 

Don Anthony, Owner: Morning Show Boot Camp, Jockline Daily, Talentmasters

A case can be made for local and syndication, but it comes down to the best show. Obviously, this debate has evolved quite a bit over time, and with the proliferation of so many options and platforms for listeners, it’s hard to arrive at a consensus, particularly by demo or market size.

Syndication has steadily grown in recent years, both nationally and regionally, and across various time slots. The number of syndicated shows has also grown. Well-programmed live and local radio remains as viable as ever, especially in those markets with well-entrenched shows whose local connection and history lends well to their popularity.

Pat Paxton, Senior VP, Content Saga Communications

Whether to go local or syndicated depends on what you’re trying to accomplish. You must look at the brand, the signal, and the competitive landscape. If the format is Rock and syndicated shows like Bob and Tom are already in the market, we would first look to invest in a local show.

You can’t beat a great local show. They live there, go to events, and they can talk about what’s going on locally. Conversely, if you don’t have the budget to build a winning local show, syndication is a viable option.

If it’s a choice of good local show vs. a good, syndicated show, go local. If it’s a bad local show vs. a good, syndicated show, go syndicated.

Great syndicated personalities don’t work in all markets. We have a show that’s killing it in one market and struggling in another.

In our large PPM markets, we’re 99% local with high performing shows in Milwaukee, Columbus and Norfolk. We also have some great local shows in smaller markets but are certainly open to syndication as market conditions dictate. 

We haven’t gotten into syndicating our own talent within our company. You still have the same issues as national syndication like modifying the content to sound connected to the other markets.

THE WRAP

At RLC, we work with both local and syndicated shows—and we agree with our contributors, the right approach depends on the brand, circumstances, and budget.

However, radio’s commercial load remains its greatest obstacle. Long spot breaks continue to push listeners toward streaming platforms with shorter or nonexistent interruptions.

The idea that radio no longer needs physical buildings has floated around for years. It’s a viable strategy. By cutting real estate and infrastructure costs, stations can significantly reduce their commercial load, raise rates, and reinvest in higher-quality content.

Photo by Samuel Regan-Asante on Unsplash

Transform Passive Into Active Listeners

Mon, 05 May 2025 16:17:00 GMT

Storytelling is essential for connecting emotionally with your audience. It makes content more memorable, engages listeners, and encourages active listening.

When we hear a good story, we go from passive listening to active listening visualizing the experience in our mind.

Emotional Impact : Stories evoke empathy.
Memorability : People retain stories better than raw facts.
Active Listening : Stories grab attention and make listeners visualize the experience.

Go long on stories, short on information. Stories captivate and stay with listeners.

Telling vs. Showing

Effective storytellers show rather than tell . Showing uses sensory details, dialogue, and action to make the story vivid and engaging.

For example:

Telling : “I was nervous before the interview.”
Showing : “I wiped my sweaty palms on my jeans and rehearsed the first sentence under my breath.”
Telling : “Tom was angry.”
Showing : “Tom slammed his fist on the table. ‘This is the third time this week!’ he shouted, his face red.”

Showing draws listeners in, creating a deeper connection and a clearer picture.

Create a Story Inventory

Build a collection of personal stories you can draw on for your show.

How to Start:

Find a quiet place to reflect on different chapters of your life.
Write down vivid memories and emotions as they come to you.

Story Prompts:

First day of school
Memorable birthdays
Family holidays or vacations
Pranks or funny moments
First love or crush
First job
Role models or mentors
Most treasured memory
Elusive goals

Pro Tip : When topics like graduation or Memorial Day come up, refer to your story inventory. Personal stories add depth and relatability to your segments. Always aim to show rather than just tell.

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The 3-Minute Rule Signals Big Change

Thu, 01 May 2025 12:37:00 GMT

FREQUENTLY ASKED QUESTIONS

Three of the most common questions Jeff and I are asked by talent and management are regarding stop-sets, meeting with talent, and when to run features.

The hot topic of discussion is around Nielsen’s new 3-minute rule.

Nielsen’s new 3-minute rule: Should we shorten commercial breaks and add a stop-set or stick with two long breaks?

Since the inception of PPM, conventional wisdom has been to stop less often with longer commercial sets to reduce the number of potential tune-outs. Most stations stop only twice an hour, with exceptionally long commercial breaks.

Time spent listening for top-rated morning shows only averages 10-12 minutes per listen. Attention spans continue to shrink, and consumers are accustomed to shorter commercial breaks across the audio and video spectrum. Listeners will continue to have more entertainment options, and once they leave your station, it could be a long time before they return.

Nielsen’s 3-minute rule within quarter hours allows radio to reduce egregiously long commercial breaks. Now, tune-outs can be lessened by stopping for commercials more often with shorter durations. A recent study by Edison Research points out the same opportunity.

Consider increasing the number of stop-sets in mornings and 4-6 pm. If you’re airing two stopsets, increase it to three, for example.

Should features run at the same time daily or weekly?

A-level benchmarks running at a fixed time can create high tune-ins. The downside to running features at a specific time is that most people listen at the exact times daily based on their schedule. Because TSL is short, that feature is the only content many listeners will hear.

B-level features running at the same time will eventually cost your station cume and TLS. The other downside to running too many features at fixed times is that the show becomes too predictable, missing the element of surprise.

Run one or two A benchmarks to create high tune-ins and float the rest. A bonus for features that float at different times is that they are exposed to a higher percentage of the total audience.

As a program director, how often should I meet with the show?

I once coached a major market morning show where the PD met daily with the cast for 60-90 minutes. He wasted time telling stories and mainly chit-chatting. It drove the show crazy for taking up so much of their prep time.

Daily meetings for established shows are counterproductive because it doesn’t give the show time to implement and refine the coaching points.
New shows benefit from daily sessions until they are flowing smoothly. Meet weekly to review content with established shows. Check in daily to say hello, mention a great segment, or follow up with anything pending.

Photo by Ivan Oštrić on Unsplash

Boost Creativity: Pen or Keyboard?

Mon, 21 Apr 2025 19:13:00 GMT

In our pervasive world of screens, handwriting is fading into obscurity. But wait, is this a good thing? The research says no.

Princeton and UCLA researchers Pam Mueller and Daniel Oppenheimer tested over 300 students taking notes during class lectures. The students taking notes by handwriting retained significantly more ideas than those who typed notes on a laptop. They also found that the handwriting students reframed ideas in their own words and engaged brain activity was noticeably more substantial.

Rather than starting creative ideas on a Mac, Apple’s creative process has historically emphasized using whiteboards for brainstorming and idea development. Steve Jobs, in particular, was known for effectively using whiteboards to visualize concepts and facilitate team discussions. Check out Jobs’ Whiteboard Strategies .

RLC has long advised talent to practice journaling by hand to stimulate their creative juices. I started scribbling and sketching my ideas on paper when I thought of writing this article. Like many people, my handwriting is a mixture of cursive and printing. Cursive or printing doesn’t matter; the process of pen to paper fosters creativity.

HANDWRITING VERSUS TYPING

There are multiple benefits to handwriting and typing. It depends on the activity. Let’s break down the two processes:

Handwriting

Improves focus : Writing by hand reduces multitasking and digital distractions like notifications.
Slows you down in a good way: It forces you to slow your thoughts, which gives your brain space to reflect and make deeper connections. The lag time can lead to better ideas and insights.

Boosts idea generation : Handwriting activates the brain areas tied to imagination. It’s why writers use notepads to sketch out rough ideas.

Encourages freewheeling : There’s no pressure to make it look perfect. Messy scribbling and doodling make it easier to follow your thoughts from idea to idea.

Supports visual thinking : Besides words, handwriting includes sketching, drawing arrows, maps, and circles to spark storytelling and ideas.

Typing

Speed and efficiency: Most people can type faster than they can write.

Editing : Typing is easy to revise, reorganize, and format text.

Search and store : Digital notes are easier to organize, back up, and share.

Collaboration: Docs can be shared and co-edited in real time.

Accessibility: Tools like spell check, grammar, and AI help refine blogs, reports, and summaries.

The Wrap

Handwriting kindles creativity. Whether you’re writing a bit, a blog, or an important memo, start with the pen to get all your ideas out. Then go to your keyboard to edit, organize, and structure your idea.

In our increasingly digital age, putting pen to paper remains an invaluable tool for human creativity.

Photo by Uby Yanes on Unsplash

Turning High School Radio Into Media Careers

Mon, 14 Apr 2025 15:12:00 GMT

My friend, colleague, and Radio Hall of Famer Downtown Joe Bryant was a co-host on The Bob Rivers Show for 25 years at KISW, KZOK, and KJR Seattle.

Joe is celebrating his 10th anniversary as the General Manager and Broadcast Media Instructor for KMIH 889, The Bridge , Mercer Island High School in Seattle.

Joe mentors high school students and inspires them to become passionate about radio. He also has important messages for our industry. We talked earlier this week.

Your high school radio station has won a slew of awards.

Yes, 2025 Best High School Radio Station in America by Intercollegiate Broadcasting System (New York) and 2024 Best High School Radio Station in the country by John Drury Radio Awards (Chicago).

For people under 18, our students have won the New York Times and NPR best podcast awards for the past several years.

Describe the programming on 889 The Bridge .

We have an entertaining and informative morning show called Breakfast on the Bridge. It’s an ensemble cast that includes news, sports, guests, music, and sometimes live music. The music is multigenerational, from Frank Sinatra to Bad Bunny.

The station has 24/7 programming. We have the RCS automation system, Zetta, and G-Selector to program our music.

Our station has a student music director and some who handle production, and we program many live sporting events. We broadcast traditional sports like football and basketball, and other youth sports like lacrosse, volleyball, and soccer. Hey, ESPN even has cornhole on!

What students have gone on to pursue careers in radio and other media?

One of our former students is now co-hosting the morning show on NPR’s KUOW here in Seattle. A student is now a writer for The Atlantic . No, she wasn’t the one on the infamous group text!

Another student just got a summer job at Fox Sports LA . I have a student attending Dartmouth. His focus is on business rather than media, but he uses the skills he learned in my program to produce the Big Green Economics Podcast , which is featured on the front page of the university’s website.

Are your classes designed solely for kids wanting to go into radio?

No, we have special needs students with issues like Autism. They learn to hear their voice, build confidence, become better communicators, and find their place in school. We give students a platform to express their voices.

Tell us about the curriculum.

We start by teaching the history of radio through today to give students context and perspective. I explain how radio goes from your mouth to the mic, the transmitter, the tower, the radio, and Mars. We also discuss the difference between AM and FM radio.

Classes are offered in the art of the interview. One of the student features is “Career Spotlight,” where they interview from a field they’re interested in. I will play clips of interviews from The Bob Rivers Show . Some are model interviews, and others that tanked to illustrate what doesn’t work.

Do young people listen to radio for music or the personalities?

They listen more for personalities. Our shows with the most downloads are the ones with the strongest personalities. Two female students launched a popular fashion podcast, and now they’re going on a local TV station to critique the TV host’s fashion!

Four Asian American students generated the most downloads with the “Rice and Shine” podcast. The girls provide a unique perspective on growing up as Asian American teens. They discuss topics ranging from light things such as KPOP to more serious discussions like the increased hate AAPI kids are facing in some communities. They have been profiled in magazines and won many national awards.

What are the problems facing high school radio stations?

Many of the teachers are English teachers who have never worked in radio. It’s a sin that many high school stations have closed because of it. If you’re a retired or semi-retired air personality, offer your services at high school and college radio departments and stations.

Joe, I majored in Radio, TV, and Film at Memphis State and was on air at the campus radio station. Most of the teachers had never been in radio, and we learned the most from class guests like local Memphis radio programmers and personalities like Scott Shannon.

If you work in radio, attend career days to speak, share your knowledge, engage young people, and show passion for radio and podcasting. Volunteer at a local school’s media program or Journalism class. Mentor upcoming talent with a free critique of their show.

If you teach a radio class, give students the freedom to explore. Make it a learning lab, give them a little rope, let them make mistakes to learn, and help them find their voice. People learn best by doing.

Since radio has lost its training ground to voice tracking overnights, weekends, etc., how can we develop young talent in other ways?

Companies could offer more programs like Hubbard Radio’ s summer camp to teach young people about radio. They could also get back to intern programs. Many personalities started as morning show interns. Now, anybody with a smartphone can be a broadcaster.

What advice do you have for the radio industry?

Be more relevant and super-serve your community, like we do with The Bridge . Marry the city and be part of it. Spotlight local artists’ music. Our station has a local music category that we play once an hour.

One of the many things I learned from Bob Rivers is not to be satisfied with good. Work on it until it’s excellent. Respect your audience’s intelligence and take some risks musically—surprise and delight listeners.

Photo by Mikael Kristenson on Unsplash

Boost Your Brain Power

Tue, 08 Apr 2025 14:35:00 GMT

Knowing how your brain works sets you up for exceptional performance. Dr. John Medina’s book, Brain Rules , reveals scientific studies that directly apply to radio and podcast performers and management.

Here are Medina’s most actionable brain rules for peak performance:

ATTENTION

We don’t pay attention to boring things.

Medina says, “Introductions are everything!” Our brains must have an attention-getting headline to begin each content segment, presentation, or meeting so that an audience will pay attention. In media, we call them “hook headlines.”

3 Essential Elements of Hook Headlines:

1.   The headline must trigger an emotion: fear, laughter, happiness, nostalgia, or amazement.
2.   It must be a crisp, understandable, brief narrative or anecdote to arouse curiosity.
3.   Your headline must be relevant to the audience.

Attention multitaskers : Your brain is wired sequentially, so giving your full attention to more than one thing at a time is impossible.

MEMORY

Repeat to remember.

Not only does repetition help us remember, but it also works with an audience. Cramming or constantly repeating a message in one segment doesn’t work. Allowing time between repetitions enables the brain to process and remember.

• Spacing the messages out more often, rather than repeating information about an appearance in one live segment or promo, will help information stick with listeners. The same concept applies to commercials.

SENSORY INTEGRATION

Stimulate more of the senses at the same time.

Engaging stories deliver A-level content. In RLC’s storytelling seminars, Jeff and I emphasize the importance of sensory details to paint pictures.

Our senses work together. Cognitive psychologist Richard Mayer’s sensory experiments to test memory divide one group with sound, one with sight, and the third with a combination of the two. The multisensory group always has better recall.

• Animate your stories with pictures by incorporating sensory language (see, hear, smell, taste, feel).

• When it applies, include the use of smell in your stories. Medina notes, “Smells have the unusual power to bring back memories.”

• Audio in the form of sound effects and audio clips in your stories will enhance the listener experience.

SLEEP

Sleep well, think well.

This research revelation got my attention: Sleep deprivation impacts our mental abilities more than being drunk!

Medina notes, “Sleep loss hurts attention, executive function, memory, mood, quantitative skills, logical reasoning, and even motor dexterity.”
The author also details studies revealing the importance of a midafternoon nap. He says our brains don’t work well during this period, which he calls the nap zone.

• Naps boost cognitive abilities by as much as 34%, according to one NASA study.

EXPLORATION

We are powerful and natural explorers .

Medina believes the greatest Brain Rule of all is curiosity. Curiosity is the driving force behind creativity. It pushes us to ask, “What if?” and explore possibilities beyond the obvious.

• Smart companies take the power of exploration to heart by giving employees 15-20% of free time to work on creative ideas. At Google, 50% of new products, including Gmail, Google News, and AdSense, came from the company’s “20% time.”

• Personalities who are curious with callers and guests get more entertaining stories and juicy information.

Photo by Milad Fakurian on Unsplash

Avoid These 10 Show Killers

Tue, 01 Apr 2025 13:47:00 GMT

The key question to creating sticky A-level content is, “Will the premise lead to stories, humor, conflict, drama, character reveals, or engaging listener interaction ?”

Avoid these premises if you want to create captivating content.

1.    Yes/no topics : “Have you ever fantasized about a coworker?” is a dead-end topic ending in yes or no responses from listeners. “How did your crush on a coworker lead to trouble or love?” will generate entertaining stories.

2.   Broad topics , such as “What are your thoughts on blind dates?” will only lead to opinions (“I don’t like them,” “I would try one,” etc.). Specific premises, such as “What happened when you went on a blind date?” lead to stories.

3.   Designated caller contests: Approximately 2% of your audience will ever call your station to win a prize. 98% of your audience will be bored. Interactive games that listeners can play along with in their minds turn passive listeners into active listeners. They can potentially entertain 100% of your audience.

4.   Topics about objects without emotion : “What food do you hate?” will only generate a list of foods. “When,” How,” and “What happened” premises, like “What happened when you got food poisoning?” will generate stories. You can bet Tracy Morgan has a memorable story about throwing up at the Knicks game!

5.   Guest interviews: I hear too many interviews focusing only on the guest’s event, movie, or concert tour. Take a tip from the late-night TV hosts and save that information for the end of the interview.

Guests are PPM rating killers unless they tell stories, and/or you make them part of your show, like chiming in on your ongoing topic or playing one of your games.

6.   Lists with no stories: Reading online lists that anyone can read is not entertaining. Highlighting the most interesting ones with personal stories and example situations connects with the audience.

7.     Announcement stories: Announcement stories in news, trending, sports, and lifestyle features are not sticky and don’t connect with listeners. Examples are “Public golf courses are opening today,” sports scores and schedules are app content available on your phone, and “Billie Eilish is going on tour.”

8.     Inside conversations: Not only are they hard to follow, but they are also conversations between or among the hosts that exclude the audience. They are like walking into a workplace break room conversation and being ignored.

9.   Visual content: Since most radio listening occurs in autos, describing a photo or video that listeners can’t see is not relatable. Keep those references brief.

10.   Politics, race, and religion on music stations : These topics are lose-lose content in today’s polarized world.

Photo by Samuel Regan-Asante on Unsplash

Charity Remote Checklist

Fri, 28 Mar 2025 00:27:00 GMT

If you are heading out of the studio to broadcast a radiothon for St. Jude, your local charity, or at a theme park, consider this checklist as you pack your headphones.

1. Plan more. If you spend two hours a day planning a show in the studio, plan to spend four for an on-location show. If you’re at a theme park, you can send your producer down a water slide or broadcast from a ride. But pulling off that sort of content successfully means more planning to set up and execute.

2. Get an audience. Set up in a location where there will be people around. Hearing the audience’s response and the sound of activity adds a dimension of dynamics and ambiance to your show for listeners.

3. Multiple mics are a must. If you have a three-person cast, have four mics on location, so there’s one for guests. Sharing a mic can work, but it dramatically changes the dynamic of your chemistry and conversation.

4. Do the regular show, but better. Carefully plan emotional segments and slot benchmarks for fun or comedic relief. Schedule all the regular features and play interactive games with people live instead of on the phone.

5. Generate stories. Stories are the lifeblood to stimulate giving on radiothons. You can talk about what the charity does for kids or adults all day, but patients’ backstories and healing stories move the needle.

• Neuroscience states that vulnerability triggers oxytocin, the bonding and love hormone associated with trust, empathy, and emotional connection. Getting emotional stories of kids, patients, family, and care providers must be core to your content.

• As a talent, take opportunities to be vulnerable, and you’ll deepen your relationship with listeners.

6. Go short on information and long on stories. Recorded sponsorships can cover much information about the organization with minimal information from talent. Do tell stories about the fun things to do if you’re at a theme park.

7. Record and edit all interviews. Before the interview, let guests and people from the organization know that your show records and edit interviews for maximum impact on air.

8. Add audio and video to the show . Move around the facility to record audio and video on your phone. Let listeners hear the cacophony of activity at your event. Post video throughout the broadcast and save audio for upcoming shows.

9. Be chill with technical problems. Know in advance that things quickly go wrong on remote broadcasts. Insist that it gets fixed, of course, but stay calm. Your freak-out won’t help fix it and may hurt the show’s vibe. And that leads us to the tenth point…

10. Be real, be present, and have fun (at the appropriate time).

Photo by Katt Yukawa on Unsplash

An Insider’s Look At Bob Rivers

Mon, 17 Mar 2025 12:36:00 GMT

Radio lost one of its most creative and inspiring personalities earlier this week. The Bob Rivers Show with Bob, Spike, and Joe dominated morning ratings in Seattle for 25 years.

Before Bob and I began working together in the early 2000s at KZOK Seattle, I viewed his show primarily through his Twisted Tunes parodies. However, I soon discovered there was much more. After listening to several shows, I was impressed by how entertaining, deep, and diverse the show was.

Bob flew me and the cast—Spike O’Neill, Downtown Joe, Arik Korman, and Maura Gallucci—to Orcas Island off Seattle for a weekend workshop at Rosario Resort & Spa. After dinner, Bob drove me around the island and asked for my impression of the show. I told him, “Your show is funny, has captivating characters, and is smart. It sounds like NPR’s Morning Edition on steroids!”

Over the years, we held several weekend workshops in the San Juan Islands, including Friday Harbor. During these sessions, Bob and I would discuss various topics, from addressing issues with the show and the cast to sharing thoughts on life, family, hiking adventures, politics, and metaphysics.

I last saw Bob at the August Morning Show Boot Camp in San Diego. He was upbeat and expressed gratitude for our long-standing relationship. I called him just before he passed away last week. Although his resonant voice had weakened due to cancer, he remained enthusiastic and gracious.

This week, I spoke with several industry notables in Bob’s circle who shared their memories and stories about him.

COHOST SPIKE O’NEILL

Can you share how you and Bob met? I love the story.

I was a caller on Bob’s show in Baltimore, where he parodied “Monday, Monday” with “Hyundai, Hyundai.” As a car salesman at my dad’s dealership, I complained about it on air. Bob’s manager had him test drive a Hyundai with me, which led to my internship on his show. We quickly collaborated on a Twisted Tune parody. Two weeks later, Bob took me and co-host Sean Donahue (son of Tom Donahue, considered the father of Progressive Rock Radio) to KISW in Seattle.

I admired how you and Bob collaborated on storytelling. Bob would tell stories, and you would illustrate them by doing impressions of people in the story.

We learned how to dance without stepping on each other’s feet in front of the judges, the audience.

The show had top ratings at KISW and KZOK. Why the move to KJR in 2010?

After the recession, management asked Bob to cut the cast from seven to four. Bob insisted that everyone stay or nobody would, leading us to KJR until his retirement in 2014.

What did you learn from Bob?

He taught me that everyone has a moment to shine and that every voice matters. He was a generous mentor who was passionate about everything he did.

Bob was also generous during his Radio Hall of Fame induction.

He insisted that the “The Bob Rivers Show” be in the Hall of Fame and recognized us for our contributions.

You, Joe, and Bob worked on new Twisted Tunes just before he passed.

Yes, Bob wanted to do one more trip around the park and cut a couple of new songs before he left us, and he engineered a session in a studio last week with Joe Cocker’s touring band, the original band behind the first Twisted Tunes.

EXECUTIVE SHOW DIRECTOR ARIK KORMAN

You have an entertaining story about meeting Bob during his KISW stint.

After Bob did a weekend talk show, talk station KIRO gave him a shot at prime time middays. Bob brought Spike and Joe with him. It was the late ‘90s, and the initial segment focused on Microsoft, Bill Gates, and computers. They turned off the mics and noticed the phones were completely dead. Bob told me, “Okay, Einstein. What do we do now?”

I said, “Ask the audience a specific question.” Bob opened the mic and said, “I bet there’s nobody in Seattle that doesn’t have a computer.” The phones were jammed with callers for three hours!

Arik, you were instrumental in getting the show and KZOK involved with World Vision . Bob said it was his proudest accomplishment.

We have helped 150,000 people worldwide in countless undeveloped countries, such as India, Bangladesh, and those in Africa. Bob saw the value of helping people and connecting the show and audience with something bigger than themselves. Building this community felt like a family in the Northwest and the world.

It’s easy to make people mad. It’s harder to make people laugh and even harder to make them cry. Making listeners laugh and cry like The Bob Rivers Show creates a deep connection with them.

What did you learn from Bob Rivers?

Bob was the greatest negotiator who ever lived. He also knew how to build an audience and made people feel like they were the most important people in the world.

He taught me the value of curiosity. Bob was fearless and open to new experiences, like keeping bees, making maple syrup, becoming a pilot, and traveling the world.

Bob was a democratic host.

Yes, he empowered people to do what they did best. He trusted us to play our defined roles. He was almost always positive, but he could be stern when we did not do what we were supposed to.

What was Bob’s superpower?

He was a kind person. He continually asked how to help others, including family, friends, broadcasters, and the world. Bob appreciated every moment and every interaction with the people he cared about.

BOB’S AGENT, PAUL ANDERSON

You’ve said meeting Bob was serendipitous.

I met Bob Rivers in the ’90s when I bought his used Range Rover. He invited me to lunch, and I became his music lawyer. I was a media lawyer and did his deal with Atlantic Records for his Twisted Tunes.

Bob then introduced me to broadcasting by suggesting I represent BJ Shea, who was my guinea pig for becoming a talent agent. I aced it, and I began representing Bob. I was the only agent he had in his career.

You have a great story about helping Bob to overcome his greatest fear.

Bob had a weekend home on Orcas Island. We were going to catch a ferry from Seattle, and Bob was a notorious lollygagger. He was late catching the last ferry.

Bob greatly feared flying, but he said he’d fly if I could charter a plane this late on Sunday. I found a plane, and when we got to the airport, he was white-knuckling and terrified to fly.

I said, “Bob quit being a pussy.” He said, “I may die today, but I’m not letting my gay agent call me a pussy!” He got on the plane, and it started his journey to face his fear by going on a mission to become a pilot. Bob became a pilot and became certified to fly by only using radar.

Bob had many skills and attributes. Which ones stood out to you?

His greatest attribute was valuing his relationships personally and professionally and building them on integrity. He was a skilled show host, producer, and musician. Bob was one of the most consequential people in my life, personally and professionally.

What was extraordinary about Bob Rivers?

Bob lived with extraordinary gratitude, curiosity, and vision. Whether making music or maple syrup, he never stopped, setting a standard perhaps none of us can emulate.

He once said, “We’re all directors of our own life. How you live your life is up to you.”

FRIEND AND COLLEAGUE DON ANTHONY

Bob Rivers was part of the original cast of hosts who helped give rise to Morning Show Boot Camp. He attended well over 25 of them. None, however, were more special to me and others than his last trip to MSBC in San Diego last year. He was just as positive and engaging with others as always. Canvassing social media touched me deeply when I saw all the selfies and photos he took with others while there. His big smile said it all.

Curiosity, kindness, and World Vision were repeated themes describing Bob Rivers. Radio and the world need more people like you. We miss you, my friend.

Photo by Alan Jones on Unsplash

No Conflict, No Story

Mon, 10 Mar 2025 15:38:00 GMT

Conflict is the driving force of storytelling. It creates tension, stakes, and emotional investment, keeping audiences engaged. Without conflict, a story lacks mystery, suspense, and “What will happen next?”

When you’re considering a story for your show, ask, “What’s at stake in this story?” Answering that question gives you an indication of your story’s strength.

Screenwriting guru Robert McKee calls it “the inciting incident.” It’s also called the “trigger or “triggering event.”

Get listeners invested in your story by starting it with a hook headline. You develop the headline from the conflict point. For example, my apology to a friend damaged our relationship!

What types of conflict could kickstart your stories?

You vs. another person : The TV show Survivor comes to mind, with characters competing against one another. It could be you and another coworker, you and your partner, your neighbor, or your friend.
You vs. nature : I was mountain biking in the splendor of the Sequoia National Forest when my bike hit a sharp ridge on the downhill trail. I was jolted over the handlebar onto my face! True story. Other personal examples could be getting caught in a storm, hiking in the desert and getting lost just as your water ran out, or having an accident shoveling snow.
You vs. an animal: Examples could be being surprised by a rattlesnake on a hike, trying to get a raccoon out of your house, or being thrown by a horse.
You vs. you : Internal conflicts are all about emotional struggles that give your character depth. The struggle of an adopted child searching for their biological parents leads them on a journey of self-discovery and acceptance. You could be torn over whether to have another child or go on a quest to climb a major mountain.
You vs. technology: On one of our clients’ shows, a listener didn’t want to go to a friend’s second baby shower because she’s single, down about not having a relationship, and uncomfortable with all the mother’s baby talk at the first one. She told her friend she was sick but went out with other friends instead. One of them posted a picture on Instagram, and her baby shower friend saw it. They had a falling out…

After establishing the inciting incident, escalate the conflict or raise the stakes to give the story momentum and keep listeners engaged. Whether a character battles external forces or grapples with inner demons, conflict fosters listener empathy and investment in the outcome and the character.

The Final Word

Conflict isn’t just about fights or arguments—it’s about opposing forces that challenge characters and make stories compelling. A well-constructed conflict leads to a meaningful and satisfying conclusion, making the story feel complete for the audience.

Photo by TienDat Nguyen on Unsplash

Master the Attention Span Challenge

Mon, 03 Mar 2025 17:03:00 GMT

How did Microsoft measure goldfish’s attention span to be 9 seconds and humans’ to be 8? Well, they didn’t research goldfish attention spans. It turns out that’s a myth you’ve probably read about. But it illustrates a great point.

People are increasingly impatient with technology today, including radio. When talents start talking, non-P1/cume listeners with people meters give talent approximately 8-10 seconds to engage them before switching stations in the morning.

Attention span and patience vary depending on the platform. For example:

• Waiting for a website to load: 8 seconds.

• Short-form content (TikTok, Reels, Shorts): 3–15 seconds before users scroll.

• YouTube videos : High-content creators note that once a video starts, viewers decide whether to watch it in the first 10-30 seconds, but people stay longer for engaging content set up with a strong hook.

• Reading articles/blogs: 3–5 minutes unless highly engaging.

• Shorter songs: Today’s songs average 3 minutes and 7 seconds , marking a 20-second decrease from 2019.

• Shorter parody songs : Most parody songs are under a minute, and most are around 50 seconds.

• Book summaries save time. Many buy book summaries that can be read or listened to in as little as fifteen minutes.

The audience’s content filter is higher than ever, and their attention span is lower than ever. Radio is among multiple entertainment choices, including the automobile dashboard.

What about patience and attention span regarding content segment length?

The 5-Minute Rule

To effectively hold the audience’s attention, we advise long-form shows to switch topics or take the topic in a new direction approximately every five minutes, whether on a music or talk station. Shows incorporating dialogue breakers like audio and callers more effectively maintain audience attention through those five minutes.

• Personality shows on music stations maintain listener attention by keeping content segments to a maximum of five minutes.

The 3-Minute Rule

Because of listener expectations on more music stations, content length works best if it is much shorter, a maximum of approximately 3 minutes (90 seconds max in some circumstances).

• In my recent blog, Who’s The Content Decision-Maker , Booker & Stryker’s Chris Booker (Alt 98.7 LA) noted, “We spend a lot of time planning how to get to the point more quickly, involve the audience faster, and get to the question more efficiently.”

Interactive Topics

Air callers first before texts and posts. Callers add more dynamics, emotion, and potential entertainment value than reading texts and posts. Additionally, calls sound different and get or maintain the audience’s attention.

Go long on stories, short on information.

In his blog, “ Does Your Show Need a Fast-Forward Button?” Jeff McHugh advised talent to go short on information and long on captivating stories to command the attention of distracted, short-attention-span listeners. Information illustrated with a story or delivered in the form of one connects and sticks with listeners.

The Wrap

As a talent, your mission is to grab the audience’s attention with a hook headline and maintain it through a segment with captivating content, including strategically placed stories, audio, and callers.

Content Length: Adhere to the 5-Minute Rule on long-form shows and the 3-Minute Rule on short-form shows.

Photo by kazuend on Unsplash

Comparison Is Killing Your Performance

Wed, 26 Feb 2025 19:44:00 GMT

Our guest blog this week is from my friend, Paul Kaye. He is the Vice President and Head of Audio Business for Rogers Sports & Media in Canada. Paul has also been head of Talent Development, Music Brands, and TV Production for Rogers.

Whether you are talent, management, or corporate, Paul’s blog on comparison will strike a familiar note and help us elevate our performance. – Randy Lane

COMPARISON IS KILLING YOUR PERFORMANCE
Paul Kaye

We’ve all done it. I looked at someone at the top of their game and thought, “Wow, they’re built differently. I could never do that.” We enter a quick spiral from admiration to discouragement, and before you know it, you’re talking yourself out of even trying.

However, success stories never seem what they seem on the surface. Take Jerry Seinfeld, for instance. At 22, his first attempt at stand-up comedy bombed so badly it lasted 90 seconds as he couldn’t get the words out. Michael Jordan? He missed more game-winning shots than he made.

Lionel Messi? Widely regarded as the greatest soccer player of recent times, he said it took him “ 17 years and 114 days to become an overnight success.” And Steve Martin didn’t become a loveable comedian overnight either — he has said that he “ spent 18 years grinding: 10 years learning, four refining, and only the last four tasting wild success.”

Success is messy, unpredictable, and takes far longer than we’re often led to believe. But there’s a hidden danger. When we compare ourselves to someone at the peak of their success, we rarely account for the decades of invisible work that got them there. We start to believe they’re gifted in ways we aren’t; worse, we use that belief as an excuse to quit ourselves.

Why Comparison Is Dangerous for High Performers
Psychologists call this social comparison theory — the tendency to measure ourselves against others to evaluate our worth. When used sparingly, comparison can be motivating. It gives us something to strive toward. But when it becomes obsessive, it’s destructive.

Here’s why:

1. We Compare Our Beginnings to Someone Else’s Middle or End.
You’re watching the final act, not the rehearsals. Messi, Seinfeld, and Jordan started at zero like you and me. By comparing your first steps to someone else’s peak, you’re setting yourself up for disappointment.

2. It Suppresses Your Unique Strengths.
When you’re too focused on someone else’s lane, you lose sight of yours. You might have strengths they don’t, but you’ll never discover them if you’re constantly trying to imitate their journey.

3. It Feeds the Inner Critic
The more you compare, the louder that voice gets: “ You’re not good enough. You’ll never get there.” When your confidence takes a hit, your performance follows.

What You Can Learn from Entertainment and Sports
Let’s take Beyoncé as an example. Sure, we see her as an unstoppable force today, but few people talk about her years of honing her craft, performing in half-empty venues, or the intense 12-hour rehearsals she still commits to before major shows. Her success isn’t magic; it’s methodical.

Or consider Viola Davis (wasn’t she fabulous in How To Get Away With Murder), who openly talks about the years she spent feeling like she didn’t belong in Hollywood, working minor roles and struggling with self-doubt before winning an Oscar.

These stories show that high performance isn’t about comparing yourself to others but a commitment to your process.

The Psychology of Shifting Your Perspective
If comparison is holding you back, here’s the shift:

• Focus on progress, not perfection.
High performers measure their growth against who they were yesterday, not who someone else is today.

• Reframe your narrative.
Instead of saying, “I’ll never be as good as them,” ask, “What can I learn from their journey?”

• Develop self-compassion .
Research from Dr. Kristin Neff shows that self-compassion boosts resilience and motivation — two qualities you’ll need on your path to high performance.

When you compare yourself to others, you’re playing a losing game. You’re not supposed to be them. Your journey is your own, unfolding at its own pace.

So, the next time you find yourself scrolling through Instagram, feeling like you’ll never measure up, remember this: even the greatest performers started small, stumbling often and doubting themselves. Their success didn’t come from comparison; it came from persistence, self-belief, and focusing on the only thing they could control: their own performance.

Sign up for Paul Kaye’s The 2% Club newsletter for free insights and inspiration to help you reach peak performance. Sign up here . Reach Paul Kaye at pk@paulkaye.co or via his boutique coaching practice, hello@performium.com .

Photo by Jametlene Reskp on Unsplash

Who’s the Content Decision-Maker…?

Wed, 26 Feb 2025 18:59:00 GMT

In our workshops, we define each player’s role on the show. We identify the mic order, who is the heart of the show, who is the lightning rod player, and so on.

One of the most crucial discussions is who decides what content gets on the show or if it is a team collaboration.

This week, I posed that question to several high-profile show hosts and producers from medium markets to Los Angeles across multiple formats.

Mojo – Mojo in the Morning – Channel 955 Detroit

We ask everyone on the show to contribute three ideas for each show and three for social content on Sun-Thurs Nights. We do a pre-show meeting from 5:30-6:00, where my producer Lydia and I lay out a schedule and discuss where we go with each break.

We put every idea into a shared Google Drive in hopes that we never run out of any ideas and can keyword anything we’ve either done or never got to when searching for content.

It’s been a great way to keep the show continually growing!!

DeDe McGuire – DeDe in the Morning – Syndicated Nationwide

It’s a collaborative effort between me, the producers, and the whole team. If someone has a bit and believes strongly in it, we will air it. We have also implemented a rating system for our content breaks. We rate them on a scale of 1 to 10. Nothing below a seven gets on the show.

MJ – The MJ Morning Show – Q105 Tampa

I usually make the final decisions on content. I consider myself the show’s executive producer. Sometimes, the cohosts or producer can open up a valid discussion, talk me out of a bad idea, or offer positive or negative feedback to modify the content.

Chris Booker – Booker & Stryker – Alt 98.7 Los Angeles

We are collaborative. We hammer out all our ideas by going back and forth: what if we do this, add that, etc.? In this TikTok mindset, we spend a lot of time discussing how to get to the point more quickly, involve the audience faster, and get to the question more efficiently.

We know each other well enough to know when the other will hate something. We’ll challenge each other to find the gold and look for an opportunity. Great ideas can come from an original bad idea with enough collaboration.

Dana Cortez – The Dana Cortez Show – Syndicated Nationally
The three of us collaborate on content decisions—eighty percent of the time, two out of three wins. If I feel super strong about an idea, we go with it since we’re a female-targeted show.

Rick Rumble – Rumble in the Morning – FM 99 WNOR Norfolk
I make the final call on content. The team shares ideas, and we brainstorm through them, but it’s my call. I do most of the creative, and the management and staff trust my vision/direction. Thirty years of winning hasn’t hurt either, lol.

Gary Bryan – The Gary Bryan Show – K-Earth 101 – Los Angeles

We will discuss all the ideas from the team. I make the final decision but always listen to producer Brandon’s or cohost Lisa’s input. If we don’t initially like an idea, we’ll look for opportunities and discuss how to make it work.

Eric Rowe – The Roula & Ryan Show with Eric – KRBE Houston
From day one, Roula, Ryan, and I each had an equal 33% say in the show, although Roula and I make the final calls. She trusts me to find great content since I spend hours daily on social media and tracking trends.

As executive producer, I usually make the final call but see myself as the team coach. My focus is always on what’s best for the show, not ego—something rare in radio but crucial for long-term success.

Rizzo – The Rizzo & Jeff Show – 105.9 The Mountain – Asheville, NC

Much of our content develops as we collaborate to finalize the list from 30 or 40 ideas to 12. We don’t often disagree, but if we do, we discuss how to make it most mass-appealable and what would generate the most discussion and hold the listener’s interest.

Mikey Fuentes – Tino Cochino Radio – Syndicated Nationally

The cast uses Google Keep to contribute potential ideas and thought starters throughout the day for features like Real Talk and Listener Therapy. If one of the cohosts is passionate about an idea but Tino and I are not sure about it, we’ll go with it, but they have to run with it. Tino tweaks many ideas and usually makes the final call.

Dave Ryan – The Dave Ryan Show – 101.3 KDWB Minneapolis

The final yes/no decision is always mine.

I encourage everyone on the show to pitch their ideas. With four different minds creating content, we get a good mashup of ideas. Their feedback can improve on my own and vice versa because of our distinct perspectives on life.

Everybody understands that just because they pitch an idea doesn’t mean we will use it. The same goes for my ideas. Often, when I pitch something and get their reaction, I know they don’t like it, which is fine with me!

Photo by Samuel Regan-Asante on Unsplash

The Magic of Visualization

Tue, 11 Feb 2025 15:00:00 GMT

Many high achievers in sports, business, and entertainment, such as Oprah Winfrey, Bill Gates, and Serena Williams, use mental visualization to enhance their performance and achieve success.

The list also includes Michael Phelps, Jim Carrey, Arnold Schwarzenegger, and many more.

Mental rehearsal, or visualization, has been popular in sports since the Russians started using it in the 1970s to compete in the Olympics. Done correctly, visualization is a powerful technique for enhancing focus, confidence, and execution before an event.

In his blog, Visualize Action For Success, Jeff McHugh points out that mere visualization does not work. He notes the value of visualizing the action steps and preparation you put into a project, bit, or performance, which is a major part of actualizing your vision.

6 Steps to Effective Visualization:

1. Find a Quiet Space

Sit or lie down in a quiet environment. Close your eyes and take three deep breaths to relax.

2. Define Your Goal

Be clear on what success looks like. It could be delivering a perfect presentation, creating innovative content, leading a meeting, or a public appearance.

3. Engage All Your Senses

Imagine the whole experience as if it’s happening in real life:

•   Visual: See yourself performing flawlessly. Picture the environment, the people, and the details.
•   Auditory : Hear the sounds—crowd cheering, your voice, or your teammates.
•   Kinesthetic: Feel your body moving, your muscles engaging, and the energy flowing.
•   Smell and Taste: Some situations will include these two senses.

4. Rehearse Step by Step

Run through the event in your mind from start to finish. Picture yourself overcoming obstacles with ease and executing each segment perfectly.

5. Feel the Outcome

In Psychology Today , Dr. Jennice Vilhauer notes, “We know from cognitive therapy emotion is preceded by thought. When you feel something deeply, you have achieved a level of belief associated with it.”

Feeling the emotion of success is the most crucial component of this process. What would success feel like to you: confident, elated, thrilled, content, grateful? Bask in the feeling of success to match the energy of the experience.

6. Repetition

Visualization works best with consistent practice. Do it daily or before key events to build confidence and reinforce neural pathways in your brain.

Key Takeaway

All these famous individuals didn’t just dream; they consistently saw, felt, and believed in their success before it happened. Their mental and emotional imagery helped shape their reality by building confidence, motivation, and resilience.

Photo by Matteo Di Iorio on Unsplash

Implementing Tragedy Stories (On Music Stations)

Sun, 02 Feb 2025 14:38:00 GMT

Massive news stories are always a dilemma for music station shows since many people listen to them to escape the news. This week, some shows avoided the DC plane-chopper crash story, while others were unsure how much and how often to discuss it.

One show host told me, “We talked about it at 6:25 this morning.” That means at least 90% of the audience thinks the show ignored the biggest story on the planet!

We live in a time of fast-breaking news that can impact your listeners directly or emotionally. There will undoubtedly be more significant crashes and climate-related stories about fires, floods, tornados, earthquakes, and other disasters.

When universal stories happen, here are guidelines for treating tragedy stories on music station shows:

If you are the “feel good” show:

• Briefly report the up-to-date facts in one to three sentences in your trending or news segment, or quickly hit the story in a content segment and move on.

• Play headline audio clips that tell the essence of the story.

• Have your sister News Talk station or TV partner deliver the headlines.

• Hit the story every half hour to accommodate short TSL in morning and afternoon drive.

Where to place tragedy stories:

Even brief updates on stories like the DC crash can create awkward transitions into entertainment segments.

• It’s most effective to place them at the end of content segments before commercials, traffic reports, or promos. They could also be run after brief traffic reports or promos.

• They could run at the beginning of a content segment as a tease or into a feature with a produced open that serves as a transition.

Shows that express a wide range of emotions:

Shows that reveal personal stories and vulnerability can use the above points and/or devote whole segments to tragedies, expressing their feelings about the story without political commentary.

• Focus on stories about people, families, or groups (e.g., the U.S. Figure Skating Team, students, parents, and coaches) as details emerge about individuals who lost their lives, homes, or businesses.

• Contact people you know or other media outlets where the story originated for eyewitness accounts.

• Tap your panel of expert contributors who can add relevant information. In this case, an aviation expert.

The worst thing you can do with tragedy stories:

Ignore the story. In this “post-truth era,” broadcasting rumors, misinformation, or disinformation is the second worst thing.

Listeners will appreciate your authenticity.

•   Be real
•   Be relevant
•   Be accurate

Photo by Joshua Earle on Unsplash

Take the Ben and Jerry’s Test

Tue, 28 Jan 2025 02:38:00 GMT

One of the most popular and effective exercises I do with on-air personalities is the Ben and Jerry’s Exercise.

It is based on a story I heard about Ben and Jerry’s ice cream and how they checked quality in the company’s early days.

Ben Cohen and Jerry Greenfield loved experimenting with new recipes. Still, they set a high bar for their product, eventually establishing a flavor graveyard for ice cream that did not measure up.

Ben and Jerry also practiced random sampling . To find minor improvements, they would grab a random pint of Chunky Monkey or whatever flavor off the factory assembly line, saw the carton in half, and observe the ice cream.

What did they notice? What’s up with all these strawberries at the bottom of the container and none at the top? Why are these chocolate brownie chunks huge, and the others are just crumbs? Those sawed-in-half ice cream pints uncovered major improvement opportunities. Plus, they got a sample of their delicious product.

I wanted to apply a random sample practice like Ben and Jerry’s to coaching radio and podcast hosts. It was so simple that I was anxious that big-name hosts and C-suite management would think I was nuts, but I went for it.

As the first meeting began, I explained Ben and Jerry’s story and that I had collected a random one-hour audio sample of their show for review. After each segment, everyone would weigh in on what they noticed.

They loved it. Despite my request that everyone start by mentioning what they liked, each participant quickly went to the flaws, mistakes, and how they could act quickly on opportunities to improve.

After doing the Ben and Jerry’s exercise a few thousand times with large, medium, and small market shows all over the US, Canada, and Mexico, I’ve noticed the top five things hosts frequently and consistently mention about their show.

1. “That went too long”

It is the number one observation by far. In today’s Tik-Tok attention span world, less is more. “What would you cut” is a focusing follow-up question, and responses include:

•   Over-emphasis on information, inanimate objects, or events.
•   Excessive information like dates and addresses.
•   Long segment intros or redundant sponsor mentions.

2. “I stumbled”

In today’s media content world, a lack of preparation stands out, as if someone is wearing an expensive shirt they forgot to iron.

•   Obvious searching for words
•   Weak language like, “um,” “like,” “so,” “right?”
•   Repetition or “mowing the same grass twice.”
•   Meandering conversational tangents.
•   Talk-over and interruptions.
•   Lack of clarity, names, and ideas not explained fully to new listeners.
•   Lack of confidence in their voice tone

3. “I was bored”

Sameness is dull. Pacing, pattern disruptions, and dynamic shifts in a segment add energy and keep the audience’s attention.

•   Conventional setup with station name, slogan, song back-sells, time, temperature, sponsor mentions upfront
•   Auto-pilot, rote delivery of liner card information
•   High-word count hosts dominating the show
•   No audio, sound clips, or sound effects to add theatre

4. “Who cares?”

“I didn’t laugh. I wasn’t moved. I didn’t feel anything.” Unengaging content without drama and emotional resonance doesn’t cut it.

• Is there an app for that? Weather, traffic, scores. Information and opinion spoil faster than a tuna sandwich in the sun.

• Name the emotion felt in the segment: mad, glad, sad, or afraid. If no emotion is felt, consider how to add emotion next time.

• People vs things. A score, rank, list, or survey is a number. A physical thing by itself carries no emotion.

• Nothing at stake. Nothing is at risk. No conflict.

5. “Anyone could have done that segment.”

Generic presenters who withhold their authentic selves from the audience were the norm in the days of Dick Clark’s American Bandstand. Today’s media audiences expect unfiltered personalities, including flaws and quirks, and do not trust polish and perfection.

•   Share a personal experience or story that relates to the topic.
•   Express emotion using vocal range and emotion words.
•   Speak the thoughts and realizations that most people hold back as they occur.
•   Give a strong opinion. Take a stand. Keep it brief.
•   Encourage ensemble character development. The days of one big-name host surrounded by less interesting cohosts in the background are waning.

What would your team notice when reviewing a randomly selected sample of audio? One of these things, or something different?

The secret to a standout radio show or podcast is a combination of emotional impact, authentic hosts, carefully chosen content, precise execution, and touches of improvisation.

Photo by Hybrid Storytellers on Unsplash

Learn From Music Radio’s Top All-Time Personalities

Wed, 22 Jan 2025 18:42:00 GMT

Music radio has been profoundly shaped by several trailblazing personalities who took risks and introduced new approaches to high-profile shows. This list is based on the personalities who made the most national and cultural impact and are not currently hosting a radio show.

Incorporate the skills from these masters and put your signature on it to own it.

Wolfman Jack

If you weren’t fortunate enough to hear Wolfman Jack on the radio, you likely saw his iconic performance in George Lucas’ film American Graffiti . His gravelly voice and flamboyant personality pioneered the freewheeling rock-and-roll radio DJ.

• Wolfman Jack made listeners feel like he was speaking directly to them by making audio “eye contact” with them.

• He embraced theatrics, often howling and laughing maniacally, creating an engaging and unforgettable listening experience.

Casey Kasem

Casey Kasem innovated countdown shows. The creator and host of American Top 40 brought music charts to life with anecdotes and trivia, creating a format that remains a staple of radio programming worldwide.

• Kasem’s teasing is a master class for today’s music station talent in setting up and creating anticipation for music.

• His listener interactive storytelling in the popular Long Distance Dedications segments was a hallmark of the show.

Steve Dahl

Many credit Dahl for creating shock jock radio and paving the way for Howard Stern and others in that genre. He was the first genuinely authentic personality to share his life with listeners.

• Dahl’s outrageous on-air stunts, like the infamous Disco Demolition , opened the door for radio personalities to take risks to entertain, provoke, and engage audiences.

Tom Joyner

The Fly Jock’s combination of humor and cultural advocacy for the African American community made him one of the most beloved and impactful figures in the history of radio.

• He was an excellent storyteller, blending humor and authenticity to create memorable moments.

• The Tom Joyner Foundation has raised over 65 million dollars to keep students enrolled at HBCUs .

Kidd Kraddick

Kraddick introduced a conversational, personable style focused on relatable topics, vulnerability, and pop culture. I was fortunate to witness firsthand Kraddick’s creative and spontaneous genius.

• The show still thrives today after Kidd’s death because he gave the cast space to develop a deep and personal relationship with the audience.

• Kraddick founded Kidd’s Kids , a non-profit organization for children with terminal illnesses. He was the creator of radio shows owning one charity to become known for.

Wendy Williams

In the male-dominated world of radio, The Wendy Williams Experience shattered stereotypes and inspired other women to pursue careers in media. She took her show to television in 2008. Despite controversies, she has inspired a generation of entertainers to be bold, authentic, and vulnerable.

• Wendy is most known for her vulnerability and fearless interviewing style.

Rick Dees

The Rick Dees Weekly Top 40 blended humor, skits, and hits, creating a lively and engaging countdown experience that was different and rivaled Casey Kasem’s American Top 40. His disco parody Disco Duck hit number one on Billboard’s Hot 100.

• Dees was one of the first contemporary talents to hire writers to keep his comedy and bits fresh and innovative at Kiss-FM Los Angeles. Writing is a key skill that’s making a comeback today.

Scott Shannon

Shannon’s “ Morning Zoo ” format in the early 1980s became a blueprint for morning radio shows for years to come.

• He was an innovator by being a democratic host who went to his cast of characters for much of the content.

• Shannon was a master planner, so the show could go off-script when something hot and spontaneous arose.

Mark and Brian

Mark and Brian’s blend of humor, storytelling, and listener interaction influenced a generation of morning radio shows, including The Kevin & Bean Show and The Bob & Tom Show. The Adventures of Mark & Brian feature propelled to an NBC TV sitcom in 1991.

• Their on-air chemistry and comedic timing were the show’s hallmarks and takeaways for talent today.

Bob Rivers

Like most people outside of Seattle, I considered The Bob Rivers Show as primarily about song parodies for his “ Twisted Tunes” series. But when I started coaching the show, my first impression was, “This is NPR’s M orning Editon on steroids!”

• The show was a blend of witty and clever humor, insightful commentary, and sharp interviews that were conversations.

• One of Rivers’ cohosts, Downtown Joe, noted that he’s never met anyone with as much lifelong curiosity and drive to learn.

Innovative Personality Traits Takeaways

•   Chemistry
•   Vulnerability
•   Comedic timing
•   Creative risks
•   Authenticity
•   Audio eye contact
•   Curiosity
•   Own one charity/cause
•   Writing

Photo by Samuel Regan-Asante on Unsplash

Learn From Talk Radio’s All Time Top Personalities

Wed, 22 Jan 2025 18:37:00 GMT

Highly acclaimed director Greta Gerwig , of Lady Bird, Little Women, and Barbie fame, says watching other directors, film genres, and artists helped her learn and define her style.

As a radio or podcast talk show host, look at what you can learn from the Talk Radio’s top hosts of all time. You’ll be an innovator by putting your personalized spin on the ideas below.

I determined this list based on the personalities who have most influenced audiences nationally. In the interest of space, I couldn’t list all influential personalities locally or regionally.

Howard Stern

The “King of All Media” revolutionized radio with candid, often controversial discussions on relationships, pop culture, and personal storytelling. Stern redefined Talk Radio, and his transition to satellite radio in 2006 expanded the boundaries of uncensored broadcasting.

• Study his interview techniques and his ability to make guests comfortable, so they’ll open up.

• If you have an edgy and controversial personality like Howard, you must be likable.

Rush Limbaugh

Limbaugh’s ability to define the conservative agenda and influence Republican politics is unmatched in Talk Radio.

• A larger-than-life persona like Limbaugh will help you cut through the noise.

• Build a community: He made his listeners feel understood and built a community, frequently referring to his audience as “dittoheads.”

Paul Harvey

Paul Harvey was a master storyteller who was king of the dramatic pause. He became famous for The Rest of the Story . His innovation was blending news, commentary, and storytelling.

• Listen to Harvey’s The Rest of the Story segments for their concise and impactful storytelling.

• Notice how dramatic pauses make listeners lean in and process what was said or about to be said.

Larry King

The Larry King Radio Show ran from 1978-1994. King blended relaxed conversational and unscripted interviews with listener calls as a key part of conversations.

• Listen or watch Larry ask concise and direct questions in interviews.

• He listened actively and used guest responses to frame his next question.

Don Imus

Imus was a pioneer in comedy-driven Talk Radio. He mixed comedy and current events and paved the way for modern shows by blending humor with social commentary.

• Sports Radio content is not all sports. Imus combined sports with humor, bits, storytelling, and guy talk.

• Imus would have had more success had he displayed more likability.

Art Bell

The creator and host of Coast to Coast AM , Bell pioneered late-night talk radio focused on UFOs, ghosts, time travel, conspiracy theories, and the paranormal.

• His calm, distinctive voice, and genuine curiosity made listeners feel part of a fascinating conversation.

• Bell was transparent about his beliefs, doubts, and personal life, creating a bond with listeners.

Dr. Laura Schlessinger

Dr. Laura was the innovator of personal advice and tough love talk shows.

• Relationship content continues to be a hot-button topic in talk and music radio.

• Dr. Laura was one of the first personalities to expand her brand with a cross-media presence on television, print, and later online.

Garrison Keillor

The creator and host of A Prairie Home Companion , Keillor brought a unique mix of live performance, comedy, and narrative storytelling to public radio.

• Keillor was a captivating storyteller utilizing observational and self-deprecating humor.

• His humor was warm, inclusive, and rooted in shared human experiences like love, family, community, and personal quirks.

Innovative Personality Traits Takeaways

•   Outstanding storytelling
•   Personal character development
•   Shared human experiences
•   Likability
•   Active listening

Next Week: Who Are The Top Music Radio Personalities of All Time? Find out next Sunday.

Photo by Samuel Regan-Asante on Unsplash

The Opposite of Fear

Tue, 07 Jan 2025 01:45:00 GMT

Years ago, I coached a talented morning radio host who loved performing his show in the studio but had near panic attacks when doing anything out of the studio.

By chance, I had just finished Steven Pressfield’s life-changing book The War of Art , which is about reaching peak creative performance by overcoming one’s internal resistance.

“ Resistance is experienced as fear; the degree of fear equates to the strength of Resistance. Therefore, the more fear we feel about a specific enterprise, the more certain we can be that that enterprise is important to us and to the growth of our soul.”

I knew our star had to leave the studio cocoon and run towards fear. We filled their schedule with on-stage gigs in front of large crowds, spotlighted client meetings, and encouraged on-camera work.

It turns out the book was right. This personality was brilliant at crowd work. Clients had never met anyone so funny before and they soon landed a regular slot on the top local television station as a side gig. Syndicated and successful to this day, you have probably heard their name, but I won’t embarrass them by mentioning it here.

You have likely heard the saying, “Feel the fear and do it anyway.” Experts say it is possible to channel your fear into positive actions and better outcomes. Reframing it is a significant first step to overcoming it.

That’s right. Reframing is as simple as identifying fear as something else. A Harvard Business School experiment involving public speaking divided participants into two groups.

One group was instructed to say, “I am calm,” repetitively to themselves, and the other was instructed to say, “I’m excited.”

Guess which group scored higher with audiences? The “excited” group was judged to be more persuasive, confident, and relaxed.

Behavioral expert and former US Navy Chief Chase Hughes double-clicks on reframing as a way to diffuse fear and suggests more practical but effective tactics for coping with high-pressure situations.

Identify your fear. Is it uncertainty? Lack of control? A perceived threat that may/may not be worth worrying about? Recognizing the source of your fear reduces it.

Prep more . Fear is often a signal that you have not prepared enough. Even if you have, preparing further reduces fear.

Box breathing. Breathe in for four seconds, hold for four seconds, and then breathe out for four seconds.

Change your environment. Seek out positive people. Organize your workspace. Fold your laundry. Small changes in your sensory space can make you feel more centered and less afraid.

Strike a pose . Change your posture. Stand up straight, legs apart, chest out, and project your voice. A confident physical self leads to a more confident emotional self.

Also, if you think your job is tough, take a tip from the US Navy Seals, who practice mental rehearsal: walking yourself through a frightening activity in advance helps you overcome the fright and improve your performance.

Photo by Nik on Unsplash

The New Wisdom Economy

Fri, 20 Dec 2024 03:18:00 GMT

The term “knowledge economy” was popularized by famed business management consultant Peter Drucker in the 1960s. The “knowledge worker” thrived into the 21st century through knowledge, skills and data analysis.

In the early 2000s, Google gave us access to a super library of information at our fingertips, kicking off the initiation of the “ wisdom economy . ” Now, with the rapid rise of AI, data is ubiquitous and quickly becoming a commodity.

In an Inc. article, Chip Conley, author of Wisdom at Work , notes, “Artificial intelligence will be the commodity, and human wisdom will be a valued yet scarce resource. Wise leaders explore the art of lifelong learning. These leaders realize that knowledge is on your iPhone, and wisdom is in your gut.”

Think about the difference between knowledge and wisdom. Information is a tool in your toolbox; wisdom is knowing which tools to use, when, and how to create something meaningful.

While AI can assist in generating ideas, human creativity arises from experiences, emotions, and cultural contexts that AI can’t fully replicate. AI handles routine and data-driven tasks, and human intuition and wisdom apply information.

LEADING WITH INTUITION & WISDOM

•   Emotional Intelligence and Empathy : Humans excel in understanding emotions, fostering relationships, and providing support.
•   Strategic Decision-Making : Intuition and wisdom are vital for balancing priorities, making informed decisions from AI data, and envisioning long-term growth.
•   Ethical Judgments : AI lacks moral reasoning and cannot weigh complex ethical scenarios like humans.

KNOWLEDGE + WISDOM

•   AI can automate routine tasks, giving us more time to pursue reflective thinking, lifelong learning, and a clear perspective on the present and future.
•   Our intuition and wisdom are rooted in emotion, ethics, and creativity. Combined with AI, these qualities could redefine how we work, think, and create.

WISDOM LEADER SKILLS & PRACTICES

Developing intuition and wisdom involves cultivating self-awareness, learning from experience, and integrating knowledge with emotional and social intelligence. Here are a few of the best skills and practices to become a wisdom leader:

Emotional Intelligence : Practice active listening and focusing on understanding other people’s feelings and perspectives without judgment. These practices help develop empathy and the ability to be vulnerable.
Mindfulness : Practice activities that promote focused awareness and being present in the moment, such as journaling, digital detox, yoga, and mindful eating & walking.
Meditation enhances awareness of your inner thoughts and patterns, releasing stress and strengthening intuitive decision-making.
Have Humility by being open to learning from everyone and everything.
Cultivate Curiosity by exploring new ideas and experiences to broaden your perspective and enhance your creativity.
Engage in Creative Activities like art, writing, or improvisation to encourage free thinking and strengthen intuition.

THE LAST WORD
In essence, knowledge is the accumulation of facts and skills, while wisdom is the deeper understanding and application of those facts in ways that enhance life, relationships, and ethical decision-making.

Photo by Luke Tanis on Unsplash

The Wisdom of Two Creative Geniuses

Fri, 20 Dec 2024 03:04:00 GMT

I just finished watching the Ken Burns documentary Leonardo da Vinci, streaming on PBS.

My greatest takeaway was how similar this Renaissance man was to Steve Jobs. Da Vinci and Jobs were obsessed with curiosity and strived to look past accepted norms, do the impossible, and change the world.

Maybe you will create the next innovation in media by practicing these two geniuses’ creative habits.

LEONARDO DA VINCI

Because Da Vinci’s mother was unwed, he was not allowed higher education in the 1400s. His education was self-directed, and he sought knowledge through direct experience and observation.

Although Leonardo was likely born with genius intelligence, his innovations came from disciplined practices, wide-ranging curiosity, and a relentless pursuit of understanding the world.

Leonardo’s innovations spanned art, science, engineering, anatomy, and beyond. His creations and inventions are too numerous to list here. His most famous works include the Mona Lisa painting and the Vitruvian Man .

Leonardi da Vinci’s primary creative habits:

1. Curiosity is central to all creativity: Leonardo kept detailed notebooks filled with questions, observations, sketches, and theories on topics ranging from anatomy to hydraulics.

2. Observational Mastery is a key to content creation: He was intensely observational, whether studying the natural world, human anatomy, or the play of light and shadow in his art.

3. His Notebooks are a model for innovation: Leonardo kept excessive notes and sketches. He used his notebooks to document findings and as a sandbox for his imagination.

4. Trial and Experimentation are fundamental to the creative process. Like most creative people, Leonardo was unafraid of failure. He frequently tested ideas and delved into different techniques in his work, constantly refining his methods.

5. Visualization is essential to the creative process: Leonardo visualized concepts through sketches before committing to final designs. This habit allowed him to process problems visually, making his ideas more tangible.

6. Connection to Nature will advance your creativity: His studies of patterns in nature as a scientist and an artist influenced his scientific and artistic creations.

7. Perseverance and Self-Improvement keep talent relevant: Leonardo constantly sought to improve his skills and knowledge. He embraced the idea of being a lifelong learner.

STEVE JOBS

Steve Jobs’s relentless pursuit of excellence, innovation, and simplicity shaped his creative habits. For Business Week, Jobs observed, “Simplicity is harder than complication. To make your thinking clear and simple requires a lot of effort. When you reach the level of being able to think simply, you can move mountains.”

Steve Jobs’s most notable creative habits:

1. Simplification speaks to editing content: Jobs repeatedly refined ideas and products, often discarding anything that wasn’t absolutely necessary.

2. Insatiable Curiosity helps you develop content: Jobs was intensely curious and sought inspiration from literature, music, travel, and spiritual practices. He believed creativity often came from connecting unrelated ideas.

3. Meditation will help you focus: Jobs said his Zen meditation training allowed him to focus, tap his intuition, and hone his love of simplicity.

4. Refine Ideas (the importance of editing): He demanded multiple product iterations until it met his high standards.

5. Storytelling (captivating talents are storytellers): Jobs was a master storyteller. He used compelling narratives to communicate ideas, whether introducing a product or rallying his team. He knew how to connect emotionally with his audience.

6. “ Reality Distortion Field” : His famous “reality distortion field” motivated people to think beyond conventional limits and achieve seemingly impossible goals.

7. Walks For Clarity (connecting in nature): Jobs took long walks to clear his mind and refine content. His important meetings and creative breakthroughs often occurred during walking conversations with colleagues.

Much of the content in this blog is from Walter Isaacson’s books Leonardo da Vinci and Steve Jobs .

Gratitude Boosts Business

Thu, 05 Dec 2024 01:46:00 GMT

Let’s express gratitude throughout the year! Gratitude is too essential to our lives and businesses to be celebrated only on one day.

There’s a shift toward a more humane workplace rooted in gratitude, where employees feel appreciated, valued, and empowered to reach their fullest potential. In their podcast, Harvard Business School’s Francesca Gino and Adam Grant revealed their study highlights the values of gratitude in the workplace:

• Increased engagement: Organizations that recognize their people inspire real connection.

• Higher productivity: Employees who feel celebrated and valued are more excited to work.

• Better retention: A positive recognition strategy boosts morale and breeds loyalty.

• Greater motivation: Regular appreciation gives people fresh purpose and momentum.

• More satisfied employees: Openly praised employees earn higher loyalty and satisfaction scores.

• Stronger connections: Remote teams feel more connected when positive feedback occurs.

Recognition and praise are significant components of gratitude. In our talent coaching practice, we’ve found talent receptive to coaching recommendations when first recognized for their strengths and positive performances.

Shawn Anchor’s New York Times best-selling book Big Potential : How Transforming the Pursuit of Success Raises Our Achievement, Happiness, and Well-Being notes, “Praise creates what I call a ‘virtuous cycle’ – the more you give, the more you enhance your supply. When done right, praise primes the brain for higher performance, meaning the more we praise, the more success we create.”

5 Ways Radio Can Express Gratitude & Recognition

1. Thank contest winners. Many radio stations still have talent ask contest winners to answer questions like, “What radio station just gave you $100?” That’s like giving your significant other flowers and saying, “Who just gave you a nice bouquet?” Express gratitude and say, “Thank you for listening to the station/show.”

2. Recognize exceptional performance . DeDe in the Morning Brand & General Manager George Cook asks the syndicated team to highlight the Best Bit/Segment of the Week and the Best Character Revealing Break of the week.

3. Say thank you to your community. Max 98.1 just raised $920,000 for the Memphis Ronald McDonald House, and many other stations and shows are giving thanks to their communities in numerous ways this holiday season.

4. “People are ecstatic to receive thank-you notes. ” Yes, ecstatic is the word the authors of a study published in Psychological Science used to describe the power of thank-you notes. Salespeople can write thank you notes to clients, talent to endorsement clients, and radio stations to organizations they’re involved within the market. The format doesn’t matter; it can be a snail-mailed note, an email, or a text.

5. Thank your mentors. Expressing gratitude to people who have positively impacted your life and career can boost your happiness.

Photo by Courtney Hedger on Unsplash

Local vs. Syndication

Sun, 17 Nov 2024 20:45:00 GMT

Following another relentless round of layoffs and budget cuts, iHeart Media chairman Bob Pittman’s comments reignited radio’s still-raging debate about local versus syndication.

The essence of Pittman’s statement is, “I think what we’re doing is not getting rid of air talent. What we’re able to do now, because we’ve got technology, is we can take talent we have in any location and put them on the air in another location. So, it allows us to substantially upgrade the quality of our talent in every single market we’re in.”

What Pittman is saying is essentially true, but many in the industry perceived the tone of his comments as lacking compassion.

I spoke with four general managers who have a mix of local and syndicated shows to get their views on the impact of revenue and ratings.

Trusted Voices Winning In West Palm Beach

V/P Market Manager Cumulus Memphis Morgan Bohannon and I agreed that a talented local morning show with killer content and HD characters like the cluster’s Danni and Country Cory on 98.1 The Max is a double win. When the content, characters, and execution are equal, local adds the winning edge.

The Wrap

RLC believes talent becomes a trusted brand with humor, relatable and captivating content, and personalities who share their stories with listeners. This works whether local or syndicated.

Local is the best choice if you can develop or find a high-caliber show with those characteristics. A syndicated show with local service elements is a viable option.

Photo by Samuel Regan-Asante on Unsplash

What Brand Emotion Do You Own?

Tue, 12 Nov 2024 02:15:00 GMT

J immy Fallon says he spent years chasing a dream that wasn’t his.

After his first stint at SNL, his goal was to become a movie star. He made two movies that bombed. Then he had a realization. “I think my why is, ‘Can I make people happy ?’” Notice how Jimmy applies “happy” to every bit, joke, and guest.

For years, United Airlines has been at the bottom of the list of airlines with positive perceptions. Now, the company focuses on winning one important airline image: trust.

Trust is also a powerful brand image for radio and podcast personalities. The essence of a personality brand is creating a trust relationship with listeners. Personalities build trust and loyalty through authenticity, vulnerability, and sharing personal experiences and stories.

Successful radio stations win in competitive formats because they own a primary one-word or one-phrase positive image in listeners’ minds. Take a tip from Jimmy Fallon’s success and answer why people listen to your station.

Let’s look at positive brand emotions that apply to popular radio formats.

Classic Hits, Classic Rock, Classic Country: Nostalgia

The goal for winning with these formats is to make the station feel like a comforting presence that’s been a constant soundtrack to listeners’ lives. This creates a strong emotional connection and sense of shared experience that keeps people tuning in.

Country: Longing

Longing is the central emotion of Country Music fans. They long for storytelling about everyday life, relationships, work, and family. Country listeners also long for traditions, patriotism, and community. Country radio, artists, and listeners have a deep symbiotic connection.

CHR/Hot AC: Exciting Entertainment

Entertaining, funny, fun personalities, contests and promotions have always been synonymous with CHR and Hot AC. This format reflects the mainstream audience’s current trends, topics, and musical tastes, helping listeners feel connected to the broader cultural landscape.

Urban Contemporary: Cultural Empowerment

Urban radio listeners feel a sense of community and empowerment through the music and the personalities. There’s a sense of collectively celebrating personal and cultural identity and overcoming adversity. There is also a strong relationship between the talent, the artist, and the audience.

Talk: Validation/Connection/Tribal Belonging

The emotional why is different since Talk Radio takes the form of politics, sports, and lifestyle. Political Talk is more about validating the audience’s views. Sports Talk is fosters tribal belonging, and Lifestyle Talk focuses on connecting and personal growth.

News: Connected

News radio listeners want to feel connected and “in the know.” There’s a comforting sense of being plugged into the world’s pulse, like you’re not missing anything critical that everyone else might be talking about. There’s also an emotional security from feeling informed and prepared.

Contemporary Christian: Hope

Hope often manifests as spiritual comfort during challenging times. Christian radio provides reassurance to listeners about divine purpose and guidance. This format emotionally uplifts the audience through positive, faith-affirming music, messages and life-changing stories from listeners.

Rock, Alternative Rock: Rebellion

Rock radio stations are typically characterized by an emotional core of defiance, nonconformity, and rebelling against the mainstream. This rebellious spirit manifests a sense of empowerment with listeners through the music and edgy personalities.

AC and Urban AC: Comfort

Adult Contemporary stations thrive on the comfort of familiarity and safety. They position themselves as reliable, stabilizing forces—a “safe harbor” where listeners can tune in and find refuge from the stresses and uncertainties of the outside world. They also provide safety for parents with children listening in autos.

Challenge Me

If you feel I’ve misrepresented the emotional why of your format, please contact me at randy@randylane.com . I’d happily post your viewpoint in next week’s Content Ideas.

Photo by Nik on Unsplash

What a Week! Being Resilient Through Change

Tue, 12 Nov 2024 01:50:00 GMT

“It’s not what happens to you but how you react to it that matters.”
― Epictetus, Greek Stoic Philosopher

There has been a lot of change this week, some good, some bad. You are going through it, and so is your audience.

I know people who:

•   Were fired/laid off by a radio corporation
•   Are sick that Donald Trump won the presidential election
•   Lost a beloved family dog

I also know people who:

•   Got a new job at a radio corporation (Congratulations Ronnie Stanton!)
•   Are happy that Donald Trump won the presidential election
•   Adopted an animal shelter dog

Did you know that all change – good and bad – causes significant stress on health?

As I lead leadership training, we talk about a fancy-schmancy psychological principle developed in 1967 called the Social Readjustment Rating Scale.

It says the average person has 10-20 major events in their lifetime that can lead to depression, hospitalizations, illness, breakdowns, broken relationships, and worse.

Scientists rated the stress of various life events on a 0-100 scale. These events can be both positive and negative.

A happy event like a marriage is 50. An unhappy event like job separation is 47. (Layoffs at a company cause stress for the people not separated from their jobs, too.)

Death of a loved one is 100 on the scale. Ever know an elderly person who passed away and their partner passed away right after? Stress can lead to death.

Sometimes, multiple major positive and negative life events happen quickly, adding cumulative points to your stress scoreboard.

A helpful first step in minimizing damage to your life and career from the stress of major life changes is to understand that everyone goes through change in the same stages:

• First shock: extreme excitement at good news, numbness, disbelief at bad news

• Adjustment: honeymoon period for good news, minimizing or denial for bad news

• Inner contradiction: for both positive and negative change, expect to feel uncertainty, loss of confidence, and depression

• Crisis: a fork in the road where you can quit, walk away, or move forward. If you do nothing, the crisis will continue.

• Reconstruction/recovery: When you begin experimenting, testing, exploring, and accepting your new post-change reality, you start to feel a new confidence and, eventually, transformation.

Yes, the events of the past week and the future changes in your life can transform you into a new version of yourself.

No matter what else anyone else says or does, no matter what crazy shit hits the fan in your world, you get to choose who you will be.

Photo by Chris Lawton on Unsplash

Failing Forward and the Power of Autonomy in Leadership

Tue, 29 Oct 2024 15:44:00 GMT

One of our morning show clients recently added two young and relatively inexperienced cohosts to a seasoned host’s show. Instead of restricting their talk time, we advised the host to give them enough space to contribute—even to the point of failure.

This concept is known as “failing forward.” It’s a practice where employees are encouraged to learn and grow from their mistakes. The result? The young players grew immediately, and the show became more engaging and dynamic.

Toyota’s Kaizen Philosophy embodies this idea. It encourages employees to report errors, no matter how small, as these are seen as opportunities to enhance quality and efficiency. Similarly, failing forward builds a culture of learning without fear of punishment for mistakes.

In my twenty-five years of coaching talent, I’ve learned that tightening the reins on new players or shows too much in the beginning restricts a programmer’s ability to identify their strengths. When new voices are given the autonomy to experiment, it leads to a clearer understanding of where their unique talents lie.

Control or Autonomy?

Management has been grappling with this question for decades. A recent review published in Psychological Bulletin examined 139 separate studies on leadership styles and concluded that successful leaders value autonomy.

Amazon’s recent mandate requiring all employees to be back in the office starting in 2025 contradicts these findings. It will be interesting to see how that unfolds—my bet is not so well.

Examples of Autonomy Driving Innovation:

Google’s 20% Time Policy : Google allows employees to spend 20% of their work time on personal projects. This autonomy led to innovations like Gmail and Google Maps.
Spotify’s Squad System : Spotify organizes its teams into “squads,” giving each autonomy over specific features. The result is higher productivity and faster product delivery.
3M’s Innovation Time : Similar to Google, 3M lets employees dedicate time to personal projects, leading to the creation of Post-it Notes.

The Value of Autonomy in Leadership:

Whether you’re a general manager, sales manager, program director, or brand manager, embracing autonomy offers key advantages:

Empowers team members
Encourages innovation
Builds trust
Facilitates faster decision-making
Increases job satisfaction

Autonomy on Multi-Cast Shows:

Autonomy can lead to enhanced creativity, stronger collaboration, and more dynamic content in multi-cast radio and podcast shows. Here’s how:

Ownership of Segments and Responsibilities : Cohesive shows assign specific responsibilities that align with each cast member’s strengths. Some are better storytellers, while others excel at reacting.
Inclusive Planning : Ensure all players are involved in the planning process. Unfortunately, we’ve seen male hosts exclude female cohosts from planning discussions for shows targeted to women—an easy way to alienate your audience with irrelevant content.
Rotating Roles : For new shows, establishing a mic sequence (first, second, third mic) creates familiarity with listeners. Once personalities are established, a cohost can lead a segment when they’re the focus of the content. An open mic policy can also work with established shows.
Guest Selection and Lead Interviewer : When a guest relevant to your audience is booked, allow the player with the most passion or expertise on the topic to lead the conversation.

The Wrap:

Autonomy in leadership and on personality-driven shows drives creativity, improves efficiency, and, most importantly, fosters a sense of ownership among team members. Whether managing a team or producing a show, autonomy can unlock higher performance and a more engaging experience.

Photo by Samuel Regan-Asante on Unsplash

How the Best in Broadcasting Maximize Productivity

Thu, 24 Oct 2024 13:11:00 GMT

I was burnt out, and I did not understand why. Many years ago, as a 24-year-old radio host and music director, I worked long days, nights, and weekends but could not finish the job.

A nearby college advertised a time management course, and I signed up. There were so many takeaways that my hand cramped from notetaking. At the end, the teacher patiently explained why I was not getting the job done:

“You are trying to do too much.”

It was apparent to her, but the simple truth that 25 hours do not fit in a 24-hour day was an epiphany to a young person starting out. That was my first a-ha moment in learning to manage time efficiently, and I have tried to learn more ever since.

What are your tips and tricks for getting more done in less time when you wear a lot of hats and juggle multiple roles?

Here is productivity advice collected from high-performance performers you may know about our business.

Gary Berkowitz, Berkowitz Broadcast Consulting

Keep a regular schedule. Up early. To bed early.
Daily exercise
Be at my desk by 8 am
Always break for lunch
Always end the day with a clean, organized desk. Ready for tomorrow.

Most important. I keep a yellow legal pad with a to-do list written in pencil. It includes everything I need to do, who to call back, and other essential things. As they are done, I cross them out. No computer, no high tech, even when I travel.

Kelly Corday, program director and host, KCBI 90.9 Dallas

Up at 5 AM
Physical work outside
Check email and prioritize the day while listening to the morning show
Creative work before 2 PM, organizational work after 2 PM
Voice tracking from the home studio

Chris Kelly, 2 Guys Named Chris Show

Prep from 4-6 AM and afternoons
Divide content into A or B material
Organized content into categories: Personal, Entertainment, Crime, Trump, Sex, Parenting, Relationship. Etc.
Use only 60% of each day’s plan on-air
Post-show: endorsements and email

Coryelle Thomas, social media manager and host on JP Coryelle and Husker Nick, KX 96.9 Lincoln

Scheduling content posts vs doing it in real-time
Same tasks in the same order every day

JP, host on JP, Coryelle and Husker Nick KX 969 Lincoln

Same tasks in the same order each day
Planning with the team right after each show
Voice track, podcast, website, and edit audio for the next day after planning
Always on a to-do list

Dave Ryan, The Dave Ryan Show KDWB Minneapolis

The four of us prep for a couple of hours immediately after each show
No meetings, no emails or calls from 10-12 daily
We don’t voice track other shows or hold other duties
Use Sales Force Chatter for private communication/show collaboration

Steve Harvey, The Steve Harvey Morning Show

Care about every minute of every hour of every day and make them as productive as possible
Account for minutes to eat, socialize, or have a moment to collect thoughts

Ryan Seacrest, On Air with Ryan Seacrest

Moved closer to work (LA to NY)
Only one sick day in 17 years
Try not to think about how much there is to do

Photo by Andrew Neel on Unsplash

Responding to Natural Disasters: Tips for Music and News Radio

Wed, 16 Oct 2024 13:47:00 GMT

In the wake of recent hurricanes like Helene and Milton, which left millions in Florida without power, it’s clear that natural disasters are on the rise.

With climate change fueling more frequent and intense weather events—hurricanes, wildfires, floods, and more—radio stations must find ways to stay relevant and supportive during these crises.

While music stations typically offer an escape from bad news, ignoring major disasters can make your station sound disconnected. Whether broadcasting from the affected area or elsewhere, here are strategies to maintain a balance between entertainment and timely updates.

Acknowledge the Crisis While Staying on Brand

Brief Updates : During morning drive, when Time Spent Listening (TSL) is short (around 10 minutes), provide a quick, one- or two-sentence update about major disasters. Listeners expect a mention of significant events, even on music stations.
Human Stories Matter : People connect more with personal stories than raw data. Highlight how individual people, families, businesses, and communities are affected.
Eyewitness Accounts : Gather firsthand stories from the affected region to provide listeners with real-world perspectives.

Offer Practical Tips

Even if your station isn’t in the path of a disaster, you can still help listeners be prepared:

Battery-Powered Radios : Encourage listeners to keep battery-powered radios for emergency information during power outages.
Survival Tips : Share useful advice, such as how long food lasts in a refrigerator during a power outage or what to do if phone service is down.

When Disaster Strikes Close to Home

If a disaster hits your area, your station becomes a critical source of information:

Partner with News Stations : Coordinate with local news or TV stations to provide up-to-date, accurate information.
Be Prepared : Build a network of experts (meteorologists, psychologists, officials) to provide timely insights ahead of time.
Local Leadership : Develop relationships with local officials to enhance your station’s credibility and provide reliable information to your audience.

Engage Your Community

Create a space—both on-air and online—for your listeners to share their stories and concerns during a disaster. Inviting local experts and offering a platform for listeners to engage builds a sense of community and helps your station serve as a vital resource.

Radio’s Vital Role

Natural disasters are becoming more frequent and severe. By providing timely updates, focusing on human stories, and connecting with your local community, your station can remain relevant while offering critical support during these events. Whether your audience is tuning in for entertainment or survival tips, radio has the power to be a lifeline when it matters most.

Photo by Timur Garifov on Unsplash

Radio to the Rescue: Saga Radio’s Response to the Asheville Disaster

Tue, 08 Oct 2024 00:46:00 GMT

In the aftermath of Hurricane Helene, over 200 people in Asheville, NC, find themselves stranded—without water, power, phone, or internet access—unable to leave their homes due to flooding.

This is the harrowing reality facing the Asheville community. At the heart of the relief efforts are Steve Richards, Operations Manager for Saga’s Asheville Media Group, and his wife, Sherry, an RN at Mission Hospital.

The hospital, described by Steve as a “war zone,” has been overwhelmed with injured flood victims. Emergency water tanks surround the building, pumping water in while FEMA guards protect them. Medical personnel, some coming from as far away as Canada and Texas, have joined local doctors and nurses to manage the overflow of patients.

Meanwhile, the roads are filled with the sounds of police sirens and supply trucks, including vehicles from radio stations like those in Norfolk and Saga’s sister stations in Charleston.

Steve and Sherry’s home was damaged by a large tree that fell on it, blocking one of their cars. Still, Steve remains grateful, noting, “Compared to many people in the area, we’re ok.”

A Timeline of the Asheville Disaster

The disaster began to unfold when the area received two inches of rain on Wednesday, setting the stage for the impending flood. Rain continued throughout Thursday, and by Friday, between 5 and 11 AM, a torrential downpour accompanied by high winds hit Asheville and neighboring Erwin, TN. This deluge turned the region into a disaster zone.

Around 10 AM on Friday, a fallen tree disabled Saga’s main generator, knocking the stations off the air for five hours. A technician drove two hours to restore power, and the group’s engineer made heroic efforts, even climbing mountains with a gas tank to ensure the stations could stay on the air, though they had to shut down at night to conserve fuel.

Radio to the Rescue

As soon as the stations were operational again, Steve and his team began extensive flood coverage. The Rizzo and Jeff Morning Show on 105.9 The Mountain and The Morning Mix with Melanie & Crystal on Mix 96.5 broadcast continuous coverage, featuring calls from listeners sharing heart-wrenching stories of survival and loss. Crystal, cohost of the Morning Mix, gave birth during the height of the storm in a hospital with no water or food.

Saga’s stations also provided twice-daily press briefings, informing the community of rescue operations and critical needs. One of the most pressing needs is water.

The primary water system suffered severe damage, leaving search and rescue teams to hike 13 miles up a mountain to reach the water facility.

Many nursing homes, shelters, and even schools desperately need water, and most gas stations remain closed, forcing residents to wait in long lines at the few that are operational.

Listen here to one of the many callers describing the dire circumstances so many face and how thankful they are for the radio’s lifeline.

The Current Situation in Asheville

As of now, over 100 people have perished in the disaster, with approximately 200 still missing or stranded. The destruction is widespread—flooding and mudslides have wiped out streets and roads, and I-40 West is expected to remain closed until the spring of next year. The picturesque Asheville, nestled in the Blue Ridge Mountains, now looks like a disaster zone.

A Call for Unity

Despite the overwhelming devastation, Asheville’s spirit of unity shines through. Radio stations, charities, relief organizations, and government agencies have come together to help the community rebuild. Steve Richards emphasizes that radio stations everywhere can support Asheville by encouraging listeners to donate funds or organize drives for food and water. He suggests donations be directed to onebuncombe.org .

Lessons for the Future: Disaster Preparedness

As climate change intensifies, natural disasters like the Asheville flood are becoming more frequent and severe. Steve stresses the importance of radio stations having emergency preparedness plans to serve their communities when disaster strikes. He recommends regular announcements reminding listeners to keep a battery-powered radio at home in case of emergencies.

A Final Word from Steve Richards

“When a disaster strikes your area, be that lifeline for the audience.”

Radio remains a crucial tool in times of crisis. Saga Radio’s response to the Asheville disaster exemplifies how broadcasting can serve as a beacon of hope, providing essential information and connecting communities in their darkest hours.

Photo by Hannah Busing on Unsplash

The Master Communication Skill

Tue, 08 Oct 2024 00:29:00 GMT

One of our morning show clients interviewed Larry King a few years ago. The cohost talked over Larry before he finished answering a question. Larry said, “Hold on, I wasn’t finished with my point. You know, the best questions come from listening to the response to the last question.”

Larry was right. When we are half-listening and waiting to talk, we come off as disrespectful and miss opportunities to formulate a better response, question, or come back.

Active listening is not just hearing the words; it’s fully concentrating, understanding, and remembering what’s said.

I’m betting you’ve heard radio or podcast interviews where the host jumps to a new question without acknowledging or following up on an important point or story the guest shared. Another indication the host isn’t listening is asking a question the guest has already answered.

Active listening improves communication and performance within teams, with callers, and with guests in several ways:

Enhances conversation flow:

Talents respond organically rather than thinking about what they’ll say next, creating more natural, engaging dialogue.
Genuine listening enables hosts to ask insightful, spontaneous follow-up questions.

Builds rapport:

Active listening shows respect and interest in the person talking. This promotes trust within teams, makes callers and guests feel more comfortable, and leads to open and honest conversations.
.
Listeners pick up on the rapport and feel part of the conversation.

Improves clarity and depth:

For spoken word formats, active listening ensures the host grasps complex issues and enables them to summarize them better for the audience.

Engages the audience emotionally:

When personalities listen actively and ask insightful questions, they reflect listeners’ curiosity, making the discussion more relatable to the audience.
Hosts who pick up on the emotional cues of callers and guests steer the conversation in an emotional direction, connecting more impactfully with listeners.

Credibility:

Active listening enables hosts to manage complex and sensitive conversations more effectively. As a result, you’ll be able to respond more appropriately to controversial topics.

5 Steps to Being an Active Listener:

Listen with empathy:

Listen closely to the words and picture what’s being said.
Show an understanding of the speaker’s feelings and perspectives.
Read between the lines. Notice tone of voice and body language.
Notice what is not being said.
Use the One Second Rule . Avoid interrupting; when someone finishes talking, pause for a second before you start talking.

2. Listen with full attention, no distractions like screens.
3. Listen with curiosity and genuine interest.
4. Suspend judgment until the speakers finishes and avoid jumping to conclusions.
5. Interviews: Summarize what was said so you and the audience understand the guest or caller’s point.

The more you perfect the art of active listening, the more your communication and conversations will improve professionally and personally.

For additional active listening skills, check out last week’s Coaching Tip .

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The You Factor

Wed, 25 Sep 2024 00:11:00 GMT

Have you ever been to a party and gotten trapped with someone talking nonstop about themselves? Every other word is “I.” What a turnoff, and you want to escape.

An article in Entrepreneur summarized six studies revealing which advertising tactics and words generate the most consumer engagement and brand attention.

A Powerful Communication Word

The research-based marketing newsletter aryh.com study listed the word “you” as the number one way to make consumers feel more involved with your brand. In one Facebook study, a post that read, “Maximize your savings!” made people feel 20% more involved versus one that read, “Maximize savings!”

RLC recommends that radio and podcast talents limit the word “I” and use the word “you” often. The “You Technique” focuses on the listener’s perspective rather than the talent’s, creating a more relatable and impactful connection.

Non-you example: You could start a discussion about one of the football games with, “ I was watching the game yesterday, and I thought….”

You example: “If you were watching the game yesterday, didn’t you think…”

Take a Tip from Comedians

Comedians set up personal experience stories or jokes with inclusive setups like, “Did you ever notice when you and your wife start to argue over….” or, “ You know when you’re running late and stuck in traffic ….”

Starting stories with the word “you” creates a sense of intimacy and shared experience. For example, “Can you imagine this happening on the first day of your vacation?” Listeners feel part of your story and perceive you as talking one-to-one with them.

When to Break the You Rule:

When you are being vulnerable or self-deprecating
When you are expressing your inner dialogue during a story

Applications across Communication Channels

Radio and podcast talent : Focusing on the audience’s perspective utilizing “you” can help talent establish a stronger connection and make your content stick and memorable.
Marketing and advertising : Personalized marketing is now the norm in the digital age. Use the “You Technique” to craft messages that cut through and speak directly to individual needs.

Prioritize “you” in ad copy, social media, and email marketing.

Sales representatives : Train salespeople to use “you” when interacting with clients. Your proposals and presentations will feel relevant and personal to clients and potential clients.

Using you over I is a subtle tweak in communicating with listeners, clients, and people in your everyday life. Mastering this skill will make you a more captivating communicator.

Photo by Bewakoof.com Official on Unsplash

A Smart Way to Use Social Media

Mon, 16 Sep 2024 22:03:00 GMT

During her parental leave, Randi calls into her morning show weekly with new mom updates and keeps her social media fans posted. This is an outstanding storyline that creates tune-ins and boosts TSL.

RLC recommends that shows execute a horizontal tease on the day before an episode, and at the same time the content will air the next day. People primarily listen at the same time daily based on their schedule. Give people a reason to listen again tomorrow.

Social media can create new radio listeners

When Randi and Alex visited Venice Beach, my wife JoAnn and I met them for dinner. I
was coaching her show in Vancouver at that time. JoAnn had never heard Randi’s radio show, but she followed Randi’s mission to become a parent online, and now she’s a fan!

Social media can expand your personality brand. You could meet someone at a public event, and out of curiosity, they could look you up on Facebook or Instagram. If you share relevant life experiences, it’s an enticement for the audience to check out your radio show or podcast.

You are a personality brand

Today, your brand extends across multiple platforms beyond your show. Your success depends on consistently relating and sharing with your audience on social media, audio and video podcasts, television, blogs, appearances, charities, and merchandising.

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How to Be Half-Assed

Wed, 04 Sep 2024 18:57:00 GMT

Do you ever feel bad about doing something poorly?
Anything worth doing is worth doing poorly because doing it poorly is better than not doing it at all .

We want perfection immediately. We avoid taking a positive step because we are terrible at it, which assures us that we miss out on something good and we never improve.

My good friend, Kaz Rafia — who also happens to be my dentist — understood this years ago when he razzed me about flossing.

During one checkup, he asked me to commit to flossing one day a week. It seemed ridiculous, but I said OK, and he said to pick a day. I began flossing on Mondays, and it grew into Tuesdays and Wednesdays, and now it is every day.

We ask talent not planning their show to begin with 5 minutes of planning per day. Teasing can start with one well-crafted tease per hour. A single audio clip in a news segment that had no audio before is a great improvement.

Doing something half-assed means that you try. A show that does one entertaining, personal social media post per day is better than 20 no-effort, cookie-cutter posts like those on shows by some national syndication companies. Not doing something is often better than making zero effort to do it well.

“Worth doing” is also a key concept. Every action comes with an opportunity cost . The benefit you get from doing one thing costs you the benefit you would have gained from doing another thing.

Occasionally, well-intentioned management asks over-worked talent to “get on the streets.” A 90-minute round-trip in the van to engage with 50 people is less worth than 90 minutes of shooting and editing a TikTok video that will reach thousands .

Start small, begin badly, and be willing to be half-assed. Your first uncertain step will set you wobbling up the path to greatness.

My friend Adam Tracey of Own The Room shared this Tumbler post , which inspired this article.

Photo by Jason Goodman on Unsplash

You Make Your Money During the Day

Tue, 27 Aug 2024 22:53:00 GMT

In a coaching session with the DJ Walker Morning Show at Cumulus’ Kat Country Stockton, we brainstormed how to set up a story with an emotional hook about a mother who had a home salad bar for her nine kids. Cohost Jaimee Lee said, “Sometimes when both of my kids start yelling, ‘I’m hungry. I’m hungry.” I want to yell, “Fix it yourself!” Boom, that was the emotional hook setup!

Setting up a content segment on the fly with an emotional hook that grabs the audience’s attention is hit or miss. There’s a story in Inc. about Jerry Seinfeld giving a young Chris Rock career advice. Rock asked Seinfeld, “What do you do during the day?” Seinfeld said, “I hang out. But I do open mics every night.”

Rock replied, “During the day is when you make the money.” He was referring to writing, developing material, and rehearsing. “We collect the money at night but make it during the day.”

Money is in the planning

Planning and preparation are also essential to success for radio and podcast shows. It’s not enough to come up with good ideas. Effective execution of a good idea means more granular planning, like crafting setups to hook the listener’s attention, preparing the exit for impact, and ending with a must-listen tease.

Science supports the value of planning

A study published in the Journal of Experimental Social Psychology found that people who are fully prepared for any situation feel more confident and can handle it more effectively.

Radio Hall of Fame personality Scott Shannon has often said planning every segment of your show gives you the confidence to go off the show plan when a spontaneous opportunity arises. It could be one of your planned one-off topics exploding into multiple segments, or a celebrity who is important to your target audience dies.

And in the end

If you do the work before your show, you will generate higher ratings and downloads AND collect more money.

Photo by Giorgio Trovato on Unsplash

How to Win #1 Nielsen Ratings

Tue, 20 Aug 2024 01:38:00 GMT

Legendary investor Warren Buffet once said, “No matter how great the talent or efforts, some things just take time . You can’t produce a baby in one month by getting nine women pregnant.” A new radio show is an investment. Companies take risks, and it is natural to hope for quick rewards. But succ ess is not guaranteed, and it can take a while. This is true not just in the United States but around the world. I recently read about a current radio story in Australia from James C ridland , radio futurologist and editor of Podnews . The legendary Kyle and Jackie O show on KIIS Sydney was recently syndicated into Melbourne, and the initial rating success has been meh. James writes , “The show was expected to be an instant success because it’s Sydney’s #1 FM breakfast show. In January 2014, the show shifted from Sydney’s 2DAY to KIIS – taking its #1 FM status with it in a shock survey. People were expecting similar. But radio numbers don’t work like that… Not only that but Kyle and Jackie O’s main show has never been heard in Melbourne.” We do not know how station management there is reacting to the ratings, but here in North America, we sometimes have to calm panicky CEOs and VPs in similar situations. I have often told the story about a new local morning show we were pitching to replace an underperforming syndicated show on a number-one-rated CHR station in a major US market. A regional vice president asked me, “How long will it take for this show to deliver substantial ratings?” I said, “It typically takes 18 months or longer for the show to outperform the station.” I walked him through the development of other high-revenue shows and assured him that the wait would be worth it. He responded, “I don’t have that kind of time.” He then copied and pasted one of the company’s generic syndicated morning shows into that timeslot, expecting a quick win. That show lasted one year. The VP then rushed in another generic syndicated show, which ran unsuccessfully for four years. Next came a promising local show sacrificed in company-wide layoffs before it got off the ground. The station now has another syndicated show – a good one, but it is the fifth show in 12 years – and the former #1 station is in eleventh place overall as of this writing. Imagine being a sales rep explaining that mess to clients. In our business, our product is a friendship between the show hosts and each listener. “You can’t just snap your fingers and make a friend,” says Jeffrey Hall , a communications researcher at the University of Kansas. A format flip or promotion can sometimes produce a ratings bump, but the sustained business win is in building the emotional bond between our talent and the audience. Advertisers who love the show will also loyally spend money on it. A relationship like that takes time; if it were easy, everyone would do it. Richard Branson once said, “There are no quick wins in business. It takes years to become an overnight success.”

Photo by Samuel Regan-Asante on Unsplash

What’s in a (Show) Name?

Mon, 12 Aug 2024 17:10:00 GMT

Listeners form an emotional bond with on-air hosts, and when a show is successful, it feels much the same as an in-person connection. An early step in deep relationships is learning a name. Let’s consider what you name your show.

After years of research studies, ratings successes and failures, and listener panels, we have seen what works well when it comes to naming a new radio or podcast show.

Name the show after the hosts . This strategy is most consistently successful based on the following suggestions on show names. Many more people will say, “I watched Jimmy Fallon” than “I saw it on NBC’s The Tonight Show. Think Oprah, Howard Stern, Kelly Clarkson. In most cases, that is what most people will call the show.
Consider an abbreviated show name when you have many foreground hosts . The Show is easier for Rock 103.5 San Diego listeners to remember than “Eddie, Sky, Thor and Emily.” The Bert Show is known for a strong cast of characters, each talented enough to host their own show, in addition to Bert.
Consider a show name when you have hosts with long names. It is easier for fans to say The Breakfast Club instead of Charlamagne Tha God, DJ Envy and Jess Hilarious.
Make your show name one-of-a-kind. There is only one Shoboy on planet Earth (that we know of), and he hosts the Shoboy Show . Ditto for Ebro in the Morning at Hot 97 New York. Alex Cooper hosts one of the world’s most popular podcasts, but most listeners remember the name of her show, Call Her Daddy . A great golfing podcast hosted by Steve Goforth is called Goforth and Golf. More generic names like Morning Zoo, Morning Mess, Playhouse, Showgram, etc., do not stick and won’t highlight the host’s names. Few people seem to refer to The Joe Rogan Experience by that name.
Big heritage shows can consider an acronym. Think of how viewers refer to Saturday Night Live as SNL. In Baltimore, 98 Rock listeners abbreviate Justin Scott and Spiegel to JSS , and in West Palm Beach, WRMF’s Kevin, Virginia, and Jason are known as The KVJ Show.
Consider personas instead of names. The Spanish language show El Bueno, La Mala , and El Feo (The Good, The Bad, and The Ugly) are apt character descriptors for Raul Molinar, Sylvia del Valle, and Andres Maldonado.
Consider name conflicts. Your new show might begin in one market on one station today, but what about the future? Do an online search for the name you are considering for your show. Will there be listener confusion as your show expands into syndication, podcasts, streaming audio, and becomes a social media player? Think of what URL might go with your name, see if it is available, and grab it now.

Photo by Samuel Regan-Asante on Unsplash

10 Ways to Ignite Your Creativity

Thu, 08 Aug 2024 01:41:00 GMT

Setting my daily intentions, a brief yoga session, and meditation are habits that bring me joy and kickstart my day.

Our habits largely determine who we are and who we become. To be more creative and innovative, practice daily habits that feed your creativity.

If you are a regular reader of this blog, you know that we often advocate for meditation , journaling , and digital detoxes to boost creativity, mindfulness, and overall well-being by releasing dopamine and endorphins. We recommend making these practices daily or at least consistent habits.

Our brains naturally distribute dopamine and endorphins to relieve stress and pain and to make us feel good. These chemicals and hormones are strongly associated with the creative process.

Now comes the fun part. Various additional activities in your everyday life can trigger the release of dopamine and endorphins, helping to raise your creativity.

7 Additional Activities to Rev Up Your Creative Output

Humor: Laughing expands your creativity. Not only does humor increase endorphins and make you feel good, but according to the Mayo Clinic , it also relieves stress, decreases heart rate and blood pressure, and aids muscle relaxation.

Watch late-night comedy shows and funny movies, and read comical blogs and books. My wife and I belly-laughed while watching Jimmy Fallon last night!

2. Exercise: All forms of physical activity raise endorphin and dopamine levels and improve mood. Exercising in the morning before work improves mental clarity and paves the way for creative ideas to flow more freely.

3. Walk in nature: Highly creative people, from Mark Twain to Steve Jobs, believed that walking in nature was one of their most important daily habits for boosting creativity.

The Japanese culture has long considered the practice of forest bathing a great benefit to health and creativity.

4. Listen to music : Music elevates mood, reduces stress, and leads to divergent thinking. Studies have found that listening to ‘happy music’ can boost divergent creativity.

5. Play : As an adult, play allows us to let go of work and be childlike again. Cornhole and Pickleball are two fun and popular activities to relieve stress and clear your mind for more creative thinking. Playing with a child is a wonderful activity that brings out your own inner child and creativity.

6. Play/learn a musical instrument : What do Albert Einstein, Thomas Edison, and Stephen King have in common? They all played musical instruments daily to boost their creativity.

If you didn’t take piano lessons as a child or weren’t in the band in school, learning to play a musical instrument will sharpen your brain and creative thinking.

7. Word games: Games like Wordle are essentially mini workouts for the brain. Melissa Haveman explains what we can learn about creativity from Wordle.

Photo by Lucas K on Unsplash

The Elephant (Or Donkey) In the Room

Mon, 29 Jul 2024 15:35:00 GMT

We are in the midst of THE most intense presidential election. Within two weeks, we’ve witnessed an assassination attempt on a former president, the present one bowing out, and a new candidate emerging.

These stories are not just political stories; they are universal stories being talked about by your audience regardless of format. If radio is to remain relevant among all media platforms, it can’t ignore the biggest story on the planet.

Music station shows

Some of the music station shows we coach did not mention any of these stories. While it’s true that most listeners to music stations come to escape from hard news and be entertained, some stories can’t be ignored.

As an authentic personality , ignoring stories that permeate all ages and walks of life ensures you and your show are out of touch. When all-encompassing stories come up in the future, here are some ways to execute them:

To be relevant, report the headline facts of the story. You could address the story in a trending feature without politicizing the story, which will alienate half of your audience.
You could also briefly hit the story and direct listeners to your News/Talk cluster-mate.

THE PRESIDENTIAL ELECTION

News/Talk shows

This presidential news cycle is a gift. The next 100 days are an excellent branding opportunity for the format. Your audience is already increasing rapidly, and here are three ways to maintain the momentum:

Provide and highlight updates (in the imaging/branding) and breaking news every half-hour.
Have expert contributors lined up to clarify stories and provide in-depth analysis.
Interact with listeners via callers, texts, and social.

Music and News/Talk can get involved

Voting ensures democracy functions effectively and accurately reflects the will of the people. Listeners are so passionate about their candidate and party that both sides want to make their voices heard through voting.

Your show and station can connect with the election passion by serving as a primary source for voter information. Music stations and objective news stations can remain neutral and involved. Your messaging can include the point of registering only U.S. citizens.

Five nonprofit and nonpartisan voting sources:

Vote.org is America’s largest nonprofit, nonpartisan voting registration and get-out-the-vote technology platform. It’s an excellent source for all formats.
When We All Vote is an organization headed by notables like Steph Curry and Selena Gomez. Its goal is to increase voter participation and close the age and race gap.
Rock the Vote is focused on getting young people involved in the political process and voting. This source suits CHR, Rhythmic CHR, Alternative, and other young demo formats.
HeadCount is visible at concerts, festivals, and community events, helping with voter information. Music artists involved in HeadCount include Billie Eilish, Dave Mathews Band, Harry Styles, and Paramore.
The League of Women Voters and VOTE411 provide personalized, nonpartisan election information in English and Spanish for all 50 states and Washington, D.C.

Voter registration drives

Some shows and stations set up booths to register people to vote at community events. The process differs from state to state. Here in Tennessee, an organization picks up voter registration forms at the county election commission, which advises them on voter registration requirements before an event.

National Voter Registration Day has a complete guide to voter registration for every state.

Photo by Robin Jonathan Deutsch on Unsplash

Teasing Is Great: Guess What’s Better?

Tue, 23 Jul 2024 16:13:00 GMT

During a recent coaching session, the show host had an enlightening moment, realizing that teasing is the radio’s version of clickbait. Like its digital counterpart, teasing is a hook that draws listeners in.

Clickbait headlines (teases) use emotional and sensational language to get readers’ attention. We’ve all been victims of clicking that headline only to be disappointed or irritated by the misleading or uninteresting content.

Why does clickbait work? It arouses curiosity and sets up a mystery. Carnegie Mellon University professor George Lowenstein developed the Information Gap of Curiosity . His research found the human brain is wired to fill a gap of information when challenged with a mystery.

Examples:

“What Mega-Celebrity Just Gave Their Famous Partner An Ultimatum? How Did It Play out?”
“Three Financial Secrets Bankers Don’t Want You To Know.”
“The Top 5 Foods You Should Never Eat – Number 3 Will Shock You

Most radio shows tease at least some upcoming content. Unfortunately, most of those teases do not arouse curiosity or entice the audience to listen to the next segment. They only name upcoming content like “ Trending is coming up next.”

Radio and podcast shows can grab the audience’s attention and extend listening time by delivering clickbait-style teases. To maintain credibility and authenticity, plan captivating teases to set up a mystery you’ll resolve in an upcoming segment without misleading, disappointing, or annoying listeners.

7 Tips for Magnetic Teasing

Plan and write out teases in advance for every segment of your show. Teasing on the fly usually results in a generic, non-compelling tease.
Highlight the most alluring aspect of the content, which sets up a mystery.
Create FOMO by appealing to the listener’s desire to participate in the conversation and not miss out on something important or entertaining.
Pose questions. Asking intriguing questions gets the audience’s attention and prompts them to listen for the answers.
Team teases: One host sets up the tease, and the other fills in the details, more effectively holding the audience’s attention.
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Use a snippet in the tease when you have audio in an upcoming segment.
Use horizontal teases to get listeners to tune in for the next day’s show. Horizontal teases must be used sparingly for primary content, such as a big interview, major contest, or tantalizing character reveal.

Photo by Brooke Cagle on Unsplash

Harnessing the Power of Change

Wed, 17 Jul 2024 16:19:00 GMT

Media, technology, and culture are transforming at an unparalleled pace. For many people, change causes anxiety, such as fear of the unknown and loss of control. A smaller number of people welcome change and thrive on it.

Change is the constant we can count on. So, let’s first look at five ways we deal with change in the workplace:

Managerial changes are significant in radio, particularly with the four largest radio companies. Questions arise like, “What will they be like? What changes will they make? Will my job change?
System and process changes, such as automation software, cause concern and frustration.
Changes in technology are accelerating at incomparable rates. AI is all the buzz in the media.
Downsizing causes significant stress, paranoia, and morale problems. In the radio industry, downsizing has added a layer of complexity to change management, making it exceptionally challenging.
Social changes : Traditional demographics look much different today. Millennials and Gen Z comprise almost all the 25-54 demo (25-43). Their core values are collaboration, communication , and inclusivity

As with most anything we do well in life, the first thing you must do to address change is:

PREPARATION

When management knows a change is coming, prepare a plan and explain the need for change and what it will look like.
Anticipate resistance and reactions and think through several outcomes.

2. RESILIENCE

Resilience is crucial for navigating change effectively. Maintain stability with these actions:

Create a safe space for employees to voice opinions, share ideas, and make mistakes. Invite the staff to weigh in on strategies and how they can be involved and have some ownership.
Create a culture of caring and collaboration . The most inclusive tone is we are in this together. Use language like we, our , and us .

3. COMMUNICATE CONSTANTLY

In the absence of information , people naturally go negative to the worst scenario. Many closed-door meetings and no communication are a recipe for employee unrest.
Explore the whys of resistance. Ask more questions and make fewer statements. Answer questions with specifics.
Active listening : Managers, rather than focusing on what you want to say, actively listen, be in the moment, feel their concerns, observe body language, and read between the lines.

4. TALENTS CHANGING ROLE

Now is not the time to be a jerk. I recently coached a top ten market show with high ratings above the station average. The host was a constant complainer within the cast, management, sales, promotion, and engineering.

The ratings started declining and continued for several months as the host’s contract came up. Guess what happened? The company did not renew the host’s contract.

Pro talent tip : People skills and collaboration are vital to being a valuable personality brand. Collaborating with sales through endorsements and selective live appearances will increase your revenue.
Personalities are becoming the face of radio brands. Trusted personalities are replacing out-of-market voiceover talents. The KVJ Show ’s Kevin, Virginia, and Jason voice promos for Hubbard’s WRMF West Palm Beach. The Bert Show host Bert Weiss voices promos for Cumulus’ Q99.7 Atlanta.

Photo by Kalei de Leon on Unsplash

Authentic Connection Checklist

Mon, 08 Jul 2024 15:50:00 GMT

The primary reason that Americans listen to radio (besides that it is free) is for deejays and personalities. Memorable on-air characters are significantly more important to radio listeners than music or contests.

Being memorable requires authenticity. Listeners don’t want or expect a show to be all focused on you all the time, but they appreciate that it uniquely comes from you . Generic hosts who do not share their authentic selves are a thing of the past.

It can be challenging to reveal your true self when the audience cannot see you, and all you have to work with are short moments on the air. Even though it sounds unnatural, the secret is planning to play your true self on the air.

Choosing the right content helps. Killer content infused with your authentic personality—sometimes a little, sometimes a lot—is a winning formula.

Consider these questions to filter the content ideas you consider for your show. If you answer “yes” to one or more of these questions, prioritize that segment premise.

Does it reveal your complexity and depth?

Revealing your facets, including your strengths, weaknesses, conflicts, and contradictions, makes you real to audiences. Memorable media personalities are multi-dimensional.

Does it reveal your backstory?

Howard Stern of SiriusXM talks about how his father, Ben, ignored him but revered polished broadcasters, which led Howard to become one to win his father’s approval. Sharing your personal history gives audiences context for your actions and motivations.

Does it show vulnerability?

Our fears, insecurities, and struggles are universal. The loss of family, friends, and pets is a powerful theme in most forms of entertainment. Vulnerability makes you more relatable.

Does it trigger a strong emotion?

Emotions are contagious. The first step in making audiences feel something is sharing your genuine reactions through your choice of words, pauses, and dynamic vocal inflection. Remember the old adage: where there is emotion, there is a story.

Does it reveal your evolution?

A memorable character like James Bond stays essentially the same but evolves with changes in perspective, behavior, and attitude. Share your development arc through stories of personal growth — or regression.

Does it show imperfections?

Perfect characters are not relatable. Sharing your failures, setbacks, and mistakes mirrors the experiences of audiences.

Does it reveal what you want?

Everyone has goals and motivations. Some even have a life’s purpose. Reveal your dreams and desires when they involve everyday human experiences like love, success, or belonging.

Does it bring up a relatable, dramatic situation?

Riding an elevator is a relatable situation. Finding yourself alone on an elevator with your ex is relatable and dramatic. Share experiences involving conflict that the audience can relate to, such as family dynamics, work challenges, and social interactions.

Does it trigger one of your consistent behaviors?

Are you known for being inconsiderate or making jokes at inappropriate times? Consistent behavior patterns help the audience connect to a personality.

Does it reflect your relationships?

Audiences know you through interactions with others. Your partner, pets, kids, mom, dad, neighbors, and friends can all be characters on the show, even if they never appear on air. Mention them by name as you share conflicts, how you affect them, and how they impact you.

Angel and devil moments

A moral or ethical dilemma is good content. A difficult choice that you struggle with is excellent content. Focus on what you have done or are doing instead of what you might hypothetically do.

Photo by Glenn Carstens-Peters on Unsplash

Expand Your Cast for Free

Mon, 24 Jun 2024 18:26:00 GMT

Contributors, experts, and friends of your show can significantly enhance its quality, appeal, and success. Expanding your cast creates a bigger, more dynamic sound for any show. Local experts help make the show sound more connected to the market.

The good news is most will do it for free! The exposure boosts their brand and business. The value of contributors include:

Expertise

Contributors bring specialized expertise from politics, business, health, and money to deepen content. This is particularly true for Spoken Word formats.

Diverse perspectives

They provide new information on topics to balance and add comprehension to discussions. Contributors can interact with callers to answer their questions and engage in dialogue. The syndicated DeDe in the Morning Show has a financial expert on weekly.

Credibility and image

Contributors help provide credibility and brand depth to News and Talk formats, much like network TV.

Networking and collaboration

Most contributors have their own following. They provide an opportunity for your show to cross-promote and expand its reach.

Solo hosts

Radio shows with solo hosts increase much-needed interaction and dynamics with the addition of contributors like movie critics. Several shows have attorneys who offer listeners free legal advice.

Here is a list of potential experts to discuss topics in their fields:

Movie & TV critics
Doctors
Lawyers
Politicians
Relationship therapists
Sex therapists
Marriage/family counselors
Social media influencers
Technology experts
Sports
Academics
Health and fitness
Personal Finance
Consumer advocates
Food/restaurant/chef

The Wrap

The key to successful contributors is to get experts who are also engaging personalities who can interact well with the show players and speak in everyday terms about their field.

Another way to expand your cast is to add recurring entertaining callers and quirky characters in the community. In LA, K-Rock’s Kevin and Bean had Rockin’ Fig ’ the surfer dude deliver their surf report.

Radio shows with solo hosts increase much-needed interaction and dynamics with the addition of contributors like movie critics. Several shows have attorneys who offer listeners free legal advice.

Here is a list of potential experts to discuss topics in their fields:

Movie & TV critics
Doctors
Lawyers
Politicians
Relationship therapists
Sex therapists
Marriage/family counselors
Social media influencers
Technology experts
Sports
Academics
Health and fitness
Personal Finance
Consumer advocates
Food/restaurant/chef

Photo by Christina @ wocintechchat.com on Unsplash

7 Show Killers

Mon, 17 Jun 2024 16:00:00 GMT

We learn from our mistakes by observing what not to do. In the current Fortune issue, Doug McMillon, CEO of Walmart, noted, “It’s fun when the world tries to condemn a failure, and inside, you just smile and say, ‘We were learning.’”

Following up on Jeff McHugh’s blog, Mistakes and Learning , we have identified and learned from seven major show success killers. This list applies to radio and podcast shows.

1. Generic hosts who do not share their authentic personalities.

Neutral hosts without a clear viewpoint who do not share their life experiences through storytelling are commodities. They don’t stand out and connect emotionally like personality brands .

2. Weak content premises

Yes/no topics : “Would you discipline someone else’s child?” is a dead-end topic ending in yes or no responses. “What happened when you disciplined someone else’s child?” will generate entertaining stories.

Lists with no stories : Reading online lists anyone can read is not entertaining. Highlighting the most interesting ones with personal stories connects with the audience.
Visual content : Since most radio listening occurs in autos, describing a photo or video listeners can’t see is not relatable.

Topics about objects without emotion : “What food do you hate?” will only generate a list of foods. “When” and “what happened” premises generate stories.
Guest interviews : Guests are rating killers when there are no stories, or you don’t make them part of your show, like chiming in on your ongoing topic.

3. Weak execution:

Slow setups : Linear and meandering setups lose new and cume listeners within ten seconds.
Unclear or no resets : Be inclusive to convert cume to fans. TSL is short; you can’t assume listeners heard your last segment.
Meandering, reiterated conversations, and tangents: Short attention span and impatient listeners are bored quickly.
Generic, vague, or no teasing : Your show will lose momentum and TSL.

4. Exclusive conversations:

Inside discussions excluding listeners waste listeners’ time and cause tune-out.

5. No storytelling:

Too many shows set up topics and give their opinions without stories to illustrate their points. It’s always better to make listeners feel than think. Go short on opinions and long on stories.

6. Poor planning:

Many shows gather and list content without turning it into a show plan. What you do with content is a show plan. What’s the unique angle? What’s the setup and payoff? A show plan is the key to sticky content.

7. Not maximizing social media:

Posting local social media content several times daily is a huge advantage over syndicated shows. Social is also a platform to deepen your personality brand. Too many shows fail to post their highlight content daily to expand their content potential.

Thanks to Andy Winford , program director at KSKS Fresno KATM Modesto- Stockton, and RLC’s Jeff McHugh for their input on this blog.

Photo by Samuel Regan-Asante on Unsplash

Mistakes and Learning

Mon, 10 Jun 2024 16:21:00 GMT

Have you ever made a mistake and find yourself focusing on it later? I coach people not to, but I recently found myself doing just that.

Christian Music Broadcasters invited me to deliver a 25-minute Ted Talk-style presentation at their conference in Orlando. As is my habit, I overprepared, rehearsed repeatedly, and began my talk feeling confident.

Everything went great as I roamed the huge ballroom and interacted with the audience, but I could not see the countdown timer on stage. At the 23-minute mark, I realized I was out of time and rushed to the great ending I had planned. I then flew 2750 miles back to Portland, angry with myself.

Everyone makes mistakes. You can use those experiences to grow and learn, but you may have to work against your own brain because of what scientists call cognitive distortions.

Rumination – a persistent focus on negative events, feelings, and thoughts – is a cognitive distortion.
Disqualifying the positive – seeing only the worst of a situation and ignoring the compliments and praise – is a cognitive distortion.
Magnification and minimization – exaggerating or reducing the importance of events – also a cognitive distortion.

Do any of those remind you of the last error you made? I was guilty of all three.

What can you do the next time you make a mistake to maximize the good from it and avoid these errors in thinking? Consider taking these steps.

Change “I should have” into “I will next time.” A few days after CMB, I led a talk at Sirius XM. This time I asked if there was leeway in my ending time – there was – and that information helped that workshop end perfectly. Change every “shoulda” or “coulda” into future action.

Reframe “I am bad at (blank)” into “I am improving at (blank).” The message you tell yourself matters. “I am bad” states falsely that you are inherently incompetent. Saying “I am learning to…” or similar phrases replaces the negative voice in your head and you present as more confident to others.

Seek feedback. Everyone knows their own flaws. Ask people you trust what went well and what could be better, and most often, you will learn that nobody but you noticed your mistakes. Once in a while, they will give you a helpful observation, but you have to ask for it.

Embrace imperfection. To accomplish anything great, you must be vulnerable. Author and professor Brene Brown teaches that innovation, creativity, and adaptability all begin with a willingness to fail and to break a few things.

Whenever you are reflecting on a mistake, consider this quote from American President Teddy Roosevelt during a 1910 speech in Paris, which mentions men but applies to all of us:

The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood; who strives valiantly; who errs, who comes short again and again, because there is no effort without error and shortcoming; but who does actually strive to do the deeds; who knows great enthusiasms, the great devotions; who spends himself in a worthy cause; who at the best knows, in the end, the triumph of high achievement, and who at the worst, if he fails, at least fails while daring greatly.

Photo by Jason Goodman on Unsplash

When to Get Personal on Radio

Mon, 03 Jun 2024 15:24:00 GMT

Consider this scenario: two people meet at the mailbox for the first time. They engage in a conversation, but it’s unlikely they’ll delve into personal matters like my spouse is sleeping with the yoga teacher! Instead, they naturally gravitate toward a third topic that’s universally relatable: the mail. This is the essence of the Theory of the Third .

This theory also applies to new shows in a market or new players on an established show. Before getting personal, it’s essential for new shows to first understand the station and the market.

Focus content on humor, fun, topical, and lifestyle stories, the third thing that’s familiar and resonates with the audience.

The first step in developing your character is expressing your viewpoint on topical, lifestyle, and local stories. You could also share your experience of moving into the market, being at a local event, or visiting a local tourist attraction.

When to get personal

You know how off-putting it is when you meet someone and they immediately begin oversharing. You’re thinking, “I don’t know you, and I can’t care about you yet.” The same occurs with listeners when new shows start telling personal stories and being vulnerable from day one.

Conversely, we coach talent who wait too long to start developing their character, and the audience knows nothing about them. The question always arises: when does talent start sharing personal stories to establish and develop their character?

It takes the audience about 60 days to get comfortable and somewhat familiar with a new show. So, take your time, be patient, and let your character gradually unfold. Also, don’t wait a year to share, or you’ll be behind in developing your character and typically non-memorable.

Trusted voice

When a show or talent consistently outperforms the station, and you have become a trusted voice in your market, you can talk about anything. That includes personal opinions, feelings, stories, and even political topics, with the right tone and in an appropriate way.

Action steps for new shows

Get a sense of the station and market.
The first 60 days, focus on fun, humor, and topical content.
Gradually let your character unfold through your point of view and personal stories.

Photo by Jason Goodman on Unsplash

The Fate of Live Radio in 2024

Mon, 03 Jun 2024 12:21:00 GMT

Is your show underperforming in Nielsen because it airs live? Many hosts prefer doing a live radio show, which can sometimes hold a show back.

Early radio was all live. There were great shows in the Golden Years of Radio, but much of it was not very good. The only media competition back then was static newspapers, magazines, or books.

Today, short attention span audiences have grown accustomed to well-edited streaming content with fast-forward and “skip intro” buttons. How does the linear content on FM radio shows compare?

On certain occasions, live radio is truly exciting. This week, we enjoyed live reports on 98 Rock’s Justin, Scott, and Spiegel from the wreckage of the Francis Scott Key Bridge in Baltimore as the container ship Dali was refloated.

On other occasions, live radio is impossible. In 2011, when I was an Operations Manager, a tornado came through St. Louis one weekend evening. When asked on Monday why our cluster did not have live bulletins beyond EAS, I leaned forward and said, “Layoffs.”

The best live content these days is often highly rehearsed, such as standup comedy or a theatre performance.

Great live content is often scripted. I enjoy FM News 101 here in Portland, and their best shows are the morning and afternoon newscasts with live anchors working from well-written copy.

Improvisation can be great content. But even the popular improv show Whose Line Is It Anyway would edit out some scenes that fell flat.

Sports fans – who still prefer live games – are trending towards watching later on-demand. I know people who watch games that way so they can skip commercials. My girlfriend Terri and I record Formula 1 because who wants to get up at 6 a.m. on Sunday to watch the Monaco Grand Prix? (She does insist on watching the Chicago Cubs live.)

This is to say that we advise talent to use pre-production more effectively to improve the show. We do not recommend the big corporation practice of rushed, unprepared voice tracking by overworked talent. Consider making these moves if you haven’t already.

Podcasting. Obviously, a podcast is pre-recorded, edited, and re-arranged. Often, a show’s podcast is better than the radio show. What would happen if more radio was produced like a podcast?
No live interviews. Many shows today record the chat, play brief clips on the air, and make the full interview available on the station website. Fresh Air host Terry Gross says that many interviews they conduct do not make it to air.
No live calls. Most listeners contributing to topics are not entertainers, and games are improved with editing.
No one calls? Record them. Post a topic on social media in advance, then reach out and ask the most interesting responders to jump on the phone. Some shows set up a voicemail or use talk-back type apps for audience contributions.
Recording can improve creativity. Many super-talented hosts struggle to contain conversational tangents during a live show. We have seen edited versions of highly spontaneous shows catch fire with audiences.
Recycling. A great segment that airs once is a terrible missed opportunity. Airing re-recorded, polished A-grade content multiple times in a show is smart.

Most top-performing “live” radio today uses recorded pre-produced content—sometimes a little, sometimes a lot, sometimes all.

Photo by Austin Distel on Unsplash

Ride the Brain Wave (To Higher Performance)

Mon, 20 May 2024 12:35:00 GMT

What if you had a higher volume of creative ideas, your critical thinking was sharper, or your attention more focused? You would be a more innovative talent and a more dynamic and persuasive leader.

Neuroscientists reveal that increasing your presence in one of the five brainwaves can boost creativity, problem-solving, memory, and focus. Which one you increase depends on whether you need more analytical thinking or creative ideas.

Our brains have five brainwaves relating to these five mental states :

Delta – Deep sleep
Theta – Deeply relaxed
Alpha – Relaxed
Beta – Alert and focused
Gamma – High-performance

Delta – Deep sleep

Nothing restores our mental, physical, and emotional states more than sleep. Delta waves are also crucial for physical healing and immune support. Because of it, we are sharper critical thinkers, more creative, and higher performers.

Delta brain waves are the slowest, and young children reach this deep sleep state more consistently than adults. Here’s one of many sites to help induce deep sleep .

Theta – Deep relaxation

Theta is a subconscious state best reached through meditation, daydreaming, light dreaming, and hypnosis. Connecting to the Theta brain wave is essential for increasing creativity and intuition.

If you’re more physically oriented, meditation also includes parking your conscious mind on repetitive activities like walking, running, swimming, and cycling. The key to receiving ideas and insights is to practice these activities solo.

Alpha – Relaxed

Alpha waves are the ‘frequency bridge’ between our conscious thinking (Beta) and subconscious (Theta) mind. Athletes, artists, actors, and media personalities connect to their Alpha brain waves to reduce stress, promote alertness, and enhance performance.

Ways of reaching this relaxed state include removing technological distractions, journaling, listening to relaxing music, deep breathing, visualization, and silence.

Beta – Alert and focused

Beta waves are the high-frequency waves most commonly present during thinking, calculating, tasking, reading, speaking, and performing. By doing the prep work with Delta, Theta, and Alpha brain waves, you’ll be sharper, more creative, and more intuitive during this high alert time.

When we don’t take time to relax and restore and we stay revved up in high Beta brain waves, it can lead to stress, anxiety, sleeplessness, and depression.

Gamma – High Performance

Gamma brain waves are the fastest waves measured by neuroscientists. They happen when you are “in the zone.” You lose track of time and may not even notice someone speaking to you.

It’s those times when you are immersed in a project, working on a bit, writing a blog, editing a video, or focused on a fascinating read. Researchers have found people most easily reach this state when they regularly practice meditation, yoga, and what???… eating pistachios !

Final Word

Get enough sleep to restore your mind and body.
Spend more time in Alpha and Theta mode to fuel your creative brain. Make this time a significant portion of your prep.
Expanding your time in Delta, Theta, and Alpha brain waves will more consistently put you in the zone .

If you are like me and thrive on variety, rotating various approaches such as guided meditation, journaling, silent meditation, and visualization in Alpha and Theta mode, will jump-start your productive day.

Photo by Milad Fakurian on Unsplash

The Genius of And

Mon, 13 May 2024 12:23:00 GMT

I learned a valuable coaching lesson from hilarious air talent and voiceover master Jack Murphy . In a workshop at WKZL Greensboro, I complimented Jack on a bit he did on his morning show. He immediately said, “OK, BUT?”

He expected me to follow the compliment with the word “but” and what I didn’t like about the bit. From that day forward, I vowed never to mix compliments and constructive feedback with “but.”

But negates or cancels what precedes it. The talent or employee will forget the compliment and only remember what came after “but.”

The genius of AND

“But” excludes the positive feedback and emphasizes the negative while “and” opens a window of opportunity for acknowledging both issues by including what precedes it.

Saying to a talent, “I like the interaction of the feature at 7:20, BUT I didn’t like how you set it up,” negates the compliment. A more inclusive way of giving feedback would be to say, “I like the interaction of the feature at 7:20, AND let’s discuss how the setup could be improved.”

In the landmark business book Built to Last , authors Jim Collins and Jerry Porras outlined how visionary companies reject what they termed the “Tyranny of OR” and embrace the Genius of the AND. Instead of choosing between A and B, they figure out how to have both A and B.

The authors explained how great companies simultaneously embrace both extremes across several dimensions—purpose and profit, continuity and change, discipline and creativity, etc.

Real-world situations:

Practice replacing but and or with “ and” in your daily life with family, friends, and coworkers. Your relationships will improve in your personal and professional lives.

“I want to have integrity, BUT I want to make more money” implies you can’t have integrity and make money. …versus… “I want to have integrity, AND I want to make more money.” Now you’re open to both coexisting.
“I want to work out, BUT I’m tired,” says you won’t work out because you’re tired.…versus…” I’m tired, AND I want to work out.” This statement allows you to work out even though you’re tired.
“Yes, I would like to resolve this, but we’re not progressing.” This means: “So, we can’t resolve this.” “Yes, I would like to resolve this, AND we’re not making any progress” implies we may need another approach.

Photo by Christina @ wocintechchat.com on Unsplash

Headlines Make or Break Content

Tue, 07 May 2024 15:03:00 GMT

Headlines are vital to attracting your audience’s attention. A well-crafted headline also piques curiosity and creates a sense of urgency and desire to hear or read more. The same applies to email subject lines, online posts, and presentations.

Headlines don’t just grab attention; they dictate whether listeners, viewers, or readers will invest their time in your content. They hold the power to shape the initial perception of your content.

Why are headlines the most important part of your content? The best content segment of the year will go unheard by many without a gripping headline. People rely on headlines online to decide if they’ll click the link. They are instrumental in driving engagement and content sharing.

Many P1 or loyal listeners will listen to a content segment without an engaging headline on radio. However, when you start talking, non-P1 listeners give you only eight or nine seconds to decide whether they’ll listen to your content. To grow your audience, you must attract new listeners or convert cume listeners to fans.

Headlines must be clear, concise, and memorable to effectively communicate the essence of your content and compel the audience to listen, read, or view it. This is why RLC coaches shows to start all content segments and topics with an alluring headline.

ABC World News Tonight continues to increase its lead as the most-watched network newscast. Watch how David Muir starts the newscast with headline teases previewing upcoming content.

8 Ways to Craft Enticing Headlines

Online marketing company Constant Contact suggests eight tips to improve headlines. I’ve modified these tips to include radio shows and podcasts.

Use active voice . People can lose weight using these ideas (passive voice) vs. five ways to lose weight immediately (active voice).
Be concise . Like with billboard copy, the fewer words, the better. Experts say six words is the ideal length of a great headline tease . More important is the impact of the first and last three words of your headline.
Make sense. Be clear with your headline. Many talents try to be clever and deliver headlines that sound more like riddles.
Spark curiosity. Foreshadow content with a headline that establishes a mystery you’ll resolve in the segment. Example: Most people are unaware of the hidden fees when investing online.
Use numbers. People are drawn to numbered headlines online because they’re easy to scan. For example, here are five tips to improve your relationship.
Include a reason to listen. Present the problem and solution in the headline. How to support your mental health in challenging times.
Write for your brand and target audience. Is your brand’s voice humorous, sarcastic, or authoritative? Like your content, your headlines and teases must reflect your target audience.
Use powerful words . Emotional words like “guaranteed,” “free,” and “instantly” stand out more.

Final word:
What are the primary benefits of headlines?

Trigger curiosity in your content.
Evoke emotions.
Demonstrate relevance.
Highlight and distinguish your content.

Photo by Roman Kraft on Unsplash

What Truth Couldn’t You Handle?

Sat, 04 May 2024 15:56:00 GMT

SETUP: They say the truth will set you free. What secret did you uncover that flipped your whole situation?

Listeners in Big Boy’s Neighborhood shared these experiences:

I was messing around with this girl. We were about to smash, man, and she started saying,” I was with this guy who just had like this huge, big package, you know, the biggest package you’ve ever seen.” And I’m sitting there looking at her like, why would you say that to me right now? And she messed me up, man. It killed the mood, and I couldn’t perform.
I was dating a guy for two years, and it got to the point where he says I want to introduce you to my mom. You know where that’s going to lead. That’s when I said I want to be real with you because I don’t want to go into anything deeper with any secrets. And he says you could tell me anything. And then I was like, well, I’m an ex-porn actor. You can Google me. He went into the bathroom, and when he came out, he said his stomach was hurting and left. The next day, he broke up with me.”
Lost my virginity at 15. Years later, I was in a relationship with another woman when the girl I lost my virginity to hit me up, and she said that her nine-year-old was potentially my daughter. DNA test turns out 99.98 percent she was. When my girlfriend found out, she couldn’t handle it, and we broke up after nine years.

5 Quick and Powerful Show Upgrades

Sat, 04 May 2024 15:34:00 GMT

Even the best computer programs have occasional upgrades to fix a few bugs; the same goes for radio and podcast programs.

Here are five small but significant upgrades to consider for your show.

Strong setup. Problem: many shows start segments that do not capture the short attention span of today’s audience. Your first words and how you say them in the first few seconds determine if listeners stay tuned. Weak setups include:

Rote, auto-pilot delivery of station name, slogan, show name, time check, temperature, etc.

Produced preambles that delay the segment
Hosts repeating the show name right after produced IDs already said it
Back-selling well-known artists and song titles
Unclear, meandering, or too conversational opens

Instead, open with a BLUF: Bottom Line Up Front. I learned this term from military servicemen and women trained to get to the point first and deliver supporting details afterward.

Successful presenters in all media begin with an immediate hook first and show mechanics second.

2. Strong language. Problem: Filler words and phrases that do not add meaning to the segment cause your audience’s brain to zone out. Weak language includes:

Meaningless sounds such as um, er, and ah, etc.
Mindless words such as like, so, basically, actually
Unneeded qualifiers such as in my opinion, to be honest, and with all due respect

Instead, remember that fewer words equal more power. No one is suggesting that you become a perfectly scripted TV news anchor. In fact, some computer AI voices are taught to say an occasional “um” to seem more natural. However, all of us can learn to be more precise, concise, and impactful.

3. Be a missile, not a bumblebee. Problem: “Non sequitur” is the Latin phrase for “does not follow what was previously said.” Zig-zags and conversational tangents that go off-topic may feel natural to hosts but can cause the audience to lose interest.

Instead, sketch out each show segment from setup to the exit and start by keeping the conversational car between the ditches, so to speak. But if going off-road is more fun, go for it.

Ironically, great shows have stronger improvisation by planning how they hope the conversation will go, giving them more confidence to balance discipline with spontaneity when those magic, unexpected moments happen.

4. Mow the grass once . Problem: Reiteration is uninteresting. Presenters sometimes restate their point with a little rephrasing or repeat something someone else has already said. Sometimes, hosts get into circular debates. I call this mowing the same grass twice.

Instead, mow the grass once. Practice making a point clearly before introducing new ideas and stories that move the conversation forward – another reason to sketch out the segment from setup to exit before airtime.

5. Clear the runway . Problem: talk-over and hosts who interrupt others frustrate the audience. On many shows and in the workplace, women are often interrupted more than men — even by other women, which evokes a strong negative reaction from women in the audience. Think of it as two airplanes on the same runway, resulting in a fiery crash.

Instead, these techniques can be used to control air traffic to avoid “incursions” and runway collisions.

Establish mic order. Sketch out who is talking first, second, and third before the segment. It’s not a strict script but a road map guideline.
Listening. Silence is better than talk-overs and interruptions. The best team players wait a half-second before responding. Silence is natural and respectful, and it draws people in.
Eye contact and hand signals. Set up your studio so that all players can see everyone else’s eyes, gestures, and expressions. Shows with hosts in different locations use video screens for nonverbal communication.

Photo by Samuel Regan-Asante on Unsplash

Rx for Dysfunctional Shows

Tue, 23 Apr 2024 01:14:00 GMT

We often encounter talented team shows with high dysfunction when the mics are off. Some can pull it off and sound cohesive on-air, and with others, it becomes noticeable to the audience. Neither situation is healthy.

What causes the dysfunction? Creative people are typically sensitive emotionally, while others are insecure or have LA-sized egos. A common cause of team dysfunction is management putting a team together with two drivers or two reactors. The host and cohost both want to set up content or react to it.

Dysfunction can prevent new shows from getting off the ground, and established shows will eventually implode. One high-profile show we coached had a host and cohost who were formerly producers and had two opposite styles of executing a show. They coexisted and had great success for many years, but dysfunction ultimately caused them to go their separate ways.

Most personalities can set up content and react to it; however, most are usually better at one or the other. A smaller percentage of talent is only effective at driving or reacting to content. This leads us to which talent opens the mic first, as it’s often a cause of dysfunction.

The talent who is more skilled at setups and mechanics is usually tapped to open content segments. As a manager, it’s important to point out that no matter who speaks first, both roles are equally important. The cohost or second mic reactor is often the bigger personality.

Mic order

New shows need a precise mic order (mic one, two, three, etc.) to establish a familiar pattern with listeners. Once shows are established, the talent who will be the segment’s focus can open a content segment.

Eliminating team dysfunction

RLC recommends conducting a team exercise at least once a year to maintain team cohesiveness.

Our team exercise for radio and podcast shows was adapted from Patrick Lencioni’s book The Five Dysfunctions of a Team . Cohesive teams are built on five key levels: trust, healthy conflict, commitment, accountability, and results.

Cohesive teams function most effectively on a foundation of trust and healthy conflict . This creates an atmosphere free of politics, where everyone can openly express their views on all ideas and their execution.

One key component of the team exercise is for each show player to identify their peers’ contributions to the team and one or two areas they must improve or eliminate for the show’s good. It is vital to maintain harmony by delivering the improvement points in a sincere, matter-of-fact, and non-personal tone.

The audience expects their favorite show to be friends and hang out with one another. You don’t have to be best friends, but you can cohesively coexist by practicing these guidelines:

Rather than obsessing over differences, embrace and build on them.
Communicate respectfully and non-personally when the mics are off and during planning sessions.
Practice and encourage vulnerability and transparency.
Regularly remind everyone constructive feedback is necessary and good.

A final word on eliminating team dysfunction:

Communicate, communicate, communicate!

Photo by Ian Hutchinson on Unsplash

Creative Insights From Steve Jobs

Mon, 15 Apr 2024 12:29:00 GMT

Employees at Apple often talked about Steve Jobs’ “reality distortion field.” Jobs frequently had insights and ideas that had never been done before, and on many occasions, his team said the ideas were impossible.

He dismissed naysayers and commanded the invention to be completed on a rigid timetable.

One of his epiphanies was “1000 Songs in Your Pocket.” In 2001, he unveiled the iPod at Macworld , which forever changed the music industry and how we experience music.

In 2007, Jobs revealed another impossible insight: the iPhone . Forbes described his presentation in San Francisco as “a presentation classic,” during which he demonstrated how three products were bundled into one to “revolutionize the phone.” You can see it here.

Jobs debuted another magical device in 2010, the iPad . How does Steve Jobs’ “reality distortion field” relate to you as a talent, manager, or entrepreneur?

The internet and prep services have leveled the playing field for radio and podcast shows. We all have access to the same information and ideas. Now, what makes your brand and position stand out is how you differentiate or treat ideas, stories, and information with your distinct perspective.

Innovation comes from moving beyond what is known and what has been done. Jobs said “magical thinking” leads you to something new and groundbreaking.

Here are three primary questions and techniques to propel you from the known world of what’s been done to the unknown quantum world.

What else? The Randy Lane Company coaches radio and podcast shows to ask, “What else” could we do to make an idea bigger, better, more impactful, and different?
Have something at stake . Author, inventor, and speaker Roger von Oech suggests that having something at stake, like a deadline, ratings, a job, or money, increases motivation. He reminds us that if you’re not failing occasionally, you’re not being innovative.
Award-winning Global Peak Performance Educator to Fortune 500 companies Shadé Zahrai highlights “one skill that will propel your career,” Quantum Questioning :

Embrace the “ How could it be better mindset .” Sara Blakely created Spanx by asking, “How could I create an undergarment that was comfortable, invisible, and did what it was supposed to do?”
“The Power of Why Not” to uncover hidden opportunities. 3 M’s Spencer Silver tried to invent a strong adhesive but ended up with a weaker one. He and the people at 3M said why not find a use for this one. They invented Post-it Notes.
Harness “How Might We.” When Airbnb struggled early on, its founders asked, “How might we create a more trust-building and personal experience for our users?” It paid off big time.
Ask unasked questions. Steve Jobs asked, “ What if your phone could also be a music player, camera, and internet device?”

Photo by Sumudu Mohottige on Unsplash

Community Is the New Local

Tue, 09 Apr 2024 12:20:00 GMT

Since COVID-19, local content has continued to grow in popularity among all radio listeners. Jacobs Media’s Tech Survey reveals that local among women and millennials is even more vital.

Projecting a local vibe is just as important as local content. The vibe is about the local mindset and idiosyncrasies. It could be an outdoorsy vibe like Denver, a transient vibe like Austin, or a static vibe like Pittsburgh, where people are born, raised, and continue to live there.

Build a community:

Being local is more than geographic. Today, people join communities to feel connected to others who share similar sensibilities. Reddit has many communities to join, from fitness and film to Fortnite . Ideally, your show, station, or podcast builds a community.

On music stations, the community vibe can revolve around humor and fun, edgy and outrageous, and family-friendly (without having to say it). Talk shows can be conservative, liberal, objective, lifestyle, or sports-oriented.

Your community provides a place for like-minded people to connect and interact on radio, podcasts, and social media. The key is to serve, provide value, and communicate consistently with your community.

Transcend your show and station:

One of the most effective ways to endear a show or talent to a local community is to make a positive impact by supporting a charity or cause. Owning one is even better!

When the Radio Hall of Fame morning show Jeff & Jer was at the height of their run in San Diego, a caller feared for her life and emotionally revealed her husband’s physical abuse. The show started a home for battered women in San Diego called Becky’s House , which lives on today.

It’s helpful for shows to be involved in multiple charities and causes. However, a show can become known for one organization by focusing on it year-round. Heather and Wickett at Lazer 103.3 Des Moines are known for raising awareness and funds for the Iowa Food Bank.

How can a syndicated show serve a community beyond its content? DeDe in the Morning’s DeDe McGuire Foundation is a non-profit initiative that provides college scholarships to women whose higher education was disrupted due to family, personal, or financial obligations.

The Bert Show’s Bert’s Big Adventure is a year-round non-profit organization providing children with chronic and terminal illnesses and their families an all-expenses-paid, five-day journey to Walt Disney World.

Four ways shows are tapping into their local communities:

Listeners want to see and meet you. The KVJ Show at WRMF West Palm Beach appears at live quarterly events in large venues. They all sell out, with people lined up around the block.
Look for local, quirky characters who represent a market characteristic. For example, Kevin & Bean at KROQ-LA had a surfer from Huntington Beach named Fig on their show. Seattle shows could have baristas and techies.

What characters reflect your market’s characteristics?

3. Danni and Country Cory at Max 98.1 Memphis created a week of serial content with the History of Memphis Music . They highlighted the city’s rich musical heritage, where the Blues, Rock ‘n Roll, and Soul music were invented.

4. Jared and Katie WKZL Greensboro’s Local Talent Tuesday features a popular local music artist. They perform a brief song voted A, B, or C by the show cast and listeners.

Photo by Duy Pham on Unsplash

Avoid These Five Mistakes in Contesting

Mon, 01 Apr 2024 16:34:00 GMT

Do you ever watch television game shows like Jeopardy, Wheel of Fortune, or Family Feud? According to Nielsen, these shows average about 8 million viewers a week, but none of those viewers are watching because they have a chance to win something.

Do you ever watch sports on television like baseball, football, or soccer? This year’s NCAA Tournament averages around 9 million viewers per game , but none are watching because they have a chance to win something.

Radio is the only entertainment medium that uses giveaways to lure an audience, and it is mostly ineffective.

When have you ever listened to Spotify, downloaded a podcast, streamed a movie, read a book, or gone to a stand-up comedy show because you had a chance to win a prize? I am going on a limb and answering for you: never.

Contests can be fun for listeners to play along with; they can add interactivity between hosts and listeners and, if done well, can increase time spent listening. They can also be a waste of time.

Here are the five mistakes we most often help client stations correct and improve when it comes to contesting.

Giveaways instead of games

Giveaways instead of games. Anything that is random text or random caller is a giveaway. A game is a contest where the audience can play along. “Text this keyword for a chance to win” is fun for a tiny microcosm of your audience, but an interactive game like Secret Sound or Battle of the Burbs engages most listeners. A game is content. A giveaway is an interruption in content.

2. Prioritizing giveaways over content

Replacing a content segment with a random entry giveaway.
Promoting giveaways more frequently than content.
Teasing giveaways instead of content. (Always promote upcoming content along with giveaways.)
Requiring talent to hype giveaways at the start of every talk segment at the expense of content.

3. Emphasis on prize

Lead with how fun the game is first, and mention the prize second. The most successful games do not require a substantial prize to work. In fact, most prizes do not generally prove effective at driving listening in either the US or Canadian PPM analysis, focus groups, or perceptual studies. But audiences will stick to a fun, interactive game. Another tip: Mention prizes under $5k in value once, at the game conclusion, as the contestant wins.
The exception to that rule: Go big on experiences money cannot buy, like the last two tickets to the sold-out Taylor Swift show or backstage passes to meet Drake.

4 . Too much airtime . A fun game to play along with is worth 3-5 minutes of airtime from start to finish. A less entertaining giveaway, including sponsor mention, can be done in 15-20 seconds. Reiterating the keyword multiple times does not induce more participation and just delays your show’s return to entertainment.

5. Too difficult or too easy. Studies show that listeners do not enjoy trivia games where they know all the answers and dislike having no idea. Find that sweet spot where listeners have some idea, and they will drive TSL through the roof, sticking around to hear if their answer is right or not.

An underutilized radio contesting strategy is driving digital traffic. Some stations move contests from on-air to the website and promote them through recorded promos. This frees the on-air talent to focus on entertaining stories and stickier content. Listeners can participate more easily, results are measurable through online metrics, and most clients love it.

Photo by Austin Distel on Unsplash

Use the Difficulty

Mon, 25 Mar 2024 15:56:00 GMT

If you have worked with me or read my writings, you know how fond I am of show business lessons that apply to creating great radio and podcasts.

Film actor Michael Caine tells a story from his early theatre days. He was supposed to enter a scene through a door, but on that night, the other actor spontaneously threw a chair against it, jamming it.

When Michael Caine said, “I can’t get in; there’s a chair there,” another actor said, “Use the difficulty!”

“If it’s a comedy, fall over it,” the actor explained. “If it’s a drama, pick it up and smash it. Use the difficulty .”

Broadcast media is full of difficulties, and the best players improvise through, past, or around those challenges, both on and off the air.

Use the difficulty applies to other businesses too. If you have ever chowed down on free unlimited breadsticks and salad at Olive Garden, you have experienced the difficulty being used at your table.

According to the TV show The Food That Built America, opening night at the very first Olive Garden location in Orlando was going horribly. The place was packed, the kitchen got way behind on orders and hangry diners were furious.

A desperate manager ordered the wait staff to rush bread sticks and salad to tables at no charge, and suddenly, diner perception shifted from very negative to “this is the best restaurant ever!”

Free breadsticks and unlimited salad—which are very low cost to the restaurant—are still served at every Olive Garden location.

A great Hollywood difficulty occurred during the filming of Indiana Jones and Raiders of the Lost Ark , where the script called for an extended fight scene between Harrison Ford’s character and a bad guy with a large sword.

But that day, the production was hopelessly behind schedule, and Harrison Ford had dysentery, which meant he could not be far from the bathroom for long.

Producer Frank Marshall decided to cut the scene and have Indiana Jones unexpectedly pull out a pistol and shoot the swordsman. The difficulty transformed that moment into one of Hollywood’s most iconic moments .

In the 1980s, I witnessed a major difficulty involving a profane caller on Jonathon Rush’s new morning show at WNOK Columbia, SC. As a young midday host, I admired Jonathon’s creativity, edginess, and humor.

But that morning, the switchboard was jammed with complaints; everyone was upset, and I feared Jonathon might be terminated.

Just then, our general manager Fleetwood Gruver strolled calmly through the lobby, saying, “Maybe we can make chicken salad out of chicken shit.”

At Fleetwood’s direction, we repeated a vague recorded statement for the next 24 hours apologizing “for what was said today on the Jonathon Rush morning show.”

Many thousands heard the apology, while only a few heard the actual snafu. Still, the mystery and controversy became a turning point in branding Jonathon as Columbia’s premiere radio star, and he remains unrivaled in that market on WCOS to this day.

Not long ago, I was coaching a three-person morning show that was unfortunately riffed to a two-person show. There were big feelings, more behind-the-scenes workload for the remaining players, and a new on-air dynamic.

Unexpectedly, the show improved.

With a less crowded mic balance, conversations had more natural breathing room, the two players brought humor out of each other, and the segments were more focused.

In improvisational theatre, the rule is, “Yes, and.” Whenever an unexpected event happens, you accept it rather than block it and think, “How can I make something out of this?”

How might you use a difficulty this week in your life, work, or home?

Photo by Alexander Milo on Unsplash

Radio’s Election Dilemma

Wed, 20 Mar 2024 00:58:00 GMT

A good friend told me she lost a longtime friend because of their different viewpoints on the presidential election.

A recent article in Inc . warns managers about political tensions among coworkers who discuss politics. This unfortunate division is even happening among family members.

Unless you’re on a politically oriented talk station, it’s dangerous territory for a radio personality to take a side in the presidential election. The Catch-22 is there’s an unusually high degree of interest in the election. Jacobs Media’s latest Tech Survey just confirmed this point.

Another caveat

Many listeners go to music stations and non-political radio personalities to escape politics. Does that preclude personalities from touching the biggest story on the planet? The answer is NO.

HOW TO ADDRESS THE ELECTION

Getting out the Vote

Voting ensures democracy functions effectively and accurately reflects the will of the people. Listeners are so passionate about their candidate and party that both sides want to make their voices heard through voting.

If radio is to remain relevant among all the media platforms, it can’t ignore what will be the biggest story on the planet. As an authentic personality brand , your show can connect with the election passion AND remain neutral. You can be a source for voter information .

Taylor Swift did not use her mega brand to influence people to vote one way or the other; rather, she encouraged people to register to vote, and over 35,000 people did so in one day. But you can also be an influencer and make a difference by helping listeners with voting information.

I acknowledge the movement to restrict voting to people who are U.S. citizens. You can include this point in your messaging when giving listeners voting information.

Five nonprofit and nonpartisan voting sources:

Vote.org is America’s largest nonprofit, nonpartisan voting registration and get-out-the-vote technology platform. It’s an excellent source for all formats.
Rock the Vote is focused on getting young people involved in the political process and voting. This source suits CHR, Rhythmic CHR, Alternative, and other young demo formats.
HeadCount is visible at concerts, festivals, and community events, helping with voter information. Music artists involved in HeadCount include Billie Eilish, Dave Mathews Band, Harry Styles, and Paramore.
When We All Vote is an organization headed by notables like Steph Curry and Selena Gomez. Its goal is to increase voter participation and close the age and race gap.
The League of Women Voters and VOTE411 provide personalized, nonpartisan election information in English and Spanish for all 50 states and Washington, D.C.

Photo by Thomas Loizeau on Unsplash

The Ten-Minute Rule

Mon, 11 Mar 2024 16:23:00 GMT

Research studies reveal people get bored during meetings and presentations within ten minutes . A recent Finnish study of 380 virtual work meetings found viewers feeling drowsy (and some nearly fell asleep) after just ten minutes.

How do you keep your airstaff or sales staff from checking their phones or zoning out during meetings? Communication coach and Harvard instructor Carmine Gallo urges presenters to stick to the ten-minute rule.

The Ten-Minute Rule

The Ten-Minute Rule means to break the pattern in meetings and presentations at least every ten minutes to keep people engaged. There are several ways to create what Gallo calls “brain breaks,” including:

To re-engage participants’ attention, give them something to do with a physical or mental exercise. In-person meetings could include a whiteboard exercise , such as generating a to-do list for an upcoming event.

In virtual meetings , you could play a segment of audio from a competing show and ask the talent to evaluate it. In sales meetings, you could explain a digital revenue concept and then ask the team to explain it to one another.

Switch Topics: Cover a topic within ten minutes, then switch to a new one. We recommend switching topics on long-form morning and afternoon radio shows every five minutes to maintain audience engagement.
Video and audio wake people up and re-engage their awareness. Audio and phone calls on radio and podcast shows interrupt the pattern and regain listeners’ attention. Audio sound effects used appropriately are also pattern disrupters.
Silence IS golden. Pausing for a few seconds before or after an important point gets people’s attention and makes them lean in. A longer pause when switching topics is a particularly effective attention-getter.

Short on information and long on stories

Facts, figures, and even graphs lull people into boredom. Always illustrate information and points with stories and examples to maintain interest. Well-told stories attract and sustain our attention.

All the distractions competing for our attention make it difficult to keep people glued to your presentation or meeting. Applying the Ten-Minute Rule and breaking the pattern will keep your staff or audience alert and even captivated.

Photo by Tim Gouw on Unsplash

How Many Stars Does a Show Need to Succeed?

Tue, 05 Mar 2024 16:47:00 GMT

Is it better to have a radio/podcast show with a big-name star surrounded by sidekicks or an ensemble cast of equally talented players?

Compare our industry to other entertainment. When was the last time you saw a great motion picture, television show, or play featuring one big-name star surrounded by a bunch of nobodies?

A strong character is stronger with other strong characters. In the excellent documentary The Power of Film , legendary UCLA professor Howard Suber explains:

“What makes most characters interesting is often not the characters themselves, but their relationships with other characters .”

An ensemble cast of characters is vital for most memorable, popular content.

In Barbie , superstar Margot Robbie needed Ryan Gosling to play Ken and may not have succeeded without Kate McKinnon’s Weird Barbie.

For Top Gun: Maverick , Tom Cruise — the world’s most bankable movie star — had super-strong partners like Val Kilmer, Ed Harris, and Jennifer Connelly, who stole scenes from Tom throughout the film.

But radio and podcasting shows are sometimes a bankable superstar primary host surrounded by merely adequate co-hosts. We call it a “big planet/little moons” show.

A big planet/little moons show can perform OK, but it rarely outperforms the station by much. Big planet/little moons shows that we compete against are beatable about 95% of the time, and big planet/little moons shows that we coach improve 100% of the time.

Consider these strategies if you compete with a show or have a show in your company featuring one strong host surrounded by weaker characters.

Mic balance. One host dominating 75% or more of the mic time does not make for strong chemistry or character interaction. Divvy up hosting duties, have the more verbose host reduce word count while other player(s) step forward more. Show prep as a team is key to improving mic balance.
Players either add to or take away from the show. There is no in-between. Everyone has to be good . Think of the streaming series Ted Lasso —Jason Sudekis’s title character is surrounded by an ensemble of memorable, entertaining characters. Everyone who gets even five seconds of airtime makes their part of the show better. Develop and encourage each player for improvement until your cast is like Ted Lasso’s.
Opposites attract. Each player should be noticeably different from the other as much as possible—gender, voice, age, race, lifestyle, attitude, orientation, etc. Character contrast is the drama that drives a successful show. A character exercise defining each player’s endearing traits, quirks and flaws, hopes and fears highlights each player’s authentic personality.
Name checking. Work in the names of each cast member before they speak in each segment. This helps familiarize new/casual listeners with your cast. On a big planet/small moon show, you often hear only the big star’s name.
Limit mic time. If, for example, the meteorologist sticks around after the forecast to interact with the show, they must bring killer content and point of view. Shows get derailed when adding another voice without purpose.
Eject the studio crowd. Some hosts are energized with 5,6,7 or more people in the room, but a cast of thousands all talking at once in front of open mics is confusing for listeners and dilutes airtime for your scene-stealing stars.
One big star can be better than a team . If the content focus is music-intensive or a political talk show, one host with knowledge of the content can do an adequate job. More voices can get in the way. Also, most interviews are best 1:1, like Terry Gross of NPR’s Fresh Air or Howard Stern on Sirius XM.

Photo by Redd F on Unsplash

Feedback Made Easier

Tue, 27 Feb 2024 13:58:00 GMT

I made things awkward once trying to say something nice to James Bond actor Daniel Craig. It was many years ago, but my friends still crack up at the story.

At the Tribeca Film Festival in New York City, we wandered into a premiere for Layer Cake, and the then-unknown lead actor, Mr. Craig, was in the theatre.

The film was great. After Q&A, we began filing out, and I realized that we were going to walk right past Mr. Craig. I thought he would appreciate a compliment, and I had only seconds to think of something to say.

I approached and said, “Excellent work. Very believable.” But Mr. Craig’s face expressed, “Why are you talking to me? Move along,” with a grumbled, “Thank you.”

Daniel Craig seems like a great guy in interviews. I think I made it uncomfortable stepping up to him in a crowded theatre where the unspoken rule is to give celebs space.

However, I steadfastly maintain that it was my compliment that gave Mr. Craig the confidence to play 007 so successfully.

Feedback is tough. Managers are often too time-starved to give feedback well or at all. When we receive feedback, many of us are unsure of how to receive it graciously.

In our work as coaches, we have found three key elements of good feedback.

Clear: Helping the recipient understand the issue is often more difficult than it seems. “Good job today” is a great example of unclear feedback.
Precise: Good feedback is detailed and focused on a specific action or behavior.
Concise: Wordy, meandering feedback is not clear or precise, and it wastes time when everyone is busy.
Setting: A 60-second hallway conversation has a certain meaning, while a 5-minute office meeting carries a different meaning. A fanboy lummox trying to converse with a movie star on the red carpet is another thing.

A helpful template for delivering good feedback can be found in the 2014 book The Feedback Imperative: How To Give Everyday Feedback to Speed Up Your Team’s Success by Anna Carroll , which includes the C-O-I-N structure used by many Fortune 500 companies.

Giving Feedback:

C-O-I-N stands for Context, Observation, Impact, and Next Steps.

Here is an example of positive feedback using the C-O-I-N framework:

C = Context

“I was listening to your Thursday podcast, and you both commented on the AT&T mobile service outages in the news.”

O = Observation

“Great job being topical, and when you began arguing comically about how one of you ignores texts from the other, the outraged accusations and implausible denial interaction made me laugh out loud.”

I = Impact

“You took a generic topic that any show could have delivered rote from show prep, but you delivered it authentically, making it your own from your unique characters in a way that no other show could have done. Your real-life point of view and sense of humor will create more loyal listeners.”

N = Next Steps “How could you steer future segments towards content that spurs more of that kind of memorable interaction?”

Receiving Feedback:

Use the C-O-I-N structure to make the conversation more effective for you.

C = Context

“Can you give me details on when and where this happened?”

O = Observation

“What did you notice was going on?”

I = Impact

“Help me understand why this is important and what the effect is”

N = Next Steps

“What are your suggestions for handling this situation in the future?

If you read these examples out loud, they time out to less than 60 seconds of message delivery – which leaves more time for the other person to engage and talk through the problem. Engagement is the most important part of feedback.

A good feedback conversation is planned, with words chosen carefully and often rehearsed. Then, you improvise through the discussion with empathy and listening skills – much like a great on-air segment.

Photo by Christina @ wocintechchat.com on Unsplash

Can Laughter Cure Disease?

Sun, 18 Feb 2024 14:14:00 GMT

Funny always scores at the top of why people listen to radio morning shows. Humor leads your brain away from information to an emotional response and gives your show the important surprise factor.

Humor has never been more critical than it is today.

We are bombarded with bad news, hateful posts, and crime videos. Local television news still operates on the premise that “if it bleeds, it leads.” Even though crime is sharply down , The Gallup Poll reports the majority of Americans perceive crime to be skyrocketing.

Research proves humor wins in morning radio

Not only does humor increase your endorphins and make you feel good, but according to the Mayo Clinic , it relieves stress, decreases your heart rate and blood pressure, and aids muscle relaxation. The long-term effects of laughter improve your immune system, help ease pain, and improve your mood.
Harvard Education’s research found laughter to be contagious and mirror neurons in the brain. It’s one of the reasons television sitcoms use laugh tracks.

Can laughter cure disease?

Norman Cousins was a professor at the UCLA Medical School in 1979. Cousins was diagnosed with a painful and debilitating disorder called collagen disease . Experts told him he had one chance in 500 of recovery.

In his best-selling book Anatomy of an Illness , Cousins watched Marx Brothers films and reruns of TV’s Candid Camera , among other movies and shows daily. His doctors were skeptical, but he laughed his way to a full recovery!

Finding the funny in morning radio shows

You are fortunate if you have a funny morning show. Not every talent is naturally funny, and you can’t force it. However, there are steps you can take to increase humor on your morning show:

First, have fun . Having fun is also contagious. Listeners want to be uplifted and feel good in the morning.
Look for talent outside of radio. Many radio stations find naturally funny people in their community and put them on radio shows. Scan online talent, comedy clubs, improv groups, and entertaining people you run into. It’s much easier to teach people the fundamentals of radio than to teach funny.
Yes, you can improve your sense of humor . Like everything, the first step is to be aware of humor and put it on your radar. Where you put your attention expands. Like Norman Cousins, watch comedy movies, TV shows, videos, and funny TikTok posters, go to comedy clubs, and listen to funny morning shows and podcasts. Additionally:
Spend time with people who make you chuckle.
When something goes wrong, take it lightly and be self-deprecating.
Try Laughter Yoga. It combines laughter exercises with yoga breathing techniques.

Photo by Felix Rostig on Unsplash

What Radio Can Learn From the Grammys

Mon, 12 Feb 2024 19:10:00 GMT

During a coaching session this week, I heard a familiar response about awards shows: “I stopped watching awards shows years ago.” It’s become a popular refrain for the media to trash awards shows, AND ratings have sharply declined since the pandemic.

Last Sunday’s Grammys were an exception. The show averaged 16.9 million viewers and peaked at 18.25 million , up 36 percent from last year and the highest since the pandemic. The 18- to 49-year-old demos jumped 40 percent from last year.

To put those ratings in perspective, the Grammys ratings were almost double the average top-rated weekly television show. The NFL regular season games averaged almost 18 million viewers , and the playoffs rated much higher.

What Radio Can Learn from the Grammys

Storytelling : Luke Combs started the Grammys storytelling with his backstory about being inspired to record Fast Car after listening to Tracy Chapman’s song with his dad when he was five. Most of the show’s performances were skillfully set up with a backstory that primed viewers to want to enjoy the song.

Music station talent: channel your inner Casey Kasem when introducing songs. Backstories make it an experience!

Be like Trevor . He was confident, enthusiastic, fun, and positive – an element people need today. He kept the show flowing at a fast clip; he read the room. Unlike many past hosts, Trevor interacted with the audience and didn’t make it all about himself.

He took a few chances with his jokes and was funny enough. However, some critics thought he should have injected more humor.

Trevor emphasized the empowerment of women. Female artists dominated almost all the major categories, including many women of color.

When hosting an event, make your personality and presence known, and be happy to be there. Focus on why you’re there and the audience.

Content is still king: The Grammys benefited from stellar content highlighted by a mesmerizing performance by Tracy Chapman and Luke Combs, a stirring first and likely last Grammy performance by Joni Mitchell, SZA’s Kill Bill and Snooze , and Billie Eilish’s haunting rendition of When the Party’s Over.

Create innovative, killer content, and you will generate an audience regardless of the platform.

Production value: The lighting, stage, backdrops, and props gave the artists space to showcase their music. We were treated to a performance by U2 with a rare inside view of the Las Vegas Sphere.

Critics considered the show too well produced and lacked spontaneity.

The takeaway for Award shows and radio personalities is to balance production value and spontaneity. Underproduced radio shows can fade into the background, while over-produced shows can be noisy and fatiguing.

Was the Grammys too safe? Critics felt the Grammys were too safe for rock ‘n roll and lacked compelling disruptions. The only off-script moment was Jay Z calling out the academy for not getting Hip Hop right and for snubbing his wife Beyonce’ for Album of the Year.

Every show can be improved. The Grammys didn’t need Kanye interrupting Taylor Swift for again winning Album of the Year. At the same time, future Grammys could add more edge.

The same is true for your show. All shows need edge and unpredictability.

Photo by Rob Laughter on Unsplash

The World’s #1 Brand

Sun, 04 Feb 2024 17:16:00 GMT

Taylor Swift is moving the needle more than any media personality, celebrity, influencer, or politician.

Besides being a talented singer, songwriter, and musician, she’s also a positive role model for many young women and girls. She is THE definition of a personality brand.

You create a personality brand by sharing your point of view, personal stories, and emotions. You stand up for causes, charities, and your community. Personality brands are emotionally intelligent and have a sharp vision of who they are. Taylor Swift shares her stories, joys, and pain. She confidently takes on corporations ( Apple Music ) and abusers .

Having seen Taylor in concert twice, I was impressed with how she takestime between sets to speak directly and authentically to her fans. She encourages females to be confident, believe in themselves, and speak up when they’ve been discriminated against or abused.

She advocates for girls, young women and minorities to raise their voices. On National Vote Day, Taylor urged her fans in an Instagram post to make their voices heard at the ballot box. The post drove 35,000 people to register to vote, according to Vote.org .

Taylor has vocally expressed her support of the Violence Against Women Act (VAWA), which works to better protect women from domestic violence, sexual assault, stalking, harassment, and other forms of gender-based violence.

Taylor Rocks the NFL

How much money has Taylor Swift made professional football? It’s an estimated $331.5 million dollars in brand value for the Kansas City Chiefs and the NFL. That’s more than any player, coach, or icon.

She has become a polarizing figure in NFL football largely because serious male football fans dislike the attention she receives at the games. Yet the NFL is reaping huge benefits beyond revenue from Taylor’s presence.

Prior to Taylor’s relationship with Travis Kelsey, many young females could not have cared less about NFL football. She has introduced an entirely new demographic to professional football. “I’m rooting for Taylor Swift’s boyfriend” is a common catchphrase.

NFL viewership has skyrocketed. According to CBS, the playoff game between the Chiefs and the Buffalo Bills was history’s most-watched divisional playoff game. Taylor has created the highest regular season viewership among women since tracking began in 2000.

THE Personality Brand

Screenwriting guru Robert McKee states that the most interesting characters possess “skewed opposite” characteristics. Taylor Swift expresses her joys and tribulations through music and the world stage.

New Memphis morning cohost at Kicks 106 and “Swiftie,” Courtney Carter, describes her opposites as” Taylor is both powerful and delicate. She is intricate yet simple. She defies the cultural norm that men are the most powerful.”

4 Key Ways to Become a Personality Brand

Personality brands create a relationship with an audience based on trust. This trust relationship is formed by demonstrating your endearing characteristics and disclosing your quirks and flaws
You become a trusted voice by being a distinctive personality in an interesting and entertaining way.
Be brave enough to be vulnerable.
Take a stand in your community by owning a cause or charity. Standing up for children, women, and animals makes the most impact.

Photo by Stephen Mease on Unsplash

Why Authenticity Is More Memorable

Mon, 29 Jan 2024 19:16:00 GMT

In the classic film Good Will Hunting , a therapist, played by Robin Williams, coaches a troubled young man, played by Matt Damon, who fears sharing his true self with a woman he loves:

You’re not perfect, sport, and let me save you the suspense: this girl you’ve met, she’s not perfect either. But the question is whether or not you’re perfect for each other.

If you are concerned that revealing your true self may turn off some of your audience, let me save you the suspense: it will.

But for thousands of years, back to the Greek tragedies and Shakespearean plays audiences remember and love the characters who are a mixture of good qualities and flaws — like themselves.

You may have heard the saying that in the absence of information, most people assume the worst. Think of your character traits as information. The more you share, the more trust you receive and the deeper the connection.

Here are small steps to consider as you begin sharing your personality more transparently.

Embrace imperfections and mistakes. Actor Jennifer Lawrence is beloved for tripping on the steps on her way to accepting an Academy Award and for admitting embarrassing moments like plotting to get a date with TV host Seth Meyers until someone said, “Honey , he’s engaged!”
Put your cards on the table. Years ago, famously private Johnny Carson did not share much of his true self or his views while hosting NBC’s The Tonight Show. Carson was funny and a great interviewer – and had almost no competition. In today’s late-night Nielsen battles, Jimmy Kimmel Live and The Late Show with Stephen Colbert win with entertaining shows that come authentically from them.
Emotions are contagious. Consider sharing it through your voice, emotional words, or personal story if you feel it. At Star FM , Hannah B found many Suburban Chicago listeners relating to big feelings about her family history with breast cancer and an approaching first-time mammogram .
Reveal your personality visually. Before social media, radio hosts could get away with wearing a hoodie to work daily. Now, every on-camera moment is an opportunity to build your personality brand. Consider what you know about WMMR Philadelphia midday legend Pierre Robert when you see his clothing, hairstyle, and personal mementos around his studio in this clip .

Memorable entertainment reflects the audience back to themselves. Famous psychoanalyst Carl Yung taught that we all have a dark side. He called it The Shadow. Most people only know their shadow when they see it in someone else; when they do, they find it fascinating.

Photo by Felix Rostig on Unsplash

Ask, Don’t Tell

Mon, 22 Jan 2024 14:48:00 GMT

When I was a young DJ at KUPD Phoenix, I set up a song with what I thought was a clever intro. Suddenly, the PD burst into the control room and sharply said, “Don’t ever say anything stupid again on the air!” I was speechless, mortified.

Did my on-air performance improve? No, for the next month, I was afraid I’d say something stupid every time I opened the mic. I played it safe and regressed as an air talent. That PD was later fired and replaced by the late great Todd Wallace, who took a positive approach to coaching and encouraged creativity.

I read Timothy Gallwey’s The Inner Game of Tennis shortly after becoming a program director . That landmark book formed the basis of my talent coaching philosophy. Rather than dictating feedback to pro athletes, Gallwey perfected the art of asking the right questions so the athletes would own their growth.

He wouldn’t tell a tennis player, “Keep your eye on the ball.” Instead, he’d say, “Which way was the ball spinning when it came across the net?” The player would likely respond, “Let me watch it more closely, and I’ll tell you.”

In his blog GatesNotes , Bill Gates said The Inner Games of Tennis is one of the few books he’s read twice, “Groundbreaking . . . I still give it to friends today,” Tom Brady credits the book for keeping him calm and composed in the face of Super Bowl adversity. Billie Jean King called the book “her tennis bible.”

The Randy Lane Company continues to use Gallwey’s technique effectively, coaching talent at all skill levels. Rather than telling talent their story lacked emotional connection, we’ll ask, “What parts of your story connected emotionally with the audience?”

Take a deeper dive

Approximately 20% of the time, talents won’t respond to a question with the point you want to make. Presentation is everything. We have found the tone of your feedback must match the individual’s personality. If we’re not sure, we’ll ask talent if they perform best when feedback is mild (very positive), medium (matter of fact), or spicy (direct).

If you want to dive deeper into managing employees and coaching personalities PCM (Process Communication Model) and Myers-Briggs give you the tools to customize your approach to giving feedback to different personality types.

Both methodologies will help you be a better manager or coach. I’ve had the privilege of taking the personality test on both programs, and I’ve found PCM to be more actionable.

Photo by Samuel Regan-Asante on Unsplash

Business Terms for Radio Shows

Mon, 15 Jan 2024 14:35:00 GMT

I got kicked out of business school for a semester. “Academic suspension” was Lander University’s way of saying I should have spent less time at the local radio station and more time studying.

I stuck with radio but eventually graduated from the University of North Carolina’s Bryan School of Business. In my work as a talent coach, I have found some dull business school ideas that are surprisingly helpful in the crazy, fun process of creating a successful show. Here are a few concepts to consider:

Process Management

When Ford Motor Company made the Model T, Henry Ford famously said, “Any customer can have a car painted any color he wants so long as it is black.”

Why black? Because black paint dried four hours faster than other colors. Do the math: 1923 Ford could produce two million Model Ts eight million hours faster than their competitors . Black paint made each Model T cheaper to build and more profitable to sell.

Think of your show as an assembly line, where ideas come in one end of your factory and go out the other as assembled radio/podcast products. That is process management .

Consider the daily process of producing your content and look for ways to save time, increase reliability, and improve quality. Identify problems, try small experiments, and measure improvements.

For instance, save three minutes daily loading audio in a new way. That equals fifteen minutes a week and 12 hours annually. What fun could you have with an extra 12 hours?

ROI

When you invest money in your 401K, you hope it is in a fund that grows in value and gives you back more than you put in. This is ROI or return on investment .

Just as you never throw away dollar bills, a high-performing show is careful about where they invest every second of airtime. Like investment funds, certain content produces better returns in Nielsen ratings, and podcast listens.

This week, I heard a show spend three content segments discussing a stalled car causing a freeway backup. That day, I also heard Big Boy’s Neighborhood invest three segments in listener stories about uncovering infidelity on their partner’s mobile device. (Read more about that later in this newsletter.)

Between the two content choices, I bet Big Boy’s investment of airtime had a much higher ROI in time spent listening, emotional impact, and bringing listeners back to the show again later.

“Time is money,” and return on investment applies to off-air activities, too. Investing an hour in delivering doughnuts to the office of the week likely has a negative ROI compared to an hour spent creating great on-air or digital content.

Opportunity Cost

You have probably heard of FOMO or Fear of Missing Out. In business, we think of FOMO as opportunity cost: comparing the cost of choosing one opportunity against the benefit of the best alternative opportunity that you might miss out on.

Spend $100,000 on a new Tesla, and you have missed the opportunity to invest that cash in an index fund, contribute to your kid’s college fund, or start a small business. Which would be the most impactful opportunity for you?

I coached a talented radio duo in Canada that spent hours on brilliant daily sketch comedy videos for social media. They rented costumes, built props, and wrote jokes. Disappointingly, few of the clips scored more than a hundred views.

In the meantime, their show ratings in Numeris were good and improving, with hundreds of thousands of listeners. The team realized that the videos were costing them the opportunity to have a top-ranked radio show. They cut back on video, focused on the show, and began winning consistently.

I notice that many successful shows and smart hosts combine fun, spontaneity, and creativity with some consideration toward ROI, process management, and opportunity cost – and they did not even learn it in business school.

Photo by Samuel Regan-Asante on Unsplash

Mindfulness Turns Routines Into Rituals

Mon, 08 Jan 2024 17:02:00 GMT

New Year’s greetings from Newport, New South Wales, Australia, mate! The fifteen-hour flight from Los Angeles to Sydney gave me tons of time to think about my routines and rituals to set a positive tone for 2024. One of my intentions for my time in Australia is to deepen and expand my own personal rituals and practices.

What’s the difference between routines and rituals? Most routines occur unconsciously on autopilot, and rituals are mindful and intentional.

Routines are related to habits, while rituals are related to practices. Routines and habits are activities we do regularly and usually simultaneously and in the same order. We also do rituals and practices regularly, but not necessarily at the same time or in a certain sequence.

Waking up daily at 6 a.m. and planning your day while having coffee is part of a routine. Meditation is a ritual. Eating at the same lunch place at the same time every day is a habit. Being vegan or following a Keto Diet is a practice. Going to the 9 a.m. CrossFit class is a routine. Journaling is a ritual.

The healthiest people have a balance of routines and rituals in their lives. Historically, Winston Churchill exemplifies this balance. In his daily routine, there was a time he took his afternoon nap, a time he poured his first drink and a time he took his bath. That was part of his routine.

Winston’s bedrock rituals included reading history and poetry, painting, and bricklaying—these activities transcended the day. They were lifelong pursuits. Many creative people follow these universal rituals:

Journaling
Meditation or quiet moments of reflection
Exercise
Reading
Walks (usually solo)

Meditation, for instance, does not exclusively mean sitting in a lotus position repeating a mantra. Repetitious physical activities done mindfully accomplish comparable results.

In an Inc . article, Jessica Stillman explains why Jeff Bezos and Bill Gates still do their dishes. They treat everyday chores as a mindful practice. Experts in the article point out that mindfully doing mundane jobs can be valuable opportunities for mindfulness and creativity.

Routines and habits don’t have to be automatic or unconscious. Your routine drive to work listening to the news could become purposeful like listening to an inspirational audiobook or reciting affirmations with conscious intention and feeling. Your routine walk or run could include noticing and appreciating the beauty of nature.

Rituals in the Workplace

Rituals in the workplace help build connections and establish trust. Alma (a mental health care platform), CEO Harry Ritter starts the company’s weekly Zoom meeting with a ritual he calls “A Little About Me,” where one team member shares five photos that reflect distinct aspects of who they are. It’s a way to feel seen and connect with coworkers.

They end the Zoom meeting with a ritual called “Appreciations.” Employees express gratitude toward another coworker who showed up for them somehow. Ritter believes these rituals help the company’s retention rate average over 95%.

In this chaotic world where everything appears to be falling apart, get your new year off to a healthy start by focusing on rituals like meditation or mindful walks in nature to keep you centered and above the fray. Even folding laundry works, too!

Photo by Kelly Sikkema on Unsplash

Radio Needs the Cheesecake Factor

Mon, 18 Dec 2023 15:13:00 GMT

“I don’t listen to radio.” You have probably noticed more people saying that in recent years. Sometimes, concerned broadcasters ask me about the uncertain future of AM/FM, and I use The Cheesecake Factory as a metaphor to consider.

Some people say they do not shop at malls anymore. In the 1970’s, malls were printing money. Then new competition like Target and Amazon.com arrived, and some management responded with their go-to strategy: cost-cutting .

The world’s largest retailer, Sears Roebuck and Co., began firing experienced sales clerks and replaced unique customer favorites with generic merchandise you could find anywhere. Sears stores looked deteriorated. Sears’ cost-cutting killed that legendary brand, decreased traffic at neighboring mall stores, and drove shoppers elsewhere. As similar anchor stores like Lord & Taylor and Mervyns died off, malls became less cool, and many malls closed.

Imagine the FM band in your town, like that mall everyone used to go to before cost-cutting and competition. The oversized anchor players taking up most of the space are not bringing their A-game. With thousands of dark stations off the air, the AM band might be like a mostly empty mall. There’s not much reason to go there anymore — even if you did have a government-dictated AM radio in your Tesla.

However, mall retailers have a term called The Cheesecake Factor . According to Moody’s Analytics, the presence of just one exceptional player like The Cheesecake Factory, The Apple Store, or Lululemon in a mall means that the mall is probably successful. That mall is likely as healthy as a horse if they have all three.

What does it take to lure a shopper like you off the couch, put on clothes, and navigate traffic across town to a shopping mall?

Cheesecake Factory has a remarkable 250-item menu, something for everyone. Wait staff are required to memorize – and taste – the entire menu. Training takes 2-3 weeks. They use refrigerators, not freezers, because Cheesecake Factory food is fresh. Execution is such a priority that managers measure the angle of the bread slices . From open to close, most Cheesecake Factory tables are full.

A few years ago, I left radio and worked for Lululemon. If you ever work out in Lululemon gear, you will never buy Adidas again. You could order Lululemon online, but customers love the helpful “educators” and “kitchen party” vibe workers are trained to create. You can even take a free yoga class in the store.

The year I left Lululemon to work for The Randy Lane Company, the top three US retailers for profit per square foot were Apple, Tiffany, and Lululemon. Experts say, “ People go to the mall to go to Apple. They do not go to a mall and end up at Apple .” There is a lesson in that idea for all of us.

If reviving dead malls with exceptional products and experience is possible, it is possible to lure “I don’t listen to radio” listeners back to radio, but not with music and generic content.

To thrive in the audio space for 2024 and beyond requires content so impactful that people mention it to others—authenticity, storytelling, wide-ranging emotion, strong opinion, unfiltered on-air characters, and precise show execution.

Think of Sears whenever you hear a meandering, uninteresting show, cookie-cutter music playlists, who-cares station concerts, or text-to-win giveaways.

Photo by AR on Unsplash

Mental Health Is Out of the Closet

Mon, 11 Dec 2023 16:28:00 GMT

Mental health goes well beyond big matters like depression, panic attacks, and eating disorders. Most of us deal with relationship issues (partners, children, parents, work), financial woes, social isolation, and anxiety.

We could always talk about health problems such as accidents, diabetes, cancer, heart disease, etc. but until recently, mental health concerns were only talked about behind closed doors. Now in real life, even television series and movies delve liberally into emotional health.

In radio, syndicated host Tino Cochino has a mental health podcast called Is Anyone Listening ? I talked to Tino earlier this week about his groundbreaking podcast.

R: What prompted you to tackle such a complex topic like mental health?

T: Even though my radio show just signed new affiliates, I found myself in a dark place. I didn’t want to get out of bed. I thought to myself, so many people like me are talking, but is anyone listening? That question stuck with me. I questioned my purpose. I got into therapy and the therapist suggested I start journaling. Instead of journaling, I started processing my counseling sessions by verbalizing and recording them. That turned into my podcast.

R: What’s the mission or purpose of your podcast, Is Anyone Listening ?

T: The purpose is to let people feel like they’re not alone. It’s a safe place for people to talk about when they’re troubled, sad, or mad without being judged. Social media is like a resume, everyone posts their highlights. You don’t know what’s going on behind closed doors, and nobody talks about it.

R: What are your thoughts on therapy? Can we all benefit from it to stay emotionally healthy, or just when we’re in a dark place?

T: Like me, so many people have issues from childhood and growing up. In school, we’re not taught how to process these emotions. In therapy, you can open up and be vulnerable without being judged. It has helped me deal with my traumas and move on from them.

R: On a recent podcast, you told a wonderful and vulnerable story about being alone and sad on Thanksgiving. What is it about the holidays that cause many people emotional stress and depression?

T: There’s such a happy and joyous picture painted around the holidays, but not everyone has that. Many people feel like an outcast, bottle it up, and get stuck in a low place. I didn’t have that experience growing up, and when I visited with girlfriends’ families on holidays, I thought all the happiness was fake. But when you talk about it and process it, there’s growth.

On my podcast, I repeat, “Even if you’re having a bad day, it’s not a bad life. When you focus on the bad, it piles up. Slow down, breathe, process, and get perspective. I have a tattoo that says, Learn, Don’t Lose .”

You can listen to the podcast here: Is Anyone Listening or on Instagram and TikTok @tinochinoradio.

Mental Health in the Workplace

As a manager, it’s important to stay open, actively observe employee’s behavior, and lead with empathy and compassion with people who may be struggling mentally and emotionally. Progressive managers have an open-door policy and provide a safe, non-judgmental place for people dealing with emotional issues.

4 Ways to Spot Mental Health Problems in the Workplace

Employees are more likely to miss work.
Efficiency declines and poor decisions increase.
Poor job performance.
Strained relationships with coworkers.

Photo by Total Shape on Unsplash

Visualize Action for Success

Wed, 06 Dec 2023 14:04:00 GMT

Can you create success by visualizing it? Some visualizations can help you reach your goals and others are a waste of time and energy.

WHAT WORKS

My friend, author, and communication coach Kes LaGuerre shared with me how basketball players improved free throws through visualization.

A study at the University of Chicago divided players into three groups:

One group practiced free throws every day for an hour.
The second group just visualized making free throws.
The third group did nothing.

The actual practice group improved by 24% and the visualized practice group – never set foot on the court — improved 23%!

Similar studies at the University of California saw golf and tennis players improve their results by imagining themselves training.

WHAT DOES NOT WORK

“If you can see it in your mind, you can hold it in your hand ”— Bob Proctor

That statement sounds nice but is not completely accurate. A book called The Secret by Rhonda Byrne was a bestseller a few years ago. Readers were encouraged to create “vision boards” of the life they wanted, and the law of attraction would manifest your dream into reality.

Give it a try, I thought. My vision board had pictures of my Portland condo, my then-girlfriend, the car I wanted, my friends, a jet airliner representing travel, and my dog.

Within a year everything on the vision board (except the dog) vanished !

My job was eliminated, had to move out of my condo and away from friends to find work, broke up with my girlfriend and my newly scrawny paycheck made Delta Airlines forget who I was. My vision board repelled dreams.

Science has disproven the idea of vision boards. Visualizing yourself in a Ferrari gets you exactly zero Ferraris and makes you feel like a failure every time you start your 2007 Taurus. What is more effective is visualizing yourself taking action towards getting a Ferrari or whatever you wish.

A study at the University of California told one group of students to imagine how great they would feel after scoring well on a test. Another group was told to visualize studying for that test and a third group visualized nothing.

The group who visualized success tended to study less and bombed the test. The students who visualized preparing for the quiz felt less stressed and had much higher grades – they studied more.

Visualizing goals can be demotivating. Another University of Pennsylvania study tracked students who visualized their dream job. After graduation, the students who spent more time fantasizing about the job they wanted and did not apply for as many jobs, got fewer offers and made less money.

How could visualization help your career as host of a radio or podcast show? Get in touch with what you want, then visualize the steps you need to take to create that reality. Some brainstorms:

To increase ratings, spend regular time visualizing yourself planning more of your show. Where and when you would work, how you would organize ideas, would you pre-write teases on paper or computer, etc.
To generate better ideas, visualize how you might practice good creative habits like collecting ideas on your mobile device, journaling, meditating, or committing to a one-hour weekly digital detox where all electronics are switched off.
Want to make more money? Visualize preparing for salary negotiations, researching how your show generates revenue and how much, picture yourself reviewing Nielsen, download numbers, and stream data that proves your performance, or imagine shopping at a bookstore for helpful advice on negotiation.

Life is unpredictable and experts say a majority of the good and bad that happens to each of us is just stupid luck. Consider how visualizing efforts and actions instead of goals might get you closer to what you want.

Photo by Joshua Earle on Unsplash

Gratitude Boosts Business

Mon, 27 Nov 2023 14:51:00 GMT

Let’s continue the attitude of gratitude ! Gratitude is too important to our life and business to only be celebrated on one day.

There’s a shift toward a more humane workplace, rooted in gratitude, where employees feel appreciated, valued, and empowered to reach their fullest potential. In their podcast, Harvard Business School’s Francesca Gino and Adam Grant revealed their study highlights on the values of gratitude in the workplace:

Increased engagement: Organizations that recognize their people inspire real connection.
Higher productivity: When employees feel celebrated and valued, they’re more excited to work.
Better retention: A positive recognition strategy boosts morale and breeds loyalty.
Greater motivation: Regular appreciation gives people fresh purpose and momentum.
More satisfied customers: Employees who are openly praised earn higher loyalty and satisfaction scores.
Stronger connections: Remote teams feel more connected when positive feedback rolls in.

Recognition and praise are major components of gratitude. In our talent coaching practice, we’ve found talent to be receptive to coaching recommendations when they are first recognized for their strengths and positive performances.

Shawn Anchor’s New York Times best-selling book Big Potential: How Transforming the Pursuit of Success Raises Our Achievement, Happiness and Well-Being notes, “Praise creates what I call a ‘virtuous cycle’ – the more you give, the more you enhance your own supply. When done right, praise primes the brain for higher performance, which means that the more we praise, the more success we create.

5 Ways Radio Can Express Gratitude & Recognition

Thank contest winners . Many radio stations still have talent make contest winners answer questions like, “What radio station just gave you $100?” That’s like giving your significant other flowers and saying, “Who just gave you a nice bouquet of flowers?” Simply say, “ Thank you for listening to station/show.”
Recognize exceptional performance. DeDe in the Morning Brand & General Manager, George Cook asks the syndicated team to highlight the Best Bit/Segment of the Week and the Best Character Revealing Break of the week.
Say thank you to your community . Max 98.1 just raised over $640,000 for the Memphis Ronald McDonald House. Many other stations and shows are giving thanks to their communities in numerous ways this holiday season.
“ People are ecstatic to receive thank-you notes .” Yes, ecstatic is the word the authors of a study published in Psychological Science used to describe the power of thank-you notes. Salespeople can write thank you notes to clients, talent to endorsement clients, and radio stations to organizations they’re involved with in the market. The format doesn’t matter, it can be a snail-mailed note, an email, or a text.
Thank your mentors and influencers. Expressing gratitude to people who have positively impacted your life and career is a happiness boost for both of you.

Photo by Pro Church Media on Unsplash

How Strong Women Negotiate

Mon, 20 Nov 2023 16:16:00 GMT

When I became a manager in broadcasting, I noticed something surprising in my first contract negotiations with talent.

I would offer a contract to a man and they would ask for more –pay, vacation, bonus, perks — almost every time.

When I offered the same deal to a woman, many would sign immediately, no questions asked. I later learned that when it comes to salary, studies show that 20% of women never negotiate at all .

Gender pay inequality happens in every industry, even with the rich and powerful. Movie star Jennifer Lawrence discovered that her pay was significantly less than her male co-stars and said, “I got mad at myself. I failed as a negotiator because I gave up early….I was busy worrying about coming across as a brat and not getting my fair share.”

Of course, part of the pay inequality problem originates with incompetent management.

I once came into coach a show and found that the #1 research-ranked woman host was paid half the salary of her not-nearly-as-popular male co-host. I am sorry to report that kind of management still exists in radio .

Recently, a talented but underpaid woman asked me to coach her on upcoming contract negotiations. Negotiations are different for women than for men and I was concerned that my experience and perspective would be of limited value.

I reached out to some powerful, successful women that I coach, work with, and admire and they were kind to share their wisdom:

Sky Kelley, Senior Director, Head of Digital Product Innovation, Nike

When it comes to women and negotiating job offers, we are our own worst enemies. A lot of women don’t feel confident in their value so they undervalue themselves or are worried that if they ask for more, they won’t be hired.

Never negotiate against yourself meaning don’t keep the negotiation in your own mind and assume what the employer will say and then be afraid to ask.

Once someone is at the stage of making you an offer, they want you. It’s not about the ask that can turn a potential employer off, it’s about how you do it. If you ask for more respectfully and provide a reason why (i.e. I’ve looked at comparable positions in your company and the additional x dollars is in line with the pay range for this position), the worst a company can do is say no. But if you don’t ask, you surely won’t get more.

Dana Cortez, host The Dana Cortez Show

The number one reason women do not negotiate is fear. There are limited positions for women in our industry and the worry is, “If I don’t take the job, someone else will.”

It is OK to be scared. I am from humble beginnings. My determination to not go back there drives me forward. It is emotional. Put on your poker face and find the strength to get it done.

A lot of men still control the narrative and the positions and do not see a woman as a valued player. I learned to pull up your receipts and prove your worth with show ratings, revenue, social media, etc.

By doing that, you also see your own value. If you do not know your worth, no one else will. When you understand your contribution, how you make companies money and add value to the product it is easier to ask for what you want.

Be firm. “That’s not going to work for me” shifts the conversation. Don’t be afraid to walk away. Otherwise. it is not a negotiation.

Amy Eliza Wong, Executive leadership coach and Author of Living on Purpose

In working with women to improve their negotiation skills, I always invite them to adopt a mindset that almost anything is negotiable.

What stops women from being effective are sneaky limiting beliefs that silently run in the background. Asking a few discovery questions at the start of a negotiation can often dislodge those limiting beliefs and empower us to new possibilities.

Those questions can be, “When I have I been successful in a negotiation and ended up with what I wanted? What does that tell me about my skills?” “What would it take for them to say yes to my request?”

Being effective starts with leaning into negotiation with interest versus shying away from fear. Negotiation is simply a conversation, and we can choose that these conversations are fun.

Rachel Hartmann, Senior Director Washington University in St Louis

Women do not give themselves enough credit. We are taught to be quiet and accepting, unreasonably concerned the other party will rescind the offer. Women are worried that by asking for things they will be seen as being pushy. I have never had a negotiation go wrong in that way. Don’t be afraid to ask.

Women always feel so thankful, especially if it is more than their current salary, that they do not negotiate.

Negotiation phrases that work for me include, “What more can you do?” Their “best” offer often magically increases.

My friend recently said, “I was really hoping it would be higher” in a salary negotiation and they came back with a higher offer. She countered again and guess what? They gave it to her.

Be quiet. Don’t fill in the blanks. Let them stew on it. Tell them what you want – then sit silent. Let them respond even if it takes a minute, or two.

Finally, my personal philosophy is, “She who talks money first loses.”

Michelle Younkman, Executive Director Christian Music Broadcasters

Here are some things that I’ve seen:

Negotiation is a normal part of the hiring process. Some women have not been trained with negation skills.
Most workplaces do not provide a culture that values transparency and fairness and can contribute to overcoming the barriers.
Women underestimate their worth. There is a lack of confidence.
I’ve found that sometimes employers want to see how much a person is willing to negotiate as a tactic.
Women are more relational and may fear that negotiating could damage their relationship.
This is a good opportunity for seasoned women to mentor younger women in the art of negotiating.

One time I was offered a job, and I knew that my male counterpart at the company was making $10,000 more than what the company offered me.

I told them that I was a hard worker and they would get more than their money’s worth out of me, but I wouldn’t accept the job unless they paid me the same amount. That is the fair thing to do. I knew the work ethic of the gentleman who was already in this position, and my standard was much higher.

Radio Market Manager, prefers to be anonymous

No matter your age, gender, or background, if you are in a situation where you don’t feel like you are getting fair or equal opportunity for compensation based on merit, you should make a change.

No back-and-forth ball negotiation, realignment of hierarchy or duties, incremental bonus structure, or change in title will do anything to tilt an uneven playing field.

If it’s slanted it’s gonna stay slanted unless the actual structure changes. Be confident ask for what you want/deserve, and if you aren’t getting what you want find a situation that is better suited for YOU.

Photo by Becca Tapert on Unsplash

Build a Brand…They Will Come & Stay

Tue, 14 Nov 2023 16:24:00 GMT

Films, TV shows, sports teams, podcasts, and radio shows are built around well-branded personalities and performers. The same is true with authors. When airport passengers pick up a book for their flight, they’re likely to grab one from familiar and brand authors like Stephen King or Colleen Hoover or a branded and likable personality like Mathew Perry.

Generic DJs without a distinctive personality are commodities that do not stand out. They are being replaced by syndicated personalities and more and more by AI.

Personality brands have a distinct point of view on topics, their market, and the world. Their brand difference may be funny, snarky, family-friendly, quirky, edgy, etc.

Local continues to grow in importance for personality and radio station brands. It’s not so much about reporting local news as it is about being visible and being involved in community events, creating community events, and reflecting the local attitude.

The most effective strategy is to build a brand to transcend Nielsen’s wild fluctuations. How do you build a brand?
To go beyond a commodity, (where listeners lump you in with everyone else) and become a media brand, the audience must trust a radio show, podcast, or radio station.

Familiarity & Likability

Consumers choose media brands because they know you, they like you, and you are different. Because of the crowded media landscape, radio shows take eighteen months to two years to build familiarity and trust.

Air talents build relationships with listeners by sharing their points of view on the stories of the day and their personal life stories. Additionally, relationship building includes demonstrating your endearing characteristics and revealing your quirks and flaws.

Once listeners know you, being transparent and vulnerable deepens the connection even more. Oprah has built a colossal brand enabling her to withstand mistakes. Although her movie Beloved received positive reviews from critics, she over-hyped the film and it didn’t do well at the box office. Oprah’s likability and relevance can be traced back to her vulnerability and transparency about her abusive upbringing.

Differentiation & Relevance

Key point: Being differen t in your media lane and target audience builds familiarity and likability.

The Greg Beharrell Show is an excellent example of a unique personality brand. Based at rocker KLOS Los Angeles and syndicated by YEA Networks , Greg’s comedic chops enable him to play with callers in a quirky and “out there” way. In one instance, a caller tells him about a bad date where the guy takes out his fake eye. He replied, “That sounds like Sex in the City took place in Appalachia!” Greg endears himself to listeners with his humor, likability, and self-deprecation.

What about shows known for a standout benchmark? Distinct and relevant characters who are funny and transparent storytellers trump killer benchmarks. However, building original content through the characters AND having a high tune-in benchmark is a double win.

Listeners will choose your brand over competitors for three reasons:

Your show/podcast is different.
They know you and they like you.
Your brand content is relevant to their lives.

Photo by Kristian Egelund on Unsplash

Ten Takeaways From Ten Years of Coaching

Mon, 06 Nov 2023 13:22:00 GMT

There I sat in a squeaky studio chair behind the board at WMTY 1090 in my college town of Greenwood, South Carolina. Twenty years old, responsible for signing on the little 1000-watt AM transmitter. Every day, I would lean into the Sennheiser mic and try with all my might to emulate my morning radio heroes.

I would have been a huge success as an entertainer. There was only one thing holding me back: I am not funny.

I began exploring different paths. Having studied management at Lander, I got a job as an Assistant Program Director, and to my surprise, people began saying I had a knack for coaching.

I set a goal to one day be an outstanding VP of Programming like Guy Napoleon or a renowned talent coach like Randy Lane. And boom — here I am. This month marks ten years of working in my dream job. Lucky me.

It turns out that the same philosophies that I follow in coaching broadcast talent work equally well in coaching CEOs, VPs, and executives outside of media. For the last seven years, I have also trained people at companies like Apple, Google, Mastercard, and Delta in public speaking and leadership presence at Lifehikes .

Thinking back on a decade of fun and laughs, the successes and the wisdom that comes from falling flat on one’s face, I have been considering how to describe my way of encouraging and guiding talent. Here are ten coaching principles that work for me.

Talk less . I try to shut up and keep my word count low. When I get them talking through an idea, the people I coach work through their learning faster. Concise coaching is also clearer and easier to adopt.
Ask instead of telling. I could say, “You should tease upcoming content more.” Or I could ask, “What do you think would be a good way to let audiences know something great is coming in the next segment so they might stick around?” Inquiry works better than assertion. I call it the Jeopardy coaching theory, like the TV game show where answers have to be in the form of a question .
Everyone is out of their mind . This applies to management as well as talent. As a follower of psychologist Albert Ellis , I have found it helpful to accept that humans behaving irrationally is normal and nothing to get upset about. It is also OK when I sometimes behave irrationally.
You are not managing people. You are managing emotions . Motivation comes from emotion. Learning begins with emotion. People connect or divide based on emotion. Positive emotions are motivating. Negative emotions like fear and anxiety are demotivating.
Assume positive intent. Consider the possibility that each person and each team might be doing their very best. When you start with that mindset, people sense it. Assuming laziness, stubbornness, or other negative motivations until proven irrefutable is ineffective.
Guide people to universal truths. The written-in-stone principles behind great radio and podcast content are also true in Shakespeare, stand-up comedy, Oscar-winning motion pictures, and other great content. The other stuff is a grey area and unimportant.
Coach authentically. My friends at Dick Broadcasting used to call me “The Dork.” My geeky, over-the-top enthusiasm is easy to make fun of and I used to hide that side of myself while coaching. I later discovered that authentic passion is contagious and now I let my dweeb flag fly. Be yourself.
Never give up on someone. 99% of the people I coach collaborate well and we work together on improvements as their ratings increase. Occasionally I encounter resistance to change. I learned to temper my internal frustration, modulate my impatience, and like rock water wear them down gradually with time and gentle pressure.
Ask, how can I help you? As a leader, we sometimes do not get feedback from our teams. It has been surprising how many people say they were helped by coaching exercises that I believed were not effective.
I never think I am great. If I sweat and give a maximum 110% effort to the point of exhaustion I sometimes reach “adequate” and occasionally “good” at facilitating training.

I have ten more, even better tips on coaching to share with you but I will save them for my 20th anniversary.

How to Plan Emotion

Mon, 30 Oct 2023 12:36:00 GMT

Your show can have a stronger emotional impact using practices from motion pictures, theatre, stand-up comedy, and improvisation. After all, radio when done well is part of the entertainment business.

Director Alfred Hitchcock was known for planning . Famous for suspenseful movies like The Birds and Psycho , Hitchcock storyboarded each shot in detail before shooting and even planned the audience’s emotions with a technique called blue scripts and green scripts.

Hitchcock’s blue script was the standard dialogue, scenes, and action. The green script plotted out what the audience should feel at a certain point like claustrophobia, fear, unease, or fright .

With the green script as a guide, the actors, crew, cinematographers, and lighting techs could work together to evoke powerful reactions at the right moments.

Experiment with using the blue script/green script yourself. As an exercise, grab a pen and paper and take an emotional inventory while listening to a segment of your show. When you feel an emotional response, write it down. Note what was happening on-air to evoke your reaction.

Radio shows that lag in Nielsen often lacks emotional impact. The hosts do not come across as emotionally engaged, segments are poorly structured or the content is weak. Sometimes it is all of the above.

The way to boost your show’s emotional power is to plan for it. Here’s how:

Feelings as a filter. As you consider an idea for the show, what do you feel? You may notice there is little emotional reaction to standard show prep content like a list of celebrity birthdays or a generic text-to-win giveaway. Consider minimizing or avoiding that content and do something better.
Identify payoffs . What are the emotional twists in a story, the laughs, the provocative questions, the conflicts, or the happy ending?
Place the payoffs . Structure where emotions fall within a segment takes your audience on a roller coaster ride. A sad story followed by the release of a laugh feels awesome to your fans. Tip: place the emotional high point at the end, like the crescendo at the end of a fireworks display – big boom, and the segment is done. Exit ASAP.
Voice = emotion . Shouting, whispering, speeding up and slowing way down can evoke a powerful response at the right moment. The most powerful vocal technique? A dramatic pause.
Music in harmony with the content. If your music bed does not add to the emotion of a segment, it is taking it away. There is no in-between. Imagine the Jaws theme preceding a movie shark attack. Now imagine replacing that theme with a generic drumbeat disco bed. No competent director would make that mistake, yet you often hear radio hosts talk over irrelevant music beds. Timing how you start, stop, and fade in/fade out music has an emotional impact too.
Use emotional words. On camera, you would use your face and body language to express anger, joy, sadness, fear, humiliation, torture, calm, lust, or anxiety. The audience cannot see your face on radio but choosing descriptive words can paint the same picture.

Hitchcock’s blue script/green script concept is also used outside of entertainment. I coached executives at a well-known consumer product company recently. Their salespeople plan pitches to grocery chains based on the desired emotional response from CEOs, just like Hitchcock. They claim it closes deals.

Emotional impact is radio’s strongest defense against services like Apple Music, Spotify, and Sirius XM. In the future, terrestrial stations providing evocative content will survive long after many generic more-music stations have gone dark.

Photo by Surface on Unsplash

Insights From a Competitive Review

Tue, 24 Oct 2023 15:41:00 GMT

What could you learn by studying your direct competitor? Consider taking a day off the air and listening intently to your main competitor with your program director, producer, and others whose opinions you value. Where are they strong, where are they weak? How could you do something compelling that they are not doing?

COMPETITIVE REVIEW CHECKLIST

Do more often: Measure if your direct competitor is hitting the positives below more often than your show.

Killer content (engaging stories, comedy, friendly conflict, drama)
Relevant content (the target audience cares about this subject)
A clear point of view from each cast member (emotion, opinion, inner thoughts, personal stories.)
Identifiable HD characters (how many of their cast are generic hosts vs. real people?)
Fast setups – segments start within 08 seconds without the traditional preamble
At the end of content segments, tease the upcoming segment
# Songs per hour
Laughs (audible, genuine laughter from the cast)
Laughs (laughter from you as a listener)
Interaction in features and newscasts
Audio clips
Local content
Interactive topics and contests
Even content distribution throughout ¼ hour, hour and the show (mix of songs, content, information)
Recycle A/Power content
Mic balance among cast members

Do less often: Measure if they drive away the audience more/less often than your show.

Commercials per hour
Self-absorbed, inside content
Generic announcers, inauthentic hosts
Predictable content with all the features/benchmarks airing at fixed times
All prep sheet content, no original/innovative content
Caller 9-style contests with little or no entertainment value
# Minutes traffic reports (More listeners are getting info from apps)
Generic information (Content could be delivered by any show)
Talk segments over five minutes in length
Negativity

You can add/subtract specifics to this list as you see fit – especially if you have market research that indicates (for example) that local news is essential to your audience (do more of) and entertainment news is not relevant (do less of).

Afterward, break down both your programming and your competitors with a SWOT analysis:

STRENGTHS: (Significant advantage over a competitor)
WEAKNESSES: (Significant advantage over a competitor)
OPPORTUNITIES: (Areas that could be improved)
THREATS: (Areas susceptible to attack. Example: Too-long traffic reports, too few songs, content not relevant to the target audience, etc.)

Then, write out your team’s Action Plan : Outline your show’s overall strategy and plan of attack in a paragraph. How will you highlight your strengths? How will you attack the competitor’s weakness? How will you emphasize the differences between imaging and marketing?

Photo by Product School on Unsplash

Does Your Show Need a Fast-Forward Button?

Tue, 17 Oct 2023 12:16:00 GMT

Your audience is in a damn big hurry. Consider these media headlines and think about what they mean for your radio show or podcast.

Shorter hit songs . The average pop song length is now 3:15. In 1975, Queen’s Bohemian Rhapsody was six minutes.

60-Second clips. Executives I work with at Instagram tell me that while video posts can be as long as one minute, hardly anyone watches anything past twenty seconds.

Skip and speed up buttons . Podcast listeners are accustomed to players that can zoom around boring parts. Many run the playback button at 2X to get through the podcast faster.

Book summaries save time . Many people buy book summaries that can be read or listened to in as little as fifteen minutes.

Low tolerance for commercials . Most people hit “skip ads” online within seconds. Numerous studies find a low tolerance for long commercial stop sets on radio.

Your audience’s content filter is higher than ever, and their attention span is lower than ever.

Today’s top media performers bond with listeners through authenticity, personality, and emotion, but they execute content with urgency .

The question is what and where to cut. To keep your show on pace with today’s impatient audiences, consider these execution tweaks and content updates.

Go long on stories, short on information.

Stories command the attention of distracted short-attention-span listeners. The information illustrated with a story or delivered in the form of one connects and sticks with listeners.

Cut reiterations, zigzags and circular conversations.

Talk hosts sometimes make a statement and then re-state using different verbiage. Practice making your point once, then illustrate your point with stories and examples. Allow for team improvisation but get the conversation back on track before the conversation meanders or becomes circular.

App-proof your show.

Most consumers wake up and immediately reach for their mobile devices. They have weather, traffic, and sports scores long before they turn on the radio. Consider limiting that info to a couple of sentences unless there is breaking news.

Segments and sub-segments.

To more effectively hold the audience’s attention, established shows with longer talk segments are now switching topics approximately every five minutes.

Headline your setup .

What you say in the first few seconds of a segment — is crucial. A headline teasing upcoming dramatic audio, funny stories, or a confrontation can intrigue audiences into staying through to the end.

Photo Credit – Michael Hiraeth

Leadership Evolution

Mon, 09 Oct 2023 13:42:00 GMT

Vulnerability and leadership expert Brene Brown defines leadership as, “Any person who holds themselves accountable for finding the potential in people and processes and who has the courage to develop that potential.”

Leadership has evolved dramatically since the 20th century. The Harvard Business Review book and course on leadership recommends authentic leadership as the most effective type of leadership today.

What is authentic leadership? Essentially, authentic leaders lead with their heart as well as their heads. They know who they are.

When the 75 members of Stanford Graduate School of Business’s Advisory Council had to choose the most important capability for leaders to develop, their answer was clear: self-awareness. Self-awareness is a major component of authentic leadership. It includes knowing your values, your strengths, your limitations, and your motivations.

FOUR TENETS OF AUTHENTIC LEADERS

Emotional Intelligence:

Self-awareness rises again as the key to emotional intelligence.
Self-regulation is having the ability to manage your own emotions in a multitude of interactions with people, including heated ones.
Empathy is your capacity to actively listen and understand the needs of employees which builds trust.
Vulnerability as defined by Brene brown is, “Vulnerability is uncertainty, risk, and emotional exposure. But vulnerability is not weakness; it’s our most accurate measure of courage.”
Mental health has come out of the closet in the workplace. As a leader, observe and be empathetic to employees displaying mental health signs such as poor interaction with coworkers and absenteeism.

2. Leaders are Learners:

Continually learn and grow with conferences, webinars, courses, and reading.
Support and provide learning and development of employees.

3. Communication Skills:

The ability to interact with and communicate effectively with others includes:

Relationships: Authentic leaders have a relationship with their employees. They don’t have to hang out, but having a relationship signals to employees that they are part of a team, and you are their advocate.
Feedback: Give and receive authentic feedback with both praise and constructive evaluation.
Active listening: Listen actively and talk less. Use the one-second rule of listening by waiting a second after someone speaks before you talk.

4. Strong Support Team:

Authentic leaders today are not know-all and be-all islands. They have a strong support team around them including their coworkers, colleagues, significant others, and friends. Great leaders collaborate and brainstorm issues and ideas with trusted others.

Although the word authentic gets tossed around in a myriad of situations today, it’s no coincidence that leadership on-air and in business lead to the same skill…authenticity.

(Excerpt from Keynote Presentation on leadership by Randy Lane at the Leighton Broadcasting Summit 2023)

Photo by Jehyun Sung on Unsplash

Capture Listeners With Serial

Mon, 02 Oct 2023 14:00:00 GMT

Audiences are captivated by episodic content like the dramatic series Yellowstone , the melodramatic series Virgin River , and successful podcasts like True Crime All the Time.

Each episode reveals resolutions to mysteries from the previous episode and raises more questions for the next installment.

In radio, serial content is a proven technique to increase time spent listening, and more importantly, to get listeners to come back to your show. Once the public is emotionally invested in a character and storyline, they want more.

Successful radio shows thrive in Nielsen with two listener variables:

LISTEN LONGER

Expanding TSL to two quarter-hours is accomplished with vertical content by introducing a scenario in one segment and following up with the resolution in the next quarter-hour. Examples include high-tune-in relationship dramas like DeDe’s Date Fail and Dave Ryan’s War of the Roses .

RETURN LISTENING

Creating more tune-ins is executed with h orizontal content set up on one day and resolved the next day at the same time . Most shows get listeners back to their show 2.5 days per week on average. Boost the number to 3 or 4 days and your ratings will soar. Generally , the more tune-ins or listening occasions, the higher the ratings.

Examples of horizontal content include:

Single character : 5 dates in 5 days
New player to the show and market: A local adventure every weekend
Celebrity interviews : Promote big interviews the day before with the best question(s) you’ll ask

Storylines :

Storylines are broken down into chapters or episodes. They can come from life transitions like a wedding, a new baby, buying a home, or from life’s smaller dilemmas, like a series of Tinder dates, or an ongoing dispute with a neighbor.

The keys to building successful storylines are planning and teasing. You will tease the upcoming episode more effectively if you know what is happening next, and telling the story outside of real-time allows you to embellish and rearrange the drama to make it more entertaining. If it’s happening in real-time, listeners will experience the drama with you spontaneously.

Serial Content Structure

A relatable character : The character can be you, your co-host, a listener, someone in your city, or a recurring show guest.
A villain : Not necessarily a bad person; it can be a foil for your main character. The villain can be a person, an animal, a disease, a hurricane, or a government.
A quest or conflict : It can be a discovery, a disagreement, or something valuable you want to accomplish. Also, it can be an inner conflict or a dilemma you want to resolve.
A resolution : Resolution is crucial. Let listeners know you will reveal how the quest or conflict ends and tell them when they can hear it.

Photo by Math on Unsplash

Autopilot Pitfalls

Mon, 25 Sep 2023 14:11:00 GMT

“ 94.1 WXXX, the ’90s to now with Jack and Jill in the morning. It’s sunny and 63 at 7:25.”

You’ve heard a verbatim script like this hundreds of times. In addition to sounding non-conversational and inauthentic, air talents are triggered to go on autopilot with this outdated convention.

Arbitron started rating radio stations with their diary methodology in 1964. Programmers quickly learned that diary keepers didn’t record their real-time listening, instead, they wrote down the stations they remembered listening to. To boost recall, the winning strategy was immediately, and often, pound the station name and frequency first every time the mic opened.

Another reason to question the effectiveness of word-for-word scripting is after personalities have delivered scripted format mechanics and promotion multiple times, they tend to go rote and present them unconsciously without meaning or intention, which translates to no communication or connection with listeners. I was lucky as an air talent to have program directors who gave us fact sheets and encouraged us to put them into our own words.

RLC strongly recommends talent skip the traditional preamble and start every content segment with a headline of the content they’re about to deliver to engage the audience immediately. Station name and frequency are still important, especially in diary-rated markets, but it’s now a matter of placement. Hit the station name and mechanics after the headline.

Being on autopilot sounds like a memorized script because it is. Other forms of autopilot fails are safe, stock answers to big issues, and safe, stock questions during interviews. People today are seeking connection to the talent’s personality, and scripted, rote deliveries limit your potential to make valuable and lasting connections.
When we are on autopilot, rather than being fully present in the moment, we are drawing on perceptions from the past. Every interaction with your cohosts, callers, and guests is an opportunity to be in the moment and spontaneously express your fresh point of view.
Active listening is the opposite of autopilot. You will miss opportunities for natural and original responses and comebacks on autopilot.

The Power of Now

Before opening the mic, ask yourself, “What is my authentic truth on this topic?” Being present increases the chance of saying something innovative and sticky. Additionally, you are more likely to articulate your viewpoint with a fresh perspective.

Be the Bear on the Air

Mon, 18 Sep 2023 15:17:00 GMT

When the show debuted in 1999, I was fortunate to be coaching 2 Guys Named Chris at Rock 92 Greensboro, NC. It’s gratifying to see this morning show remain dominant not only in Greensboro but in numerous markets around the country. Chris Kelly is a funny guy and a captivating storyteller with a passion for morning radio. His blog is a great lesson for all air talents who are dedicated to making every second of every show count. Chris Kellly is truly The Bear on the Air.

~ Randy Lane

I recently watched a show on Hulu called The Bear . It’s a wonderful show about a world-class chef who unexpectedly inherits his late brother’s restaurant in Chicago. I am, by no means, a foodie, but when the show was recommended by someone with similar taste in entertainment, I decided to watch.

This show has reconnected me with the professionalism and hard work it takes to be successful in a highly competitive industry…like the restaurant business…or morning radio.

One episode in particular hit me like a lightning bolt. The season two episode “Forks” finds one of the show’s main characters briefly working in a Michelin three-star rated restaurant. He’s there to work, observe, and learn. The restaurant is so focused on every tiny detail that for the first few days all he’s allowed to do is polish forks…and they need to be right.

There is an intense conversation between chefs because one dinner plate, from the dinner service a few nights before, had a smudge on it. It wasn’t as much about the smudge as it was about owning up to the smudge…correcting the thing that caused the smudge.

The scene that made me connect this restaurant with our radio show was one between the newcomer in the restaurant and one of the seasoned chefs.

The seasoned chef was running the kitchen. The scene is frantic. She is sending dozens of meticulously prepared dishes to table after table. She is changing orders on the fly due to allergies, seating arrangements…even little cues from customers that have been observed by servers.

Finally, after what seems like hours of a harrowing pace, completely unseen by the joyous diners, the newcomer asks…”Why do you do all this…why do you go to this much trouble”?

The chef replies, “Because every single night makes someone’s day.”

That’s it. That’s the ballgame. Every single day we do our radio show makes someone’s day. That’s why we do it.

I’ve been a part of my radio show for 25 years, and I’ve gotten dozens of emails from listeners thanking me for helping them through an illness, a family crisis, or a job loss.

We never know who is listening. We never know which segment that person will hear. We have to impress the first-time listener just as the high-end restaurant has to impress the person who will only eat there once.

We also have to take care of our regulars. They are so important. Every segment has to be the best we can make it. I’m going to make someone’s day. That’s the reason we do what we do.

Most restaurants fail. Most radio shows fail. The game is harder now. We fight a billion podcasts…we fight big companies and small companies…we fight playlists and streaming services.

We will have smudges…but when we have them we have to have the courage to recognize them, own up to them, and correct them. We get four hours a day. Every second counts.

Photo by Drew Gilliam on Unsplash

Broadcasting Predictions for 2023 and Beyond

Mon, 11 Sep 2023 13:36:00 GMT

Today’s audiences are quickly moving away from traditional over-the-air broadcasting towards streaming and on-demand. Here are a couple of recent headlines.

On-Demand Audio Passes Linear Audio

Larry Rosin and our friends at Edison Research report that over 50% of audio consumption is now streaming and on-demand platforms . Over-the-air AM/FM is no longer king.

Broadcast and Cable Made Up Less Than 50% of TV Usage In July

Nielsen reports that audiences are also moving away from over-the-air broadcasts and cable TV. Variety reports that there are just 10 shows with an average 18-49 demo greater than 1.0 in 2023. In 2015, there were 77!

The move to streaming and on-demand is happening fast and furious. What does that shift in audience preference mean for content on local radio stations in the future?

Here are a few trends to watch and some possible future realities to consider.

Minimizing OPP (Other People’s Programming.) Local stations that produce compelling, original talk content can remain competitive on AM/FM, podcasts, streaming, and digital.
- Remember how Taylor Swift pulled her songs from Spotify? What if one day major artists decide that radio performance fees are not keeping up with streaming and deny broadcast rights?
- Same problem for syndication: What if one day NPR decides on an all-streaming and podcast strategy and cuts ties with local member stations? Stations that are just programming middlemen may face more uncertainty.
Fewer AM/FM stations. Did you know there are 53 fewer commercial FM stations on the air today in the US than in 2019 ? There are already scores of dark AM facilities. (Side note: Is there a point in passing laws to keep AM in new car radios if AM transmitters are not turned on …?) Stations with engaging, emotive content customized for their listening area will remain on while others may get the “off” button.
More time shifting. Just like on-demand TV viewers, radio listeners expect to get what they want when they want it. In Philadelphia, WMMR listeners catch Preston and Steve live in the morning and seek the show out by podcast all other hours of the day. Of course, more music, less talk stations do not have that option since you cannot podcast music.
Fewer and better commercials. Long blocks of ads are a major reason many viewers have departed broadcast and cable TV and that is a big reason that AM/FM listeners like streaming and podcast audio. Long stopsets do not have a chance against a “skip” button. Demand will explode for authentic personality endorsements from familiar, well-liked hosts. Listeners love those as part of the entertainment and they get results for advertisers.

Is any of this going to happen? Hey, if I were good at seeing the future, I would have never bought real estate the first time – or the second time.

I am god-awful at predictions so don’t listen to me. But I encourage you to stay aware as the earth moves and shakes under your feet. Keep your eyes open as one door slams closed and many other doors open.

Photo by Stephen Andrews on Unsplash

Ordinary To Extraordinary

Tue, 05 Sep 2023 18:33:00 GMT

By Mike Donovan and Randy Lane

What’s the most effective way to immediately make an emotional connection to listeners? Talk about what your listeners are talking about. The most topical, viral stories of the day will be in all the radio show prep services and your competitors will be talking about the same stories. Simply presenting a story or a bit verbatim from the services will not make it stand out.

How does a show set itself apart and make the most popular stories of the day more captivating than the competitors? The answer is finding uncommon angles your competitors will either not find or won’t put in the extra effort.

12 WAYS TO UNCOVER UNIQUE ANGLES ON STORY TOPICS:

1. Ask “ What else ” – The first question to ask yourself and the cast is, “What else can we add to this big story to give it more impact and memorability?”

2. Dig Deeper – Do your homework with your team and find the less-obvious aspects not included in the main story.

3. Contrarian Viewpoints – Present the story from an angle contrary to the majority opinion. This approach sets up conflict and stimulates thought-provoking conversations.

4. Human Interest Perspective – Look at the personal experiences of people affected by the story. Share their story of struggles and triumphs. Smart shows took this approach with the Maui fires. What are the character traits of those involved in the story that would be interesting and entertaining to your audience?

5. Personal Narratives – Sharing your own life experience stories can make a topical story more relatable, unique, and memorable .

6. What’s The Impact? – Does the story have a ripple effect on a larger scale? How does it affect the lives of your listeners?

7. Humor – Use good-spirited humor, if appropriate, to highlight the ridiculous or funny facets of the story. Your sense of humor is distinctive and something your competitors can’t duplicate.

8. Expert Insights – Get an expert with specialized knowledge for their deeper understanding and insights into the story.

9. Psychological – Look at the possible motivations of the character or characters from a human behavior perspective.

10. Future Scenarios – Speculate on potential future developments related to the story. Where could the story go from here? Ask, “What If”?

11. Ethical and Moral Issues – Are there any ethical or moral issue questions the story raises? This could be an effective way to get listeners involved with their stories and opinions.

12. Visuals and Sounds – Go the extra mile and use audio to enhance the mental pictures in listeners’ minds as the story unfolds. Many shows won’t use audio and others use the wrong sound bites or use too many.Approach a story with curiosity and a willingness to explore it beyond the surface. Discover story angles unique to your show and characters to provide an opportunity for an ongoing conversation with your listeners.

Photo by Samuel Regan-Asante on Unsplash

Four Ways Positive Feedback Wins

Mon, 28 Aug 2023 13:34:00 GMT

Can one piece of advice change your life? I remember exactly where was I standing in the second-floor hallway at Dick Broadcasting in Greensboro when one sentence of wisdom from Randy Lane set my career path.

I was a first-time program director and Randy was hired to coach Chris Kelly and Chris Demm –who became Two Guys Named Chris — and market icon Jack Murphy. I asked how I could be a more effective coach and Randy leaned in with a lowered voice and said:

“Catch them being great and make a big deal about it.”

In the 25 years since that moment, Randy’s wisdom has guided my work for broadcasters across the US, Canada, and Mexico – and my coaching for business presenters worldwide at companies like Google, Amazon, Apple, and Delta.

Positive reinforcement is your most powerful influencing tool. When someone receives heartfelt praise, that high-five releases dopamine in the brain, almost guaranteeing repeat behavior.

There are some managers who focus on the negative. Criticism triggers fear and stress which shifts the brain out of learning mode and into fight-or-flight mode.

Positive reinforcement resonates with everyone — your kids, your dog, your partner, and your friends. Fake praise, however, does not work. Your compliment has to be sincere and specific.

Consider these stories where I have witnessed the effect of positive reinforcement and think of how you might use thoughtful accolades to uplift someone that you work with:

Your boss — As an operations manager, I experimented with having talent in my cluster listen and critique other talent – shows from other markets, other countries, and competitors – to see what they would learn. Afterward, one of my team said, “That was really helpful, boss. I got a ton of ideas. Thank you.” Her comment made a lasting impact and I continue to use that practice today.
Your coworkers – We were coaching executives at NBC Universal in Burbank on why it is important to skip the boring warm-up talk and start presentations with a powerful headline. At that time, Netflix had just added that “ skip intro ” button at the start of shows, and I used that as a clarifying metaphor. At the end of the day, a fellow coach praised me for the idea and pointed out how it powerfully it impacted the audience. I have used that analogy ever since.
Newbies and Apprentices – Learning to speak in corporate training outside of media, my director booked me to practice with a room of excited, newly-arrived immigrants to the United States. That week, then-President Trump had been bashing immigrants unfairly in the news. I took a risk and made a very light Trump joke. The room erupted in laughter, and I will always remember looking up to see the director give me a smiling nod and thumbs up.
You — Coaching a team at SXM Media (SiriusXM and Pandora) we broke that self-critical habit we all have by requiring everyone to write down everything they did well as they watched themselves on video. Intentional self-focus on strengths works as powerfully as a compliment from someone else.

Think of praise and criticism in this old parable about a grandfather using a metaphor of two wolves to teach his young grandchild.

“There are two wolves fighting. One is darkness and despair and one is light and hope.” When the child asks which wolf wins, the grandfather replies,

“Whichever one you feed.”

Photo by Mohamed Nohassi on Unsplash

How to Be and Not to Be Opinionated

Mon, 21 Aug 2023 13:39:00 GMT

FOX Sports commentator and soccer legend Carli Lloyd kicked a hornets nest talking openly about her former teammates on the US Women’s National Team in the 2023 Women’s World Cup.

“Uninspiring, disappointing. They don’t look fit. They’re playing as individuals. And the tactics are just too predictable.” When the Portugal team hit the goal post and missed the winning point, Carli said , “ the player of the game was that post.”

Carli Lloyd’s comments stirred up as many headlines as the game itself and likely guaranteed that she will be in demand for more on-camera commentary in the future.

Strong point of view is how great media personalities stand apart from generic hosts. We coach all presenters to share authentic emotions, inner thoughts, personal stories, and opinions.

But opinion is tricky. How you give your opinion determines if you are considered entertaining or boring, interesting or offensive.

Here are guidelines to consider as you begin giving the world a piece of your mind.

Keep it short. Summarize your hot take in a couple of sentences, and move on. As content, opinion often runs out of steam quickly.
Tell stories. Carli Lloyd said some USWNT players are “entitled” and backed it up with an example of how team staff are treated rudely. Allow more airtime for stories than for opinions.
Consider emotion. The feelings behind your opinion will be felt by the audience. Happiness and sadness are more accessible to mainstream listeners than anger and fear — express those opinions with reserve.
Consider relevance. Be cautious with political or religious opinions on an entertainment show. If you go there, speak only for yourself; “I go to church every Sunday” is acceptable in any market. “ You should go to church every Sunday” is going to turn off audiences.
Strong expertise = Strong opinion. An American Airlines pilot went viral recently with a strong take on rude flyers that reached 4.6 million views . That Captain’s opinion was well received. Speak more boldly if you have experience on a topic.
Disinformation is not opinion. Former NBC Today Show host Megyn Kelly got fired for stating that white people wearing black face was “OK” . As an educated media professional, she knew that blackface has not been OK since the 1960s.
Harmless crazy opinion is OK. On WRMF’s top-rated KVJ Show, audiences love Jason Pennington for his strong belief in aliens, Bigfoot, Chupacabras, and Loch Ness Monster. A host who states crazy opinions about substantive topics like coronavirus prevention could influence someone into actual harm, but no one is likely harmed if they are persuaded to believe in Bigfoot.
Don’t back down. When Carli Lloyd got pushback on her comments, she doubled down . “I was the only one brave enough to say how it is.” If you are right, state it again as fact.
Apologize when wrong. My rules for media apologies are:
1. Apologize unreservedly.
2. Promise to never make that mistake again.
3. Never make that mistake again.

An authentic media personality says what they believe and believes what they say. Successful presenters are both outspoken and thoughtful about what to share, how to share it, and how their opinion will land with a diverse, worldwide digital audience.

Photo by Markus Winkler on Unsplash

Do You Need a Talent Agent?

Mon, 14 Aug 2023 13:36:00 GMT

Do you need a talent agent… to negotiate your contract and guide your career? That question and other relevant questions were answered on the Negotiation ‘Post Pandemic’ panel at Morning Show Boot Camp this week in Dallas.

DeDe McGuire, host of the highly successful DeDe in the Morning S how moderated with panelist talent agent Heather Cohen EVP The Weiss Agency , talent agent Pa ul Anderson CEO Workhouse Media, Cris Eagan VP Audience Cox Media Group , Thea Mitchem EVP Programming iHeart Media , Jeff Sottolano EVP Programming Audacy,Inc ., and myself.

The key questions DeDe asked the panelist include:

Q: “Is female talent compensation on par with males or still lagging?”

Thea Mitchem said that it’s still lagging, but it’s growing closer. Paul Anderson stressed he’s on a mission to not only get female talent on par with males but to give female talent their fair market value even if it surpasses males.

Q: “What’s the status of guaranteed contracts? What’s the typical length?”

According to Jeff Sottolano and Chris Eagan, no-cut contracts are still common for high-performing talent. The contract length depends on the talent’s value in terms of ratings and revenue for the company.

Talent leverage was noted as the key to acquiring lucrative contracts. I defined leverage as:

Outperforming the radio station ratings average
Revenue from your client endorsements
Revenue and downloads of your podcast and social media footprint

Q: “If a talent doesn’t have the money to hire an agent or lawyer and negotiates their own contra ct, are there sources for sharpening their negotiating skills?”

Before signing an agreement, Paul Anderson suggested talent go to their personal and professional mentors for advice. It was also recommended to educate yourself on negotiation by reading books and articles on the topic.

Q: The FTC has proposed a ban on non-compete clauses in contracts, and they have been reduced or banned in several states; what about in states where they are still legal?”

Short of a guaranteed contract, the panel advised talent to negotiate a fair severance package. For example, if you only have a two-week severance, you essentially have a two-week contract. When there is not a non-compete clause in the contract, a 60-90 day severance period is considered reasonable. At least have your severance match the non-compete period.

Q: “At what salary range does it make economic sense to hire an agent?”

The standard percentage agents receive for negotiating contracts is 10% of a talent’s salary. Jeff Sottolano recommended the salary point is when talent can afford to give up 10% of their salary.

Heather Cohen and I stressed the importance of relationships whether you have representation or not. I cautioned talent to always act as a team player. Have a positive relationship with your teammates, the program director, general manager, corporate, sales manager, promotion director, and engineering.

Photo by Dimitri Karastelev on Unsplash

Repeat or Not Repeat Content

Mon, 07 Aug 2023 17:32:00 GMT

By Mike Donovan and Randy Lane

Repeating or repurposing personality show content is a subject of debate among talent, programmers, and consultants. Replaying fun, funny, emotional, and innovative priceless moments in other hours and dayparts is a growth opportunity.

There’s a misconception among some talent and programmers about the importance of P1 listeners to a show. While P1 listeners are highly important, over-focusing on P1 listeners can cause a decline in ratings over time.

In the mid-90s at Star 98.7 Los Angeles, we helped popularize the emerging Modern AC format. In the late 90s, programmers narrowed the focus to primarily P1s. The format started declining and shortly after 2000 became extinct.

For personality shows hesitant to replay highlight content, the assumption isyour P1 listeners will see it as a negative and some shows do get complaints. A few complaints are nothing to be concerned about. Massive complaints are another story.

If you look at individual quarter hours in morning drive or any daypart, the P1 percentage in the target demos is about 55-60%. A high P1 percentage for brands is 70%.

Although P1s can contribute 75-80% of total listen ing, not all P1s are listening at the same time. Like cume listeners, they are in and out of your show from start to finish. Consequently, even for mega-successful shows, 30-40% of every quarter hour is comprised of P2 and P3 listeners.

P1 listeners drop out, age out, move, etc. For any show to grow they must convert P2 and P3 listeners to P1s. The chances are great cume listeners will be hearing a replay for the first time.

No worries if your biggest fans hear content a second time. How many times have you re-watched some of the funniest shows from repeats of Modern Family or Seinfeld?

There will always be a small number of listeners who will be vocal and complain about content and song repetition. It’s most likely those same listeners are still tuning into your show because they truly enjoy the experience.

Some major top-rated shows rarely replay content on their radio shows, yet their highlight content is posted online and on their podcast. That’s a good thing, however, many podcast listeners don’t listen to it within 24 hours, which means no credit in Nielsen.

When not to recycle content. Lesser disciplined shows use replays as an excuse to not come up with as much compelling new content. It’s important to only repeat A-grade content. Replaying the hits increases ratings and brand loyalty.

The key is to work with your Program Director to break down the ratings data hour by hour to understand where and how to best repeat content. By replaying A-level content in other hours and dayparts, your show is building a reputation for high-quality entertainment value.

Photo by Rod Long on Unsplash

If You Think Your Show Is Inclusive, Think Again

Mon, 31 Jul 2023 19:41:00 GMT

Have you ever been frustrated tuning in to an interview and the host never says who they are talking to? Focus group listeners tell me it happens often on radio shows.

Radio is in competition with a plethora of platforms today and we’re dealing with an impatient, short attention-span audience. While many shows encourage listeners to be part of the conversation by phone, text, and online, they often do not make it easy to follow or participate in the conversation.

The 80-20 Rule Paradox

The traditional 80-20 Rule directly applies to radio stations and personality shows. Approximately 20% of your audience contributes 80% of the listening. It’s a sound strategy for Nielsen to focus on the 20% or P1 heavy users.

However, there is a caveat. We have observed highly rated P1-focused shows hit a ratings plateau and decline by over-focusing on loyal fans and to the exclusion of new and recurring listeners (P2,3, & 4s). They assume everyone listening knows all their benchmarks and peripheral characters.

Whether you’re a long-term successful show or a new one, your show will benefit from the following Radio 101 inclusive action steps.

The Fundamentals of Inclusivity

Name names: On ensemble shows, refer to one another by name so listeners can connect the voice to the name and make the conversation easy to follow. Rather than, “Why did you love the Barbie movie,” it’s inclusive to say, “Megan, why did you love the Barbie movie?”

“Name tagging” also goes for referencing family members (e.g., my husband Rick), bosses, coworkers, or anyone who enters the studio.

Reserve you for listeners . Radio listening is typically a solo experience. Referring to the audience as you immediately include listeners in your content, and it sounds like you’re talking directly to one person. Example: “What do you think of the Barbie movie? Call us at ___.”

Clearly and succinctly set up features. Even if you’ve been doing Second Date Update for ten years, briefly set it up in the opening to help new and cume listeners follow along. To include listeners just tuning in, close out features by reinforcing the name and briefly summarize what happened.

Intro clearly and reset often. Many shows have an annoying habit of obscuring a guest’s introduction by excitedly introducing them by shouting their name and the cast simultaneously cheers and applauds. Simply intro the guest with enthusiasm, then if you have a cast, cheer and applaud.

Listeners continually tune in based on their schedule. Reintroduce guests and reset topics every few minutes.

Summary

By including everyone in your content and characters, your show can play to your fan base AND expand it (plus the ratings) by making your show easy to follow for new and recurring listeners.

Photo by Jason Goodman on Unsplash

What Did You Get Stuck Where?

Mon, 31 Jul 2023 19:31:00 GMT

SETUP : From Studio Think Tank – Who got a body part, motor vehicle, or something else stuck and could not remove it?

In Minneapolis, Dave Ryan at KDWB writes, “Great topic that most people can relate to or have a story about.

You can take any kind of calls, including the ones about getting a quarter stuck in their nose or a bean stuck in their ear, but those aren’t always the best. Body parts and heads and fences and bottles were great.

The best are the ones where a body part got stuck in something, like a girl who tried to see if she could crawl in between the legs and struts of a barstool and got stuck and had to wait for her mom to come home and free her.

The best was a woman who was driving a school bus and tried to go into a parking garage and got stuck. She was 20, her first job, and driving a short bus and totally got stuck.”

The Power of Personal Charm

Mon, 31 Jul 2023 19:29:00 GMT

This week’s guest blog is from my friend and colleague, Mike Donovan. Mike is one of radio’s brightest talent coaches and program consultants. He demonstrates how personalities who aren’t funny or outrageous can charm their way to success.
~ Randy Lane

Some talents can be funny, witty, and clever, but still lack charm and a special warmth that could help grow them into a multi-dimensional personality brand.

We all know people who light up a room as soon as they walk in. They’re simply “charming.”

Charm is defined as the power of delighting, attracting, or fascinating others. Charm is different from charisma. Charisma is a compelling attractiveness that can inspire devotion in others. However, charm and charisma are closely related.

Tenets of charm include:
Confidence: Charming and charismatic people exude self-assurance and believe in themselves without being arrogant. They have enough confidence to be vulnerable and being vulnerable is endearing.

Authenticity: Being genuine and true to yourself is a key aspect of charm. Charming people are comfortable in their own skin and make others feel comfortable in their presence. They smile with their face and eyes. They exude charm through the tone of their voice, choice of words, and body language.

Active Listening : Charming people have excellent communication skills, both verbal and non-verbal. Talk less, listen more, remember people’s names, show respect. You don’t have to love everyone, but it’s important to be genuinely interested, curious, or fascinated by people in some way.

Warmth : Charming individuals possess the ability to understand and relate to the feelings and experiences of others by expressing genuine warmth, kindness, and empathy.

Adaptability : Charming people can adapt to different social situations and connect with people from all kinds of diverse backgrounds. They’re flexible and open-minded.

Positivity: Attributes conveying charm are having a sense of joy, displaying optimism and resilience, the ability to find a silver lining, and handling adversity with grace.

Engaging storytelling : Sharing compelling real-life stories with enthusiasm and humor makes a person more charming by creating an emotional connection and holding listeners’ attention.

Sharing Passions and Interests : Sharing personal passions and interests with enthusiasm is infectious. It invites others to engage and creates an opportunity for shared experiences on air.

Sense of humor : Charming people know how to lighten the mood, make others smile and laugh, and create a positive atmosphere.

By practicing charm in the presentation of your show and interaction with listeners, you’ll become increasingly likable leading to more admiration and loyalty. The result will be more return visits to your show and higher ratings.

Recently I got a call from a morning show host in a large market. His agreement is almost up, and he doesn’t have an agent. He’s had a couple of meetings with management he says did not go well.

My advice to him was to remain calm, smile, use some humor, avoid conflict with management, and display the same charm in negotiations he uses on-air. Recently, he called me back to say he now has a new agreement.

Radio and the Loneliness Epidemic

Mon, 17 Jul 2023 16:09:00 GMT

A study by PLOS Medicine reports that loneliness is comparable to smoking 15 cigarettes a day.

“Americans are more lonely and socially disconnected than ever, and their isolation poses a serious threat to their physical and mental health” according to the U.S. Surgeon General Vivek Murthy.

The Surgeon General report found that half of U.S. adults are experiencing loneliness.
The big reason is human interaction has been replaced with digital stimulation.

Additionally, people have become more isolated because of remote work, fewer people engage in social activities like church and bowling leagues, and many people do not know their neighbors.

In his 2019 predictive blog, Future Trend: Get in the Companionship Business , Jeff McHugh noted that social media was intended to connect people but it more often leads users to feel more disconnected.

Radio was the original social medium. Radio personalities interacted with callers and connected to everything locally. In the past 30 years, many music radio stations have weakened this differentiating attribute in favor of “shut up and play the hits” and glossy imaging production.

Survey after survey confirms radio’s greatest strengths are personalities and feeling connected. More than any other mass medium, radio has the opportunity to help alleviate the loneliness epidemic AND grow its audience.

7 Ways to Increase Companionship and Reduce Loneliness

Establish morning and afternoon personality benchmarks . The cume in afternoons is equal to or higher than mornings in most markets. Hubbard Radio is one of the companies championing this idea.
Increase phone call interaction. Interacting with callers can add humanity and entertainment value. Prioritize interactive games and story topics rather than text and designated caller contests, which have little to no entertainment value.
Minimize produced imaging in music segments . Schedule talent to stay connected with the audience by briefly talking over intros every other song.
Have a popular personality replace unfamiliar generic voiceovers. Bert Weiss, host of The Bert Show exemplifies this concept by voicing the imaging for Atlanta’s Q99.7.
Humanize news station presentations. Hosts can interact conversationally on entertainment and lighter stories, weather, sports, and in transitions. News presenters connect with the audience by being news personalities .
Ramp up philanthropy . Improving your community is an excellent way to connect with listeners and the community. Rather than getting involved with numerous charities and causes, champion one organization and own it.
Increase relevant local content. Here are four of many ways to connect locally. Identify the location of all callers.

Create and connect with local events.
Provide a local angle on all national stories.
Synergize with the community with activities like a beach or park cleanup.
Identify the location of all callers.

Photo by Darcey Beau on Unsplash

Vocal Punctuation

Mon, 10 Jul 2023 19:30:00 GMT

Imagine reading this article without punctuation. A solid wall of words strung together with no periods, question marks, or paragraphs would quickly make it difficult to comprehend what you’re reading.

Radio and podcast talent who rattle off information, stories, and teases do not connect with the audience. Listeners won’t grasp or retain what you’re saying. Talking at listeners diminishes one of radio’s greatest gifts, companionship.

When talent races through content segments, nothing stands out. The trivial gets equal emphasis as vital information and emotional dialogue. Reading copy or text further reduces communication and engagement.

Viewed from the talent perspective, this wall of sound often happens with the intention of sounding energetic or enthusiastic. Clock watch programmers mandating 60 or 90-second talk segments can cause talent to feel rushed.

Pro tip: Regardless of the time you have to talk, be efficient, naturally communicate and never sound rushed. To quote UCLA basketball coach John Wooden , “ Be quick, but don’t hurry.”

When reading to kids, we tend to make a conscious effort to tell the story with vocal punctuation. When it’s communicated authentically, the same intention works with delivering news stories, entertainment stories, and personal stories.

VOCAL PUNCTUATION TECHNIQUES

Effective vocal punctuation is a must for beginners to master the fundamentals or for pros who could benefit from a refresher.

Varying your volume, tone, and pitch adds depth and expression to your story or message. Listeners can better understand the intention behind your words. In storytelling, vocal punctuation creates suspense or evokes a different mood.

Vary your vocal tone to match the content. Be enthusiastic on positive topics, and empathetic on sensitive subjects.
You, plus 10%: Radio is an audio medium. To connect with and engage listeners, your body language, facial expressions, and emotions must be communicated through your voice. Because radio and podcasting are auditory, to have a foreground presence, be yourself plus 10%.

Silence is a powerful communication device. Pausing before and after a key point highlights its significance. Strategic pausing for emphasis allows the audience to process what was said. In humor, successfully delivering punchlines depends on impeccable timing and pausing.
Natural fast talkers benefit most from pausing because it’s difficult to slow down a fast talker. Appropriate pausing makes what they say stand out.
Raising your voice expresses excitement or urgency. Inflecting upward signals the beginning of a new topic or story.
Lowering your voice conveys seriousness or intimacy. Downward inflection at the end of a statement, topic, or story signals an ending or a transition.

Photo by TienDat Nguyen on Unsplash

Ten Commandments of Guest Interviews

Wed, 05 Jul 2023 14:13:00 GMT

Have you ever seen an amateur try to do the work of an expert? Imagine a surgeon inviting an average person to try their hand with a scalpel, or a World Cup soccer team bringing a fan down to the pitch to play goalie.

Interviews on a radio show or podcast can be like that. Great shows can be not-so-great when they turn over the program to guests who are unschooled on how to be entertaining, and most interviews are a low spot in PPM.

Actors, musicians, authors, local business owners, and charity representatives are good at what they do , but most are not good at what you do — creating entertaining audio content.

There are successful shows that specialize in interviews like The Breakfast Club , The Howard Stern Show on Sirius XM, and NPR’s Fresh Air with Terri Gross. These hosts, producers, and staffs work long hours in preparation to assure that each interview results in killer content.

If your show does not have that kind of time and resources, you can still create entertaining guest segments with my very facetiously named Ten Commandments of Guest Interviews .

Sky-high guest filter. Think of reasons not to have a guest on. An ideal guest is universally familiar to listeners — you do not have to explain who they are. They are relevant to your audience and they have a reputation for being entertaining . If you get an offer to interview people like Tom Hanks, Taylor Swift, or Samuel L Jackson, say yes.
Guests must bring stories . If your sales department sold a package to Bob’s Hardware Store and you must now interview Bob, the owner (yes, this kind of thing still happens) work with the seller to pre-prompt the guest for stories. Is there an interesting story behind the origin of the store? What is the biggest home improvement disaster you ever saw? Give us an extreme example of difficult customer behavior.
Record and edit. Never do live interviews. Play selectively edited clips of the interview on air and podcast and you might post the unedited version elsewhere. Don’t rush to air it. Veteran interviewer Steve Inskeep of NPR News says “There is no story that is not improved by holding it for a day.”
Make guests feel safe. Fresh Air’s Terry Gross tells all guests:

As you talk, if you want to stop and restate what you are saying — do so. Interviews are taped so we can edit and make you look good.
If I ask something that is too personal let me know and I will move on.

5. Tease great interviews. Practice horizontal teasing for the segment at the same time the day before, repetitive teasing up to airtime, and tease with clips of the interview to help build interest.

6. Start strong. Once you have the interview recorded, find the most provocative, interesting moment and that is what you open the segment with. Dramatic audio of an actor or musician’s work is another great way to begin an interview.

7. Make guests part of the show. Think of Jimmy Kimmel’s Mean Tweets segment or the pranks that Ellen Degeneres played on guests. Consider a gimmick like The Breakfast Club Bowl where guests pick an embarrassing question they have to answer. (You can clear the questions with guests before airtime to avoid any real embarrassment.) Or, ask guests to play a game, like Spit or Swallow with Kyle and Jackie O of KIIS Sydney: Guests either “spit” an answer to provocative questions or they swallow things like a fish eye, raw kidney, or a pickle smoothie. Here is a harsh truth: Some guests are best when they contribute briefly to a show topic or game – and then they are quickly escorted out.

Also: if you have a multiple-host show, all hosts participate in the interview. Do not abandon your winning cast chemistry for a guest.

8. Ask open questions. Instead of yes/no binary questions, probe and get personal with open-ended questions that get your guest talking. Ask about their life, challenges, family, setbacks, and mistakes.

9. Keep your questions short. In the days ahead, notice the television, radio, and podcast hosts who are clearly more interested in talking than listening. Also, notice hosts who allow the guests to ramble on without guidance. Keep the word count balance between host(s) and guests approximately even.

10. Deemphasize weak guest content.

Public service/charity interviews are best on social media videos. Sherman and Tingle at 971 The Drive in Chicago brought in a representative from Illinois Heart Rescue and videotaped an entertaining CPR demonstration on a mannequin on the studio floor. Animal rescue groups get better adoption results with video of cute puppies and kittens on social.
Separate segments for client interviews. Do not replace entertainment content in place at the front of commercials for paid infomercial conversations. Move those to the back side of stop sets.
Kill poor interviews. When a guest segment does not meet the show’s standards, shelve it . At NPR’s Fresh Air, they sometimes contact the guest and politely inform them that the interview will never air.

Photo by Jason Goodman on Unsplash

Dead Air Is Good

Tue, 27 Jun 2023 00:39:00 GMT

When many of us started in radio, dead air was a cardinal sin. I still have the dreaded dream of being on air, the music runs out, I can’t find a song or commercial, and for the life of me, I can’t find anything to fill the dead air.

As it turns out, dead air is actually good! Silence/pausing is a powerful communication technique that was used effectively by great orators from Winston Churchill to Ronald Reagan to Barrack Obama. Pausing was also a trademark of radio great Paul Harvey .

Making an emotional connection with an audience is not only conveyed by your words but also by your pauses.

Here are six ways to use the power of the pause for listener bonding:

Transitions
In news/story features, pause when ending a story and transitioning to a new one. Additionally, pause when switching to a different topic in content segments. A one-second pause makes the story or discussion stand out and signals a transition to the audience.

Dramatic Pause
Rev up the suspense with a pause just before or after making a key statement or raising a relevant question. Dramatic pauses intensify the tension of dialogue.

Punchline Pause
In live situations pause just before delivering a punchline to ramp up anticipation and set up the audience for the payoff. Respect the laugh zone by continuing to pause until the laughter or the groans start to trail off.

Be brave and try stand-up at open mic nights. It’ll significantly improve your timing and help you get comfortable with pausing.

Storytelling Pause
Draw the audience into your story with pauses as the action shifts. “Then, suddenly out of nowhere, pause …” creates a heightened feeling of anticipation in listeners.

Verbal Pauses
Words like “um,” “uh,” “well,” “so,” “you know,” and “like” are filler words that dilute your points. Harvard communication expert Steven D. Cohen , recommends that you eliminate weak language like this by pausing, thinking, and then continuing.

Vulnerable Pauses
Pauses are particularly effective during vulnerable conversations. Let uncomfortable silence play out. Dramatic pauses touch listeners emotionally and they remember them.

When we get comfortable with silence, just maybe we’ll stop having those dead-air dreams!

Photo by Pero Kalimero on Unsplash

5 Star Personality Traits

Tue, 20 Jun 2023 13:52:00 GMT

What are the characteristics you need to become a successful radio/podcast personality? That’s a question I get from people starting podcasts and from young people beginning their radio careers.

1. Charisma
Highly successful media personalities exude a mysterious factor that can’t quite be explained. They have presence, they sound more likable, and they entice you lean in.

That presence is called the IT-Factor or the X-Factor and is described with terms like “ magnetic” or “ rock star.” They all point to charisma.

2. Authenticity
Listeners are attracted to authenticity. There’s so much in our world that isn’t real, especially online. Being real is the foundation for most charismatic people.

Self-deprecation is one of the most effective ways to endear yourself to an audience. If you’re an edgy personality, self-deprecation is a disarming device and key to your likability. No one has demonstrated this principle more than Howard Stern.
Vulnerability is the epitome of authenticity. In the words of Brené Brown , “Vulnerability is not weakness; it’s our greatest measure of courage.” Vulnerable moments are among the most memorable for any personality.

3. Humor
Laughter is a catalyst for social bonding. It’s one of the quickest ways to establish a relationship with a new audience. Listeners want to laugh, especially in morning and afternoon drive. Relevant humor for your audience will keep your show viable for years.

Since the pandemic, we’ve been in a polarized and negative news space. Humor is the number one type of content listeners want in a show. Planned and produced comedy work when they are carefully crafted, yet some of the funniest moments arise spontaneously in conversation.

4. Captivating storytelling
Stories command the attention of today’s distracted short-attention span listeners. Stories build trust with the audience because you’re sharing relatable life experiences. Storytelling is central to on-air performance, marketing, and sales.

Steve Jobs said it all, “ The most powerful person in the world is the storyteller.”

5. Active listening
Rather than actively listening, many talents are thinking about what they’re going to say next. That’s talking and waiting to talk.

Actively listening to your teammates, callers, and guests is instrumental to engaging conversation. Active listening provides an opportunity for better responses, comebacks, follow-up questions, and stories to enhance the discussion.

Charismatic people are active listeners who ask the best questions because they’re curious and want to connect.

Photo by Felix Rostig on Unsplash

The Most Impactful Advertising

Mon, 12 Jun 2023 12:40:00 GMT

The most effective advertising is based on three primary components:

A strategic campaign
A personality spokesperson
Storytelling

Strategic Campaigns

We continue to see highly creative one-off commercials quickly forgotten, and worse; many people remember the spot but not the brand.

In his recent Ad Age article, Superbowl Marketing Has a Real Problem – Too Many Ads and Not Enough Campaigns, M.T. Fletcher notes, “People don’t remember ads unless they’re part of a campaign.”

Campaigns work for your advertisers, your station, and your show. The Bert Show has successfully used their tagline , “Real. Funny.” as an on-air and external marketing campaign for years.

Advertising campaigns are either solutions to the pain points of a product/service or highlight brand distinctions. The new Chipotle campaign For Real is getting attention as an antidote to all the processed food in America.

Personality Spokesperson

Several products/services feature personalities who become familiar to the audience and are associated with a brand. Think “Mayhem” for All-State and “Lily” for AT&T. Evan Bass from the Bachelor TV series is the face of the Men’s Clinic brand in Nashville and throughout the southeast.

The key word is personality , not the amateur spokesperson we often see for businesses on local TV spots.

Radio stations are wise to utilize their most well-known and successful personalities as marketing spokespersons for their external advertising . DeDe McGuire hosts the ensemble cast DeDe in the Morning , and she is the face of the brand for the show and K104 Dallas.

The combination of a strategic campaign and a personality spokesperson is key to creating marketing impact and memorability. What is your strategic campaign? Who is the face of your brand? It is your most popular air personality or show.

Tell A Story

Rather than rattling off facts about a product/service, the most effective ads communicate information through an entertaining or touching story. The beauty of campaigns is they are an ongoing storyline. It’s important to keep them fresh and updated.

“The best arguments in the world won’t change a single person’s mind. The only thing that can do that is a good story.”
Bestselling author and Pulitzer Prize winner Richard Powers

Photo by Joshua Earle on Unsplash

Wake Up, Radio!

Mon, 05 Jun 2023 18:08:00 GMT

Jason Goodman, VP of Programming DBC RADIO and Randy Lane

Imagine Spotify came first. Then imagine radio recently entered the media arena as a competitor. Spotify would consider radio a huge threat because they couldn’t connect emotionally with listeners, provide companionship or be local.

We are in the business of delivering free, engaging, personality content that can super-serve a local market and region regardless of the delivery platform. The name radio may be an antiquated term since the content is now delivered on a stream, an app, a smart speaker, an FM signal – you name it.

Compelling personalities that listeners relate to and consider friends build a sense of belonging and a community connection. A sense of belonging develops relationships and companionship with listeners on an emotional level.

This is our niche. Not only on an engaging entertainment level, but radio personalities and podcast hosts are highly effective in delivering advertising copy as highlighted in Westwood One’s weekly blog .

Personalities can attend local events and businesses to engage with listeners in person. This is one of the most effective ways of moving products and services.

For the last five years, the Jacobs Media Tech Surveys reveal an increasing demand for local content. Even on digital platforms, people often seek information about local events, news, and weather.

Radio has the distinction of being live or recorded, and both attract an audience. Live is powerful because there’s a sense of drama. Listeners never know what might happen next.

Radio can adapt and thrive in the evolving media environment by embracing digital technologies and staying true to its local community.

The audio space is flourishing, and radio is reaping the benefits. The New York Post interviewed iHeartMedia CEO Bob Pittman this week and he points out, “Radio is as strong as ever. We’re not competitive with the music services – we’re synergistic. The consumer uses us both, but at different times, for different reasons.”

Pittman went on to say, “When people listen to the radio, they’re joining the world. With us, they’re looking for connection, companionship, and someone to hang out with, and that’s our purpose – even though we may also be playing music on some of our radio stations.”

We are creative marketing experts for our advertisers, yet radio does a poor job of marketing our own industry. Brand differentiation is crucial to success in today’s crowded media playing field. Here’s how radio will continue to thrive.

RADIO MARKETING STRATEGY

Radio’s brand distinctions:

Radio has interesting, entertaining, and captivating personalities who have a relationship with listeners.
Companionship: Be consistently interactive on air, online, and in person. Music stations: Have talent connect briefly in music sets with teases, promo liners, and relevant info.

Radio personalities make a positive impact for advertisers.
Stress local: Utilize digital platforms to promote and cover local events, festivals, and community initiatives.
Embrace digital platforms and use them to expand our audience and highlight our unique attributes.

Photo by Samuel Regan-Asante on Unsplash

Tribute to My Brother, Ron Lane

Wed, 31 May 2023 14:25:00 GMT

I recently lost my beloved brother. Ron Lane was the consummate broadcaster. As an air personality, General Manager, and owner, his radio stations super-served small towns in Camden, TN, Bartow, FL, Russellville, AL, and Flora, IL.

Ron was both my personal and professional mentor, coach, and inspiration. At eight years old, somehow over my whining and complaining, he taught me to play baseball and a short time later basketball.

Under Ron’s mentorship, I went on to become a little league All Star and All State basketball player in high school. It wasn’t until years later I realized Ron was playing vicariously through me. Ron was stricken with polio at age nine, a few years before the vaccine was available in the US. I never once heard him complain.

After my freshman year of college at Memphis State University, he gave me a summer job in radio. I got the bug, and he guided me through my radio career.

The Voice of the Magic Valley

Ron was blessed with a distinctive, resonant voice. Most everyone knew it in the “Magic Valley” of the Camden, TN area. Ron was an entertaining and informative personality who broadcast local football, basketball, and baseball games. He made sure his radio stations aired all important local events, festivals, and county fairs.

He interviewed local and state leaders in education, business, sports, and politics. Ron was an outstanding interviewer who approached guests patterned after the folksy and conversational style of Johnny Carson.

Embarrassing Radio Story

Early in Ron’s on-air career, our next-door neighbor’s husband died, and his wife asked Ron to dedicate a gospel song to him. Ron said a few kind words about her husband and played the song.

A minute later the phone rang, it was our neighbor who said to Ron crying, “Oh Ron, how could you do this? You’re not playing “Precious Memories,” you’re playing “Wasted Years!” Ron was mortified and quickly cued up the right song.

Ron loved to tell that story as the most embarrassing moment in his career.

A Life of Service

Ron served on many local civic organizations including the school board, Lions Club, Board of Public Utilities, Rotary Club, and Gideons. He held the office of mayor for Big Sandy, TN for fifteen years and he was a United Methodist Church Lay Speaker.

Ron hosted numerous fundraisers including St. Jude Children’s Hospital, the American Cancer Society, United Way, and the local food bank. He advised the local high school journalism class on funding audio and video equipment. Ron also guided several high school students into a career in radio.

Ron’s favorite movie was It’s a Wonderful Life where Clarence the Angel showed George Bailey what the world would have been like without him. The world without Ron Lane would be:

Many charities, schools, and organizations unserved
Young people not mentored
An audience not informed and entertained
A family living life without his spirit, love, and positive outlook.

Photo by Timo Volz on Unsplash

Bring on the AI Talent

Mon, 22 May 2023 16:14:00 GMT

I recently took a Lyft in San Francisco and the radio was on in the car. For the whole drive, the on-air host talked about one thing and one thing only: Disneyland.

Between songs it was 40+ minutes of non-stop Disneyland hype: “Your chance to score those Disneyland tickets is just around the corner,” and so on. No content. No entertainment. And I never did hear her give away any tickets.

As a lifelong advocate for personality radio and killer content, I am disappointed when I hear station management reduce radio companionship to plugs and promotions.

But a weak programming problem like that may highlight a new solution: I say bring on the artificial intelligence on-air hosts.

The voices in Futuri’s RadioGPT product and Spotify’s DJ feature are impressively real-life. There are some smart ways that technology could be used – and some not-so-smart uses.

AI voices will likely be misused by US radio. You know those radio companies that used voice tracking to reduce headcount, with a tiny number of overworked personalities rushing to record multiple shows a day? They will be the first to go all-in on AI voices.

They will be like a Formula 1 team replacing champion driver Lewis Hamilton with a Tesla “self-driving” system to save money. Crashes and underperformance will ensue. I predict that these companies will fumble AI voice execution and their ratings will decline — a competitive win for the rest of us.

Companies may use AI voices strategically to improve the product and listener experience , resulting in wins.

A good place to start is using robot deejays to reduce the workload of your star on-air talent, freeing them to focus on more entertaining content — the words, ideas, and stories that matter.

Imagine how AI voices could help your team with these duties:

Basic commercial copy. Save your human talent for high-dollar endorsements.
Giveaways. The voice reading this hour’s generic text-to-win word will not matter to the giveaway hounds. For a fun, interactive game, however, you need a human personality.
Event announcements. Reminders to buy tickets to station concerts, announcements for remotes, and local appearances fall under the category of basic commercial copy — see above.
“Is there an app for that” content ? Sports scores, weather, and traffic.
Small signal stations. Think of the many dark AM stations that we could return to the air with AI voices. With restored AM signals replacing dead air, automakers would then have more reasons to keep AM in dashboards.
Background music stations . Any station is better with great on-air talent, but if you have to choose which station gets real people, passive AC, and Adult Hits stations audiences won’t mind a robot voice as much as an active, foreground audio consumer.
Sponsorships for commercial stations.
Underwriting announcements for non-profit stations.

The future of radio and podcasting is in our talent. We know that AI voices will not replace people because they do not have flaws.

Our human quirks and shortcomings are endearing, funny, emotional, relatable, and – so far – cannot be created from computer code.

What is also true is that AI is here to stay. Use it to improve your product and your show will win in the long run.

Photo by Samuel Regan-Asante on Unsplash

Lessons From Ted Lasso’s Decline

Tue, 16 May 2023 17:42:00 GMT

In the first two seasons, Ted Lasso was a cultural and ratings sensation. It singlehandedly boosted Apple TV ’ s subscription rate. The show won a ton of Emmys, and the main characters were doing interviews on all the top TV talk and news shows.

This current third season is a different story. The show has lost its buzz and the weekly ratings are typically in the bottom half of the top ten.

Ted Lasso is getting panned by reviewers like USA Today’s Kelly Lawler who thinks the character storylines have become too cartoonish to be believed, there are too many new characters with too much airtime, and the episodes have a general lack of focus. I’m a fan of the show, but I agree with Lawler’s assessment.

There are parallels between shows like Ted Lasso and radio shows that have reached their zenith of success. My friend and talent coach Mike Donovan asks, “Why do shows like Seinfeld and Modern Family get better by continuing to write great character storylines and plots and remain on top while other shows lose their way?” The same question is relevant to successful radio shows.

Every product and service passes through four marketing life stages according to Theodore Levitt in his landmark book The Marketing Imagination . The number three-stage is Maturity Peak , the fourth stage is Decline .

Mike Donovan reminds us, “Once you’ve reached a pinnacle or the top in ratings, the hardest part is staying there.” We have seen many number one rated shows decline for various reasons.

The Randy Lane Company identifies the priorities for remaining the top dog in the Peak stage and preventing decline.

Evolve the characters

To remain relevant and entertaining, radio show characters must live an active life and continue to share their life experiences with listeners. Embellishing storylines and characterization sticks with listeners. Be careful to maintain credibility and avoid exaggerating them beyond plausibility.
Replace or add a character to the show. New characters must be interesting people and listeners must get to know them before they can care about them. Introduce and establish one new character at a time.

Balance predictability and unpredictability

Freshen familiar benchmarks at least annually.
Replace features that have run their course with new ones. Add new features while being careful not to build a show that’s all features.
Be like Dave! Like McDonald’s McRib, KDWB Minneapolis’ Dave Ryan rests his popular long-running War of the Roses benchmark for a few months every year to keep it from burning out. He brings it back with new episodes.
Create new and original content beyond features.

Stay true to your vibe

In the 1990s , Mark & Brian ruled mornings in LA. Like Ted Lasso , they owned the fun, feel-good vibe. Howard Stern entered the market, and Mark & Brian went edgy to blunt Stern’s impact. They lost their successful vibe and lost to Stern.

Be better than ever at planning.

The last thing you want to do is to slack off on planning. Be sure all brains connected to the show are contributing content and character storylines. Ramp up individual and group planning.
Be sure your content filter is in line with your target audience and show characters.
Measure progress or lack of with a scoring system. RLC utilizes a five-point scoring system to measure Content, Execution, and Character progress.

Keep growing and evolving like Seinfeld and Modern Family , then you will decide when it’s time to say goodbye.

Photo by Vienna Reyes on Unsplash

Choose One: Am/FM Survival Test

Wed, 10 May 2023 16:38:00 GMT

Could you survive in the wilderness? The How Stuff Works podcast recently featured a survival skills quiz, with questions like:

“What’s the single most important thing you need to survive in the wild?”

Food
Water
Warmth

Correct answer: Water . Going only 24 hours without water causes serious problems. Three days without water and you might die . Three days without food and heat would suck, but you survive.

This idea of making difficult choices made me think of a survival quiz for AM/FM broadcasters. As you adjust to a new wilderness facing powerful digital competition for audience and revenue, you cannot have everything. Here is a quiz on what is most important to have for survival.

“Which programming will appeal to the greatest number of radio listeners in 2023 and the years ahead? Choose one.”

Favorite songs/artists
Prizes and giveaways
DJs Hosts and Shows

Correct answer: DJs Hosts and Shows. Year after year, Jacobs Media’s TechSurvey proves that listeners value personalities more than music (which they can get anywhere) and prizes are important to only 11% of listeners.

Many stations today over-hype music positions and giveaways. The stations that survive long-term will be the ones branded around personality and content.

“Which of these tools is absolutely crucial for a show or station to survive? Choose one.”

Logoed vans, trucks, and vehicles
Luxury office space and studios
Station t-shirts
Jingle packages
On-street promotions
Station concerts
None of the above

Correct answer: None of the above. Consider how much any of these have affected your listening to Spotify, Apple Music, SiriusXM, NPR, or your favorite podcast. Have you ever decided to see a movie because the studio has fancy branded vehicles? Ever attended a sporting event because the team has fancy offices and locker rooms?

Anytime management brings up the idea of talent layoffs, we counsel them to consider cutting extraneous expenditures like these from the budget instead.

“Which of these voices is crucial for your show and station’s survival in 2023 and beyond? Choose one.”

Professional voiceover/imaging talent
On-air host

Correct answer: On-air host. When given a choice between host-read ads or pre-produced ads by a professional announcer, 41% of podcast listeners chose the host according to a study from Signal Hill and Cumulus . Other evidence indicates the same preference among radio listeners.

Consider replacing some of your station’s professional voice-over imaging with the voice of your local host, infusing station promos with their unique enthusiasm, personality, and humor. Imaging adds pizazz, but listeners bond emotionally with their favorite talent.

Managing AM/FM radio companies these days – especially our largest US corporations – might sometimes feel like being stranded in the desert or lost in a jungle with no resources.

There is reason to hope for survival: all radio companies have money.

The revenue is less and corporate debt is more than is optimal, but there is cash coming in – we know because we hear the commercials. What management does with that money will determine survival.

Photo by Samuel Regan-Asante on Unsplash

As a Program Director, How Often Should I Meet With the Show?

Wed, 03 May 2023 12:27:00 GMT

In recent years, I worked with a top 10 market program director who met with an experienced morning show for 60-90 minutes every day! Most of the time he spent pontificating and telling stories. It drove the show crazy and wasted their prep time. Long daily meetings are usually counterproductive because it doesn’t give the show time to implement and refine the coaching points.

Weekly show meetings work well to review audio, go over show issues, and communicate about upcoming promotions and contests.
It is a good idea to meet daily with new shows until the show is running smoothly. Then gradually reduce sessions to weekly.
Do say hello to the show daily, mention a great segment, or follow up if there’s anything pending.

Can we do interactive games with callers without prizes?

Yes, if your show is an established brand with high ratings in the market. Listeners will participate in games for the fun of it and because they have a relationship with the personalities.

Newer shows or shows that haven’t made a deep connection with their listeners will need prizes to get a game going. Once it gets traction, the audience will call without prizes.

Talk shows ask if it’s a good idea to run highlight clips during the show.

Yes, when non-P1/cume listeners tune in and hear a great moment of the show, they’re likely to be enticed to listen more to the show.

They could run a promo after a content segment into a stop set, or out of commercials as a rejoin back into the show. It makes more sense to slot them out of spots as a rejoin. It can be confusing to end a content segment and then suddenly switch topics on the imaging piece.

Photo by Redd F on Unsplash

Five Ways to Promote Morning Shows in Other Dayparts

Tue, 25 Apr 2023 00:13:00 GMT

A surprising fact from ratings data: The percentage of your station’s afternoon/evening audience that has never listened to your morning programming is high. Why? One major reason is you haven’t created enough awareness for the show outside mornings.

But wait, you say. We run five morning show promos a day! Not enough, when you consider the short average time spent listening to radio.

Can you imagine a classic rock station running only five imaging statements a day hyping “the Valley’s best classic rock?” It’s a radio convention where we promote the bejeezus out of our music position but not our personality show.

You know most of these tactics, but here is a review of five zero-cost ways to create awareness for your morning show through imaging in the other dayparts.

HIGHLIGHT PROMO: A short clip of the show that gives people a taste of the fun. Keep these fresh, but it is better to repeat excellent old promos than it is to run a mediocre new promo every day.
CHARACTER ID: These are short clips that define the character of each person on the show. Here is an example from Heather and Wickett at Lazer 103 Des Moines.
VOICE OVER INTRO: The morning show promotes something happening on tomorrow’s show, dry voice, and it plays over song intros. Unless it’s for something big like a huge interview or cash giveaway, it’s not particularly effective for appointment setting, but it does highlight what fun the audience will be missing if they don’t wake up with your station.
OTHER PERSONALITIES TALK UP THE SHOW: Create a show talk sheet for the on-air talent in other dayparts so they can find creative ways to work in a “did you hear what the morning show did” show highlight. Short audio clips will also help them add your fun content to their show.
REPLACE THE STATION VOICE: Every station on earth uses some kind of imaging voiceover artist, and that’s OK. But the audience has a stronger relationship with your star morning show talent – why not have them voice more of the station promos and contest imaging that runs 24/7 and do it as themselves in character?

Photo by Samuel Regan-Asante on Unsplash

Feelings Over Facts

Mon, 17 Apr 2023 23:46:00 GMT

In a recent discussion, Service Broadcasting Head of Content and syndicated show DeDe in the Morning General Manager, George “Geo” Cook, coined the phrase, “Feelings over Facts.”

It immediately struck a chord with me. The ultimate goal of all shows is to get an emotional reaction from listeners.

FEELINGS OVER FACTS SCENARIOS

Emotions and feelings are why we go back repeatedly to watch Yellowjackets or Ted Lasso . Let’s look at a couple of situations you could discuss on your show and how to stress feelings over facts.

Shopping for wedding rings : It would be mildly interesting to give the facts of where you went and the descriptions of the rings you saw. What connects with listeners is how you feel. Did you feel joy, romance, fear, or anxiety?
Your vacation story : Rather than summarize the places you went and the things you did, get in touch with what you were feeling in those situations. Also, give listeners a peek into your inner dialogue.

THE SENSES ARE A GATEWAY TO FEELINGS

Be aware of the emotions connected to your senses. The five senses are not only connected to feelings, but they are also one of the most effective ways to paint a picture in storytelling.

On Discovery.com , Ashley Hamer notes that smells have a stronger link to memory and emotion than any of the senses. She says, “The brain has at least 1,000 different smell receptors but only four for sight and touch.”

This may explain why the smell of something can trigger immediate memories or even intense emotions. When I notice the smell of freshly mowed grass, a feeling of nostalgia takes me back to my youth and my first job mowing lawns.

COMMON EMOTIONS

For most radio shows, humor is at the top of the emotional list. Rightly so because it’s the number one attribute listeners want most in a personality-driven show. However, those shows that combine humor with a wide range of human emotions tend to be the most successful.

We all go through an array of emotions daily. As you plan content and tell your stories, look for opportunities to express these common emotions:

Joy, happiness
Anger
Fear
Guilt
Awe
Sad
Surprise
Trust
Disappointment
Calm
Nostalgia
Excitement

“I’ve learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel.” – Maya Angelou

Photo by Count Chris on Unsplash

How to Plan Emotion

Tue, 11 Apr 2023 22:39:00 GMT

Your show can have a stronger emotional impact using practices from motion pictures, theatre, stand-up comedy and improvisation. After all, radio when done well is part of the entertainment business.

Director Alfred Hitchcock was known for planning . Famous for suspenseful movies like The Birds and Psycho , Hitchcock storyboarded each shot in detail before shooting and even planned the audience’s emotions with a technique called blue scripts and green scripts.

Hitchcock’s blue script was the standard dialogue, scenes, and action. The green script plotted out what the audience should feel at a certain point like claustrophobia, fear, unease, or fright .

With the green script as a guide, the actors, crew, cinematographers, and lighting techs could work together to evoke powerful reactions at the right moments.

Experiment with using the blue script/green script yourself. As an exercise, grab a pen and paper and take an emotional inventory while listening to a segment of your show. When you feel an emotional response, write it down. Note what was happening on-air to evoke your reaction.

Radio shows that lag in Nielsen often lacks emotional impact. The hosts do not come across as emotionally engaged, segments are poorly structured or the content is weak. Sometimes it is all of the above.

The way to boost your show’s emotional power is to plan for it. Here’s how:

Feelings as a filter. As you consider an idea for the show, what do you feel? You may notice there is little emotional reaction to standard show prep content like a list of celebrity birthdays or a generic text-to-win giveaway. Consider minimizing or avoiding that content and do something better.
Identify payoffs . What are the emotional twists in a story, the laughs, the provocative questions, the conflicts, or the happy ending?
Place the payoffs . Structure where emotions fall within in a segment to take your audience on a roller coaster ride. A sad story followed by the release of a laugh feels awesome to your fans. Tip: place the emotional high point at the end, like the crescendo at the end of a fireworks display – big boom, and the segment is done. Exit ASAP.
Voice = emotion . Shouting, whispering, speeding up and slowing way down can evoke a powerful response at the right moment. The most powerful vocal technique? A dramatic pause.
Music in harmony with the content. If your music bed does not add to the emotion of a segment, it is taking it away. There is no in-between. Imagine the Jaws theme preceding a movie shark attack. Now imagine replacing that theme with a generic drumbeat disco bed. No competent director would make that mistake, yet you often hear radio hosts talk over irrelevant music beds. Timing how you start, stop, and fade in/fade out music has an emotional impact too.
Use emotional words. On camera, you would use your face and body language to express anger, joy, sadness, fear, humiliation, torture, calm, lust, or anxiety. The audience cannot see your face on radio but choosing descriptive words can paint the same picture.

Photo by Surface on Unsplash

Bert Weiss: New Podcasting Book Listenable

Mon, 03 Apr 2023 19:08:00 GMT

My friend Bert Weiss, host of the nationally syndicated Bert Show and CEO/President of his podcasting agency Pionaire , has written a new book on podcasting. I recently sat down with Bert to talk about the relevant and informative Listenable .

R: Why write a book on podcasting?

B: The upside to podcasting is anybody can do it. The downside is anybody can do it. I started listening to the many talented people doing podcasts and noticed content is all over the place. My book is the only one out there about content. A successful podcast gets down to content and delivery.

R: Yes, anybody can do a podcast. My dentist, for example, asked me what equipment he should buy to start his podcast.

B: So many people do it backward. Rather than focusing on getting the right equipment, which you can Google search in three minutes, focus on the content of your podcast. Start practicing your podcast on your phone. Record and review several shows, then research equipment. This is why I think my book will really help out potential podcasters. It’s the ONLY podcasting book that solely focuses on content and delivery.

R: Is your podcast The Bert Show or original content outside the show?

B: It’s our radio show. The way we put the radio show together is in five-minute snackable increments that go into ten-minute segments. The format of a radio show is exactly like a podcast. Our radio show content can work for a TV show, YouTube, or podcast.

R: Can you share your download numbers?

B: We were getting 30,000 downloads daily. Then coronavirus happened. We used that time to start focusing on and understanding our analytics and marketing. We really focused on what listeners were downloading and what content they were listening to then just gave them more of it. Within a year we were averaging 250,000 downloads daily. Analytics helps both our radio show and podcast.

R: You mentioned radio and podcast formats are the same. What are some specific similarities?

B: Structurally, radio shows and podcasts are the same. To be successful, you can’t wing it like many podcasters do. You must prepare content, show schedules, and getting in and out of segments. You need to know how to tease effectively. I’m a fan of billboarding what’s coming on the radio show AND on podcasts. Execute a sensational tease going into your second and third segments to keep listeners. I’ve only known one person in my career who could go into a show without structure…his name was Kidd Kraddick.

Relevant content is key for all platforms. The beauty of podcasting is editing. You can take two hours and get it down to a great hour OR LESS of A-content.

R: How important is having a distinctive niche or lane and researching competitors in that space?

B: I don’t worry about competitors in radio or podcasting. Yes, you do need a lane. For example, Joe Rogan is a masterful interviewer. He can interview people on subjects he doesn’t know much about. If your podcast is heavy on interviews, genuine curiosity, and active listening builds off guest answers and moves conversations forward. All great interviewers are genuinely curious.

R: How important are guests?

B: In the beginning, I wouldn’t have guests. Many podcasters book guests because guests consume time. First, practice and get better as an interviewer. Many personalities don’t spend enough time researching guests to get a sense of what they’re like conversationally.

You are only as good as your guest. I can ask Ed Sheeran one question, and he’ll go on for seven minutes. Lizzo and Kelly Clarkson are easy to talk to. I don’t know if I’d ever have Harrison Ford on the show again because he was such a difficult guest. Big name. Painful interview.

R: If you are starting a podcast, what’s the ideal length?

B: I’m not a fan of the standard one-hour weekly podcast. If it’s A-content it doesn’t matter whether it’s twenty minutes or an hour. The old showbiz adage , leave them wanting more works in podcasting too. Eighteen to twenty minutes is a good starting point.

R: Would you start a radio show podcast with audio and video?

B: I would start with audio. But at some point, soon, you’ll have to do a video. Video is easier to market and sell sponsorships. Eventually, it’s all going to be video you can already see this with YouTube video podcast analytics.

R: Some shows hold back from video streaming in fear of losing PPM numbers. What’s your view?

B: I have not seen any ratings loss whatsoever.

R: You have a chapter in your book on monetizing podcasts. At what point can you expect to earn revenue?

B: Depending on the network, you should start to see an increase in revenue at around 30,000 monthly downloads.

R: I often hear talent and programmers complain that radio salespeople are not skilled at selling digital, even in the top ten markets.

B: It’s an industry frustration for sure. On a few ends. Both sellers and traditional radio buyers. This was a major decision in why my network, Pionaire , has hired our own digital salespeople.

R: Tell us about Pionaire .

B: Pionaire is a digital influencing network that is not just about podcasting. Pionaire is focused on audio and video. Our goal is to get our creators out of the mindset of being one-dimensional. We are NOT just audio. We are influencers along multiple platforms that can earn revenue with audio, video, and influencing sponsorships.

The content I’m doing on radio is repurposed on digital. Talent should get earn revenue for their show AND for their podcast. It’s the same content in some cases.

Many radio programmers and talent are thinking one-dimensionally. Our industry has to shift to a 3-D mentality. We’re not only radio personalities; we are also influencers – the original influencers.

R: Does Pionaire partner with radio companies to share revenue with talent?

B: Yes we do. We partner with Cumulus. But I own the content. In terms of radio, 90-95% of radio talent don’t own their content, it’s owned by the radio station so the talent can’t earn revenue anywhere else but through the company. And, historically, radio has only given crumbs to its radio talent for the extra content that talent must provide for additional content. I’ve heard radio programmers say they are frustrated that their talent isn’t eager to do extra podcast work. Well, yeah. Why would they? Where is the motivation? The station gets to sell commercials and generate revenue, but the talent is offered peanuts for that extra revenue if any at all.

Radio is getting it wrong.

In the podcasting world, talent gets 70-80% of the revenue. Pionaire gives its talent 70%. It’s not 80 because we spend A LOT on external marketing our podcasts. If I suggested a 70% share for the talent to a radio GM, I’d get laughed out of the office!

There must be a better split between radio and its talent. Radio NEEDS talent now more than ever. You can get music on 100 different platforms. If radio doesn’t incentivize its talent, it only makes sense that more talent will find platforms that will allow more personal revenue and leave radio.

R: How do we get the book?

B: The book is Listenable , it’s available on Amazon, Barnes & Noble, and in stores.

Photo by Icons8 Team on Unsplash

It’s Your Ear More Than Your Eye

Tue, 28 Mar 2023 15:49:00 GMT

“It’s your ear more than your eye,” said CBS 60 Minutes creator, the late Don Hewitt .

Broadcasters sometimes overlook the importance of audio. In television, what audiences hear is more important than what they see. Radio and podcast presenters have only sound to work with, but many leave their potential unexplored.

Here are some pro tips on the effective use of sound from successful shows on television, radio, and podcasting.

Good writing matters . When writing on-air, read it out loud in the editing process to get a sense of flow and rhythm. For television, Don Hewitt said, “The picture brings you there, but the writing keeps you there.”

Vocal dynamics . Journalists are trained to enunciate and read slowly, but in the “fake news” era, authenticity matters more than ever. Audiences do not trust perfection. Blend your natural speaking style with professionalism and clarity. Vary speed and tone to avoid being monotone. Project 5-10% louder than normal and audiences will perceive you as more confident. Pauses are powerful. Use more of them.

Sound effects and voices . Voice conveys emotion. The audio of screaming from a shooting incident is more dramatic than any video.

Sound effects can elevate a simple joke into something hilarious like a horse reacting each time a certain name is spoken in the film Young Frankenstein .

Use music intentionally. Conventional deejays often play generic music beds as they speak, which distracts the audience. Instead, use music beds that work in harmony with the content. When discussing a TV show, play the theme song underneath the conversation. Telling a love story? Highlight it with a romantic tune.

Only use instrumental music beds. Talking over vocals takes the listener’s attention away from the conversation.

Keep the background noise. An off-camera reporter telling a story over a video clip with audio in the background, even just traffic noise or falling rain, is more engaging than voice and pictures alone.

Reenactments and characters . Some of our favorite radio shows augment topical stories by improvising comic imitations.

Good headphone sound. What you hear helps determine how you speak. While the audience hears Howard Stern’s natural voice, he hears a different, processed audio feed in his headphones . Howard says it encourages him to use the full range of his voice.

Sound-friendly rooms. Instead of expensive sound-deadening foam, many podcasters hang inexpensive moving blankets and cover the floor with rugs. Eliminate squeaky chairs, switch off HVAC fans, and banish mobile devices.

Photo by Franco Antonio Giovanella on Unsplash

Mic Order: Who Talks First?

Mon, 20 Mar 2023 23:43:00 GMT

Who talks first, second, third, etc.? There are no hard and fast rules for mic order on radio and podcast shows. There are highly successful shows with a fixed mic order and highly successful shows with a varied mic order .

Fixed Mic Order

Almost all shows with one personality’s name on them such as DeDe in the Morning or Ryan Seacrest , talk first and then direct the conversation to the cohosts. Team shows like Star 101.5 Seattle’s Moug & Angie are typically mic one and two.

New shows need to establish a consistent pattern with a fixed structure to help listeners get to know the roles and become familiar with the players. What about new cohosts on established shows? At Saga Des Moines’ Star 102.5, Tawinee is the new third mic with longtime market vets Ken and Kurt. Because Tawinee is still building familiarity, Ken or Kurt’s familiar voices are always heard first and second.

Varied and Open Mic Order

Once shows are established, mic sequence can be varied or open in some situations. Mature brands like The KVJ Show start segments with Kevin and then he goes to either Virginia or Jason depending on who is the focus of the content.

Ensemble shows typically fall into two categories regarding mic progression.

The host opens each content segment and calls on players by name to join the conversation. Players can raise their hands or use other non-verbal cues when they want to add to a discussion. This efficient mic style keeps chatty cohosts and spice/lightning rod cohosts in check.
The host opens each segment and sets up a cohost, then the mics are open for any player to chime in on the discussion. This requires all the players to be active listeners to avoid stepping on one another.

Alert to male hosts on female-targeted shows: You alienate your core by hogging mic time or interrupting your female cohosts. The woman or women on your show are the microphones for every female listening.

It’s unfortunate to hear egocentric hosts on ensemble shows suck up 80% of the real estate and leaves only 20% of mic time for the cohosts. The best hosts are not mic hogs, they utilize all the cast to create the best content and team dynamics.

Photo credit: flickr.com/mdgovpics/

Is Contesting Dated: Rebuttal

Mon, 13 Mar 2023 14:37:00 GMT

Last week’s blog on contesting drew a polarized response. We are not saying abandon contests; we advise radio stations to avoid designated caller and text contests that only engage the small percentage of listeners trying to win.

Instead, focus on listener-interactive games and contests that are so fun to play along with the prize does not matter. The result is potentially 100% of the audience is entertained.

Although there’s some evidence that contests players are the same type of people who carry meters and fill out diaries, reframe from letting contests take over your station at the expense of content.

Ultimately to create long-term loyalty, you want to be known for captivating content and compelling personalities.

DMR/Interactive President/COO, Andrew Curran respectfully took issue with our contest position, and he makes relevant points:

“I don’t disagree that most people won’t play any one contest, but that’s because getting most people to do much of anything is a fool’s errand.

It’s why the 80/20 rule exists. Small groups matter and that’s especially true of station audiences. Not all listeners are created equal.

Contesting and giving away prizes is part of the radio fabric and helps make it fun to listen to. Why would we ever abandon that expectation and familiarity when so many other aspects of radio are under attack and can be found elsewhere?

Here’s a quote from David Letterman in the publicity leading up to the brand-new U2 documentary on Disney+.

Letterman joked, “Recently, I won a radio contest. Winner gets to visit Dublin with Bono and The Edge. “

The quote was thoroughly vetted and crafted by the marketing and PR teams, but they didn’t reference Spotify or podcasting. They specifically chose radio, while promoting a documentary being released on a streaming platform.

The best contesting should always provide great theater of the mind for listeners and be well executed by the talent, whether the giveaway is a major promotion or free movie passes.”

Email me with your thoughts at randy@randylane.com .

Photo by Danny Howe on Unsplash

Is Contesting Outdated?

Mon, 06 Mar 2023 15:18:00 GMT

Radio programmers have long believed contests persuade people to listen and listen longer. We are the only major medium still running them to encourage listening and to create awareness.

The annual Jacobs Media Techsurvey reveals that most people are motivated to listen to radio because “it’s easiest to listen to in the car,” “DJs/Hosts/Shows,” and “it’s free.” Prizes ranked dead last!

Contest Players are a Minority

Numerous studies reveal only about 2% of the audience engages in contests, no matter how big the incentive. The Randy Lane Company strongly advises stations to make contests fun and enable the 98% to play along. Interactive trivia games with callers tend to be the most entertaining.

If a tiny percentage of your audience plays contests, why run them? There is some evidence that the 2% of listeners who play contests are the same people who agree to carry a meter or fill out a diary.

Everybody Texts

It’s true, most everybody texts. It’s also true text contests are boring. The majority of radio listening is in the car and at work and only a small percentage of your audience will try to win a text contest. Yet we hear many radio stations air designated caller contests appealing only to the 2% trying to win.

Contests Versus Content

So many stations allow contests to take over their radio stations with most of the imaging and teasing revolving around the contest. RLC encourages stations to continue imaging personality shows and teasing upcoming content as much or more than the contest.

Budgets are tight today, and big contests are infrequent. However, with talent and planning, you can consistently create captivating content.

Audience Relationships

Many personalities ask us, “Will listeners play a game if there’s no prize?” If the show is entertaining, shares their life experiences, and has a relationship with the audience, the answer is, yes. At Max 98.1 Memphis, Danni and Cory’s Country Cory jokingly tells winners, “You won a self-administered pat on the back!”

Your radio station and your show will thrive by being known for content, not fleeting contests.

Photo by Kelli McClintock on Unsplash

How to Talk About TV Shows and Movies

Tue, 28 Feb 2023 01:12:00 GMT

We all spend many evenings watching top-rated shows like The Last of Us, You, or Young Sheldon …or do we? The truth is most of us have not seen those shows.

We assume that almost everyone has seen the top-rated shows we and our friends watch. Let’s look at the facts:

The super bowl of television shows is well, the Super Bowl. It is by far the most-watched show of every year. This year’s game averaged 113 million viewers. The US Census Bureau estimates the country’s population at over 334 million. That means only about a third of the US watched the number-one show of the year! We must note that Rhianna’s halftime show outdrew the game with 118 million viewers.

Due to fragmentation, it gets worse on a weekly basis. Last week, Young Sheldon was the most-watched TV show with just over 7 million viewers followed by The Last of Us at over 6 million. Only about 3% of the US watched the two top-rated shows! In fairness, these numbers will vary by demographic, format, and market, but not significantly.

What about movies? Due to streaming, Covid, and other factors, the theater audience shank by half in the last four years. The top streaming movie, Everything Everywhere All at Once drew approximately 6 million viewers.

Most major TV network shows have less than a 10 share — meaning less than 10 percent of the people who happen to have the TV on at that time . That is a small minority of your audience. Streaming shows are usually even smaller.

Action Steps

On your radio show or podcast, know that the majority of your audience has not seen any show or movie you talk about. To provide context for the majority of your audience, set up the segment with a one or two-sentence premise and include audio clips during the discussion.
It’s not interesting to about statistics like how much money a movie grossed. Instead, zero in on a scene with a relatable scenario, dilemma, or conflict that transcends the movie.
When you discuss an awards show like the Oscars coming up, focus on stories. What happened during the show that got the biggest response from the audience? Since Will Smith won’t be there, maybe Jimmy Kimmel will tackle Matt Damon before he reaches the stage!

Photo by Krists Luhaers on Unsplash

Be Even More Creative

Tue, 21 Feb 2023 19:01:00 GMT

The competitive edge is achieved by creating original content that distinguishes your show or podcast. Dave Ryan is one of radio’s most creative and innovative talents. This skill has kept his show on top of the ratings for years at KDWB Minneapolis. In today’s guest blog, Dave reveals multiple ways to be more creative.

Randy Lane

I haven’t been doing morning radio for this long solely because of my movie-star looks and sensual baritone voice. Nope, I’ve been able to keep my job because I come up with stuff .

I wanted to use a stronger word than stuff, but Mr. Lane would likely ask for a revision faster than a salesperson who put the wrong phone number in those ten spots you just recorded.

I’ve come up with stuff for as long as I’ve been in radio and it’s honestly one of the pure joys of doing what we do. Sure, the radio show is a lot of fun, but there’s a tangible satisfaction in taking an idea from just a little “pop” in my mind to a bit I’m really proud of and (hopefully) the listeners will love.

I think it was a compliment when Falen from my show said, “If someone opened the top of your head and looked inside, it would look like someone was spray-sh$!ting.”

She’s all class.

Since you’re still in radio and since you’re taking time to read this, I’m gonna’ guess you are pretty good at what you do. And furthermore, I’m going to suppose you’re pretty creative.

Sidebar: not everyone who’s successful in radio is creative. They have a different gift; they’re friendly and fun to be around. And a lucky few are both tons of fun and creative.

I can’t help you be more fun. On Saturday nights I have one glass of wine and pass out on the couch watching Dateline NBC. BUT I can help you be more creative. Here are some tips.

Try . There are too many people who say, “I’m not creative.” Actually, they just need a little practice. I know of radio people whose only source of content is other radio shows . Unbelievably, I had a producer who was taught that “Show Prep” meant looking at Bert or Mojo’s website to steal content.

So, start with some easy stuff; maybe come up with some phone topics. Or write a few jokes like you hear on The Tonight Show. Write a bad rap song about something going on in your city. You don’t even have to use this stuff on the air, just try . No one will care if it sucks if you’re the only one who hears it.
Have a life . I’ve said this for years and it really is important. I know it’s super easy and very tempting to spend a lot of time on the couch bingeing “Yellowstone,” but the best creative sparks come from experiencing a lot of different things. Maybe you don’t want to take an improv class, but what if you went to an improv show? Or learned how to play guitar? Or took snowboarding lessons? Or even tried a new recipe? I truly believe the more experiences you can pack into your brain, the more tools and materials you have when you need to build ideas.
Watch old TV shows and old movies . If you’ve never seen the hilarity that was “Match Game” from the 70s you’re missing out on some seriously great comedy. YouTube it. Heck, you could probably lift an idea for Second Date Update from a 70s rom-com.
Talk to people . Duh. If your cousin tells you the cleaning lady who worked in his neighborhood was sleeping with neighborhood dads and one of them got her pregnant, you’ve got a great radio story! And yes, this really happened in my cousin’s neighborhood! Take their stories to the radio. And if you can’t because they don’t want you to embarrass them, switch up the details just enough and use it.
Practice . Yes, this is a lot like Try. But just like learning Spanish on Babbel, you’re not going to be fluent after one attempt. Trying is a great start. Staying with it until you start to see some results is even better.

BTW, if you’re already creative and crank out ideas faster than Nick Cannon cranks out babies, thanks for reading this anyway. I owe you a domestic bottled beer at the next Boot Camp.

By Dave Ryan

Photo by Robert Katzki on Unsplash

Strong Mindsets for Media Success

Mon, 13 Feb 2023 15:22:00 GMT

Reaching your goals, feeling confident and finding success as a media professional depends more on mindset than most people realize.

According to Merriam-Webster , mindset is “a mental attitude or inclination.” Everyone has natural, built-in inclinations. The best of the best chooses their mindset and that mindset is how they reach excellence.

This week I coached a group of media professionals in Washington, DC. Their work has them interacting with intimidating C-Suite executives, political power brokers and world leaders. Despite their impressive roles, many struggled with imposter syndrome , negative self-talk and stage fright.

Mindset was a recurring theme as we collaborated on these barriers throughout theday. Here are examples of strong mindset that I used to get them thinking in a new way. Some may also help you in your career as a broadcaster and podcaster.

ALWAYS DO YOUR BEST

Like many actors, Michael Keaton hated auditioning for jobs. Audition after audition became tedious as he tried and failed to land a role. One day, Keaton changed his mindset. He was no longer going to an audition to get a job. The audition was the job. He was going to work .

If he did not get the job, Keaton was unemployed. But his new attitude was, “I went to work today.” Keaton’s mindset led to stronger audition performances and was an early step in Keaton’s long, successful career including blockbuster films like Batman , Beetlejuice and Birdman .

Great morning radio shows bring their A-game to every part of their show, even if it is drudgery or seems unimportant. If it is not possible to do a segment, appearance, social media post or podcast well, they consider not doing it at all.

FOCUS ON PRACTICE, NOT GOALS

Many coaches set high goals, but famed NCAA basketball coach John Wooden’s mindset was that players focus on the daily steps that lead to winning instead of focusing on goals.

Wooden’s motto was, “Success is peace of mind which is a direct result of self-satisfaction in knowing you made the effort to become the best that you are capable of becoming.” By focusing on daily practice, Wooden won ten NCAA championships, including a record seven in a row.

Successful broadcasters and podcasters have a Nielsen ranking or audience number in mind they would like to reach, but they rarely discuss it. Their focus is exclusively on the daily preparation, ritual and practice that leads them to that number.

SPOTLIGHT BEHAVIOR YOU WANT REPEATED

NFL coach Vince Lombardi’s mindset was to focus on positive feedback, showing his Green Bay Packers game films where they displayed perfect execution. Most coaches had a mindset of leading with fear and motivating with criticism. Lombard’s focus on successes helped his team win the first-ever Super Bowl.

Media presenters also find their top performance when they surround themselves with authentic positive reinforcement. They also limit self-criticism by mindfully writing down positives as they review audio or video of their delivery.

REPLACE YOUR INNER CRITIC

Another actor, Geena Davis of the films Thelma and Louise and A League of Their Own learned a mindset of positive self-talk as she practiced archery :

“I would shoot an arrow, and my coach would say to me, ‘What were you just thinking?’ ‘Uh, I was thinking, “I suck.” ’ Then he would be like, ‘Well, we have to fix that.’ I became aware that I was doing this all day long, telling myself that I was awful and embarrassing. So, it was really helpful to change all that. ‘I’m doing the best I can. I’m trying my best’ — that’s the conversation I should be having. It impacted my whole life.”

Davis’ new mindset propelled her into the semi-finals for the Sydney Olympics.

Every on-air host misses the target sometimes. Replace negative self-talk like, “I am terrible at this” with “I am learning how to do this better” and “I am improving,” and you will.

Photo by Guille Álvarez on Unsplash

Ban Noncompete Clauses?

Mon, 06 Feb 2023 02:07:00 GMT

The Federal Trade Commission’s proposed new rule banning noncompete clauses in employee contracts could have a major impact across the media industry. Noncompete clauses in talent, sales, and management contracts are common in the radio industry.

The FTC proposed this rule because noncompetes suppress wages, hamper innovation, and block entrepreneurs from starting their own businesses. It estimates the new proposed rule could increase wages by nearly $300 billion per year and expand career opportunities for about 30 million Americans.

In recent years, noncompetes have been banned in California, North Dakota, Oklahoma, and Washington, D.C. To protect low-income employees, nine other states have banned them except for people who earn above a certain threshold.

We talked to several managers, programmers, talents, and executives to gauge radio’s perspective on noncompete clauses. Understandably, noncompetes are highly divisive. Corporations and management are generally pro while talent and talent-oriented executives are con. Some see both sides of this issue.

Pro Noncompetes

Most radio corporations oppose the ban because they rely on noncompetes to prevent talent and intellectual property from going to direct competitors. In radio, the typical noncompete is three to six months.

A major market GM: “Those companies who invest in outside marketing, contesting, coaching/consulting to help grow talent want to protect their investment with a noncompete. Is it possible that without a noncompete companies will pull back on the personal development of talent?”

Bert Weiss Host of the syndicated Bert Show based at Cumulus Atlanta on the pro side: “I work hard on building the brand of our co-hosts. A lot of time, care, and money goes into marketing the show which, in turn, builds a co-hosts brand. Do I want them to immediately use that equity and compete against me? Nope.”
Dave Ryan , iHeart Minneapolis morning host is sympathetic to both sides of the aisle: “You can spend time and money building up a cohost’s brand with billboards, T-shirts, a social media following, and the platform of a huge radio station, but minus a noncompete, that talent can finish a show on your station Friday and show up on a competitor Monday morning.”
Lotus Seattle Star 101.5 Program Director and Air Talent Lisa Adams: “As a talent, I say, hell yes, ban non-competes. I want my freedom. As a program director, I want to protect the time and investment made in marketing, promoting, and developing talent. Without a noncompete, I would hesitate to make those investments.”
A major talent executive: “Noncompetes protect a company’s investment and branding of successful talents. However, it’s unreasonable for corporations to impose noncompetes beyond the terrestrial signal or metro area. Talent would be wise to have a lawyer or agent review a contract before signing it, and they must honor the contract they sign.”

Con Noncompetes

Workhouse Media CEO Paul Anderson : “ Banning noncompetes nationally would be good for mobility, good for talent, good for the economy, and ultimately good for broadcasters. Over the years, many states have passed statutes banning noncompetes altogether or making them difficult to enforce. In a free market economy, noncompetes artificially keep compensation down and give employers unbalanced power.

Non-competes also disrupt the listeners who love their radio companions as they navigate their commutes and days. The connecradio personalities provide to the community is part of the service that radio uniquely provides. Why punish the listeners with having a popular personality off the air, often with no explanations from the broadcaster?

Having to sit out three to six months is not fair to the talent, the audience, or the community. Today, all shows are not only local, they are national. Streaming technology enables a talent to live in California and host a show in Florida, and the audience can listen from anywhere. Why restrict audience preferences?

Having said all of this, it’s fair for a company to protect intellectual property and trade secrets. Confidential information should be protected and is covered by separate trade secret statutes in all 50 states.”
The Weiss Agency Founder and President Eric Weiss: “There is plenty of research to show employers use noncompetes to restrict worker’s mobility, and significantly suppress wages, and that holds true for the radio business.

A talent that has established brand equity in a market is precluded from using it to their economic advantage at another station in the market. Noncompetes can cause talent to uproot their family from a place they chose to live in order to continue to make a living.” (See Eric’s tips on dealing with noncompetes in the Coaching Tip below).
Bert Weiss, on the pro-ban side: “Stations assume an audience is going to forget their attachment to you in three months and not follow you to the new station. It’s especially irrelevant now because social media can keep talent connected with personal P1s that track your every move.

I know this is business, but it’s also a person’s life. Clearly, both sides don’t think it’s beneficial to continue to do business together. So, let the talent go, wish them well, and hope your show is good enough to withstand the competition.”

To keep radio viable in the multimedia landscape, talent has become our most valuable asset. The Randy Lane Company believes whether your company includes noncompete clauses or not, the surest way to maintain talent is to set up a culture that values, compensates, respects, and recognizes talent.

What are your views on noncompete clauses in contracts? We’ll highlight them in next week’s Content Ideas. Email: randy@randylane.com .

Photo by Scott Graham on Unsplash

Success Is in the Setup

Tue, 31 Jan 2023 01:26:00 GMT

Why do some shows set up interactive topics that attract an overload of engaging responses and others get boring lists or zero responses? Interactive topics with listeners by phone, text and social media live or die by the setup .

4 Reasons Interactive Topics Fail

Yes or no setups: Cumulus Kiss Country Fresno and Kat Country Stockton/Modesto PD, Andy Winford advises his morning shows to, “never start with the words ‘Do you’, ‘Have you’, ‘Would you,’ because you’ll get responses like, ‘Yes, I have’ or ‘No, I haven’t.’ ‘ Conversely, setting up topics withWhat’ or ‘How’ spark memory recall because you’re being specific.”
Either or setups: This type of setup is usually a dead end. “ What’s better iPhones or Androids?” Listeners will say one or the other and give you generic answers such as, “I just like iPhone better.”
Vague setups: Non-specific setups like, “Do you let your ten-year-old go to bed when they want to, or do you let them stay up to watch their favorite TV show, or do you have a set time they go to bed?” Vague setups will get only a few or no responses.
National C alendar Days: National Ice Cream Day will often be set up with, “What’s your favorite ice cream?” You’ll get one-word responses like chocolate, cookie dough, caramel, etc. Exceptions would be days that create stories such as National Fireworks Day often spurring anecdotes from listeners who set fires, went to the hospital, etc.

Story Setups Succeed

Ideally, topics are designed to connect a show with listeners on common ground subjects. They are a forum for captivating storytelling that engages and maintains audience attention.

Let’s say a show host tells a story about calling out a dad who continually yells at the kids and the referees during a middle school basketball game. The host could set up that topic with the cohosts and listeners like, “How did you get into an altercation with another parent?”

Recently, Now Radio Edmonton’s Crash and Mars discussed a trend among millennials buying homes with friends or family members. They asked listeners to call or text if they’ve been part of a group buying a home and what happened. They received numerous stories of complications arising such as buyouts, kick-outs, and group disharmony.

Carefully plan interactive topics with clear setups that attract compelling stories and watch your phone and social media light up!

Photo by William Hook on Unsplash

Why Agree to Disagree?

Tue, 24 Jan 2023 01:31:00 GMT

In meetings, how many times have you “agreed to disagree?” It’s a way out of endless arguments that can stall and prolong meetings. This phrase enables both parties to maintain their positions.

But there’s a big downside to agreeing to disagree. When it’s decided to implement one person’s position, the disagreeing person typically secretly roots for it to fail. Additionally, the dissenting person or persons are not fully committed to the idea’s execution.

Disagree and commit

Healthy relationships are not dictatorial, they are collaborative. A more productive and positive approach is to disagree and commit .

This idea has been popularized by Amazon’s Jeff Bezos . He says, “This phrase will save a lot of time. If you have a conviction on a particular direction even though there’s no consensus, it’s helpful to say, “Look, I know we disagree on this, but will you gamble with me on it? Disagree and commit?”

Disagree and commit means employees or cohosts have the safety to disagree, yet once the decision is made, everyone is committed to supporting it and executing it. Bezos insightfully noted about a disagree and commit situation with a coworker, “Not but he committed. And he committed. There’s a huge difference: But signals hesitation and skepticism, while and sparks movement and action.”

Recently, I participated in a discussion with a morning show cast disagreeing on the placement and frequency of a long-running popular benchmark. The open conversation gave everyone the opportunity to be heard. After fervent brainstorming, we reframed the debate and asked everyone, “How can we make this successful benchmark even better? What ideas do you have to move it from an A to an A+?

The team not only committed to upgrading the feature but the frequency and placement of it also became a non-issue. The side wanting to decrease the frequency happily committed because of the improved quality.

This story has a happy conclusion. We agreed to agree!

Photo by Ashkan Forouzani on Unsplash

The Secret to On-Air Chemistry

Tue, 17 Jan 2023 00:17:00 GMT

How do you build chemistry on a radio show or podcast? What listeners sense between on-air players is a key determinant of the show’s success. What can you do to create a partnership that vibes?

If you want the audience to feel something you have to feel it first .

Consider Lady Gaga and Bradley Cooper in A Star is Born . Their super-hot on-screen fireworks fueled rumors that they must be having an affair, but they were not.

Gaga said, “ we worked hard on it, we worked for days. We mapped the whole thing out—it was orchestrated as a performance .”

Creative conditions behind the scenes can produce a stronger emotional impact for the audience. In the film Silence of the Lambs , Jodie Foster appeared to be terrified of Anthony Hopkins because — she really was terrified .

When Foster arrived for filming, Hopkins gave her chills playing Hannibal Lecter before cameras rolled. On the set, director Jonathan Demme intentionally kept the actors apart to heighten tension.

Television viewers could sense a sibling rivalry between movie critics Gene Siskel and Roger Ebert because they strongly disliked each other when the show launched. They became friends over later years, but that rivalry never went away.

What do you want your audience to feel from on-air interactions with your cohost? We recommend that you set intentional time and space to create that chemistry.

To create an atmosphere of fun, get away from the station and do just that. Find an activity that you both enjoy – shopping for makeup, go-cart racing, bowling – and have fun.

To create laughs, seek out things you both find funny. Watch a favorite comedy on Netflix, a funny movie, or share a laugh-out-loud book.

For a sense of friendship, act like friends. Invite each other to your houses for dinner. Get to know each other’s family. Learn life stories and share passions, fears, interests, and goals.

For a lucky few, on-air chemistry is easy, immediate, and natural. But for most, it is like any other relationship. The more team effort, intention, and time you put into it, the stronger and faster your show’s chemistry will grow.

Photo by Samuel Regan-Asante on Unsplash

Goals vs Resolutions

Mon, 09 Jan 2023 18:04:00 GMT

As we roll into the first full week of 2023, most of us have set some form of goals or resolutions.

There are countless studies on how long people stick with resolutions. Unfortunately, only about 9 to 16% of people are able to follow through on their resolutions. Lifehack points out 16 reasons why resolutions fail.

According to Stratos CEO Stacy McCall , “A resolution is a statement of what you want to change. For example, saving money. A goal is a statement of what you want to achieve; the steps you need to take to achieve it; and when you want to achieve it. For example, saving ten percent of each paycheck for the next six months, so you can take a family vacation in August.”

Consequently, goal setting is more detailed than resolutions and they take more planning. McCall says, “By rephrasing your New Year’s resolutions to goals, you make them stronger and more likely to be achieved.”

Measurement is crucial

Noting measurable progress toward your goals boosts confidence and self-esteem. When you see gains and improvements, you stay motivated and want to take action.

Let’s say your show or radio station is # 9 in your target demo and your goal is to be # 1. It’s unrealistic to set the timeline to be number one in 90 days. A more effective way to achieve that goal would be to set incremental benchmarks such as, “Be number seven after the first quarter, number four after the third quarter, etc.

Set points

You can measure goals like your weight, your bank account, and your rating progress. Vishen Lakhiani author of The Code of the Extraordinary Mind , explains that a set point is a level of performance you do not allow yourself to fall below. Lakhiani says that if you slip below a set point, turn it into a challenge by slightly increasing an incremental goal.

Additional goal-setting tips

Set goals as a team to harness the power of inclusion and group dynamics. Everyone writes down the agreed-upon goals and refers to them weekly.
Additionally, less is more in goal setting. Twenty goals will be overwhelming and reduce the chance of success.
Acknowledge and be grateful for your progress . Be thankful for an uptrend, an increase in cume, or increased social media engagement.

Happy New Year and much success in manifesting 2023 goals!

Photo by Moritz Knöringer on Unsplash

Year-End Show Priorities

Tue, 20 Dec 2022 02:02:00 GMT

Tis’ the season to review the passing year and form a vision for the new one. This checklist will help you clean up unaddressed issues and come roaring out of the gate in 2023.

MANAGEMENT AND HOST REVIEW

Meet with your staff one-on-one. The priority for management and show hosts is to ask questions and be active listeners to hear out dreams, goals, and grievances.

Questions and points to consider:

Review each individual’s 2022 goals. Were they achieved or not? Why?
What are your personal and show goals for the new year?
How would you like to contribute more to the station or show?
Are you being coached/managed in the most effective way to perform at your best? How do you like to receive feedback?
Describe your relationship with management and staff/cast members.
What do you need to be a better performer?

SHOW CHECKLIST

Roles: Review the on and off-air roles for each show member. Is mic time balanced? Are the off-air workloads evenly distributed? Are everyone’s skills and talents being maximized?

Planning: How can group planning sessions be improved? Is there a balance of group and individual planning? Are the players communicating with one another throughout the day and evening to get the best content on the show? Is there a pre-show huddle to finalize the day’s show schedule?

Content : Conduct a review of your regular features and benchmarks. How can they be improved? Do some need to be rested temporarily or permanently? Brainstorm for new content ideas to be implemented in the new year.

Imaging and branding : Is the imaging and production fresh and up to date? Are show highlight clips and character clips featuring the individual players being aired?

Digital: How does the level of social media engagement compare to competitors? Are show highlights posted daily in short form and is the entire show coded for Nielsen? Is the show posting audio and video highlights? How is the content balance (links, pictures, videos, behind-the-scenes, personalized comments)?

During this holiday season, consider unplugging from media to restore and recharge your body, mind, and emotions.

It’s been fun and productive working with you this year, and we are excited to collaborate with you for a stellar 2023!

Photo by Jason Goodman on Unsplash

5 New Brainstorming Rules

Mon, 12 Dec 2022 02:59:00 GMT

Group brainstorming has long been a staple for radio shows, podcasts, sales teams, and marketing teams to generate innovative ideas. Major corporations the world over use some form of group brainstorming to create new products and services, improve existing ones, and solve problems.

Jeremy Utley and Perry Klebahn of Stanford University’s renowned Hasso Plattner Institute of Design recently published their latest book Ideaflow , a new strategy for coming up with great ideas through brainstorming.

First, let’s take a look at the six most common existing brainstorming rules:

Clearly define the issue you’d like to address.
Set a time limit.
Focus on quantity over quality. Go for as many ideas as possible.
No judgment of any idea is allowed until the specified time limit is up.
Encourage outrageous ideas.
Evaluate and choose the best ideas to discuss and implement.

All six of the basic ideas are still relevant, however, Utley and Kelbaun have identified effective new guidelines that make traditional brainstorming more effective.

5 NEW BRAINSTORMING RULES

New Rule #1: Include Introverts
In a group setting, spitballing favors extroverts. To be sure introverted people’s ideas are heard, the facilitator asks each participant to submit two ideas before t he session begins.

New Rule #2: Small is Better
Too many participants can bog down the session by getting all the voices heard. According to Ideaflow, the magic maximum number is six.

New Rule #3: Dramatically Increase Idea Quantity
Utley and Klebaun’s research revealed what they call the Idea Ratio . It can take 2,000 ideas including variations, combinations, and refinements to generate one great one! Idea ratio: 2000 to 1.

Myth: The first few ideas are usually the best ones. The Stanford guys noted that most groups stop generating ideas way too early. Participants tend to latch on to the first few ideas that sound workable.

Focusing on the first few ideas leads to what the authors term anchoring bias which limits quantity. People typically start throwing out similar or supporting suggestions on the first few that seem feasible. To get the best ideas, keep going until the specified time is up.

New Rule #4: Delay Evaluation

Unlike traditional brainstorming where the evaluation process begins immediately after the allotted time, Utley and Klebaun recommend ending the session by asking participants to adjourn and contemplate the ideas that stand out to them. Their point is the best ideas and freshest thinking often occur in reflection after the meeting.

New Rule #5: Reconvene

The follow-up session is designed to evaluate, judge, share insights and make decisions on the best idea(s) moving forward.

Here are two fun actions to improve your brainstorming session:

People tend to open up more around food.
Make it fun by ringing a bell when someone judges an idea before the brainstorming time is up.

Photo by Redd F on Unsplash

Take a Bow for Failure

Wed, 07 Dec 2022 01:26:00 GMT

If you are a reader of our newsletter, you may recall my adventure trying improvisational theater. Despite how terrible I was, I grew a lot from the experience. I signed up again and after two classes I am still terrible.

I learned about a wonderful improv tradition that radio and podcast hosts might benefit from. The failure bow .

Improvisation does not come with a script (much like your show, or life …) so you react in the best way that you can. Sometimes you react well, sometimes not so well and sometimes it is a catastrophe.

When disaster strikes, you do a failure bow:

Extend your arms to the sky.
Bow completely forward, like a circus performer after a somersault.
Rise and grin like you won an Oscar.
Say “thank you, thank you very much!”
Audience applauds.

I take so many failure bows that my back aches, but here is what I appreciate about the idea:

Takes credit. You are brave to have tried. Be proud!
Vulnerability. You are not flawless. Own it.
Learning. Celebrate that real growth only comes from foul-ups.
Mindset. Shifts you from thinking “failure” to “just part of the show.”
Gratitude . Expresses thanks to the audience for sticking with you.
Support. The applause expresses that experimenting and failing are ok.

All great broadcasters eventually do something worthy of a failure bow. Early in their morning show run, the Kevin and Bean Show KROQ Los Angeles was caught faking an on-air murder confession . They paid several thousand dollars in fines out of their own pockets and performed 149 hours of community service.

I don’t know if anyone will actually do it, but I love the idea of on-air presenters taking a huge failure bow to in-studio applause after finishing a shitshow segment.

“Thank you, thank you very much!”

Photo by Rob Laughter on Unsplash

Are You a Commodity or a Brand?

Wed, 30 Nov 2022 01:55:00 GMT

Your show or podcast is either a commodity or a brand.

Commodities are perceived by consumers to be the same as the other products or services in that category. Gasoline is a commodity. Even when gas prices are low, we buy it strictly on price. There is little to no loyalty to Shell, ExxonMobil, etc.

In the minds of listeners, generic shows without personality, cultural relevance, or differentiation are commodities with little value.

Recently, a top industry executive asked me what percentage of winning radio stations utilize bowtie stop sets (placing commercial clusters across quarter-hours). My reply: “Almost all PPM market stations use bowtie commercial placement to maximize the potential of getting five minutes within a quarter-hour to get credit in Nielsen. Stations utilizing bow ties run the gamut of winners and losers. They make little difference in ratings if the station lacks effective branding, great content, and execution.”

Tactics like contesting and Nielsen clock games are a form of commodities since multitudes of stations employ them. They have either minimal or temporary ratings impact. In the case of contesting, the effect is inconsistent, and listening usually declines immediately when the contest ends.

Brands have a trusting relationship with listeners. They choose you because they relate to you, they know you and they like you. Brands enjoy long-term listener loyalty that transcends short-term tactics.

In a recent Forbes article , Nielsen CMO Jamie Moldafsky points out the importance of being clear on your core brand values and communicating them to your audience. The syndicated Bert Show is exemplary in conveying their brand essence: Real. Funny .

The Bert Show consistently illustrates these two brand characteristics across all platforms and by highlighting clips of the characters being real sharing their viewpoints, stories, quirks, and flaws as well as funny moments.

Relationships thrive on interactions. Since we’re an audio medium, listener interactions must go beyond the ease of social media and texting. Make it a priority to work harder talking with listeners on the phone for the benefit of more entertainment and emotion.

Today, successful brands stand for something bigger than their show. During the holiday season, many shows around North America are making a difference, like Star 101.5 Seattle’s Moug and Angie’s Toy Drive and New Country 103.1 West Palm Beach’s Tim and Chelsea’s Friends Feeding Friends .

Your show, podcast, and radio station are competing on a worldwide stage where listeners have a dizzying array of choices. To stand out as a brand, it comes down to four factors:

Be clear on what your brand stands for
Have a trusting relationship with your listeners
Create relevant and innovative content
Highlight your brand’s uniqueness

Photo credit: flickr.com/mdgovpics/

Iroquois Thanksgiving Prayer

Tue, 22 Nov 2022 00:04:00 GMT

We return thanks to our mother, the earth, which sustains us.

We return thanks t o the rivers and streams, which supply us with water.

We return thanks to all herbs, which furnish medicines to cure our diseases.

We return thanks to the corn, and to her sisters, the beans and squash, which give us life.

We return thanks to the bushes and trees, which provide us with fruit.

We return thanks to the wind, which, moving the air, has banished diseases.

We return thanks to the moon and the stars, which has given us their light when the sun was gone.

We return thanks to our grandfather, who has given to us his rain.

We return thanks to the sun, that he has looked upon the earth with a beneficent eye.

Lastly, we return thanks to the Great Spirit, who embodies all goodness and directs all things for the good of his children.

Photo by Joey Genovese on Unsplash

Who Talks More or Less on Your Show?

Mon, 14 Nov 2022 14:35:00 GMT

On a multi-person show, do all hosts get equal airtime? Who should talk more? Who should talk less? Whose mic should be turned off most of the time?

Mic balance is often an under-appreciated subject when launching a new show or when reviving an under-performing one.

Like your favorite Netflix series or situation comedy, the best shows today are ensemble casts based on interaction , chemistry, and conflict . Think of the old Seinfeld show as an example.

Jerry Seinfeld’s name was on the show, but he was smart to share the glory with talented stars playing Elaine, Kramer, and George. Think back now on why that was such a smart move.

Imagine watching a Seinfeld episode where Jerry did 90% of the talking.
Imagine an episode where Kramer didn’t burst chaotically through the door and was not on an episode.
Imagine if 90% of the show focused on a tertiary character like Soup Nazi and you saw much less of the regular cast.

Your show will perform best when your cast works together, sharing mic time consistently throughout every segment in a way that serves the content.

The three most common mic balance trouble spots are:

Over-dominant quarterback . One host is absorbing over 60-70% of mic time.
Silent or background cohosts. A player is not contributing or only providing one-word/short interjections.
Weak B players. Too much airtime devoted to interns, producers, or random guests diminishes time for your stars.

Consider these solutions:

Hand-off like a good quarterback to other players to change the monologue/dialogue and fuel momentum.

Consider involving or delegating some teases, setups, contest explanations, and other mechanics. Split anchor duties on news and other story features.

Plan together to play together. Involve every player in show preparation. If you have a role in choosing content, you are more likely to participate with enthusiasm. Discuss mic order – who’s setting up, speaking second, last, etc. — before airtime.

Cut some mics off. Too many players can make conversations difficult to follow. Limit the number of players in most segments to three. The Rule of 3 is an effective one to follow.

Avoid mowing the same grass twice. Over-dominant hosts often reiterate, go down side-roads, or zigzag. Eliminate excess verbiage and go in a straight line to create space for co-hosts to interact.

Listen. Follow the half-second rule: Pause before you respond to minimize talk-over and interruptions. Be aware that men interrupt women more often and female listeners definitely notice when it happens.

Don’t change the show for guests. Have all your main hosts interact during interviews and make guests part of your show instead of turning it over to them.

Photo by Jason Goodman on Unsplash

The Genius of Yes, And

Tue, 08 Nov 2022 18:53:00 GMT

Radio and podcast teams and ensemble casts are improvisational shows. “ Yes, and ” is the central concept for improv comedy. When a player introduces a topic, the other players must say “yes” to it and build on the discussion by adding something new.

Let’s say the host says, “That was a severe thunderstorm last night.” The second player might say, “Yes, it blew down a tree in our yard!”

We hear many shows do the opposite of “Yes, and” and block conversations. To the above example, a player might say, “Not really, it wasn’t severe at my house.” A comment like that shuts down the forward motion of the discussion.

Other forms of blocking that don’t move the conversation forward include paraphrasing the topic such as, “Yeah, the storm was really severe.” Filler words and phrases like, “wow,” “really,” “uh, huh,” “no kidding,” etc. stall the dialogue.

You can disagree after accepting the subject. You could say, “Yes, the storm was severe, however, it wasn’t nearly as severe as the one we had a week ago.”

“Yes, and” in coaching
Many programmers and managers tend shut down an idea immediately. Even if the idea sounds off base, be receptive to it. Accept the idea in theory by saying something like, “Let’s expand on this idea and see how we could make it work.” Often when a team explores the possibilities of an idea, it eventually works.

“Yes, and” in brainstorming
“Yes, and” is also central to the brainstorming process. The leader encourages the free sharing of ideas. Participants are not allowed to judge any ideas until the group expands on an idea without limitation. Staying open to and exploring ideas energizes the room, whereas shooting down ideas puts a damper on thesession.

“Yes, and” in business
Businesses and corporations grapple with branding dilemmas like purpose or profits. In James Collins and Jerry Porras’s book Built to Last , they recommend what they call “the genius of AND.”

Instead of having to choose between having a purpose OR profit, embrace both extremes of an idea. For instance, your company could have a purpose such as supporting the environment AND a pragmatic pursuit of profit.

Whether you’re on a show or talking to someone in real life, “Yes, and” is key to the art of conversation. You can practice building on conversations by being an active listener. Your relationship with an audience will improve, and so will all your relationships.

Photo by Jon Tyson on Unsplash

Radio’s Talent Dilemma

Tue, 01 Nov 2022 02:25:00 GMT

There’s a cacophony of voices in the radio industry touting the importance of talent. Excellent that we’ve taken the first step by acknowledging that talent is radio’s ace for surviving and thriving.

Developing talent is where the real work begins. But here’s the rub. Programmers have little time for coaching talent.

One of our medium market client programmers with one of radio’s biggest companies is responsible for multiple stations in two markets. Her time is consumed with interpreting ratings, scheduling music, dealing with marketing/promotion, and other administrative duties.

We have a major market client programmer responsible for two stations in the cluster, all of the duties above, and a four-hour daily air shift.

Another talent development issue is many programmers lack the skill set to effectively coach and manage talent. The Randy Lane Company works with management to sharpen their coaching skills, but we can’t be there every day.

Let’s look at three strategies to prioritize talent development and keep radio a viable medium in the competitive multi-platform landscape.

THE CULTURE

Décor

We’re not in the insurance industry, we’re in the entertainment business! Take a page from Pixar, Google, and Apple’s playbook and make your radio station look and feel like a fun place to work and play.

Layout

Too often we visit stations with no workspace for talent. They end up roving from room to room. Please give talent their own place to create content.

VALUES

Make talent development a priority: To save a chunk of time, consider outsourcing your music scheduling. At least have programmers spend less time scheduling music and administrative duties in favor of more time with talent. Eliminate unnecessary meetings and keep essential ones on point and brief.
Safety first: Talent will produce more innovative content when they are encouraged to take creative risks and not be reprimanded when they fail. Failure is a learning and growth opportunity for creative breakthroughs.
Recognize and reward exceptional performance . Salespeople are often rewarded for outstanding productivity. Celebrate and incentivize talent for stellar ratings and standout content.
Transparency: Share ratings, research, and what’s going on with the company. In the absence of information, people assume the worst.

MEASUREMENT

We know Nielsen ratings fluctuate wildly. To give your station a clearer perspective on a show’s performance, you need a system of measurement. Set up your own system to score the growth or lack of regarding Content, Execution, and Character Development. We recommend scoring each of these key components on a 1-5 scale.

Contact me at randy@randylane.com or Jeff McHugh at jeff@randylane.com for more information about our talent measurement system.

Photo credit: flickr.com/mdgovpics/