March 1999 RAP
March 1999 HIghlights
Feature: Be Number One and Still Lose Money
By John Pellegrini
It happens in every market of every city. It happens more often than any
other major crisis that can occur in radio. And, despite the frequency, this
colossal mistake goes almost entirely unnoticed. But the results are always
devastating. Stations lose money, sales staffs get fired, management gets
fired, and stations change formats. Varieties of excuses are given, but the
actual cause, the one mistake that can be blamed for all these catastrophes,
always goes unrecognized and unpunished. It is the single greatest money
losing mistake that we make in radio and continue to make every day, week,
month, year and decade. And I’m going to spell it out for you so that you’ll
never find yourself making this mistake again. Because everyone involved
will make the mistake over and over again until they learn why they
shouldn’t.
Interview: Jim Conlan, Bill West, Radio Works, Houston,
TX
By Jerry Vigil
It’s no secret that radio is rapidly going through some major changes,
and we’re not through yet. Our heads are still spinning from consolidation,
and there are other things to deal with, like the threat of digital radio
and the fact that the Internet is quickly becoming the next major medium.
Radio’s survival will depend solely on one thing, it’s ability to generate
revenue. That revenue comes only from advertisers, and now, more than ever,
it is of the utmost importance to take a hard look at how radio deals with
its only source of income.
Jim Conlan and Bill West know the power of radio, and they know how to make
it work for advertisers. Their long list of distinguished clients speaks for
itself. (Check it out at www.usradioworks.com.) Fortunately for us, Jim and
Bill are eager to share their secrets and are doing so in their new book,
"Radio Advertising 101.5—A Step by Step Guide to Better Advertising." This
month’s RAP Interview takes a look at the super-duo behind Radio Works, and
we get a sneak preview of the book. There’s lots of info in this month's
interview for every radio production person, copywriter, sales rep, and
manager. Pass this RAP around and give your station(s) a boost where it
counts…on the bottom line.
Feature: Point/Counterpoint: Thoughts on Cracking the
Voice-Over Market - A Response To The Two-Part Article by John Pellegrini,
"How To Get Voice Work From The Big-Time Agencies" - [Jan/Feb 1999 RAP]
By Bettye Pierce Zoller
First, let me clearly state what this article ISN’T: It isn’t a personal
invective written by someone who thinks she knows absolutely everything
there is to know about the voice-over biz. Although I’ve been a working
voice-over pro and teacher/trainer for a long time, our business is
continually growing and changing. Next, please know that this article is not
meant, in any way, to cast Mr. Pellegrini in the role of my adversary. Far
from it! I respect Mr. Pellegrini, and I read his articles with great
interest. I shall use the information he provided to teach my broadcast
hopefuls. Through the years, I’ve helped lots of folks get started in the
voice-over biz. Creative Services Director of WLS-AM in Chicago, John
Pellegrini possesses a vast storehouse of knowledge on the broadcasting
business. If you, esteemed RAP reader, have not digested his two excellent
articles (in the last two issues), I urge you to do so—hopefully before you
read my response or addendum.
Radio HED: Overwrite
By Jeffrey Hedquist
If you haven’t written this way, try it. The results will surprise you.
Write more than you need. Picasso, DaVinci, Stravinski, Dylan—all went
through a lot of junk before they got to the great stuff they’re remembered
for. Don’t be afraid to do the same. A lot of us stop early and put our junk
on the air.
...And Make It Real Creative
By Andy Capp
Yeah, I admit it. I do most of my reading in the bathroom. Few things
annoy me more than finding both ice trays empty in the freezer. Oh, and
something else… there are a couple of pair of socks in my drawer—I think
they date back to my junior year in high school. They were my good socks
back then, worn with my 3-piece suit on speech tournament weekends. The last
time I considered wearing them, the elastic cracked and drifted out of them
in a fine powder. Every time I put off laundry too long, they appear deep in
the bottom of the drawer. The thought always crosses my mind that I should
really throw them away. I never do. These were the second things to go
through my mind when he asked me what I thought makes a commercial award
winning. I had been invited by the station I once worked for to pre-judge
the Addy submissions. That said, my first thought was, "How the hell should
I know?!"
Q It Up: The RAP Network Speaks - How many
stations does your production department work for? Are there deadlines for
scripts and agency tapes? What are they? Are deadlines strictly enforced or
are they only guidelines? Do the salespeople follow these guidelines or meet
these deadlines? What happens if they don’t? Please add any further comments
you might have.
By Jerry Vigil
Copy deadlines…myth or mandate? Just a few short years ago, when owners
were limited to two stations in a market, it was a dogfight for the ad
dollars, and money was seldom turned away because "the copy came in after
deadline." Today, with owners having more power in a market, and things much
busier in the Traffic, Continuity, and Production Departments, things might
be a little different. That’s what this month’s Q It Up hopes to shed some
light on.