Lazy, Crappy Production

We have met the enemy, and he is a bad production department!

I was just listening to a major station in Phoenix, Arizona. They were airing a 60 second spot for Safeway. Okay, maybe it was a 30 and it just felt like a 60. Not important to the story.

It was a standard voiceover, talking about the holiday sales, hams for Christmas, and so on.

But the background! They simply rolled Bellamy Brothers, "Let Your Love Flow" in the background. Yes, vocals and all.

Why?

It had nothing to do with the copy. I found myself not hearing the spot, because my ears kept trying to lock in on the words playing in the background.

Is it that hard to edit out the vocal parts?

It was unacceptable crap. And I really think I'm hearing more and more examples of low quality, uninspired commercial production,

I won't point the finger at the specific station. It wouldn't be cool. But I'm left thinking, "If this is how we operate today, then we in radio deserve every bad thing that is happening".

And I'm left thinking that we have an opportunity. TV is expensive. Radio production can be compelling. We can give businesses, in a bad economy, a different, less expensive yet still effective way to make people aware of what they can provide.

But we had best raise our standards to new heights, not reduce them to the level of what I just heard air in a major market of over 3 million people.

Let's be amazing!

Mood Drug for Christmas

John Parikhal got it right many years ago. He called radio a "mood drug".

We listen to radio in order to experience a certain mood. Thanks to the diversity of humans, there are many desired moods, and many paths to each.

But radio programmers have been slow to incorporate this truth in their day to day thinking and on-air approach. For example, how else can you explain the popularity of lines like "The best mix of the 70s, 80s and 90s" and other phrases that state what you do, but not why?

On the other hand, sometimes we get it right. Years ago, "Kick Ass Rock and Roll" or the growling "Z-Rock!" brands screamed emotion. And further over on the spectrum, "Light Rock" does say something emotional through the seeming contradiction of "light" and "rock". "Picking you up and getting you through your workday" and "The station everyone can agree on" also make emotional promises. In fact, the promise is the same: A non-jarring, supportive background soundtrack to your life for a few hours every day.

Emotional appeals are powerful. And while they make useful slogans, they really shine when they are part of every break, every backsell, every newscast and every promotion.

Proof: On the air right now

One of the most powerful proofs that it is mood, not "favorite songs" that really drive radio use is all around us right now.

During this holiday season, some stations are reaping huge ratings by dropping their (often successful) formats to play Christmas music for a couple of months.

Why does it work? People want to be in the Christmas "mood".

What mood do your listeners want to be in? What kind of music, news, talk, information, prizes, events, etc. put them in that mood?

Emotion: Just do it!

A lot of the answers regarding mood and emotion are not specific to a particular format. Rather, it is simply a question of whether you do or do not provide some genuine human communications. Simply providing a little human emotion gives you a universal increase in appeal that an iPod can't match.