Who's Your Darci?

Darci the bank teller caught me off guard.

"I want to do a radio commercial. I want to be on the radio," she said.

"Really." I replied.

"Yeah, I want to do a spot for our new CD. I'd be good at it!"

In the short time Darci had been working at the bank she'd become a favorite with her customers, myself included. Her quirky repartee was equally amusing and endearing; people rarely left her window without smiling or chuckling.

Why not? I thought. The bank manager was a good client, and I knew he wouldn't object to the experiment. If it worked, he'd be glad to put it on the air. If not...well, no harm done.

"OK, sure. Let's give it a try." Darci was genuinely excited and said she had some ideas for the commercial. We scheduled a recording session, allowing ourselves plenty of time for improvisation. The result was this:



The bank manager liked it, authorized it for airplay, and for several weeks Darci became the new voice of the bank.

Fast forward a few years. Darci is now working full-time for the school district and I haven't seen her in ages. One day I get a call from my CPA, for whom I've done some advertising during tax season. She tells me that she's purchasing a local video store, a mom-and-pop operation that's been a steady advertising client of mine for years, under a couple of different owners, and she wants to relaunch the store with an advertising blitz featuring a new spokesman—Darci!

Turns out Darci is her neighbor and friend. And she thinks Darci's unique personality and voice are perfect for the new campaign.

So, once again Darci and I are collaborating together in the recording studio, playing with different ideas and angles. Before long, this spot has more or less written itself:



From Day One it generates comments from listeners and customers who think Darci's a hoot. And we have the makings of a brand new schtick for the client. A few weeks later, a second spot follows. Then a third. And a fourth. Over the next several years, Darci records at least thirteen different commercials, including this one, a finalist in the 2005 Radio-Mercury Awards competition:



Since then, Darci has done other work for me. I've hired her to voice some of our syndicated features for GBS, and I've had clients hire her to do their commercials. Although she's had no formal training as either an actress or producer, she's proven capable of doing terrific work.

So, I consider myself fortunate to have been standing in line at the bank the day Darci had the itch to "be on the radio." And I sometimes wonder, who else might be out there — waiting tables, running a cash register, answering phones or reading to kids at the public library — waiting to be discovered and recruited for radio advertising work.

Might there not be someone in your market, too - someone with whom you interact regularly, just waiting to become your Darci?

Reaching Out to International Students via Radio

Living in a college town, we see quite a few international students here during the school year.

A few years back one of my clients, a medical clinic, challenged me to come up with a radio spot to reach out to these internationals, hoping to attract them (and their families) as new clients.

With a bit of probing, I was able to determine that the predominant cultures/languages among these foreign students were Hispanic, Chinese, and Arabic (not necessarily in that order). I thought it might be fun to record some of these students speaking in their native tongue, a "welcome" message to their peers. But where would I find them? And how would I be able to communicate with them?

I broached the situation with another client, who owns a popular coffee house on campus. He indicated that he'd have no trouble locating some suitable candidates - students who were bi-lingual and would enjoy helping. There was no budget for all this "talent," but the clinic's administrator did offer to buy fancy espresso drinks for the participants. So, we arranged a day and time to meet together at the coffee shop for a group recording session.

The day came, the group assembled, and everything clicked. As a bonus, a young professor originally from Poland, who happened to be in the coffee shop just then, appeared to be quite interested in our little production. She was quickly pressed into service as an "extra."

The kids were cooperative, patient, and seemed to enjoy "starring" in the project. Afterwards they all received a copy of the MP3 to send to the folks back home.

The resulting :30-second commercial pleased the client well enough that the clinic has trotted out this spot at the beginning of the school year every year since. Here's the spot:

Ode to a Luminous Legume

Every year around this time, I enjoy working with Pullman Mayor Glenn Johnson - a broadcast professor at the Edward R. Murrow School of Communications at Washington State University and longtime stadium voice of the WSU Cougars - as we collaborate on the new radio commercials for The National Lentil Festival, held here in Pullman the weekend before classes begin. I write the copy, Glenn provides his distinctive baritone pipes, and I mix down the final production. Over the years, our work has won awards from national and international festival organizations - but more importantly, has helped to draw thousands to enjoy the festivities.

As this year marks the festival's 21st anniversary, I thought it might be fun to play with the idea of what the typical 21-year-old does to celebrate the milestone birthday. This led to the use of the word squiffy, possibly for the first time on American radio.

A couple years ago I decided to give Tase T. Lentil a voice (mine, digitally manipulated), singing his own jingle, and we've trotted it out again for another run.

The Festival has long relied on local radio to get the word out. In recent years, radio stations in Washington, Idaho, Oregon, and Montana also have been invited to air spots in exchange for receiving "lentil loot" (t-shirts, posters, wine glasses, lentils, recipes, etc.) to give away to their listeners, extending the campaign into regions that would not otherwise be reached.

Here are a couple of this year's spots.

Harness the Power of a Five-second Commercial

I sold my first five-second radio commercials back in 1975. (For the record, that's thirty years before Clear Channel would proclaim "Less Is More" and with great fanfare begin offering five-second "adlets" or two-second "blinks." Twitter founder Jack Dorsey had not yet been born. Heck, Al Gore hadn't even invented the Internet, though he may have been toying with the idea. But I digress.)

I started selling five-second ads because a legendary radio sales trainer taught me how effective they could be. He wasn't alone. The Radio Advertising Bureau also reported that some stations were having success with what they called "eight-word ads."

There are at least three advantages to shorter ads:

1) They force the ad writer to craft a clear, concise message. There's no room for "fat" in a five-second ad.

2) It's much easier for a listener to comprehend, retain, and recall a short message in its entirety. It's in-and-done before the listener can even react to it! (Stick around and I'll share with you a powerful technique for demonstrating this effectively to a prospect.)

3) Because five-second ads cost less than :30's or :60's, the advertiser's budget buys him greater frequency (more repetition of his message).

Short ads can be deployed to trip the recall switch, reminding the listener of something he's heard about in greater detail in a longer commercial. Think of this technique as "clutter busting" - referring not so much to the other ads on your station as to all of the messages that bombard us daily everywhere we turn, from computer monitors and cell phones to the chatter of our co-workers, from in-store POP to ads on public benches, buses, billboards, and buildings, television, newspaper, magazines. While there may be disagreement as to how many advertising messages we see or hear in each day, we can agree that there's plenty of competition for a listener's attention. We live in an age when distractions are plentiful.

So, let's say you've sold your client a schedule of :30's or :60's to get the word out about his big store-wide sale. His commercials include a number of price-and-item illustrations, maybe a special financing offer, prize drawings, and so forth. Let's imagine that he's running ten commercials a day for ten days, and these ads are scheduled to run between 6:00 a.m. and 7:00 p.m. Assuming even distribution, he's running one ad every 78 minutes.

By adding just ten five-second ads per day to his schedule, you've doubled his frequency, cutting the time between exposures in half. Add another ten and now your listeners are being reminded about his sale every 26 minutes. The marginal cost of the additional five-second ads has tripled his frequency!

All other factors being equal, this advertiser is going to enjoy better results from his buy on your station, which ought to bring him back for more.

Sometimes longer ads aren't even necessary. It's quite possible to build an entire campaign around five-second ads exclusively. I have a client who for many years has sponsored the weather update following network news at the top of the hour. His five-second message - usually a positioning statement, but occasionally a call-to-action - runs once an hour, 24 hours a day, 7 days a week. For all intents and purposes, his advertising message reaches the station's entire audience.

Every listener, every day.

Think about that. How many of your advertisers can claim with reasonable certainty to reach every single listener on your station during the course of a day or a week, let alone all year long? It's terrific exposure, and much easier for an advertiser to achieve and afford with a five-second ad.

The proliferation of satellite-delivered syndicated programming has all but eliminated the flexibility most stations once enjoyed when it came to scheduling commercials. If your station does all its own programming, consider yourself fortunate, indeed. You still have the freedom, or at least the potential, to schedule ads of any length, in any combination, at any time. The world is your oyster. Go for it. Stations whose programming comes via a bird in the sky have little choice but to fill fixed-length breaks with fixed-length ads at fixed times, with few opportunities for deviation from the :30/:60 standard. It might be worth sitting down with your Program Director and asking him to identify any possibilities for running short ads (such as the :05 weather sponsorship mentioned earlier).

If you are able to identify and secure the appropriate inventory, and you're ready to put it to work for an advertiser, here's a technique you can use to demonstrate to your prospective client the power of a five-second ad:

First, write the copy. Create the actual message that you're going to propose the client run for this campaign. Take the time to make it a good one. (I recall this Jim Williams classic: "Don't Make a $500 Mistake. Bob's Used Cars.")

When you're sitting across from the prospect, tell him, "I'd like you to help me with a little experiment." Pause. Make sure you have his undivided attention. Then, read the five-second copy aloud, with appropriate feeling.

Read it a second time.

Read it a third time.

Then, ask him to repeat what you just read.

In most cases, he'll repeat it verbatim without hesitation.

"You've just demonstrated the power of a five-second ad. I read it to you only three times and already you have it memorized, the whole thing."

Rehearse the advantages of the five-second ad with him:
1) forces lean, concise copy;
2) more easily understood, retained, and recalled by the listener (as he just demonstrated)
3) allows more frequency within a given budget

Then, present your proposal. Make the sale. And enjoy the results.

More than three decades ago, I used to drive the 55 miles between Winona and Rochester, Minnesota, two or three times a week. One Sunday I tuned in to Chicago's WGN (720 AM) and kept it there to hear what was happening in my old hometown. I don't remember the name of the host (though as I recall he had the most wonderfully soothing rich bass voice), but to this day I do remember two ads that he read live, several times each, during the course of my commute:

"Seven-Up, the Uncola. Chicagoland's Number One Refresher."

"Chapped Lips Need Blistex. Buy Blistex."

I swear, I never intended to memorize them. It just happened.

Like magic.

Share Your Radio Station-Produced Entry to the Mercury Awards...

Patrick Cleary is upset with the Radio Advertising Bureau. In an article in this morning's RBR, the president of Lost Coast Communications, Inc., parent of Ferndale, CA stations KHUM, KWPT and KSLG-FM isn't mincing words as he shared his displeasure over there being no Radio-Mercury Award for Radio Station-produced commercials this year.

As you've probably read or heard by now, the final round judges (all agency folks) determined that the quality of this year's station entries wasn't good enough to pass muster, so they invoked a Mercury rule that allows them to drop the category and award no station prize this year.

Ouch, that stings.

I share Mr. Cleary's disappointment. As an annual RMA entrant since 2004 (with two horses in this year's race), the judges' decision took the wind out of my sails, too. It took me a couple of days to adjust to it. I called Meghan Buonocore at the RMA headquarters in NYC shortly after receiving the finalists announcement on May 21st, to ask her what was going on. She said that the judges had "raised the bar" and none of the station entries measured up this year. End of story.

Disappointed as I was (and am) at the absence of radio station representation from this year's Mercury competition, I cannot bring myself to endorse Mr. Cleary's call to withdraw from the RAB.

Yes, the organization has its share of weaknesses and inconsistencies (who doesn't?) - as, for instance, its clarion call to stations to write and produce superior commercials, while at the same time providing its own members who come looking for ideas with cliché-ridden pap that ought to have been rejected upon receipt, let alone archived to spread around the industry like a bad cold.

Nevertheless, I believe the RAB's strengths outweigh its shortcomings. As I posted earlier, their offer of a personal membership is something I'd been wanting for a long time, and I jumped at the chance to acquire my own. Even if the RAB were to purge its archives of the stuff that doesn't measure up to its lofty aspirations, there would remain an extensive body of valuable research and creative inspiration, of significant benefit to radio advertising sales professionals and their clients.

That said, Mr. Cleary's message deserves a thoughtful response from RAB's leadership. Some of radio's best and brightest are unhappy with what they perceive as a cold shoulder from the very organization that should be their champion, their advocate, their friend.

Meanwhile, I suspect lots of radio folks would enjoy hearing the Radio Station-produced entries that were submitted to this year's Mercury awards. I know I would. So, over at Radio Sales Café we've created a special forum where station producers can upload their entries to share with others in the broadcast community.

Here's my introduction to that forum:

"The Risk of Insult is the Price of Clarity." - Roy Williams (The Wizard of Ads)

OK, so I'm going to take the plunge and post the two commercials I submitted for this year's Radio-Mercury Awards competition (links below).

They're not stunningly produced, but I believed the copy was sufficiently engaging (it certainly was from the clients' perspective) to be airworthy, if not competition-worthy.

Though, frankly, I'd hoped at least one of them would make it into the finals, even if I didn't expect either of them to win the prize.

I have been supporting the Radio-Mercury Awards since 2004, the year I first entered any of my work into competition. I was surprised and humbled when I learned that my submission had won the Radio Station-Produced award that year. But I was also encouraged by it and determined to improve the quality of all my work.

The following year I entered 5 or 6 spots; one of them was chosen as a finalist. Each year thereafter I've entered at least one or two spots, though I will admit that none has equaled my 2004 entry (which, by the way, is still running on the air as part of a multi-spot campaign for the client, and still producing measurable results for him). Nonetheless, I've thought it important to support radio's premier advertising competition, to continue to raise the bar for our industry and advertisers.

On May 21st I received the email from RAB announcing the finalists and immediately noticed, to my great dismay, the absence of any station-produced finalists. A telephone call to Meghan Buonocore at the RMA headquarters confirmed this, and I have to confess, it took me a day or two to come to grips with the judges' decision.

As one of the early round judges this year, I had an opportunity to hear what I considered some good examples of station-produced advertising. (Listening to the best of them cemented the realization that my own entries weren't likely to win, place, or possibly even show.) It surprised me to see none of them emerge as finalists.

After reflecting on the situation, my biggest personal takeaway was a resolve to do better work next time. But I can understand, and to a certain degree share the feeling expressed by other radio station folks that maybe the playing field for radio work wasn't completely level.

That's water under the bridge now.

I'd like to urge the RAB - Radio Creative Fund to consider balancing the final round panel of judges, by including representatives from the radio side, and not solely the agency side, to avoid the appearance of elitism.

To the extent that this year's RMA competition has been tainted by the wholesale exclusion of the Radio Station-produced category, the RAB would do well to reach out to its station members to answer any questions, address their concerns, and attempt to make next year's RMA a happier occasion for everyone in radio.

So now, let's hear what you did!

An Offer You Can't (or Shouldn't) Refuse...

When I learned that the Radio Advertising Bureau has begun to offer personal memberships, I could hardly wait to sign up.

At $210 a year, it's a bargain.

$210 a year. $4.04 a week. About the price of a 20-ounce Espresso drink. Or a Happy Meal.

For a veritable treasure trove of research and resources quite likely unsurpassed by any other advertising organization.

The RAB's vast archives contain tools to make creating and selling radio advertising easier, more productive, and more likely to generate results for radio advertisers.

Now, I've not agreed with everything RAB has said or promoted over the years. Decades ago, they often seemed to reflect and reinforce Radio's inferiority complex, the idea that the highest and best use of our medium was in a supporting role to print or TV, as part of a media mix. (If the ad buy were a martini, Radio was the vermouth or the olive.)

But gradually the RAB reflected a growing confidence in our medium, i.e., that Radio as a primary medium was capable of carrying 100% of the weight of a campaign and make it work!

Beginning with radio sales trainer Jim Williams, his protegés Chris Lytle, Chuck Mefford, Darrell Solberg...along with folks like Sean Luce, Dave Gifford, Jim Taszarek, Paul Weyland, and Jerry Frentress...and more recently Norton Warner, Jeff Dostal, Michael Tate and Matt Hackett, radio advertising sales professionals have had unparalleled opportunities to understand and unleash the unlimited potential of our medium. Support from the ad creation side has come from folks like Roy Williams, Dan O'Day, Jeffrey Hedquist, and others (watch for a guy named Doug Zanger to be making big radio waves in coming years). I'm sure there are many more I've failed to name (Jason Jennings just came to mind).

The point is, for many years now the RAB has been leveraging the talents of these folks and others for the good of our radio team and every last player.

$4.04 a week ought to be impossibly attractive, like the sizzle and smell of a prime ribsteak on a bed of hot coals (sorry ... it's Friday dinnertime and I'm fantasizing).

Personally, I was thrilled to be able to secure a personal RAB membership, for my benefit and ultimately the benefit of my clients.

Eric Rhoads, publisher of RadioINK, wrote a thought-provoking piece in which he expressed his concern for the future of RAB, which is facing cutbacks in the support it typically has enjoyed from the largest broadcast groups. They recently (and undoubtedly painfully) announced layoffs that included veterans George Hyde and Mike Mahone, themselves champions of education and training for thousands of radio advertising salespeople.

Whatever the reality of their present circumstances, of this much I'm certain: every membership matters to RAB.

Please consider supporting them with yours.

Thank you!

$2500+ for Thirty Seconds: "Don't Tax That Dial!"

The NAB has announced a contest, open to all over-the-air U.S. broadcast radio stations, to create a thirty-second political spot encouraging defeat of the so-called "performance tax" on radio stations. The (mainly foreign-owned) record industry, represented by the RIAA, is trying to compensate for a failing business model by levying a fee on radio stations that play music, utterly destroying the symbiotic relationship that has existed for many decades, to the mutual benefit of artists, stations, and listeners.

According to an article in RADIO magazine:

The winning entry will be awarded $2,500 and be recognized at The 2009 NAB Radio Show in Philadelphia. Additionally, airfare, hotel accommodations and complimentary NAB Radio Show registration for two will be provided to the winning entry. Entries for the competition, open to over-the-air U.S. broadcast radio stations, must be submitted to the NAB no later than 11 p.m. EDT on July 31, 2009. Stations must complete a Political Agreement Form and place it in the political portion of their public file for a period of two years. Complete rules, guidelines and supporting material can be found on the NAB website

OK, so here's an idea: invite several of the station's best clients to participate in the effort personally. Presumably these advertisers have a vested interest in the continued existence and health of the station, their valued marketing partner. So, they talk about the station's importance to them, both as listeners and as advertisers, and urge their fellow listeners to contact their legislators to reject the Performance Tax. Advertisers enjoy some additional exposure, reinforcing their ties with the station and its listeners, and the station gets the message out in a "bigger" way.

Everybody wins.

In fact, stations could even sell these opportunities to advertisers (rather than giving them away) - with an offer to share the cost of the schedule in view of the shared benefit. I can think of a few advertisers in our own market who would take advantage of such an offer.

After all, it's essentially cause-related advertising, right?

Only in this case, the cause is us.

Worth considering.

Speaking of Better Radio Ads...

Listening to the finalists in the 2009 Radio-Mercury Awards and reviewing the briefs for the integrated campaigns is as instructive as it is entertaining.

Don't miss the opportunity to gain valuable insights into the inner workings of these million-dollar campaigns. The education is priceless. The tuition, free.

Here's the link.