Some Norwegian Political Parties Pushing Back Against FM Shutdown

Progress Party is critical of the plan to extinguish the national FM network May 23, 2016

OSLO—Even as the scheduled “sunsetting” of the national FM service rapidly approaches, the Norwegian culture minister is facing continued pushback from members of Parliament.

The Progress Party’s Ib Thomsen recently wrote a letter to the culture minister, asking who would be responsible for unintended consequences after the national FM service disappears. The Progress Party is critical of the plan to extinguish the national FM network; the party was the only one that voted against it 2011. Now the party is seriously concerned about radio if DAB plans are completed next year.

Among Thomsen’s objections were the following:

  •          Just over 20 percent of the vehicle population in Norway has DAB radio. Thomsen says this is a critical point. There is also a risk that tourists and especially professional drivers from abroad will not be able to listen to radio in Norway or receive emergency messages.
  •          Thomsen says that digitization should be coordinated with the other Nordic countries. Sweden, for example, has no plans to turn off FM.
  •          DAB is dependent on the GPS system and that weakens preparedness of DAB significantly.  In war and crises, it is a fact that GPS signals can be turned off for military purposes. This has happened several times already — GPS signals have “fallen out” over northern Europe.

Thomsen’s position is that the shutdown of the FM service in Norway will not be consistent with good public safety and would not be in consumers’ best interest.

The Center party’s Janne Sjelmo Nordås has also sent written questions to the Minister of Culture on the FM shutdown, in which she said that the entire process should be postponed. In addition, now many local chapters in various parties expressed strong concern regarding the pending shutdown.

Comment fields for articles on the topic show the vast majority of people want to keep FM— even those that believe DAB is a better technology, according to


Variety: Why CBS Radio’s Planned Divestment Is Really About Revenue Diversification

When CBS Corp. reported first-quarter earnings earlier this month, CEO Leslie Moonves didn’t have much to add to the stunning announcement he made in March about his intent to divest the company’s radio business — the foundation on which the conglomerate was built back in 1927.

But when you dip into the latest numbers, you get a sense of just how huge a move it would be to sell the division, which Bloomberg has valued at nearly $3 billion. By my estimation, the radio unit is more profitable on a margin basis than the company’s core entertainment division, which includes the CBS broadcast network, Moonves’ crown jewel.

So why sell or spin off? When Moonves said the move would “unlock value” for shareholders, observers cited diminishing returns of a business that technology is rendering obsolete. But even in decline, radio could be a solid revenue-driver for years to come.

What the planned divestment is really about is revenue diversification, or reducing CBS’ dependence on the volatile ad business, on which Wall Street has soured amid increasing audience fragmentation.

At its investor day in March, CBS touted the change in its revenue composition over the past few years, citing a decline in ad dollars as part of its total revenue from 65% in 2010 to 51% in 2015. The 2014 spinoff of another ad-centric business, its outdoor division, contributed about five percentage points to that decline. Now it appears CBS is planning to repeat the feat.

Unlike with the outdoor business, CBS doesn’t report radio as its own segment; rather, it’s part of Local Broadcasting, along with TV station assets, which registered a 9% year-over-year gain in the first quarter, likely driven by station ad sales.

By doing a little triangulation on the growth figures for these two sub-segments, we can estimate that radio generated $1.2 billion in revenue over each of the past three years, roughly flat from 2013 to 2014, then shrinking by 6% in 2015. That amounts to 8%-9% of CBS’ total revenue.

CBS’ proportion of revenue from advertising will likely jump again in 2016, given the bump from the Super Bowl last quarter. But over the long term, the company would achieve its objective of diversifying its revenue.

What’s harder to predict is what cutting the radio arm would do to margins. CBS stands to lose several hundred million dollars in operating profit, plus more than $1 billion in revenue annually. We’ll learn more when the company files documents with the SEC in the next few months.

Jan Dawson is the founder and chief analyst at Jackdaw Research, an advisory firm for the consumer technology market.


DJ Booth: Mainstream Radio’s Not Playing Your Indie Hip-Hop, Deal With It

I wish I knew how to quit you.

There are a few topics that I feel like I’ve killed and buried, but they keep coming back from the dead like hip-hop Freddy Kruegers. I thought I had put the nail in the coffin of the term “mixtapes” two years ago, and yet here I am, explaining why Chance’s new album isn’t a mixtape. And I thought I had explained that mainstream radio stations are just extensions of the major labels months ago, and yet I still get indie artists constantly complaining to me that, for example, Hot 97 isn’t playing their music.

So one last time, let’s break this down to the basics.

Let’s start by setting aside any idea that mainstream radio has any “obligation” to play and support local, independent artists. There’s a conversation to be had there, but this isn’t that conversation. This is a conversation about the simple, hard realities of how the business is run, and make no mistake, the songs that get played on mainstream radio are all about business. Business can be cold, but at least it’s direct. Does it make money? Answer that question and you’ve cracked the code.

What bothers me is the lies and half-truths, when people like Ebro Darden, Hot 97’s former program director and the public face of the station, claim that indie artists aren’t being played because they’re not “hot” enough, or they need to “get their buzz up.” The simple truth is that no amount of “hotness” or buzz really matters if you’re not signed to a major and your song is testing well with audiences. Period. Deal with it. Thinking anything else is to give yourself false hope, and false hope can be too expensive for an indie artist to afford.

I hate to focus on Ebro and Hot 97, he’s just one person at one radio station when this applies to every radio station in the country, but credit due, he’s made himself into the Death Star of hip-hop radio, the unavoidable force drawing (nearly) every conversation about mainstream radio into his gravitational pull. That’s why it’s been so interesting being able to compare and contrast the music he plays on Hot 97 and the music he plays on his Beats/Apple Music radio show. Comparing the freedom he has at those two respective outlets says it all. As he said himself in a recent Billboard interview:

Billboard: How do your shows on Hot 97 and Beats 1 differ?

Ebro: The songs we play on Hot 97 are researched; we know they’re popular…But [musically] at Beats, I’m going to take more risks and play ­underground records and artists you never heard of because that’s why you’ve opted in to that service.

Billboard: What brought you to Beats 1?

Ebro: They actually came and asked me. They didn’t really have to sell me; I’ve been in radio a long time and I know people at the top of the organization, so it was a matter of me wanting to extend what I do at Hot 97 and also be able to curate music and get involved with breaking new artists.

Hey, indie artists with dreams of getting your music played on a mainstream radio station, what else do you need to hear? The man himself just broke it down for you. With the exception of some special programming, almost always played during off peak hours, the idea that mainstream radio DJs have any say in the music they play is hopelessly outdated. If you want to hear that en fuego new banger you just made played during rush hour on Hot 97, or Power 106, or V103, or any other big station in a major market, you need to sign to a major label, and then your song needs to test well with audiences. Otherwise, it’s not happening for you. It’s a strict formula, and there aren’t deviations.

You don’t need to believe in a conspiracy theory to believe that, just take a look at Hot 97’s most recently posted playlist for the week (from 5/12 to 5/18). Chance the Rapper just dropped the most talked about album in the country last week, do you see his name anywhere? You’re telling me a record like “No Problem” with Lil Wayne and 2 Chainz wouldn’t work on radio? What more could he possibly do to get his “buzz up” or “get hot” than he is now?

And on the flip-side, Ebro could play an hour straight of nothing but Chance the Rapper on his Beats 1 show, which isn’t beholden to any advertising money, if he wanted. True, the rare indie artist occasionally does slip through the cracks of radio’s major label-dominated formula, but even those rare exceptions often turn out to be false flags. Hot 97’s playing the shit out of Young Greatness’ “Moolah” record right now, and he’s so new you might assume he’s indie, but he’s actually got a deal through QC/Capitol Records. Radio couldn’t stop playing Macklemore about a year ago and while he wasn’t full on “signed” to a major, he had a side deal with Warner that allowed him to access their radio promotions arm. In fact, the surest way to guess who’s secretly signed to a major label is to look at the radio play they are, or aren’t, getting.

Honestly, I don’t particularly care about what hip-hop that mainstream radio plays. I don’t even own a radio anymore outside my car, and I’m far from alone. What I care about are all the indie artists who come to me complaining that radio won’t play their shit, the artist I see pay money to have promoters service their songs to radio, who have their eyes solely fixed on mainstream radio as the thing that’s going to blow them up, when there’s a snowball’s chance in hell of it ever happening. All that energy and money would be better spent on almost anything else. Like, for example, buying your beats so you can get a publishing deal, or actually mixing and mastering you music.

I don’t have to play the radio game. I tried to play it. I spent $1.6 million pushing four singles off of the Absolute Power album. If I had to do it all over again, I would take every dime of that money back, tell all those dudes who took my money to fuck off, and do something totally different with the money. I would’ve been in the streets giving away samplers, I would have done a variety of different promotional ideas, and I would’ve spent the money touring. – Travis O’Guin, Strange Music CEO in a HipHopDX Interview

So indie artists, mainstream radio’s not playing your shit. Point blank. Period. Stop thinking about it, stop complaining about it and especially stop making “radio ready” singles that have a zero percent chance of actually getting played on the radio. But as much as I’d like to hope this issue’s now settled, something tells me I’ll be back here again.

By Nathan S, the managing editor of DJBooth and a hip-hop writer. His beard is awesome. This is his Twitter. Image via HOT 97.


Southern Rock/Country “99.5 The South” Launches In Birmingham

99.5 The South Nash Icon WZRR Birmingham CumulusAs we expected earlier today in Daily Domains, Cumulus flipped Country “99.5 Nash Icon” WZRR Birmingham to Southern Rock/Country “99.5 The South” at 5pm today.

The flip takes WZRR out of its three-way Country battle with SummitMedia’s 104.7 WZZK and iHeartMedia’s “102.5 The Bull” WDXB. Those two stations combined for a 10.3 share of the Birmingham marketplace, while WZRR was at a 1.9 share in the Spring Phase 1 Nielsen Audio ratings trends. The return of Classic Rock brings WZRR partially back to its heritage format as it was “Rock 99” from 1988 through the end of 2011.

The station is branding as “If it’s from The South, if it’s about The South, it’s on 99.5 The South” with a focus on Classic Rock/Adult Alternative artists.

The first hour of The South consisted of:
Allman Brothers – Southbound
Lynyrd Skynyrd – Sweet Home Alabama
Bob Seger – Hey Hey Going Back To Birmingham
Zac Brown Band – Homegrown
Alabama Shakes – Hold On
Black Crowes – Hard To Handle
Charlie Daniels Band – Birmingham Blues
Chris Stapleton – Traveller
Mudcrutch – Trailer
BB King – The Thrill Is Gone
John Hiatt – Drive South
Stevie Ray Vaughan – Tightrope
Hard Working Americans – Stomp and Holler
Drivin’ N’ Cryin – Honeysuckle Blue
Sturgill Simpson – Brace For Impact (Live A Little)


Heather Davis Joins WKDF For Middays

103.3 Nash-FM WKDF Nashville Heather Davis Becca WallsCumulus Country “103.3 Nash-FM” WKDF Nashville TN has hired Heather Davis as its new midday host.

Davis replaces Becca Walls who announced her resignation last week following a sixteen year run. Davis joins WKDF from Curtis Media Country 94.7 WQDR Raleigh where she has been filling in since departing middays at Townsquare Media’s 107.7 WGNA Albany NY last September.

Cumulus Media announces that Country radio personality Heather Davis has joined WKDF/NASH FM 103.3 in Nashville as Host of Middays. Davis joins NASH FM 103.3 from Curtis Media’s Country-formatted WQDR-FM in Raleigh, NC. Prior to that, she hosted Mornings on Country station WGNA-FM in Albany, NY, and hosted Middays for Townsquare Media’s Country 106.5 WYRK in Buffalo, NY. Davis is a graduate of North Carolina State University.

Charlie Cook, Operations Manager, Cumulus Media-Nashville and Vice President, Country, for Cumulus Media said: “The minute I heard Heather’s audio I knew that she was the sound we need on WKDF. I love her varied on-air experience and she is a social media monster, which is so important today. We are looking forward to Heather joining radio’s best company in one of America’s best cities.”

Davis said: “I am so incredibly excited to be joining the NASH 103.3 team. It’s a dream come true to be living and working in the home of country music. I can’t wait to experience my first CMA Music Fest and all that Nashville has to offer.”


UK Digital Radio: Home Listening Now Exceeds Analog Radio

LONDON—According to Rajar Q1 2016 data released today, digital radio listening in the UK has sustained its long term growth to reach a new high of 44.1%. For the first time, digital listening in home increased to over 50%, with 51.5% of all radio listening done in home (to digital sources) now exceeding that of analog radio (48.5%).

There was growth across all digital platforms, with DAB growing its share of listening to 30.9%, now accounting for over 70% of total digital listening. Ownership of a DAB digital radio increased to 55.7% of the population, with 30 million adults now claiming to own a DAB radio, an increase of 14% year over year.

The Online share of listening grew to 7.8% and accounts for 18% of digital listening, while digital TV share of listening grew to 5.4% to account for 12% of digital listening.

Digital listening in-car grew by 32.5% to 21.2% of all listening (from 16% in Q1 2015), boosted by the growth in new cars the come equipped with digital radio as standard equipment, which, in Q1, was over 80%. [Source: CAP/SMMT]

This quarter saw Rajar apply a new methodology to the data which eliminated any unspecified listening previously termed “analog/digital not stated.”  Only a small proportion of this re-allocation of unspecified listening has been allocated to digital listening; the majority of the increase in digital listening is due to sustained strong underlying growth.


From the FCC, a Cautionary Note About Experimental Licenses

WASHINGTON—A licensee of experimental AM booster stations in Puerto Rico was denied a request to set up another one because, according to the Federal Communications Commission, “nothing new or groundbreaking” would be achieved.

Though he concurred in this ruling, Commissioner Ajit Pai wrote that AM broadcasters should be encouraged to come to the FCC with their own experimentation plans for synchronous booster technology.


Licensee Wifredo G. Blanco-Pi asked the commission to review a Media Bureau decision denying his application for an experimental station in Guayama. Blanco-Pi is licensee of WISO(AM) in Ponce, P.R., plus two synchronous AM booster stations with broadcast experimental radio licenses. Blanco-Pi was given the green light to operate these to allow for synchronization experimentation with the primary AM station.

Blanco-Pi sought to establish a third booster to cover Guayama, a community 35 miles to the east of WISO(AM), to provide it with programming from WISO. This would give that community its first all-news station, Blanco-Pi stated.

But the commission said Blanco-Pi, like previous filers in other cases, demonstrate a “fundamental misunderstanding” of the limited purpose of a broadcast experimental radio station.

According to FCC rules, these stations are designed to encourage innovation — as such, licenses are issued for the purposes of developing and advancing new broadcast technology, equipment, systems or services. There are strict operating and reporting requirements; broadcasts of a commercial nature are not allowed, nor may the stations transmit program material unless it’s related to an experiment. Regular program service may not be broadcast unless specifically authorized, the commission rules state.

“These restrictions prevent entities from exploiting a broadcast experimental radio station for commercial purposes while functioning under the guise of an experimental station,” the FCC wrote.

Initially, the Media Bureau denied Blanco-Pi’s application on the grounds that the proposed 0.5 mV/m daytime and nighttime groundwave contours would extend beyond WISO(AM)’s 0.5 mV/m daytime and nighttime groundwave contours. Then it reconsidered and found that an experimental booster was not actually prohibited from exceeding its primary station’s predicted coverage contours.

But that wasn’t enough to reverse the ruling in its entirety. In the end, the bureau denied the reconsideration request because it found that “nothing new or groundbreaking concerning the operation of AM synchronous stations will be gleaned by permitting [Blanco-Pi] to add a fourth AM synchronous transmitter to the existing WISO synchronous network.”

The full commission agreed, saying that Blanco-Pi did not detail the new knowledge he expects to gain as a result of adding the proposed Guayama experimental facility.

Rather, his principal arguments for the new booster station are on extending WISO’s program service to Guayama and that this can be accomplished more efficiently and inexpensively through use of an AM synchronous booster than by conventional means. According to the FCC, Blanco-Pi’s purpose is not utilizing radio waves in experiments with a view to development of science or technique, but rather extending the signal coverage of WISO(AM) to another area of Puerto Rico.

“Expansion of existing program service, with no apparent experimental benefit does not justify licensing a broadcast experimental radio station,” the FCC wrote. “Moreover, establishment of a new AM booster station merely to extend the service of an existing AM station impermissibly circumvents our commercial AM filing window and competitive bidding processes.” As a result, it dismissed Blanco-Pi’s application for review.

Commissioner Pai agreed but said that this order should not deter other AM broadcasters looking to perform legitimate experiments with synchronous boosters. “If broadcasters wish to test whether synchronous transmission systems can help improve signal quality within their coverage area, I believe that the commission should facilitate such experiments as we search for ways to revitalize the AM band,” he wrote.


Benson Will Get National Radio Award

WASHINGTON—The 2016 recipient of the National Radio Award has been announced. Don Benson, former president and CEO of Lincoln Financial Media Company, will receive the award at this year’s Radio Show in Nashville, Tenn.

“This recognition is timely and fitting for Don, who is held in the highest regard for his integrity and genuine commitment and service to broadcasting,” said NAB Executive Vice President of Radio John David.

While at Lincoln Financial Media Company — a career that spanned more than 30 years — Benson rose through the ranks until he oversaw all aspects of the company’s 15 radio stations in Atlanta, Miami, San Diego and Denver.

Before joining LFMC, Benson began his media career at WMAK/Nashville. He’s had stints at Western Cities Broadcasting as corporate vice president of programming, KIIS(FM) in Los Angeles as vice president of operations and as executive vice president of operations at the media consultant firm, Burkhart/Douglas & Associates.

Benson has served multiple terms on both the Executive Committee of NAB’s Board of Directors and as Radio Board Chair. He’s also served terms on the Board of Directors of the Radio Advertising Bureau and has chaired the Arbitron Advisory Council.

The National Radio Award won’t be Benson’s first accolade. Benson is a recipient of The Media Financial Management Association’s Avatar Award, a 2010 inductee to the Vanderbilt University Student Media Hall of Fame, as well as a 2009 inductee to the Georgia Radio Hall of Fame.

Benson will receive the National Radio Award at the Radio Luncheon on Wednesday, Sept. 21, which is an event taking place during the 2016 Radio Show held Sept. 21-23 in Nashville, Tenn.


Meghan Trainor Slams Michigan Radio Station

radio station copyright infrigement Meghan Trainor

The wheels of justice grind slowly, but recently they reached a Michigan radio station that thought, “So what if we’re breaking the law? They’ll never know.”

An advertiser wanted them to run a commercial for a local burger joint, complete with their own rewrite of a Meghan Trainor song.

The station management either didn’t realize that by running that spot they’d be violating the song’s copyright
…or they knew and didn’t care. After all, someone was offering to pay them.

And who would know?

One of the market’s radio stations (“Station A”) refused to air the radio advertisement, explaining to the client, “Sorry, but that would be illegal. You can’t use a copyrighted song in a commercial that way.”

Station B, on the other hand, didn’t hesitate to accept the advertiser’s money.

Recently Station B received a Cease and Desist order from Sony Music.

Station B Was Lucky.

Sony could’ve sued them for damages, rather than just tell the radio station to stop.

Here’s How Station B Probably Reacted to the C&D Order.

I wouldn’t be surprised if the Powers That Be at Station B said, “Hey, we got paid. The money we made was worth more than a lousy C&D order.”

Here’s How Station A Could React.

Account Exec: I’m sorry, but using that song in your commercial would be illegal. It would violate the owner’s copyright.

Client: But Station B played that commercial with the Meghan Trainor song…

Account Exec: Yes, they did. And they were lucky. When Sony Music found out, they fired off a Cease and Desist order to Station B.

But Sony could just as easily have sued both the radio station and the advertiser for copyright infringement.

Because that commercial unquestionably constituted an illegal infringement, they each could have ended up paying 5-figure settlements.

Having to write a 5-figure penalty check probably would hurt a local small business, don’t you think?

In addition to causing financial damage to Station B — which obviously needs the money in the first place, or they wouldn’t have agreed to help the advertiser break the law — it also might raise an eyebrow with the Federal Communications Commission.

The FCC considers “the citizenship, character, and financial, technical and other qualifications…to operate the station” when license renewal time rolls around.

Here at Station A, we’re dedicated to helping our advertisers accomplish their goals. But we won’t break the law for them, because it could hurt us, it could hurt them, it violates our own principles…and we don’t need to cheat in order to succeed.




Evolution is a constant process, and time brings many changes in our lives, whether we like them or not. Sometimes those changes are faster and sometimes they take more time, but the wheels of evolution are unstoppable and we can only adapt and survive or get stuck in the past and disappear. Many areas of human existence are affected by those changes, and one such example is visible on the usage of the radio – a device so familiar to older generations that they can hardly ever imagine the world without a radio set in their living room. However, it seems that the golden days of radio are long gone and it remains to be seen what will be the future of radio broadcasting.

Radio had reached the peak of its popularity in the 1970s and 80s, but the 1990s have seen the popularity of radio shows go drastically down.

There were several reasons for this occurrence, and combined together – they caused radio broadcasting to fall back and become mostly reserved for morning and afternoon commute.

Many experts agree that it was not the “video that killed the radio star” , and that it was mp3 files and similar digital technology that caused the massive downfall of radio popularity.Once digital media appeared, there was no need for records and tapes, and the Internet enabled people to share their music and listen to it independently, without the need to wait for a radio show to be over or having to listen to a lot of commercials.

But, even though the Internet did strike a hard blow into the “body” of radio, the attack was not fatal, and radio transmission managed to adapt and survive in an amazing manner. As a matter of fact, radio broadcasters used Internet as an ally, and they “attached” themselves onto the backs of this new technology, allowing it to carry radio signals much further than the terrestrial signal could ever reach.

Of course, a lot of radio stations remained “traditional” and cautious at those early years, and they hesitated in joining the frenzy of “getting everything online”, but in recent years, it is almost impossible to find a radio house that does not broadcast its program trough an online portal.

Streaming services, such as Pandora or Spotify, are the real enemy of traditional radio broadcasting, but even they are powerless in relation to the human touch that standard radio shows give to their listeners. No algorithm or computer program could ever replace human voice and intelligence, and it seems that the “death of radio” is highly unlikely. Of course, it is hard to predict the future and we can only guess about the ways in which radio technology will develop, but it looks like online signals are going to become the dominant method of broadcasting. Once again, radio is adapting, and just like a chameleon – it becomes one with the environment, using its versatility and flexibility as an advantage. People have still not seen the last from radio, and we will probably listen to our favorite radio hosts for a long time.


By Kenneth Roberts / April 15, 2016


How Do You Write a 30-Second Radio Ad?

There is no formula for writing a 30-second radio ad. There is no one “right” way.

Here is a bare bones, 7-step structure that will enable you write a serviceable radio commercial quickly…assuming you have adequate knowledge of the product or service being advertised.

Step 1: Identify the Call to Action.

The Call to Action is the one action you want the targeted listener to take as a result of hearing your ad.

Because the Call to Action almost always belongs at the end of the spot, with this method you’re beginning by writing your ad’s ending.

In fact, when writing radio copy, I almost always begin with the Call to Action and then work backward.

Step 2: Determine Your Approach.

My favorite approach is Robert Collier’s copywriting dictum that successful advertising enters a conversation the targeted consumer already is having.

Why is it my favorite?

Because it’s easier to quickly establish rapport by going where the consumer is, rather than trying to coax the consumer to come to you.

With certain campaigns, you need to start the conversation. This most frequently occurs when introducing a new product or service…which may require you to make the listener aware of a problem they didn’t know existed.

Step 3: Establish Empathy.

Radio advertising solves problems.

Those problems are the consumers’.

Make it clear that you really do feel their pain, that you understand the problem and its ramifications.

Step 4: Amplify the Pain.

After you’ve identified the targeted listener’s pain point, don’t move on to your sales pitch. Instead, build upon that pain.

It’s not enough simply to identify the problem.

Remind the consumer how serious that problem is to them.

Step 5: Offer the Solution.

There’s no point in highlighting the problem without making it clear that you have the solution for them.

Step 6: Write an Opening Line that Reflects Your Approach.

Most copywriters begin with the first line of the commercial.

Step 7: Make Sure Your Story Flows Naturally and Easily.

Even a 30-second, single-voice radio spot that speaks directly to the consumer needs to be a story.

If you were to break up your copy into paragraphs (as you’ll see in the example below), each paragraph is the equivalent of a chapter in a book or a scene in a story.

The story isn’t stitched together. Instead, it flows easiily and naturally.

Let’s Put This All Together.

Here’s a sample commercial script that took me 10 minutes to write.

It took me twice as long just to describe the process for you.

Can you spot each of the 7 copywriting steps?

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Another Radio Station Lesson from Real Estate Agents

Radio Remote Broadcasts guidelinesOur theme this week appears to be “Lessons Radio Stations Can Learn from Sloppy Real Estate People.”

On Sunday I looked at a few “Open Houses” in the Los Angeles area.

In case you’re not familiar with the term, Investopedia defines “open house” as “a scheduled period of time in which a house or other dwelling is designated to be open for viewing for potential buyers.”

At one of the houses I visited, when I walked in a smartly dressed woman separated herself from the man and woman (apparently prospects) she was speaking with, introduced herself as the real estate agent, and handed me a flyer that described the property for sale.

Then she returned to her conversation with the couple.

The house wasn’t occupied. No furniture. Hardwood floors.

With nothing to absorb sound, the resulting acoustics made it so a normal speaking voice could be heard throughout the house.

The agent and the couple were talking and laughing so loudly that, with those acoustics, I literally couldn’t hear anything the person who accompanied me said to me.

We wandered around the house for a couple of minutes and then gave up; the noise was unbearable.

As we headed for the door, the trio turned to me and the man jovially said, “We accept cash, y’know!”

It was then I understood:

They weren’t a real estate agent and two prospects.

They were three real estate agents. Colleagues. Co-workers.

When I realized I was being driven away by the overbearing sounds of 3 representatives of the same agency, my astonishment quickly was followed by anger.

It was only with great restraint that I refrained from saying, “The three of you are here because you’re representing the seller of this house and instead of speaking to prospects, you’re talking only to each other? In voices so loud that potential buyers can’t hear themselves think??”

Instead, I just started at the 3 of them and left, shaking my head.

I won’t identify the real estate company. Let’s just say those 3 agents didn’t represent the pinnacle of professionalism.

What Does That Have to Do with Radio?

How many radio station remotes (aka “Outside Broadcasts”) have you seen where the station’s promotional staff (yes, some may be interns) stick together in a tight cluster — a closed circle that excludes the listeners, the fans, the P1s who cared enough to come to that live event?

Each time you’ve witnessed that, you’ve seen the results of a promotions director not doing his/her job.

If you’re in charge of promotions at your radio station (Promotions Director, Program Director, etc.), it’s your responsibility to make sure that all onsite representatives of your station understand that they are doing just that: representing your radio station.




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