Author: Jay Nachlis

What Air Talent Can Learn From Stephen Colbert

Tuesdays With Coleman

Stephen Colbert had a pretty good gig. From 1997 to 2005, he was a correspondent for The Daily Show, where he broke ground on hilarious, sarcastic and often outrageous news reporting. In 2005, he was handed the keys to his own show, The Colbert Report, which followed The Daily Show on Comedy Central for the following nine years. Colbert’s work on this show is even more remarkable when reviewed with the passage of time. If you think hosting your own show as yourself is challenging, try hosting a topical, relevant news show every night in character. Not to mention the fact that the political views Colbert’s character espoused each night were generally the opposite of his own personal outlook. The Colbert Report was a resounding success for the network.

In 2015 David Letterman retired, and Colbert became the new host of The Late Show on CBS.

Then the wheels fell off.

It wasn’t just that The Late Show got hit hard in the ratings—The Tonight Show with Jimmy Fallon consistently beat Colbert overall and with desirable demographics in 2015 and 2016— it was that Colbert abandoned his brand. When preparing for the show’s launch in September 2015, he was faced with the unenviable challenge of moving from hosting as a character to hosting as himself.

It was awkward. Worse, it was vanilla.

When Colbert brought his Daily Show BFF Jon Stewart on the show last year and cleverly let Stewart ask him the questions, Stewart asked Colbert about this transition period.

Colbert mentions the difficulty in even talking about his own wife on the show, since he’d spent the past nine years in a character with a fake wife. He says he believes there wasn’t even a good monologue for the first six months. By 2017, Colbert turned the tide in the ratings. So what changed?

Colbert references his interview with Joe Biden, during which the two shared a common life experience of loss and showed vulnerability.

He mentions how he embraced the art form of the monologue and made it his own through authenticity and putting his own spin on it. Being unafraid to go political following Trump’s election didn’t hurt.

Finally, he talks about how a series of live shows gave the episodes immediacy and urgency, and how he learned to trust those around him.

While only research could effectively answer this question, let’s hypothetically play out getting a read on Colbert’s brand during the transition. Had we applied it to our Brand-Content MatrixSM, we may have seen significant brand strength, with viewers familiar with who he is, what he represents, and a clear understanding of why they watch.

Brand Content Matrix

The content on The Colbert Report was undoubtedly great. Note the content on that show was always true to the brand—if Colbert’s brand was snarky and sarcastic, the content was snarky and sarcastic.

We would have measured perceptions of Colbert as a personality and his show’s images and features.

Strong brand and great content would have placed him in the upper right quadrant of the Brand-Content Matrix, which is where you want to be.

The first year of The Late Show provides a lesson on what could have happened had Colbert not recognized the need to adjust.

First, because Colbert was trying to deliver a more mainstream, centrist show, the check mark on the “Content” line may have slowly moved to the left.

While his brand may have remained strong for some time, the disconnect between the  brand and content would have ultimately pulled the check mark down the “Brand” line.

When you’re preparing your show each day, never forget that your brand and your content are intrinsically connected.

Colbert restored his Brand-Content Matrix by recognizing his content deviation. Do you think he aligned the new show to his brand or modified his brand to align with the content?

The lessons he learned are evergreen for all shows:

Be memorable.

Be vulnerable.

Be authentic.

Trust those around you.

Build a strong brand, and develop great content.

Media is for Branding, not Commoditizing

Tuesdays With Coleman

I spotted a billboard this past week for a cable company that claims you can run a TV campaign for as low as $250.

For less than half the price of a Toro lawn mower, you too can run a TV campaign!

Would you rather have a Kenmore Elite vacuum cleaner?

Or a TV campaign for your business??

Because they’re both the same price!!!

I’m comparing the $250 TV campaign to household items because claiming you can have a television campaign for 250 bucks on a billboard immediately turns television advertising into a commodity.

Is that really a good idea?

The campaign may get the desired results for the cable company. If sales volume is the goal, then on paper, attracting a bunch of new clients that wouldn’t have otherwise spent money seems like a good idea.

Plus, it’s on a DIY platform of sorts, where clients can build their own schedules and even create the spot online. Great!

Anyone out there think a business can run a successful TV campaign for $250? Click below for the answer.

OK, fine. For the sake of argument, let’s just pretend a business can run a branding or tactical campaign the client will consider a success for $250.

Is that really how we should be selling the value of television advertising?

Every form of media advertising has the potential to be wildly effective, with the right message and delivery.

But it should never be treated as a commodity.

At Coleman Insights, we help media properties build strong, long-lasting brands that listeners keep coming back to because the brand means something important to them.

They’re not thought of as commodities.

It’s natural in the face of increased competition to want to find a way to win at any cost—but selling TV campaigns for $250 can only devalue the product.

Not to mention that it puts the focus on the price, not the results.

As I wrote back in December’s “Direct Marketing Is Easy. Brand Marketing is Hard,” brand marketing takes patience and discipline. It is a marathon, not a sprint. Just as programmers carefully craft the positioning of their radio stations based on strategic research to give them the greatest chance of success, sales teams carefully craft campaigns and schedules designed to yield the greatest returns over time for their clients.

Our work is all about increasing the perceived value of media brands. We encourage the sales departments of those brands to engage in the same mission.

4 Lessons From the Last Blockbuster Video

Tuesdays With Coleman

There is no reason why a Blockbuster Video should still be in business.

But in fact, there are quite a few reasons it is.

And when you’re the last one standing in a business segment that many might perceive is from the Mesozoic era, it’s probably a good exercise to ask the obvious question…

How is the last Blockbuster still in business, and what can I learn from it?

The last Blockbuster Video on Earth is in Bend, Oregon—population 94,520.

No kidding, if you go to Blockbuster.com, there is a link that says, “Blockbuster Store Location” that pops up with only the Bend store.

Just 15 years ago, there were 9,000 Blockbusters on Earth, and generally speaking, we all know what went wrong.

Blockbuster missed the move to DVD-by-mail (it even passed up the chance to buy Netflix for $50 million in 2000. Oops). Blockbuster missed the move to DVD in a box (Redbox). It missed the move to streaming. And, perhaps the biggest self-inflicted wound was the dreaded customer-service killing late fee.

So, we know why Blockbuster closed. What’s the last one doing open?

Is it because Bend is such a small town? Doesn’t hold water. Bend is a Nielsen rated market (#196), and what about all the smaller areas that had Blockbusters?

Is it because Bend doesn’t have high speed internet? No. It does.

Well, what? What is it then??

LESSON 1: Promote what differentiates you

When you walk into the last Blockbuster on Earth, the employees wear gear and they sell t-shirts that scream, “Last Blockbuster in America!”. You can buy a “Last Blockbuster” sticker for $2.

It could very easily just be the last Blockbuster on the planet and not tell anyone about it. But what’s the fun in that?

Media brands make subtle changes to their strategies and hope the audience notices. Or, the positioning doesn’t cut through. That’s not how you build an image.

A great exercise for any brand is to think about what truly makes it different. Why consumers choose it over other brands. You may find it’s not what you’re promoting now.

Once you determine what that differentiator is, you hammer it like you’re the last Blockbuster on Earth.

LESSON 2: Use memories and nostalgia

A man drove 1,000 miles to the last Blockbuster because, he said, he “just wanted to relive [his] childhood”.

Its social media is littered with photos of customers taking pictures of themselves at the last Blockbuster on Earth.

Blockbuster brings back memories.

You know what else brings back memories? Music. Funny, radio can be pretty good at capitalizing on emotion too when it remembers to tap into it.

LESSON 3: Make your brand easy to use

We’ve covered the paradox of choice too many times to count in this blog. Today’s consumers are overwhelmed with choices and “subscription fatigue”. A customer at the last Blockbuster on Earth compares Netflix to a dating app. “You’re on it for hours, it’s almost overwhelming.”

No, it is overwhelming.

Customers appreciate the incredible customer service and recommendations provided by the staff at the last Blockbuster on Earth.

Radio is free and already curated. Make the listening experience as easy, painless and personal as possible.

LESSON 4: Make it a fun place to work

When I was a radio program director, you could always tell which station in the cluster was mine. The studio of the last station I programmed was the one with the inflatable couch and the autographs of the station’s celebrity guests on the orange wall that the air staff painted on a Saturday while listening to the new Kings of Leon on repeat.

Just as listeners can tell if your team is having fun, so can customers of every business.

The employees at the last Blockbuster on Earth clearly love working there.

There are pictures of them through the years in the owner’s office.

They write handwritten notes, have been known to offer home delivery, and host movie trivia nights and movie dance parties.

If the last Blockbuster on Earth can thrive, your radio station can too.

Just run it like it’s the last Blockbuster on Earth, and you’ll be just fine.

Hey, Radio! Science Says Surprise Your Listeners.

Tuesdays With Coleman

How predictable is your radio station? Have listeners “heard it all”?

That’s not necessarily a good thing.

There’s a region of our brain called Broca’s Area, and it is known to have multiple roles involving speech production.  It turns out that another function involves surprise. When we’re surprised, it triggers this part of the brain.

But Broca anticipates the predictable. It’s the part of the brain that literally tunes out what it already knows and expects.

I once saw marketer Roy Williams, author of The Wizard of Ads, explaining the Broca lesson in terms of radio contesting. There was a time when winning 25 bucks was a big deal. Until listeners heard $100 given away, then $1,000, and so on.

Listeners had certain expectations for morning drive radio before Howard Stern. Howard shattered those expectations, thereby stimulating Broca’s Area and becoming a superstar.

I recently visited a friend in Las Vegas and experienced an example of Broca stimulation.

Go figure, it was a billboard for a hospital.

Hospitals used to only run basic billboard campaigns. Name, location, specialization maybe. Picture of a patient. “The cardiovascular hospital.”

Then, we saw billboards for emergency rooms with digital wait times.

Broca!

Now it’s not quite as unusual to see those wait time billboards. Still neat and effective, but the element of surprise has passed.

The board for St. Rose Dominican Hospitals in Las Vegas does something I’d never seen before.

It welcomes new babies in real time.

The digital message I saw welcomed a baby by first name that was born 15 minutes prior.

The hospital is even using a mnemonic device in the labor and delivery unit itself—they play a lullaby throughout the entire hospital every time a baby is born.

They stimulate Broca with the billboard birth announcement and reinforce it in-house with the lullaby.

Have you been watching Jeopardy! lately? Lots more people have, because contestant James Holzhauer is currently torching records left and right.

He’s a professional sports gambler from Las Vegas. Can’t recall ever seeing one of those (at least mentioned) as a Jeopardy! contestant before.

He regularly goes all-in or heavily in on Daily Doubles, betting 10, 20, $30,000 or more.

Never seen that before.

He’s broken the record for single-day winnings, then broke his own records. $131,137 in one game?

Never seen that before.

Jeopardy James is one big ball of Broca stimulation, and there are two ways to look at it from the show’s standpoint.

#1, We’re over budget!

#2, This guy is a marketing machine. It’s been great for the show. There’s great buzz. Our ratings are soaring.

I think the Jeopardy! folks are probably pretty happy right now.

Now, think about Broca’s Area in the context of your radio station.

Before you do, be careful not to confuse Broca with message repetition. Your listeners lead busy lives, have short attention spans and are not paying attention to your station like you may think.

Therefore, repeating the same positioner over and over again is important. Running benchmarks at the same time has value. You may utilize a mnemonic device, like a jingle, sound effect or voice that listeners associate with your station. These help build images through repetition.

So, what can you do to stimulate Broca?

Stimulating Broca can be additive to images, like the ones we track in strategic perceptual research.

The hospital billboard and Jeopardy James create buzz.

Buzz builds top-of-mind awareness.

If you live in Las Vegas, maybe you’re more likely to think of that hospital first—just as you’re trying to get listeners to think of your radio station first.

You’re very likely to think of them as the baby hospital, which I’m sure is an image they’d love to own.

But they simply could have put a tag line up on the board, right? “First for babies?” “The baby hospital?”

Would that build the image as fast as a real-time birth clock??

Sure, you can throw a tag line or an artist on a billboard. But I’ll bet you can come up with something we haven’t seen before.

And sure, Jeopardy James is lightning in a bottle. Contestants like him and Ken Jennings are once-in-a-blue-moon events.

But it is a reminder to seek out memorable talent and to find ways of presenting your product that the listener hasn’t heard before.

And those repeating messages I mentioned? Just because they say the same thing doesn’t mean they need to be presented the same way each time. When they are, they become wallpaper.

So think about your core messaging and the images you want to build with your listeners.

Think about all the ways you’ve relayed and presented the messaging up until now.

Then, think about the opposite. Something completely different. Something even you haven’t heard before.

Broca (and your listeners) will thank you.

“Uptown Funk” is the Number One Song with Supporters and Detractors of President Trump

MORRISVILLE, NC, April 23, 2019 – Market research firm Coleman Insights is releasing the results of a new project, “The Contemporary Music SuperStudy,” which examines the appetite for contemporary music among 12- to 54-year-olds across the United States and Canada.

The study measures the appeal of the most consumed songs of 2018 based on radio airplay, streaming and sales data, as reported by Nielsen BDSradio. Using Nielsen’s chart data as the foundational data set for this research study, Coleman Insights is releasing its full findings in its Tuesdays With Coleman blog post, “Bruno Mars is the Great Unifier”. Below are highlights of the findings:

  • Country significantly over-performs with Trump supporters, while Hip Hop/R&B performs dramatically better among those with negative perceptions of the president than among those who support him
  • Despite marked differences in music tastes, Trump supporters and detractors agree on the same #1 song overall, “Uptown Funk” by Mark Ronson featuring Bruno Mars
  • The contemporary song Americans and Canadians like least is “Gucci Gang” by Lil Pump

Additional insights from the landmark study include:

  • Hip Hop/R&B is the most consumed genre of 2018 and invokes the most passion but is significantly polarizing
  • Pop is the one sound that fans of all other contemporary styles find appealing
  • Hip Hop/R&B performs much better with daily music streaming service users than it does with daily radio users, while the opposite is true with Country.

Coleman Insights President Warren Kurtzman says, “This study demonstrates that many factors—age, gender, ethnicity, geography and political views—influence our music tastes. It also shows how Pop music may be the one thing we can all agree upon, as epitomized by the massive and enduring popularity of “Uptown Funk.”

Coleman Insights will present a deeper look at the study in an upcoming webinar, “The Contemporary Music SuperStudy Deep Dive,” which will take place between 2:00 PM and 3:00 PM EDT on Tuesday, April 30th. Registration is now open for the webinar here.

About Coleman Insights

Coleman Insights, headquartered in Research Triangle Park, NC, with offices in Philadelphia and Hamburg, Germany, is a firm that has helped media properties build strong brands and develop great content since 1978. Its clients include hundreds of media properties in North America, South America, Europe and Asia, including those owned by iHeartMedia, Entercom Communications Corporation, Bonneville International Corporation, Hubbard Radio, Educational Media Foundation, Stingray Radio, Emmis Communications, SummitMedia, Salem Communications, Connoisseur Media, Corporación Radial del Perú, Service Broadcasting Corporation, CRISTA Media, Delmarva Broadcasting Company and Townsquare Media. Additional information about Coleman Insights is available at www.ColemanInsights.com.

Press contacts:

Jay Nachlis/Coleman Insights

(919) 226-0453

jaynachlis@colemaninsights.com

Coleman Insights to Present Contemporary Music SuperStudy at Worldwide Radio Summit

Contemporary Music SuperStudy

Coleman Insights will debut the findings of its first Contemporary Music SuperStudy, the biggest music test of the year, at Worldwide Radio Summit 2019 at Castaway in Burbank at 11:45am on Friday, March 29.

The study covers the most consumed songs of the past year by streaming, sales and radio airplay as measured by Nielsen Music – BDSradio with 1,000 people ages 12-54 across the United States and Canada.

Questions to be answered in the Contemporary Music SuperStudy include:

  • What are the most popular contemporary music styles?
  • Which two styles of music definitely, completely, absolutely do not work together?
  • Why is the streaming chart so different from the airplay chart?
  • What are the best and worst testing songs?
  • Which song has the distinction of having the lowest evaluation score and the highest burn score of all songs tested?
  • Which song was one of the highest evaluated Country songs in the entire test…yet one of the worst testing Country songs among Country music fans?
  • What is the #1 song with Trump lovers and haters?

Don’t miss when we reveal the results of the biggest music test of the year…the groundbreaking Coleman Insights Contemporary Music SuperStudy.

Is Your Radio Station a Bunch of Jerks?

Tuesdays With Coleman

Two years ago, I attended a Carolina Hurricanes game. While sitting in the lower level, I took a look around and snapped this picture on my phone.

Carolina Hurricanes Bunch of Jerks

This was a National Hockey League game between the Hurricanes and Buffalo Sabres on a Friday night in Raleigh, North Carolina, and the number of empty seats was staggering. That night, I went home and wrote a blog I posted on LinkedIn called, “How to Fix the Carolina Hurricanes.” I made reference to some special moments I had in radio during the team’s Stanley Cup run a decade earlier.

Fixing hockey teams is not my domain. That’s for hockey experts to figure out. What I felt that night was a troubling trend indicative of a team bordering on irrelevance in my town.  Somehow, some way, my team had to fix the Carolina Hurricanes experience. History shows us that the Carolina Hurricanes experience is not the Detroit Red Wings experience nor the Toronto Maple Leafs experience. The Carolina Hurricanes experience, at its best, is unlike any other in the NHL. It is not an experience you can plop into any other city. And that’s exactly what makes it special.

Central North Carolina is college basketball country. Early on in the Hurricanes’ existence in Raleigh (the team moved here from Hartford in 1997), it became apparent that fans liked bringing some of that college sports vibe to their hockey. That included things like air horns in the arena. Tailgating and day-long barbeques in the parking lot. A pig for a mascot.

Over the years, the bloom faded from the rose. There were fewer tailgates, fewer air horns and fewer people.

The Hurricanes haven’t made the playoffs since 2009, and Captain Obvious would probably say that winning fixes everything.

And that would generally be true.

But it’s also fair to expect the Hurricanes to have up- and down-swings like every other team in every other sport, and the franchise can’t rely solely on winning alone for long-term success. There has to be an experience that attracts the fans. In that blog two years ago, there was one line I wrote and typed in bold for emphasis:

A team in a non-traditional hockey market requires non-traditional marketing.

Dallas billionaire Tom Dundon, primary investor of TopGolf, took over ownership of the team in January 2018, and change was in the air quickly. There was the game during which fans in the upper level had their seats upgraded to the lower level. There was a Twitter-only giveaway. And most of all, there is the Storm Surge.

The Storm Surge is a victory celebration, during which the Hurricanes players line up and start a Viking clap over their heads. This is followed by a different type of celebration every night. The players have slid down the ice knocking over players posing as bowling pins. They’ve played Duck Duck Goose. They’ve done a limbo line. And recently, guest Storm Surge participant Evander Holyfield walked out on the ice to deliver a faux-knockout of Hurricanes center Jordan Martinook. Martinook fell perfectly to the ice and was promptly dragged off by teammates Justin Williams and Michael Ferland.

Hockey traditionalists hate the Storm Surge.

A few weeks back, iconic hockey commentator Don Cherry railed the team over their childish celebrations, calling the Carolina Hurricanes a “bunch of jerks.

The next day, the team was getting “Bunch of Jerks” t-shirts printed and ready for sale.

Carolina Hurricanes Bunch of Jerks t-shirts

The next Storm Surge featured a brand new “Bunch of Jerks” logo projected on the ice.

Non-traditional marketing has returned to a non-traditional team.

The Carolina Hurricanes organization just provided a road map for your local radio station’s branding and marketing strategy. While this is a sports story, it is applicable to every station in every format in every city.

  • YOUR RADIO STATION SHOULD NOT SOUND LIKE ANY OTHER STATION ON THE PLANET.

The Hurricanes have re-established a non-traditional identity. Like the tailgates and air horns that preceded them, the current Storm-Surging Canes are fun and a little bit out there for the hockey world. The fact that it wouldn’t work elsewhere is what makes it special. While your radio station is likely influenced by others, make the station’s identity uniquely reflective of your audience and your city.

  • GET YOUR TEAM’S BUY-IN.

On Limbo Surge night, team captain Justin Williams sent a group text to media relations and team services asking if “Limbo Rock” by Chubby Checker could be played in the arena (even providing the link to listen and download.)

If Hurricanes executives said to the team, “Hey guys, the next night, here’s what your Storm Surge is going to look like,” do you think that would be as effective?

The Storm Surge works because it goes bottom up, not top down. When your talent is invested in the mission and given freedom to contribute, you’re more likely to get magical results—just as when players are invested.

  • MOTIVATION IS A POWERFUL TOOL.

The Evander Holyfield Storm Surge obviously took some planning. They made a special jersey with 4X on the back (to acknowledge he’s a four-time heavyweight champion). It’s not like the Hurricanes were playing a cellar-dwelling team. They were taking on the St. Louis Blues, a team that had just set a franchise record for consecutive wins (11) a week earlier. The Canes don’t do Storm Surges when they lose, so it would be a real bummer to put forth all that effort for Holyfield just to lose the game.

But they didn’t lose the game.

You can just imagine how much the players, knowing how awesome a celebration lurked around the corner, wanted to beat the Blues so they could watch Evander Holyfield knock out their teammate.

People love having something to work towards. What tangible goals can you set at your radio station that will result in celebration?

  • BE READY TO REACT TO BE AWESOME.

We can’t plan everything. What we can do is stay alert and always be prepared to pivot. The Hurricanes didn’t know Don Cherry would call their team a bunch of jerks. And they could have very easily only done a social media post about it. Or nothing at all. But coordinated mobilization happened quickly, from logo design to printing to social media to interviews.

Your radio station will have many opportunities to be awesome that you don’t know about yet. Don’t miss the opportunities when they arise.

  • FUN, FUN AND MORE FUN.

Hockey is a business. Radio is a business. In both, it’s easy to get caught up in the business side of it. But if you’re in hockey, you started playing because of the unbridled joy you felt on the ice. If you’re in radio, you got in because of the unbridled joy you felt, whether behind the microphone or on the streets.

Winning may be fixing things for the Hurricanes, but you can also make the case that the fun brought the winning.

One of my former program directors, Casey Keating, liked to say, “The station that wins in the hallways wins on the air.”

See? Works in radio, too.

What’s your Brand’s Social Currency?

I have a small circle of close friends, so it sparked my interest when several of the local ones mentioned a new bar in town called The Atlantic Lounge.

Here’s what you need to know about this new watering hole in downtown Raleigh, NC:

  • It’s modeled after a speakeasy
  • You have to have a “key” to get in or come as a guest of a member with a key
  • To get a key, you send an email to a specific address and request one
  • You’ll likely have to wait a little while to get a key because they’re only offering them on an “occasional basis”
  • The key will cost you $40 once you’re approved
Atlantic Lounge, Raleigh NC social currency
The Atlantic Lounge in Raleigh, NC builds social currency by requiring the purchase of a $40 key to enter and limiting access to keys

My wife is dying to get a key, because she wants the status and it must be the hip new place to be.

I can’t even, but I get it.

People like to feel special. They like to think they are getting something exclusive.

In his book “Contagious: Why Things Catch On,” author Jonah Berger credits the following common ingredients or factors of ideas or brands that catch on:

  • Social currency (sharing things that make us look good);
  • Triggers (things that keep ideas and products top-of-mind);
  • Emotion (when we care, we share);
  • Public (the more visible, the more opportunity to imitate);
  • Practical value (sharing things that are useful to others);
  • Stories (highly effective way to sell your brand)

The story of The Atlantic Lounge falls in the social currency category. Telling your friends about this bar makes you look good because you have information about a cool new place. Having a key makes you look cool because it is exclusive and not everyone can get it.

There are, in fact, similar examples in the book to the Atlantic Lounge. Barclay Prime in Philadelphia could have been just another steakhouse, except that it launched with a $100 cheesesteak on the menu. It’s not about how many people order the sandwich. It’s about the restaurant being top-of-mind because of it. It’s people who haven’t even been to the restaurant that talk about it. It’s the publications and internet sites that cover it. It’s the visits from the TV food shows. It’s the celebrities that stop by.

It’s social currency.

An even better example may be Please Don’t Tell, a bar in New York’s East Village.

After you walk into Crif Dogs, a hot dog shop that purports to have “NYC’s #1 Weiner,” you enter an old-fashioned phone booth, pick up the phone and dial a number. After a voice answers and you’re approved, the wall of the phone booth opens to a small room with a bar in the center. The bar’s website has one picture and a phone number. No other pages, no other information.

“Did you hear about the bar in a hot dog shop with an old-fashioned phone booth? It’s so cool! You have to get approved, then the phone booth opens up into the bar!”

Social currency.

And so, it’s time to consider how to make social currency work for your radio station or podcast or media brand.

Every city has steakhouses, many of which are interchangeable. But Barclay Prime is the only one with a $100 cheesesteak.

Every city has bars, many of which are interchangeable. But the Atlantic Lounge has a $40 key. And Please Don’t Tell has a phone booth in a hot dog shop.

Every city has radio stations, many of which are interchangeable.

They have different styles of music or talk, just as restaurants and bars have different menus.

They have different personalities, just as restaurants and bars have different servers and ways of presenting the product.

But how is your radio station, podcast or media brand creating social currency?

You don’t need (or want) a long list of things.

Barclay Prime has one thing: the $100 cheesesteak.

The Atlantic Lounge has one thing: the $40 key.

Please Don’t Tell has one thing: the phone booth.

What’s your one thing?

What’s your social currency?

How Amazon Uses Research for World Domination

“Hey let’s put that song in rotation, it sounds good on the air.”

“I think that morning show benchmark is really gaining traction. My wife and her friends love it.”

“The station is sounding too old. It’s probably time to start playing some newer music.”

Is this is how your radio station conducts research?

Radio is fighting daily battles within a never-ending war for top-of-mind awareness. This is no time to trust your request line or mother-in-law for market intelligence. Rolling the dice is not a sound strategy.

Amazon is often rightfully credited with coming up with innovative ideas. How Amazon evolves those ideas into big, successful initiatives is by utilizing market research.

When the company launched Amazon Prime, it offered unlimited two-day shipping for $79 per year. The price increased to $99 and now $119, but also includes added features like Amazon Music and Amazon Prime Video. How did Amazon navigate which features to focus on and which price points were viable?

Research.

Amazon doesn’t just use research to determine how to grow – it uses research to know when to quit.

Even Amazon fails sometimes, as with the Fire Phone, Amazon Local and Amazon Destinations. By using research to track customer perceptions and product/market fit, Amazon was able to mitigate further losses and shift resources into profitable segments.

Do you really know what’s working and what’s not working on your radio station? What if you’re running a feature that’s not compatible with the brand and you have no idea? What if the only measurement you have of your morning show is ratings and you don’t actually know if its familiarity and appeal are growing?

Rolling the dice is, as they say, a crapshoot.

Amazon founder Jeff Bezos likes to say “We start with the customer and work backward.”

Are you truly focused on your customer?

Sure, you can gather the troops in a conference room and detail your target listener on a whiteboard. But wouldn’t it be nicer to actually know who your listeners are instead of guessing based on wobbly ratings? Wouldn’t it be helpful to know which ones have the best potential of converting to P1s?

You better believe Amazon knows all about its competitors, probably better than their competitors know themselves.

They’ve done their research.

How much do you know about your competition and its listeners?

Radio should constantly innovate with fresh, new ways of entertaining its consumers. By conducting research to identify strengths, weaknesses and opportunities, you can focus on what works and feel confident your strategy is sound and optimized for success.

It sure beats rolling the dice.

Radio and the Death of Anticipation

Tuesdays With Coleman

Somewhere along the line, anticipation died.

It may have been when Heinz started selling ketchup in a plastic container, and you no longer had to excavate your prize from a glass bottle with a knife.

 

Heinz ketchup anticipation

It may have been when smartphones reached critical mass, and the answer to every single question in the universe was suddenly accessible in less than 10 seconds.

Perhaps it was when you no longer had to memorize a phone number. Or figure out math in your head. Or call a theater to get movie times. Or send letters in the mail. Or use a travel agent.

Anticipation doesn’t exist anymore because technology took it out to pasture with the local TV weather report. You know, the one you can get on your phone in 10 seconds.

Sometimes our “instant gratification” society doesn’t align with the way radio has always done things.

In the beginning of the 11th episode of WKRP in Cincinnati, Johnny Fever accidentally tells listeners the station will be giving away five thousand dollars to one lucky listener. Program Director Andy Travis says, “You read the memo wrong! It was fifty dollars! Five thousand dollars was the whole budget!”

When we have Powerball jackpots that grow over a billion dollars, maybe it’s harder to get excited about fifty bucks.

That’s also why in-the-moment experiences are more important than ever.

Consider the Coleman Insights Brand-Content MatrixSM.

Brand Content Matrix

When contemplating programming elements for your radio station, it’s always been important to aim for great in-the-moment content that supports your brand.

Today, it may be worthwhile to consider just how much of an in-the-moment world we live in and how much harder we are to impress.

Live sports and podcasts serve this need for instant gratification.

With radio, you’re not sure what you’ll hear when you tune in. With a podcast, you get to hear what you want, when you want it, and if you don’t like something, you can skip it. Instant gratification.

In-the-moment radio contests like “The Secret Sound” can be valuable because the entertainment can be as interesting as or even more important than the prize.

When Fox debuted their new singing competition, The Masked Singer, I was hooked from the get go. Then I discovered only one singer would be revealed each night. And I had to watch through the entire episode to see the reveal. Now I’m so hooked, I have to watch it live.

It’s brilliant.

In a world of instant gratification, TV is finding creative ways to motivate its viewers to avoid their DVRs and stay hooked on its programming.

Building strong top-of-mind brands that deliver incredible in-the-moment content is also how radio will satisfy listeners and keep them coming back for more.