Over The Line

7/5/1996 

Welcome to the wonderful, wacky world of radio programming and record promotion in the 1990s.  Are we having fun yet?

Unfortunately, that question is answered more often in the negative of late.

The evolution of both the radio and record industries have changed the way we do promotion.

Over the past few months, several Editorials have dealt with the ever-changing relationship between programmers and record promoters. New theories have been expounded about those relationships and all agree that promotion in the 1990’s is a different animal.  However, when push comes to shove, it too often boils down to, “…how many did we get?” at the end of add day.

Promotion people are caught between a rock and a hard place.  The marketing concept calls for a well-conceived game plan involving point-of-purchase displays, television appearances, tour support, promotions, advertising and, oh yeah, radio airplay.  It’s all about marketing…until add day.

The days of “200 out-of-the-box” are long gone.  Don’t get me wrong.  There are still those artists with the right songs who can boom the big numbers in one week.  But more often, we’re looking at building an artist and song over the course of several weeks…or even months.

And it’s not easy.

Programmers are quick to say that they aren’t interested in what other stations are doing; they’re only interested in what’s happening in their own market and what’s right for their audience.  One week later, the same programmers are just as quick to point out the lack of total adds for a record.

What’s a mother to do?

It is imperative, in today’s climate, for record promotion people to understand the programming philosophy of every radio station in their territory.  Mainstream Top 40, Country, Adult Top 40, A/C, Hot A/C, Alternative, Rock, AAA, Urban, Crossover, Dance…all of these are broad strokes.  As we all know, it’s the short strokes that count.

Every radio station is different, as is each programmer.  The philosophy behind the programming stance is often the key.

When a record comes down the pipeline in a record company, it is often “tagged” with a particular label.  Promotion people must look past this label to find what particulars about the record will “talk” to the programmers in their region.

How do you find out this information?  By talking with the programmers.  I don’t mean a casual conversation about life and programming in general.  Take the time to get specific.  Ask them to explain their programming philosophy in depth.  Ask questions.  Gain the knowledge you will need for the time when you’re working them on a particular record.

I don’t know of any programmer who won’t take the time to explain his or her philosophy.  There are two reasons:  First, as programmers, we are an egotistical group who believe we’ve found the cure for cancer.  We like to talk about ourselves and about our stations…what else is there to talk about?  Programming is an abstract art.  We like to postulate on our unique qualifications and beliefs.  Besides, we have great voices and we like to hear ourselves talk.  And who knows?  We might hear ourselves say something important.

Second, by explaining our programming philosophy, it should make future meetings about promotion much simpler.

The one main gripe from programmers about record promotion people is, “They don’t understand.”  If you understand, you’ve gotten past the first big hurdle.

Much was made in the Top 40/Rhythm/Dance/Latin/Whatever circles last week when KPWR Los Angeles APD Bruce St. James announced that he would no longer take record calls on Thursdays.  Bruce didn’t want to take time out of another day to tell record promotion people “no.”  Many felt Bruce was over the line, yet I don’t know of any programmer who is more accessable to the record community.  The simple fact is that Power 106 is virtually unpromotable.  It is a street radio station that is truly unique in the country.  Promotion people who know that (and who know when they have a record that is reacting on the street level) always have an open door with Power 106.  Those who try and fit a round peg in a square hole are the ones who don’t get calls returned…Thursday or any other day.

Harry Nelson now programs two Country radio stations in Boston.  Although they share some of the same audience, each is programmed for a different demographic.  Promotion people need to understand the difference between the two to intelligently promote Harry on what records will fit where.  Trying to get the same record added on both stations just because Harry programs both is a simplistic, and inaccurate, assumption.

What’s the point of this Editorial?  It’s a suggestion that all of us should spend more time doing our homework.  Record promotion people should take the time to get deep information about the programming philosophies of each of their stations.  Programmers should make the time to spend with those promoters who truly want to know the nuts and bolts operations.

In today’s promotion circle, it’s not all about adds.  It’s about increasing spins.  Familiarity with a station’s programming philosophy and the audience can help in talking to a programmer about increasing spins.  Just saying, “Play it more,” isn’t enough.

The magic number that is being bandied about in the record community is 2,000…as in 2,000 spins is the figure when sales really begin to react to airplay.  At 2,000 spins, a record should begin to kick.  To reach that number, a promotion person needs to be loaded with ammunition to convince programmers to continue increasing spins without substantial sales information to serve as a back-up.

Of course, all of this is information is in the Promotion 101 handbook.  As is the promotional trip to Hawaii if all else fails.

As I’ve said before, every record sounds better in Maui!