Tommy Kramer Tip #253 – Your Show as a Demo Tape

Whatever you do well, congratulations on that. I mean that sincerely. The good things that you do each day make a great impression.

Similarly, when you say things more than once (as radio continues to do, trying to beat a thought into the listener’s head), or you do “the moral of the story” obligatory recap at the end of something, or say radio clichés (like “on your Monday morning,” “Hump day”), or do something silly and outdated (like “The Mindbender Question of the Day” or “This Day in History”), those make an impression, too. As my friend and partner Alan Mason says, “Everything counts.”

So, weed the garden regularly. Listen to your own show at least once a week. Add new ideas all the time. Consistency = Good. Predictability = Bad.

Think of your show as a demo tape. Because to the listener, it actually IS.

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Tommy Kramer
Talent Coach
214-632-3090 (iPhone)
e-mail: coachtommykramer@gmail.com
Member, Texas Radio Hall of Fame
© 2018 by Tommy Kramer. All rights reserved.

Tommy Kramer Tip #252 – Hire STARS

Way too often, radio stations settle for hiring B or even C-level air talent, because they think they can’t afford better, or that an A-level talent will be “difficult” or just too expensive.

The reality, of course, is that when you hire a STAR, it changes the whole culture of a station.

Whenever you hire a racehorse, the other horses think “Why am I hitched to this plow?” Hiring a major league talent serves as a beacon for the other members of the staff, and makes them start trying things that lead to more and more “memorable moments” – and that’s what stations need to reach a new level of performance and establish a “learning and performance” vibe that runs through the hallways, spreads to every other department (particularly Imaging and Production), and infuses the Sales staff and management with a brighter outlook every single day.

Hire stars, or people who can BECOME stars with coaching and direction. When you settle for less, you’re putting a cap on what you can become. Plus, when you already have stars onboard, other stars want to come work for you.

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Tommy Kramer
Talent Coach
214-632-3090 (iPhone)
e-mail: coachtommykramer@gmail.com
Member, Texas Radio Hall of Fame
© 2018 by Tommy Kramer. All rights reserved.

Tommy Kramer Tip #244 – The Cure for “Puking”

Just last month, an associate sent me this email:

Do you have any suggestions for how to correct a “Ron Radio” delivery? A client of mine in a small market sent their night jock’s audio to me. He is kind of a puker. It’s been forever since I’ve dealt with someone who pukes on the air. I was going to have him put a picture of his wife (or similar) in front of him to maybe make him more conversational. I remember you having a better way of having someone visualize speaking to another person.

My reply:
The picture of your wife works for most people, but with pukers, they have to move in closer to the mic so when they get loud and exaggerated, it really stands out to them. What I do is play a break where the pukey thing happened, then ask the talent to “Say that again, right now, just to me” to create a sense of intimacy. Intimacy kills puking.

The worst disease in radio (or in life, really) is to try to be “bigger” and more expansive. It just makes someone sound like a blowhard. Drastic measures are sometimes necessary. I always remind those people that I’m only two feet away, not twenty. And if that doesn’t work, I let them in on how really great jocks always mock pukers. (No one likes to think of himself being mocked.)

The “Ron Radio” thing may have worked at one time, but not now. One of the best things you can do as a PD is help someone lose that sound.

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Tommy Kramer
Talent Coach
214-632-3090 (iPhone)
e-mail: coachtommykramer@gmail.com
Member, Texas Radio Hall of Fame
© 2018 by Tommy Kramer. All rights reserved.

Tommy Kramer Tip #243 – Make Sure it’s Fully Baked

Despite all the zillions of VERY specific tips that I coach, the people I’ve worked with the longest know that I’m all about developing Personality on the air. The most important mentors in my career stressed that – particularly as “cookie cutter” formats became dominant – Personality was the sweet brown liquid inside the Coca-Cola can.

Just the other day, a guy I’ve worked with for several years took a foray into the world of creating a character voice to do his weather forecasts, and ran it several times during his show. It wasn’t terrible, but it wasn’t ‘ready for prime time’ yet, either. Here’s part of what I wrote in our session recap:

I don’t want to quash your aspirations, but we have to make sure that something is fully baked before we serve it. Characters or other contributors need some sort of backstory to legitimize their presence. And even if a character voice works, something this specific can’t work more than once in a show until it’s really fleshed out and defined. Repeating it later in the show, at this point, is overuse.

For the time being, let’s talk about these things before they hit the air, so you’re not bringing a knife to a gunfight.

Characters don’t have to be fictional, either. My first boss, Larry Ryan in Shreveport, Lousiana, made a seemingly nerdy ‘engineer’ type named Ralph Montgomery, who basically just ran the automation machines on our “Beautiful Music” sister station, into “Mr. Weather” after hearing Ralph do a forecast so deadpan that it was hilarious. Mr. Weather became a HUGE star as Larry helped him develop.

Growth happens a little at a time. It rarely just bursts out in full bloom. But you should always be on the lookout for something you can use to be relevantly different on the air.

– – – – – – –
Tommy Kramer
Talent Coach
214-632-3090 (iPhone)
e-mail: coachtommykramer@gmail.com
Member, Texas Radio Hall of Fame
© 2018 by Tommy Kramer. All rights reserved.

Tommy Kramer Tip #240 – The Last Episode Before the Last Episode

At the end of the Fall 2017 network television season, we saw something unprecedented. The reason you may not have noticed it is that it didn’t work – at all.

“The last episode before the gripping season finale…” was the “trailer” at the end of the NEXT TO LAST episode of at least two series that I regularly watch.

Think about this. “The last episode before the last episode.” Where does the madness end with these stupid network hype machines? “The last episode before the stirring final three episodes” is probably being written into promos right now…by idiots, who’ve bought into the notion that everything needs to be ‘bigger’ and more impressive before anyone will notice it.

But that’s fundamentally wrong, because when we feel overhyped, there’s an oily residue to it that actually makes us resent it. (Or we just ignore it as “white noise” and go on about our business.)

Look at the copy you’re reading today. If it’s full of over-modifiers like “fantastic”, “awesome”, “amazing”, etc. then you should ARBITRARILY take out all but ONE adjective, so it’ll sound more genuine. Otherwise, the things people hear in your promos, commercials, or Imaging are like Jiffy Pop – just full of hot air.

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Tommy Kramer
Talent Coach
214-632-3090 (iPhone)
e-mail: coachtommykramer@gmail.com
Member, Texas Radio Hall of Fame
© 2018 by Tommy Kramer. All rights reserved.

Tommy Kramer Tip #239 – Learn from The Andy Griffith Show

I keep hearing things being READ to me in EXAGGERATED tones: “THANK you for ALL you’ve DONE!”

Thinking about how to help people mature and get past this point, I happened to have an old Andy Griffith Show on while I worked the other day. It was an early episode, from the first season, and Andy himself was REALLY exaggerated, using a loud, cornpone delivery that made him sound like a cartoon character.

But Griffith himself said later in his life that he found it difficult to watch those episodes, when he was still basically just doing his country bumpkin character from “No Time For Sergeants”, his first Broadway play (and later, his first movie). That was kind of the style then; everything was overplayed. And Andy thought he needed to stay in ‘vocal overdrive’ to be the comedy center of the show. But soon after that first season, he realized that Don Knotts (as deputy Barney Fife) was going to be the funny one, and Andy should be the straight man.
From that point on, Andy settled down and got more conversational and realistic. And magic happened. Not only did the show zoom to the top of the ratings, but Andy had found the more plausible delivery that lasted through his “Matlock” days and several movies.

Listen to some audio from your show today. Ask yourself whether you sound like the listener’s friend, or like someone who’s way ‘over the top’ and trying too hard. If it’s the latter, just stop.

You’ll realize your greatest success when you stop trying to BE somebody, and just interact with the listener like you’re talking to a friend.

The days of the loud, high-energy disc jockey are gone.

– – – – – – –
Tommy Kramer
Talent Coach
214-632-3090 (iPhone)
e-mail: coachtommykramer@gmail.com
Member, Texas Radio Hall of Fame
© 2018 by Tommy Kramer. All rights reserved.

Tommy Kramer Tip #238 – The Coaching Process: Step 3 of 3

In the previous two tips, we went over Step 1 – weeding the garden of bad or outdated habits, and really seeing into what an actual Strategy is, rather than just a bunch of Tactics thrown at the wall to see what sticks – and Step 2, which is a crucial building block of developing both Timing and Trust, in what you do on the air and in shaping the knack of pulling people closer to you.

Those are huge, and take some time to believe in, because there are plenty of people who THINK they’re coaches that actually know nothing about starting from scratch and creating an entity that has a real chance to get huge ratings.

Step 3 of my coaching process is the most fun, the longest lasting, and the most imaginative: It’s all about the Art – the “how high can you fly?” quest that all great talents have.

This is where coaching is most important. Michael Jordan had a coach. Phil Jackson took His Airness from just a great player to a Champion. Jack Nicholson has had the same dialogue coach for decades. Tom Brady without Bill Belichick would be Aaron Rogers – great stats, but only one championship, not five.

Here’s how Step 3 works: I strip every “crutch” away. Every little habit that doesn’t serve a purpose or wastes the listener’s time, every additional step that slows down a show’s momentum, every unnecessary word possible, every semi-lame bit you still cling to that’s just there because you haven’t come up with anything better. That leaves ONLY WHAT YOU DO BEST. And we work on making that sound so simple, so easy, that people just gravitate to it because it sounds like you’re having so much fun doing it.

After that “A” side, we work on a “B” side, just like an old vinyl record had, because one-trick ponies eventually lose their appeal.

There are people I’ve worked with for decades. Some have changed formats, some have gone into voice acting careers, some have become the big fish in a small pond, some have become a big fish in a huge pond, but they all have one thing in common: They’re still curious about getting better, seeing more, developing new techniques.

You CAN do it yourself, without a coach. But you can do it much faster WITH a coach. If you fear the coaching process, what you’re really doing is arbitrarily lowering your ceiling on how good you can get.

It’s easy to throw around big, well-known names that I’ve worked with, but there are literally hundreds of people I’ve coached that you’ve probably never heard of that are even more successful, but chose to remain in smaller markets and OWN them. Whichever path you choose, a coach’s job is to help you realize your dreams. If that’s not what’s happening, then you’ve got the wrong coach.

No coach is more talented than his players. But no great player got there by himself.

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Tommy Kramer
Talent Coach
214-632-3090 (iPhone)
e-mail: coachtommykramer@gmail.com
Member, Texas Radio Hall of Fame
© 2017 by Tommy Kramer. All rights reserved.

Tommy Kramer Tip #237 – The Coaching Process: Step 2 of 3

Last week, I let you in on the first step of my coaching process – which is primarily a “weeding the garden” period of stripping away outdated habits, and learning how Strategy is different from Tactics. (Tactics should grow out of the Strategy you’ve chosen for the station and for the show; not the other way around.)

The second step is where the real issues come to the surface: Developing Timing and Trust.

Both solo acts and team shows are all about timing. Stay with something too long, and you’re just another jock that can’t just shut up. Beating subjects into the ground, always searching for one more funny line, etc. just makes you the guest at the party who won’t leave. As Paul Simon wrote, “One man’s ceiling is another man’s floor,” and I’m always amazed at how one or two phone calls will serve as the gauge by which a talent measures his image or performance.

But the vast majority of people never get a PPM device or fill out a diary. Just like going to a restaurant and getting poor service or subpar food, most people don’t take the time to comment to management or on Yelp; they just never go back to that restaurant. This is where Trust comes in. You have to choose what to stand for, what you will do and what you won’t do, and then develop the right timing in getting it on the air in a way that’s digestible.

This is where I work with people more as voice actors than disc jockeys or talk show hosts, because while “Content is King” is still quoted, the reality is that PERFORMANCE is King. Without performance ‘chops’, even the best and most relevant Content will fall flat. And while I do want you to stay top of mind, if you’re a great personality, people will listen, no matter what you do. There’s no one set mold for what makes a great air talent, but having a listenership that trusts you with their time every day is something the great ones have, and the ones that aren’t great yet don’t have.

While I help shape and coach the performance of “bits”, they’re not what you ARE, they’re just things you DO. The shows with my fingerprints on them are always “visit-driven”, not bit-driven. So the trust that we work on in the sessions with each other is very much the same as the level of trust you want from your listener.

A lot of air talents, especially in the Talk arena, think having great guests draws people to them, but that’s only a surface-level ingredient. Los Angeles great Phil Hendrie is proof: his “guests” are usually HIM (playing characters) and he’s absolutely riveting.

My buddy Mancow Muller in Chicago is another great example. He’s run the gamut from “shock jock” to Political commentary, radio to TV, author….and never missed a beat. Always interesting, always keeping things MOVING.

Wally, of The Wally Show on Contemporary Christian network WAY-FM out of Nashville, is a great example of both timing and trust – both in his on-air performance and in our coaching relationship. No one makes me laugh like Wally, and he’s an “idea fountain”.

Next week, Step 3.

– – – – – – –
Tommy Kramer
Talent Coach
214-632-3090 (iPhone)
e-mail: coachtommykramer@gmail.com
Member, Texas Radio Hall of Fame
© 2017 by Tommy Kramer. All rights reserved.

Tommy Kramer Tip #236 – The Coaching Process: Step 1 of 3

Recently, a station manager brought me aboard to work with a new air talent that had just come to the station. Even though the new guy done a couple of sessions with me a year or two ago, he’s still afraid of being coached. The boss told me the guy’s exact words were that “He doesn’t want someone coming along trying to make him sound like everyone else.”

Well, first of all, that’s not what I do. Yes, I have some basic principles that have been proven to work over the course of coaching over 350 stations in all formats. But a lot of times, a talent will harbor this fear of making changes simply because (1) he didn’t work with a good coach, (2) he thinks he knows all he needs to know, and/or (3) he associates the “bits” he does with BEING his identity.

So in case you’re approached with working with a talent coach (and there are only about three that deserve to be called that), I’m going to lay out my 3 Steps of coaching over the course of the next few tips.

Step 1:
Correcting bad habits, and “weeding the garden”.

A lot of things that people are taught nowadays are wrong, because the person telling them they’re good heard the copy of the copy of the copy of the original, and have no idea what the Strategy behind certain techniques actually was at the point of origin. For example, I heard dozens of stations try to copy KVIL in Dallas when morning man Ron Chapman was King of the Hill, but what worked for KVIL wouldn’t work anywhere else, because they were aimed at a specific target audience unique to the Dallas-Ft. Worth area.

So we start with what Strategy is, as opposed to just Tactics. And as a natural offshoot of that, I remove all the typical deejay “crutches” that most talents don’t even realize they have, like always saying “the basics” in the same order, doing the ridiculous double time checks, ending with your name or the station’s name into commercials, always starting Content breaks by talking about yourself first, etc. etc. etc.

This takes a while, just like an actor with a briefcase full of great reviews from when he played Hamlet at the “Grazing Trough Dinner Theater” needs a little time to put that stuff aside when he gets into the Actors Studio.

Step 2 next week.

– – – – – – –
Tommy Kramer
Talent Coach
214-632-3090 (iPhone)
e-mail: coachtommykramer@gmail.com
Member, Texas Radio Hall of Fame
© 2017 by Tommy Kramer. All rights reserved.

Tommy Kramer Tip #227 – Millennial Overspeak, and Why you should Avoid it

Millennial Overspeak is a new dialect. Not every single person in that age group uses it, of course, but it’s an easy (albeit cheap shot) reference for unnecessary glitz, so it’s become a hard-and-fast impression.

Phrases such as “I’m SO going to do that,” or describing something as “Unbelievably, spectacularly good” is overkill. And like everything served up too often, you actually LOSE impact. So the words you’re choosing to make something “bigger” or more “dramatic” usually just make whatever you’re talking about come across as pompous, overstated, or simply trying too hard. These are qualities that push the listener away, rather than bring him or her closer to you.

Let’s try to make our words count. “He was dead” doesn’t need an adverb or adjective. “He was SO dead” doesn’t make it more expressive; it just makes you sound like you have to expand everything in order to feel important. Eww.

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Tommy Kramer
Talent Coach
214-632-3090 (iPhone)
e-mail: coachtommykramer@gmail.com
Member, Texas Radio Hall of Fame
© 2017 by Tommy Kramer. All rights reserved.