Why College Radio Is So Important

I love College Radio.  My career started there and I am still a big fan.

My first radio job ever was in the summer of 1967 when I found myself at American Legion “Boys State” at the SUNY campus in Morrisville NY.  How I ended up during the “summer of love” at a military indoctrination program in upstate NY is a another story, but suffice it to say I skipped most of the week-long program when I found that the dorm I was in was home to WCVM, “The College Voice of Morrisville”.

While my fellow Boys-Staters drilled with the Marines and underwent indoctrination sessions on the value of the Vietnam War, I was holed up in the radio studio reading the news.

A year later I arrived at Lehigh University.  By second semester freshman year I was Program Director of one of Lehigh’s two carrier-current radio stations, the then-Classical WLVR.  Within months we changed format to Progressive Rock and the rest is history.

I was a DJ, newsman, did remotes, wrote copy.  There was no Broadcasting major at Lehigh and we barely had a faculty advisor.  We were on our own in the best and worst sense of the word.

At Lehigh I won my first Major Armstrong Award for documentary excellence, “Old Friends” which captured in interviews and music what it was like to grow old.  That was the only independent-study credit I ever got for my college radio work which had become a seven day, 40 hour a week job.

After graduation in 1972 I launched a professional career at WLIR / Long Island, but kept in touch with my College Radio Roots by joining the Board of Directors of IBS, the Intercollegiate Broadcasting System. I served there until 2000 when it was time to pass the torch to a younger generation.  (I also served on the Board of the Major Armstrong Foundation at Columbia University until it dissolved.)

A lot of College Radio is unlistenable, self-indulgent and sloppy.  But occasionally you find a station with great kids, a professional sound and yet none of the commercial mimicry that used to frustrate me so.

In my mind, College Radio should program what other stations can’t or won’t.  It shouldn’t imitate the hot commercial format du jour.

College Radio gives kids a chance to learn the medium, to experiment and fail.  Most will never go on to careers in broadcasting, but all will have a better sense of the medium and the responsibilities one has with the privilege of being on-air.

What Every C.E.O. Can Learn from the Movie "PHIL SPECTOR"

Reading Time:  one minute

Don’t miss the HBO movie “Phil Spector” starring Al Pacino and Helen Mirren, not for the convincing portrayal of an egomaniac rock legend but for the back-story on his murder trial.

For me the best scene was his attorney’s mock courtroom cross-examination of Spector, subjecting him to what was surely going to happen in his real trial. 

The actors in the mock-trial challenge Spector in every possible way, cross-examining him to the point of breaking.  Pacino’s depiction of Spector’s meltdown was classic, with even his character realizing that his team’s grilling showed his weaknesses as a witness.

 

Which is exactly what we do in media training.             

 Our clients aren’t facing life in jail on murder charges but a trial of a different sort in the media and the court of public opinion.  

Our job is to dig deep and find every possible weakness, subjecting those clients to realistic but challenging interview role playing.  Our mock interviews (on-camera and for print) are probably harder than they’ll ever get from real reporters.

That role playing and the subsequent critique give us a chance to anticipate real reporters’ challenging questions and hone the best answers possible.  We tell our clients to never lie, but to focus on the story they’d like to tell.

That’s what good media training should be:  not “charm school”, but facing the tough issues head-on.

Trying To Cancel My Subscription to the NY Times

(reading time less than two minutes)

I gave my wife a Christmas present this year that will save us money and help save the environment:  we are now a two-iPad house.  Which means that, after decades as a print subscriber, I was able this morning to cancel our subscription to the New York Times.  

Though we’re stopping home delivery seven days a week, we are converting to “all digital access”.  Or at least that was the plan.  But the math just doesn’t add up.

Home delivery of the Times, seven days a week, costs $600+ year.  Each paper comes wrapped in a plastic bag (two or three bags in bad weather) and generates hundreds of pounds of recycling each year which must be carted away.

The “all digital” subscription costs $420 a year for full access to the paper on the web, iPhone and iPad.  Same great news, no paper and no recycling.

But here’s where the math gets interesting:  for $265 a year I can get all of that digital access 24x7 plus home delivery of the Sunday paper.  Huh?

“We’re still a newspaper and always will be a newspaper,” the NY Times lady tells me on the phone.  “We still want you as a subscriber with home delivery.”

Oh, really?  

What they actually want is to be able to tell advertisers that they’re delivering their circulars to me in my coveted 06820 zip code, at least once a week, even if I don’t read them.  (Blessedly, the Times’ apps for iPhone and iPad deliver fewer, less intrusive ads.)  

So now we’ll both be reading our ‘paper’ on iPads and just have three pounds of their newsprint coming to our door each week instead of 20. 

But we still get two other daily papers (Stamford Advocate and Norwalk Hour) and two weekly papers (Darien Times and Darien News), so the pulp and paper industry has nothing to fear.

"Learning How To Listen" by Jim Cameron

(reading time 90 seconds)

I met a childhood TV hero last night:  Sonny Fox, star of “Wonderama”, the four hour weekly Sunday morning kids’ show that ran on WNEW-TV in NYC until 1967. 

He was in the area flogging a new book, but at age 87 I knew this would be my first and last chance to meet him.  As prep, I scoured YouTube for old videos of the show, some of which he played at the book reading.

His book talks not only about his days as a kids’ show host but his career after at NBC where he was producer of Tom Snyder’s “Tomorrow Show”.  He also writes eloquently about his time as a POW in World War II, held in a German camp, and how it changed his life.  Did it ever!

“Wonderama” was not your typical kids show.  While Soupy Sales and Chuck McCann were throwing pies and airing cartoons, Sonny Fox was dressed in a suit and tie, interviewing kids.  Not talking down to them or making fun of them, interviewing them.

One clip almost brought tears to my eyes.

Sonny was asking kids about God and heaven.  A precocious young girl said she visits heaven every afternoon and plays there with her dead grandmother.  Sonny asked if she meant this was in her prayers, but she said no, she goes to heaven and plays with real people.

Sonny didn’t mock her, he listened to her, treating her with respect, so she opened up.  He told the audience last night that the little girl’s parents had probably never heard her say such things.

Was she fantasizing?  Delusional? Who knows.  That’s not for Sonny to judge.  He was just asking the questions.

And… he was listening!

So many of us, including reporters, could learn a valuable lesson from Sonny Fox.

MAKING UP THE NEWS - Part Two

How do you handle a reporter who’s asking you to create news so they can report on it?

That was my quandary this week when a freelance writer from Illinois called me asking for a comment on the upcoming centennial of Grand Central Station.  As volunteer Chairman of the CT Rail Commuter Council I get all kinds of calls from reporters seeking my comments, but this was a new one.

“What do you think of the idea of creating a special celebratory drink to be served on (the railroad’s) bar cars,” she asked.

“I don’t know of any such plans,” I told her, suggesting she inquire of Metro-North what their beverage plans might be.

“Well, what if they did create a drink?  Wouldn’t it be a great way to celebrate the Grand Central’s 100^th anniversary,” she persisted.

“Are you reporting the news or trying to create it?” I asked.  “And what kind of a story are you writing anyway?”

“I don’t have an assignment yet,” she admitted.  “I’m just looking for a wine and spirits angle on the Grand Central centennial so I can pitch an editor.”

Gritting my teeth I told her to find out what the facts are about special bar car drinks and then I might comment.  I explained to her that Metro-North bar cars serve more Fosters 'oil cans' than wine and that there are no white jacketed bartenders making martinis in silver shakers to then be served in crystal glasses to commuters.

Now, I’m all for reporters asking for comments on the news.  But when they suggest what the news should be or even try to create it, I have no patience.

FIVE TIPS FOR BEING A GREAT PANELIST

By Amy Fond / Cameron Communications Inc.

I recently trained a banking executive to appear on a panel discussion at a financial convention abroad. Her big concern through-out the training was that she didn't really want to be in the spotlight. The solution? Don't be a panelist.

Being on a panel is all about being in the hot seat. You’re not only interacting with fellow panelists, the audience is constantly watching you -looking for your reaction and how you handle yourself. So how can you make a lasting, positive impression? Here’s just some of what we recommend for success if you’re going to be part of a panel.

INTRODUCE YOURSELF:

Don’t leave it up to someone else to pick out what’s important from your past. Write your own introduction and give it to the moderator. Make sure to include what you’ll be adding to the panel and why people should listen  to what you have to say. Be prepared as well to give a short introduction on the topic. Most times moderators will allow panelists fives minutes each on the agenda. Often speakers will go over, so if you’re last, have a condensed version you can easily sub-in if your time is shortened.

BE RESPONSIVE: 

While others are speaking - take notes. It will be keep your hands busy so you don’t fidget or look nervous and gives you a place to focus. Taking notes will also prevent your mind from wandering when it isn’t your turn and keep you centered on the conversation. Nod or shake your head in response while listening to other speakers so you appear engaged and reactive, and at times pan the audience to see how they’re reacting to what’s being said.

COMPARE AND CONTRAST:

No one wants to watch four panelists all agree with each other. It’s boring! So think of how you can contrast your views with those of your fellow panelists. Research their opinions and point of view before the event. Google them to see if there are any videos of how they speak in public and what they’ve said in the past. Then find ways that you can differ and how you can support your arguments.  Having a contrasting angle will make you more memorable. What’s the point of being on a panel if no one remembers what you said?

CONNECT WITH THE AUDIENCE:

Truth is people really only care about what effects them. If you can’t get your audience to care about what you’re saying – you’ll lose them. Figure out the “What’s In It For Me” and what value you can provide to those attending the panel. Tell stories to help make your point so people become more engaged. Spell out how you can help them and why your point of view is important. Making people think that if they don’t listen they’ll lose out – will make you more valuable.

THE ACTION COMES AFTER:

Chances are the audience will want to speak with you after the panel discussion.  A larger crowd means you made a good impression. Be prepared. After the panel, position yourself in a high traffic location. Let people come to you. Wear something distinctive so people know to look for the “woman in the purple shirt.” Have business cards ready and use the one on one time to reinforce your key messages. 

Appearing on a panel is more than just discussing a topic you know about. To be a good panelist you need to listen, engage and offer your expertise. Putting time into preparing will help you be impactful and most importantly valuable to the audience.

AMY FOND

June 2012