Take a Risk on the Air

7. Take a Risk on the Air

Sometimes you head into a danger zone with a comment, view, question, or decision you make about what goes on the air. Understand that not everything you say will be popular, even if you feel it is true.

A lot of what you can get away with depends on your relationship with management. Even more depends on your level of success. Proven personalities can get away with much more than an unproven talent or new arrival.

Creating Powerful Radio: Performance and Formatics

not one where a host lives in fear of getting the axe. Note to Managers: If a talent calls you and lets you know he or she is about to move into a

potentially dangerous topic, make a decision. If you need to take a moment to consult a lawyer, or another manager, do it quickly.

Is it better to beg for forgiveness than ask for permission? That depends. Trust your instinct or gut feelings, but try not to hold yourself back from potentially powerful moments. Do not be so afraid of failure or getting into trouble that you lose your spontaneity and sense of discovery, risk, or adventure on the air. Live radio is a live experience.

Radio executive Mel Karmazin always backs top multi-media performer Howard Stern. When they worked together at CBS radio, no matter what Stern said, if he “crossed the line” and got the network into trouble, Mel Karmazin paid the penalty fi nes. As a manager, Karmazin believed in Howard and liked the profi ts generated from the show. He understood that talent cannot be restricted. If you want the great moments, you must assume some risk.

At this point many stations have increased their “delay” time and have someone standing by with a fi nger over the “dump button.” Since stations frequently make their on-air product available via alternate delivery sys- tems, such as satellite or computer feeds, talent are less likely to get upset if a few seconds of their shows are deleted from over-the-air broadcasts once in awhile.

In America, there is often greater concern over offending special interest groups than over the occasional expletive that may slip out. Either way, great talent who have strong management backing them up will have

a better chance of surviving and achieving success. The best managers behave honorably. As a manager, if you tell your

talent it is OK to do a certain type of show, you are honor bound to live by that commitment until you mutually agree to change it. Do not fi re talent for your mistake. If you say, “Go ahead and speak your mind, create discussion, we do not mind controversy,” then be prepared for the consequences. Your phone will ring constantly with angry listeners. Your mailbox will be fi lled with hate letters. Fifteen people may march in front of the station, threatening to boycott your biggest advertiser, and your spouse may be embarrassed to tell friends where you work. If you are not ready to live with that on a day- to-day basis, then do not hire people who do those types of shows.

Talent will occasionally do things you would rather they had not done.

34 Valerie Geller

the talent, the greater the risks that artist is likely to take. The payoff can

be enormous, but it may cost you your serenity and security. In Chapter 22, Airchecking, you’ll fi nd various examples and methods

of guiding talent to say what they want to say while generating less hostility or controversy. It is best to establish a line of communication where man- agers know what is happening and can choose what fi ghts to support. Managers do not like unpleasant surprises.