As robotics and automation become more advanced, we continue to see innovators creating technology with a more human, personalized touch. This trend has been on display in recent years at CES.
Robots have always been given human names – Robbie the Robot in the classic 1950’s movie, “The Forbidden Planet” and even “Rosie,” the maid for “The Jetson’s”
(pictured) in that animated show from the 60’s that was a pop culture and mass appeal hit.
Of course, the “technology runs amok” icon was a combination computer/robot named H.A.L., the non-human star of “2001: A Space Odyssey.”
The concept of humanized robots hit that all-important next level in the 80’s film directed by Ridley Scott, “Bladerunner,” where the evil Tyrell Corporations manufactured worker (and pleasure!) robots called “Replicants.” The screenplay was adapted by Philip K. Dick’s novel, “Do Androids Dream of Electric Sheep?”
Tyrell’s motto: Their creations were “more human than human,” (the line that was eventually transformed into a hit song by White Zombie). Only a sophisticated test could semi-accurately identify replicants from their human predecessors, but only some of the time.
Today, these sci-fi philosophies permeate business and industry. In automotive technology parlance, there’s the HMI – or Human Machine Interface. The idea is removing the friction and clunkiness when us human drivers attempt to operate our vehicles, especially those way-too-complicated infotainment systems.
Technically, that’s precisely what Siri, Alexa, and the myriad other “voices” attempt to do when they connect us with the information, entertainment, and experiences we seek. Over time, voice recognition technologies have improved, mimicking a conversation we have with our homes, our cars, and the many other machines learning to interact with us – as we interact with them.
For brands, a more human connection is a goal that is rising in importance. In a recent essay in Entrepreneur, Danish business author and start-up expert Jonathan Løw quotes a Harvard Business Review article . He makes the case that brands thought to be “more human” foster more consumer engagement, innovation, loyalty, and even revenue.
The 2019 study summarized by psychologist and university professor Adam Waytz is titled “When Customers Want to See the Human Behind the Product.” It
suggests that has the Digital Age has permeated our culture, interest in handmade products is amplified, explaining the success of sites like Etsy that feature a cornucopia of crafty products and creations.
In some ways, this also explains the increasing popularity of turntables and vinyl records. As the production of music has become more digitized, reduced to interchangeable mp3 files, we crave the tactile experience of putting a tone arm on a revolving black disk, watching and listening to the magic happen.
The success of Jack White’s Third Man Records operation – a pop culture Detroit-based haven that houses a hugely successful vinyl record plant (covered here in
JacoBLOG when it opened during Thanksgiving weekend in 2017.) I was there that weekend, like a kid in a music candy store.
In a new story in The Atlantic, Spencer Kornhaber traces the story behind White’s venture, a true love affair with the very human process of creating, recording, and memorializing music onto vinyl – a format where “flubs, flaws, and interference” becoming selling points.”
The trend toward the authenticity of vinyl is also an outgrowth of the continued pushback over streaming that has gained steam over the past decade.
As Kornhaber points out “the devaluing of music as an art form, many artists worry, is hardwired into the streaming format.”
The breakdown of the relationship between artist and fan is attributed to streaming, which has all but eliminated the album, listening to songs and entire album sides in their entirety, the disappearance of album artwork, and liner notes – all conspiring to erode the bond between musicians, writers, and consumers. There was also something very communal in sitting around with friends, listening to albums, talking music, and other stuff.
There is a tendency called the “effort heuristic,” where we can experience something being created, that carries greater product value with consumers.
Whether we watch our deli sandwich being made right before our eyes or we observe a DJ doing her show, Harvard Business School professors Ryan Buell and Michael Norton say this brings a certain appreciation and authenticity to a world that has become increasingly automated.
And that brings us back to radio and the ways in which we “manage our brands” to be more human, real, and interactive. Brands that are “in the moment” – that is, live – have an advantage over those that are manufactured.
If you apply that to media in general, and audio specifically, you can envision a competitive landscape where it’s ADVANTAGE: radio – a circumstance that’s been a rarity these past couple of decades.
Jonathan Løw describes what he calls “a human brand,” and provides real life examples. He notes that when Lyft entered a vertical already dominated by first mover Uber, they encouraged riders to sit in the front seat with their driver.
Or the way in which Southwest Airlines encouraged singalongs between customers and crew members. (Imagine that happening today in our not-so-friendly skies.)
He suggests that brands evaluate their customer relationships, followed by this key question:
“Can you imagine the relationship in a more human way?”
And the answer forces us to think about how radio’s programmers can translate the on-air experience so a listener gets the same benefits they receive now, but with
humanity and authenticity.
Yes, radio is simple, free, and always “on.” But what can we do to humanize the experience – to make it more real?
It might mean more opportunities for listeners to interact with fans – on the air and in social media (where there’s already a demonstrated value), the opportunity to do a “Hey mom, I’m on KLOS” feature where a listener plays DJ for an hour on Sunday night, or even reminders the morning show and other announcer are, in fact, LIVE.
Assuming, of course, they are.
If there was ever a time to reconsider how much we voicetrack and the ways in which we execute it, it’s now.
In a world where radio competes against the algorithmic artificial intelligence of Spotify, Pandora, and prerecorded podcasts, there is an edge to being live and in the moment – especially if we point it out.
It is notable that companies like Veritone are now marketing the use of synthesizing radio voices to provide the presence of popular personalities in more promos,
ads, and other moments.
Earlier this year, Inside Radio covered how Bert Weiss, mastermind behind “The Bert Show” is using the technology to provide more of himself to this growing list of affiliates. Honored by the NAB last year, Veritone’s VaaS (Voice as a Service) product is designed to bridge the gap.
As much as broadcast radio adopts digital technology to its repertoire – a practice I have long supported – it should not lose sight of the “old school” experience it brings to listening, whether it’s music or spoken word radio.
To make great, live, in the moment radio is exponentially more difficult than throwing together yet another playlist on Spotify or listen to seemingly endless party songs on YouTube.
Like vinyl is to music, radio is a paradox in the audio entertainment arena. It may lack the on-demand, constructed sound of podcasts. But it makes up for that with a live, anything-can-happen environment – the same vibe that punctuated FM radio when it first emerged as an antidote to the tightly wrapped, safe, hit-driven Top 40 stations of the era.
When radio “breathes,” mistakes can happen. But so can those moments of raw spontaneity and utter brilliance. When there are humans behind the mic and behind the scenes, radio can be the most authentic of all media.
How to regain that spirit of unpredictability, whimsy, and not knowing exactly what’s coming next?
It’s a much heavier lift than establishing your power current rotation or making out the weekend voicetracking schedule.
WWJWS?
What would Jack White say?
There’s no formula, of course. If there were, anyone could record a hit record or own the ratings.
But when there’s the human touch added to media and art, White summarizes it best:
“There’s magic dust in there.”
Jacobs Media has consistently walked the walk in the digital space, providing insights and guidance through its well-read national Techsurveys.
In 2008, jacapps was launched - a mobile apps company that has designed and built more than 1,300 apps for both the Apple and Android platforms. In 2013, the DASH Conference was created - a mashup of radio and automotive, designed to foster better understanding of the "connected car" and its impact.
Along with providing the creative and intellectual direction for the company, Fred consults many of Jacobs Media's commercial and public radio clients, in addition to media brands looking to thrive in the rapidly changing tech environment.
Fred was inducted into the Radio Hall of Fame in 2018.
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For the sake of irony, I thought about asking Siri to fill in the comment section. But seriously, you’ve inspired me to create some imaging and positioning pieces. It’s also good to once again be one of your clients.
We’re glad you’re our client, too. Thanks for the comment (and for NOT using Siri).
Alexa, read me Fred Jacobs’ blog post for today … LOL
I’ve been agonizing over the correct balance between music tracks and personality presence/commentary/participation.
My sense is the industry is making itself too much like a simple curated music stream, of which there are way-too-many already available online and playable in all the same ways radio programming is played. Brief appearances from the announcer three or four times an hour? Most tracks neither front nor back announced? Who needs radio for that?
I also realized that all the syndicated shows that we are always being offered are not about the music selection being played. They are about the personalities presenting the music.
Which makes me think we’ve become “too efficient”. Maybe we need more rather than less input from our announcers, even though that means less rather than more wall-to-wall music?
No hard and fast “benchmark,” David. Much depends on your talent. Do they have the ability to provide more content? Do they have a strong sense for what you want? What does the audience think (have you conducted/commissioned audience research lately). I believe your conclusion is accurate – over the long haul, a wall-to-wall music strategy will run out of steam. Precisely when that happens and which brands might be most affected is an unknown. It’s a matter of evaluating your talent, maybe starting with one daypart to see how it goes. But there’s no one-size-fits-all. Hope this helps.
Thank you for the courtesy of a personal reply.
You touch on a point which perhaps you might wish to discuss in one of your daily insights; or point me to if you have recently done so – how to commission/conduct >>affordable<< audience research in small markets and on very small budgets. I'm flying blind – as are so many of us – and those of us who aren't flying blind are using out of date and not necessarily authoritative data.
I also totally agree about the depending on talent factor. How to help talent become more talented? Another topic, perhaps? 🙂
Both are meaty topics. Radio is an industry woefully low on the R&D. Doing research on the cheap has its limitations, but in most cases, somewhat better than none at all. Discovering and coaching talent is another thing entirely. Not being snarky, David, but we do charge to answer these questions, and we’d be happy to help. 🙂
Meantime, thanks for reading our blog.
I think some formats, like Classic Hits, can serve as a broadcast jukebox in cases where it may be easier to use radio than a digital device.
Even on the “connected dashboard” it may often be easier when driving to punch up your P1 FM choice than to keep interacting with a customized stream every time it guesses wrong and plays something you didn’t want to hear. Or maybe it’s a radio playing at work where multiple tastes have to be serviced by one audio source.
One advantage we have is our ongoing music testing (which, even though confined to the larger ownership groups and the larger markets, filters down to the smaller stations as they — hopefully — get access to BDS or Mediabase) and our ratings-driven “consensus playlist” approach. That works for us when any listener just wants to hear some of their favorites and not worry about tracks that appeal to only them.
It doesn’t work for every station, or every format, or every market. It very likely works better for Classic Hits than it does for Classic Rock. It is not likely to work for any current-based format.
But it does need to be an option, because in some circumstances “clutter-free” (and that’s how a lot of listeners perceive any extra announcer talk, sad to say) is the more competitive presentation.
Hi, KM
Thanks for your helpful comments.
I got a bit lost towards the end – when you say “it” works better for classic hits and doesn’t work for current formats, does “it” mean wall-to-wall music or prominent personalities?
I’m commenting here after commenting on Facebook. I suppose that makes me a bit “extra.” In any event … I have to wonder how many current music radio personalities have only ever known tracking; and, as a result, wouldn’t be able to comfortably or competently pull off a live show.
Which reminds me….
A couple of decades ago, I was involved with a special weekend where for simplicity sake, we divided the music up into 4 categories, hand-selected songs for each, put together a simple sequence sheet for the categories, and told the jocks they could select whatever songs were available by category, as long as they followed the sequence. For a couple, it was like we shut off the oxygen in the studio. They were literally in a panic without seeing their next songs displayed on a screen chosen by a piece of software. Not to mention, using the thought process to come up with just the right song that would segue nicely after the one they were playing. OMG.
I learned a lot that day.
You’re right.
This takes me back to a time when a CD was skipping on the air. What did I do? Pot it down and go to a spot or some other song? No! Why pretend nothing went wrong when everyone listening knows otherwise?? I simply came on the air–while the CD kept skipping–made fun of the whole thing, adding, “Ya really want to hear something funny? The deejay has nothing else set up at all!” I then took the CD out of the machine and started describing (making it all up, of course) about the various bits of hamburger secret sauce that someone got all over the disc. I gave it a quick wipe, shoved it back in the machine–publicly warning it I was only giving it one more chance–and it played fine. The point being, act like a real person–no, just BE a real person–on the air, and people will relate to you. Our lives are filled with enough devices and technology people can’t relate to. Don’t be one of them.
Live radio. Anything can happen. And often does. Thanks, David.
“[M]istakes can happen.” That’s why it’s more exciting to watch a highwire acrobat who’s working without a net.
And who doesn’t prefer someone talking to them rather than at them?
As they say in Hollywood, “The secret to success in this business is sincerity. When you can fake that, you’ve got it made.”
Exactly. Talking “to them” and “with them.” Something computer playlists cant’ do–at least not yet.
David, you had to remind me of this, didn’t you ? 1968 – a 5000 watt station in Binghamton, New York. I was doing 7p-signoff and at some point during the night I’d slip over to the snack machine for Cheese/Peanut Butter Crackers and coffee. Sipping on coffee with a mouth full of crackers I was going through a commercial set with 3 commercials, a jingle and then a song. Commercials ended, jingle plays and I hit turntable 2. Silence. I looked over and it was empty. I glanced at turntable 1. Empty. What to do? Open the mic and fess up! We didn’t want dead air, and I was caught. Embarrassing at the time, but a great reminder that aiming for perfection can also be a funny reminder that planning ain’t a bad thing-but it’s also possible to be distracted by a yummy package of Cheese Crackers. You don’t hear that anymore.
Ha! Love this story! And I think these moments show those tuned in you’re just a listener enjoying a snack and some great tunes, same as those on the receiving side of that radio speaker might be doing. This is why you’re one of the greats, Dave!
Robots and meters…a match made in heaven.
We just need an HDMI cable to hook ’em up.