The Case for Termite Advertising and marketing

Radio Ink editor Deborah Parenti

(By Deborah Parenti) I’ve always believed that small things, multiplied over time and shared by the masses, can make a difference. A manager I once worked with had a similar philosophy when advertising money was tight. He would call a meeting to develop a strategy for what he called “termite marketing.” For the uninitiated, this tactic employed resources that did not require tax investments, but leveraged promotional opportunities in the community and cemented the station’s presence in some shape or form.

As we head into a new year filled with numerous challenges that could not only affect, but transform, the radio landscape and its ability to compete in a crowded and competitive environment, the industry could benefit from a little termite marketing.

Before you laugh, listen to me. There are issues today like the American Music Fairness Act that will no doubt continue to haunt the industry on a regular basis until an acceptable compromise is reached. That this proposed law has nothing to do with “fairness” at all tables and does not address any of the benefits that radio advertising offers artists is a discussion for another day. We will also omit all the other services that radio offers to so many communities that artists and their families are a part of in times of disasters and other horrific events.

Suffice it to say that radio not only faces a potential revenue slump that could further financially jeopardize some smaller stations and groups, but one that could reduce the number of stations playing music and, as such, give artists a untethered Providing presence to algorithms that are the product of some interesting agreements between different streaming services and labels. Arrangements that, by the way, rarely put really new music or artists in the limelight.

NAB and state associations have pulled out all the stops at the government level to protect broadcasters from heavier taxation and even the pitch. But the all-star attraction of well-known and well-loved artists being showcased by labels to plead for extra expense for radio stations is tough to compete, not just in the halls of Congress, but on Main Street, where the fans live and read the wacky press releases.

Coupled with another problem broadcasters face, namely attracting younger listeners who enjoy a sea of ​​alternative choices, what else could radio do to appeal to the masses and appeal to itself? to lift up into the hearts and thoughts of his hearers?

This differs from the ongoing arguments over stopsets and music rotation. Important as these points are, we’re going to focus on public relations and “termite marketing” here. And let’s remember that like a favorite uncle who comes to the family dinner with the same old stories, people tend to overlook some flaws when they love the character behind the repeating stories.

Once upon a time, personalities would visit schools and Kiwanis clubs, speak at meetings and answer questions about their chosen careers. Of course, those were the days when the studios were live for more than hours with fun, engaging people. It’s more difficult today, but does that make public relations impossible?

There are hundreds of social media posts, especially around the holidays, sharing photos and captions showing stations in the community. So there must still be stations with warm bodies in the building. Could we encourage some of them to share their enthusiasm with young listeners who might be curious enough to follow in their footsteps?

And do we use the ether to draw attention to our artist support? And, conversely, do we ask our listeners for their support, also from their representatives? Can we transfer some of her love for musicians to the local personalities and stations in her own backyard? Maybe it’s a stretch, but let’s try? anything?

Deborah Parenti is the editor of Radio Ink. She can be reached at [email protected]