Radio Facts 21st Anniversary 1st Issue (Ebro Darden)

V103 ATLANTA’S

REGGIE ROUSE

5

A RARE INTERVIEW WITH...

People who Used Radio to Create a Greater Opportunity

PROGRAMMER POLL

21ST ANNIVERSARY ISSUE

TRUSTED. IMPACTFUL. WITHIN YOUR REACH. Tom Joyner Yolanda Adams

Rickey Smiley

Ed Lover

DL Hughley

Russ Parr

Willie Moore, Jr. Darlene McCoy

Always the Best in Talent and Programming 972.789.1058 • Melody.Talkington@ReachMediaInc.com

EBRO DARDEN | 6

C O V E R S T O RY

S P E C IA L G U E S T

INNOVATORS - 2016

TOM JOYNER

| 10

SHAILA SCOTT

| 12

GIL ROBERTSON

| 14

CAYMAN KELLY

| 17

DJ E-MAN

| 28

STEPPING OUTSIDE THE BOX! The first of two Radio Facts 21st Anniversary Magazines explores those who go above and beyond and those who are not afraid to define who they are by stepping outside the box and doing things differently. We hope this special issue inspires you to think bigger, work smarter and go harder!

ORLANDO DAVIS

| 18

REGGIE ROUSE

Cover Image: Hot 97 New York’s Ebro Darden.

Photos: Karl Ferguson, HOT 97

| 20

JASON GARTE

| 26

21ST ANNIVERSARY ISSUE | 3

BY KEVIN ROSS am very excited about this issue because it spotlights some of the greatest unsung heroes in our industry: Entrepreneurs and Innovators; those that think outside of the box and are ahead of the curve; and those bold enough to ask for what they really want, instead of having someone determine their destiny, AND those who created their own destiny, in or out of a corporation. I think an industry trade issue like this inspires us ALL. I was told early on in my career, “Keep your mouth shut and your ears open.” That was horrible advice, and I never followed it. In today’s high tech, social networking and entrepreneurial industry, a closed mouth creates slow growth. I have always gone against the grain and I was always considered strange by others. There was a time when that really bothered me. For years, I actually thought something was wrong with me, but I didn’t change, thank God. Now that I have reached middle age, I realize what an incredible blessing it was/is to think and be that way. The truth is, there was something wrong with the people that thought something was wrong with me.

Anyone that thinks outside the box is an advocate or an entrepreneur, or who is bold enough to take chances and create their OWN, will rarely be understood and often considered “strange,” but PLEASE note, there is nothing wrong with having your own mind-set, being who you REALLY are and going for what you REALLY want.

Life is too short. You can keep your mouth shut if you want to, but know that there is also another adage: “A closed mouth doesn’t get fed,” and we ALL like to eat. Bon Appétit.

I have always had a dislike for industry politics and business-as-usual

4 | RADIOFACTS

concepts that consistently honor the same people over and over, ignoring those who are taking the industry in a whole new direction. Nevertheless, over the years, I have learned why PUBLISHER: RMI Publishing Inc. they exist. Those people have name EDITORIAL recognition and they generate revenue.

MANAGING EDITOR: Kevin Ross The gap, nevertheless, still exists kevin@radiofacts.com where older industry people don’t take the younger generation under their wing to show them the ropes. That’s CONTRIBUTORS: Hassahn Liggins, why so many older industry careers Dwayne McClary, Coka Lani, Cameron Penny, A. Scott Galloway, Ronda Racha are ended quickly. You can learn just Penrice as much from younger industry people as they can learn from you - if not more. So ignoring them, keeping them PRODUCTION at arm’s length and not appreciating their contributions, is not a good idea DESIGN: Geoff Hulme PHOTOGRAPHY: (various) for your own sustainability.

ADVERTISING I’ve heard SO many older industry people complain about the lack ACCOUNT EXECUTIVE: Kevin Ross of opportunities for jocks and kevin@radiofacts.com record execs, either after corporate downsizing or when they reach the Copyright © 2016 twilight of their careers, but how well RADIOFACTS.COM do we handle our OWN careers and our OWN destinies before this can 11054 Ventura Blvd. #142 take place? In addition, this is a youthStudio City, CA 91604 driven industry, but there is room PHONE: 323.285.6099 for older industry people who bring VALUE. If you want to remain relevant, FAX: 413.521.3669 you better bring something people like EMAIL: staff@radiofacts.com to the table instead of just having a WEBSITE: RADIO FACTS (Urban) seat to eat. www.radiofacts.com In essence, I guess this issue is ALL RADIO NEWS (Rhythmic) about the celebration of personal www.allradionews.com victories by those who created and opened the door of opportunity for PODCAST PORT (Urban Podcast Site) themselves and others, with or without www.podcastport.com a corporation. I left radio in the early 2000s, in my 30s. I had already been doing it for 13 years and thought it was not only time to make room for younger radio people, but I also found it boring at that point and wanted to work for myself full time. Many small business owners say the same, when what you do is no longer fun, stop doing it and do something else. For me, my industry sites, Radio Facts (www. radiofacts.com) - Urban and All Radio News (www. allradionews.com) - Rhythmic, are still a lot of fun. It has been an incredible journey, and I’d like to thank you for your support over the years.

I hope that I am returning the favor for your support with this issue.

My Best, Kevin “KevRoss” Ross - 2016

EBRO DARDEN

C O V E R S T O RY

UNAPOLOGETIC

STYLE

LISTEN

BY KEVIN ROSS

“Ebro in the Morning” is HOT 97’s morning show with EBRO DARDEN in NYC. He’s a host who is not afraid to follow, and even create, his own rules.

Some of the BEST radio that we have heard in the nation has been done at the hands of this California native. His signature style grants him the ability to go where few radio jocks have gone or will ever go. love New York City radio. Being from Upstate New York (Buffalo) and hearing it during visits, it’s something that I never forget. It’s no surprise NYC holds the number one position in market status.

Most NYC jocks are driven to succeed. They better be. It’s a city where the competition is brutal and unforgiving, and where you will never hear typical interview questions like, “Who inspired you,” on a top-rated station. While the rest of the country keeps asking that same boring question, today’s listeners are asking, “Who cares?”

Some NYC jocks stand out from the crowd and others hold a title.

Ebro Darden holds a title. I’d never met him but I was a fan of his style in today’s radio realm. He’s a bit of an enigma and appears to be somewhat off-putting. But, as a 6 | RADIOFACTS

champion of the underdog, I can always read between the lines, which is why I wanted to interview him.

He has openly discussed the difficulty of being raised as a biracial child and the fact that his white mother did not have pictures of him on her desk at work because she didn’t want to be judged by the other people in the office. That has to have an impact on a child and it’s easy to understand his late mother’s situation as well during those times.

Not only children, but adults can be cruel and judgmental and on a constant hunt for victims. Thank God today offers a better climate for situations like this.

I’m always looking to go the extra mile and do what is most interesting to readers instead of what is predictable. I honestly thought

Ebro might be one of those jocks who refused to do interviews. Not because the corporation would not let him do one, but because he’d rather take a nap or something akin to that....(lol), but he came through.

The one thing that really stands out about Ebro is his innate passion for radio. He calls himself “The Old Man,” but in his early 40s, if he is “The Old Man,” then others in the industry are absolute relics.

Nevertheless, adopting that title earns him respect and designates him as a father figure to the young hip hop community. It’s actually pretty savvy. Instead of trying to be young and fit-in, like so many other older jocks do in the country, he takes a position of authority, maturation and self-respect.

I have listened to several of Ebro’s shows over the years. He has Photo by Karl Ferguson, HOT 97.

done some of the best work I have ever heard come from a jock in his interviews. While he works with a contributing team, Rosenberg and Stylez, I certainly see that the sky is the limit for Ebro. Late Night TV could also be a great medium for what he has to offer.

I thought he would be a great cover for the first 21st Anniversary Issue of Radio Facts because Ebro is the epitome of where the best jocks in radio should be headed.

He recently left his programming position to host the morning show.

I must admit, I was scratching my head over that decision. After hearing his show, however, I realized that Ebro needs to be on the air.

You are obviously very passionate about what you do, be it programming or hosting the morning show. What made you choose doing mornings over programming?

I had a lot going on – I was PD, host of the morning show, we had “This is Hot 97” filming and I was expecting the birth of my daughter.

It was just a lot, so I chose on-air and took a step back from PD. I’m still the assistant PD and book talent for our events like Summer Jam. I just don’t have to worry about making the spreadsheets and paperwork anymore!

Are there times that you wonder if you made the right choice?

Nah – I love connecting with #ThePeople and being on-air is the way to really be a part of their lives.

How did you become interested in radio?

I was working in retail, as a boxboy or whatever you call it, and the DJs from the local station would come in for the hook-up. That’s how I got started in radio and I just loved it from the beginning.

I noticed you moved to mornings around the same time Hot 97 had the reality TV show. What was that like?

F-cking exhausting - ha! Nah, it was cool. It meant a lot of long days, but we made it work.

If you could do another reality show for radio, how would you do it differently?

Honestly, I’d only do another reality show if it was for our own YouTube network. We create a lot of real-life content, so it’s like we almost have a reality show right now on youtube. com/hot97 How do you think people perceive you at the station and off the air [in the industry]?

On-air, I think people perceive me as a grumpy, somewhat knowledgeable-about-certain-things asshole, who’s also a dad and loves hip hop to a fault. Off-air, you’d have to ask my team. I hope they’d also say I’m an asshole - ha!

You are very private. There are MANY industry people, especially on the urban side, that are deeply connected in a way that they confuse business and friendships.

If we are not careful, radio can become our family and I’ve seen some people who are addicted to it.

What are your thoughts?

I agree. You have to draw lines and have things you’re passionate about going on outside your job.

Is there an interview that you have done that you regret or think you may have been out of line or offensive?

I’m sure I have, but the real question is, “Was it entertaining?”

What do you think was your best interview and why?

We have great interviews all the time, so it’s hard to name just one.

“...my dad and my uncles, they were in-and-out of jail a lot. I guess I got my rougher “street smarts” from them.”

Ebro Dard en Probably from where I grew up.

You know, my dad and my uncles, they were in-and-out of jail a lot.

I guess I got my rougher “street smarts” from them. But then I had my mom who worked hard to make sure we had a loving family unit. So I guess I’m really just my parents ha! Most people that have that no non-sense, rough exterior really have that softer inside that people just don’t see a lot.

Did you have aspirations to program or to be hosting a morning gig in New York? How much of what you have accomplished was planned?

Honestly, zero. Back then, I only planned to make enough money to put gas in my car, buy some bud and was happy with that.

Is it true that you got hired by Tracy Cloherty while vacationing in New York to do a shift?

I was working in Portland, Oregon at the time. I actually got offered the HOT job twice, but had turned it down. Then I woke up one day, like, “Am I really gonna live in Portland my whole life?” So when Tracy called again, I said, “Yes.” What is your opinion about all the talk concerning diversity?

It’s a good talk to have! It’s when we’re not having these talks that I get worried. Nowadays, so many people don’t want to say something because it’s not PC [politically correct] or they don’t want to rock the boat. Man, f-ck that! Rock it!

Having open communication about sensitive topics like diversity is what leads to movements - to change.

You have a hardcore no-nonsense edge but with heart. Where does that come from?

21ST ANNIVERSARY ISSUE | 7

C O V E R S T O RY great creativity. Rosenberg’s interjections are supposed to keep balance and push the conversation - keep it moving.

Do you think you, Rosenberg and Stylez make a great team?

What, from your perspective, do each of you bring to the show?

Do you think the radio and music industries could use more diversity or are we doing a good job?

I think HOT 97 is doing a great job! We’ve got blacks, whites, Asians, Hispanics – everyone’s represented! The industry as a whole – I mean, you program a station to fit your area’s needs and wants. So if you’re main zip is the white suburbs, then yeah, you’ll have a bunch of white jocks to fit your audience. If you’re in the hood, maybe you mix it up a bit between African Americans and Hispanics. It all depends on what the consumer desires.

Do you listen to various stations while traveling? What is the common denominator that you hear when you do, and what advice would you give jocks and programmers?

Sometimes I listen - I hear too much of the same shit. And goddamn! iHeart owns everything… which is why I hear too much of the same shit!

I’ve heard you do amazing segments then Rosenberg will say something or intervene and disrupt the flow. How is it to come in and host with a former host? Do you guys ever clash off-the-air?

I clash with everybody, but that’s how we come up with 8 | RADIOFACTS

Laura Stylez is the big sister: caring and in-touch with being a powerful woman. Rosenberg is very emotional, very affected by the world around him, and very unapologetically himself.

I’m a radio veteran that can be a little old and out-of-touch with young people and everyday life.

The balance of all three helps us deliver, hopefully, funny content to people that may identify with all of us or one of us more than another show.

How do you define the difference between Urban and Rhythmic radio?

I actually don’t know… Really, who decided they were different?

I hate the word “Urban”as a descriptor for black. Urban is a geographic term: as in urban, suburban or rural. I would guess that Rhythmic formats play black artists but have an ethnically diverse listener composition, and Urban stations are predominantly targeted towards black people only.

You seem to connect very well with the hip hop community as well as singers. You did an excellent interview with Azealia Banks, giving her excellent advice about coming off as “the angry black” person and how that is perceived. You stated that you were that guy at one time.

What made you change your mind?

I wouldn’t say that I’m not angry. I’m just more aware of who I’m angry at and with. So now, I’m just irritable, not angry - ha!

EBRO DARDEN You also did an excellent segment with Mister Cee, one that I have never heard in radio.

What was the response off-theair after that? (Note: Former Hot 97 mix jock Mister Cee had several run-ins with the law concerning solicitation. Ebro and Mister Cee did a very powerful segment on-air where Mister Cee admitted his guilt, coupled with shame and humiliation per the allegations at the cost of his career as a respected hip hop DJ. Darden coached Mister Cee and told him his lifestyle didn’t matter and that his legacy was what was important.

Cee is family. He had a story he was ready to tell and we fully supported him. But that’s his story for him to speak on, not me.

What are your thoughts on the industry right now?

“...I’m just happy to be here. I hope to keep giving #ThePeople what they want.”

Ebro Darde n

I think the radio industry needs to reinvest in itself. Unfortunately, radio is not growing through selling traditional commercials…

Most radio companies aren’t sophisticated enough nor have the revenue to invest in truly monetizing mobile and digital for financial growth.

Where do you see yourself in five years?

I see myself healthy, having fun and enjoying my family. I’m just happy to be here. I hope to keep giving #ThePeople what they want, and to just support hip hop and music.

UNDENIABLE RADIO ICON

BY KEVIN ROSS

For several years, I was not a big fan of syndication on the urban radio side. I spoke out about it in a no-holds-barred fashion and quickly came to understand that I was an army of one. Nobody seemed to care in urban radio and it became apparent to me that most of the urban radio industry was only interested in keeping a job. I wanted to quit Radio Facts when I realized that.

I like working with winners - people that have fire and no fear.

I also understand corporate politics, corporate branding and that everyone is not like me or thinks like me. So I was on the fence. I used to work for some of those same stations.

That was the reason I got out and became an entrepreneur.

I understood and I didn’t like it. I wanted to control my own destiny.

I made a decision to change my focus, so I stopped talking about it. I started exploring what the hosts of the shows were doing besides the shows. I had an immediate respect for Tom Joyner because he was the only syndicated host with a true radio background and his legacy was undeniable.

I was also greatly impressed by Tom’s dedication to the community and how he put money into historically black colleges. To create opportunities, instead of paying for a funeral for self promotion, is the best strategy. Tom was/is creating opportunities. As time went on, I also realized that I had no control over what corporations did.

We turned that situation around and now I have a great deal of respect for Tom Joyner, no matter what anybody says about him... Who could not respect Tom? He is the quintessential subject for this special issue about people in the industry that used their leverage and turned it into something greater - in Tom’s case: MUCH greater.

HEAR 10 | RADIOFACTS

SP E C IA L G U E S T You have been supporting Historic Black Colleges and Universities [HBCUs] for many years now. Why is it so important to you to have this foundation?

HBCUs have always been about helping and nurturing folks, and I am from Tuskegee, Alabama; “Little Known Black History Fact”: the United Negro College Fund actually started in Tuskegee. Not only did I graduate from an HBCU, so did my brother, my mother and my father, both sets of grandparents, my two sons, nieces and nephews all graduated from HBCUs and, as soon as my grandchildren are old enough, they’ll graduate from HBCUs as well.

We are committed as a family to HBCUs and that’s what most people who have the HBCU experience do. We are all committed to helping and nurturing people as best we can. That’s what historically black colleges have always been about. When you’re expected to succeed, you probably will succeed and that’s the best thing about historically black colleges. You’re family - not a stat, a number, a gender or a race. You’re family and you’re nurtured to succeed.

It’s just a part of me and this is what I am.

How important is it for other urban jocks to use their leverage, even on the local level, to make a difference in the community?

I think it’s important because that’s what black radio has always been about.

If black radio is going to survive, you have to stick to your roots. The roots of black radio have always been super serving our communities; whether it’s education or voting or finance or health or any of the things we do on the show. Every black radio station should be doing the same: super serving the African American community by addressing all issues that affect the African American community.

TOM JOYNER Let’s talk about the cruise. How did you come across the idea to formulate a way to get your message across in the form of a cruise - “The party with a purpose?”

There wasn’t a market for black people and cruise lines….

Kevin: ...or swimming. (laughter) Yeah, “or swimming.” We always believed that, we, as a people, black people, will do anything if invited. We just have to be invited to come to the party and no one had ever done that.

No one ever had said, “Come and cruise.” So we chartered a ship, said “come cruise,” sold it out, then 16 years later, here’s where we are. Carnival (Cruise Lines) recognizes the impact of the African American consumer.

An incredible number of cruise passengers are African American.

That just didn’t exist 16 years ago. So we started something and I’m proud of it.

What other big events do you do?

The next event is the “Allstate Tom Joyner Family Reunion,” coming up on Labor Day weekend. That’s our second largest event. In 2015 - 10 months out of the year - we’d go on a bus tour and hit five different cities in five days (one week).

What is the response to that?

I would imagine that’s pretty exhausting.

I could do it every day, every month, if you let me. You gotta understand, urban radio is very personal. We do a syndicated show as if we were doing it local because black people need to feel that you’re a part of their community. So we’ve been doing it like this all these many years. We’d go out for the Sky Show. The Sky Show was phenomenal because all these people would get up so early in the morning and party with us. So this is the next best thing to the Sky Show. You get out there and you meet every listener, you hug every listener, you take selfies with Photos by Rance Elgin.

every listener, and it’s the best. It’s the best!.

You’ve been doing the syndicated show for how long?

We’re in our twenty-second year. It shocked me, too, when I found out.

Twenty years goes by fast. The older you get, the faster it goes by. Before that you were “The Fly Jock.” For the younger readers in the audience who don’t know that, you were basically flying every day back and forth between Dallas and Chicago, correct?

Every day for eight years. I did mornings in Dallas from 5 until 9 then afternoons in

“... black people need to feel that you’re a part of their community.”

TOM JOYN ER

Chicago from 2 `til 6. At the time, the technology was there where I could have done it from one city but the contract was for me to do mornings in Dallas and afternoons in Chicago. Eventually, I was able to use the technology.

So the Tom Joyner Morning Show was the first black music-based syndicated show. What gave you the idea to do that?

Well, actually, it was David Kantor’s idea. We just had to convince the radio leaders that a music, information and entertainment format in the mornings would fit on their stations. I was doing Dallas and Chicago but my contracts were up. Stern was doing the New York show, syndicating it across the country. With Dallas and Chicago, two top ten markets, I was in two out of ten already. So David said, “How would you like to do a daily radio morning show?” I said, “Yeah, let’s do it.” The rest is radio history.

What was your first gig?

My first gig was in Tuskegee at WABT Was this during the days when DJs had more control - when they could basically program their own shows?

No, this was in the `60s, during civil rights, I got into radio because I was protesting that this radio station in my town didn’t play any black music.

The man came out there and said, “Alright, I’ll let ya’ll play some black music. Which one of you guys out here protesting wants to do it?” So I raised my hand. Then every Saturday from 12 noon till sign off, I’d play music.

So, what’s next for Tom Joyner?

Where do you see yourself in five years?

More of the same: getting up early in the morning, playing these hits and super-serving an African American community.

What is a day like? Like today, you did the show, you talked to me… What is the rest of your day like today?

Right now, I’m in Miami. I’ll leave Miami going back to Dallas, but my typical day is: I get up at 3 A.M., the show starts at 5 A.M., it ends at 9 A.M., then the hard work comes - meetings and Reach Media. The hardest part of my day is when I get off the air. I’m constantly prepping; even in my sleep, I’m prepping for the next days and the next week of shows. That’s the easy part. Doing the show and prepping for the show are the easy parts; what I have to do with Reach Media and The Foundation, that’s the hard part.

Tom taking selfies with listeners.

21ST ANNIVERSARY ISSUE | 11

LISTENER’S LIAISON:

SHAILA SCOTT

BY KEVIN ROSS

WBLS New York’s Shaila Scott is a radio legend. She’s been working in the NY market for 28 years. We both went to Buffalo State College together in the early 80s and the same PD gave us our first break in radio, but in different cities. Shaila was immensely popular on campus and she’s always had an infectious warm and friendly personality. Nothing has changed. I’ve gotten several calls over the years about her quoting Radio Facts stories or talking about Radio Facts on her show and I greatly appreciate that.

We were both brought into the radio industry by the late great Byron Pitts.

You in Buffalo and me in Atlanta. I actually remember your first night on WBLK in Buffalo.Do you recall that night?

Do I ????! It was Saturday, August 18, 1984 (lol). My fellow Buff Staters jammed the request lines.

What was going through your head at the time?

How grateful I was to meet Raymond Anthony, who told me the station had an opening and assisted in making my demo tape. How blessed I was to get the opportunity, being a broadcasting major and STILL a student. It was only a one day a week shift, but I felt like I had a full-time, six-figure salary gig.

12 | RADIOFACTS

Buffalo has always been a market that many jocks used as shortterm training ground. You were from NYC, but stayed in Buffalo at WBLK for several years. What was it that kept you attracted to the market?

Just the thought that Frankie Crocker, Gerry Bledsoe, Gary Byrd & Eddie O’Jay had sharpened their skills in the Buffalo market was a great motivator. So much so that I started thinking “Why can’t I make the Buffalo to NYC radio leap?” Many laughed and said: “You have to pay your dues little girl; go to other markets and get some experience.” My thought was: “What experience do I need?” I was born and raised in NYC. I know the city inside out. I studied the NY Radio Greats like Vaughn Harper, I used to make cassette tapes of his show and study his delivery, Gerry Bledsoe too. Plus I was homesick; I didn’t want to go anywhere but home.

When you left Buffalo you skipped many markets and got directly into New York radio. Was that an easy feat? How did you accomplish that?

I sent 11 tapes to WBLS and never received a call. One day my neighbor told me Percy Sutton’s secretary Sylvia Shoultz, lived on my block. I stood outside of her house one morning, and when she came out I begged her to take my tape to BK

Photo by Karl Ferguson Photography

In the early 80s, every Tuesday night was “Black Night” at the Pub at “Buff State,” where some of the best music was played by the DJs on campus. As I write this, I can still hear the start of Denroy Morgan’s “I’ll Do Anything For You” as we all flew to the dance floor and I can still smell the pizza that everybody ate right outside the Pub. Shaila was a great dancer and I can still see her cutting up on the dance floor, looking like she was having the best time of her life. I’m very proud of her legacy in the industry, but not surprised by it. She is very talented and I knew that she would have some wisdom to share in this issue.

Kirkland, she laughed and said “No, I have nothing to do with the radio station” got in her car service and left, I was crushed, lucky for me her husband was standing there and said “Come back later tonight and talk to her when she is not in a rush and has time.” I skipped back to her house at 7pm, told her that I just needed to know he received the tape; she said she would give it to him, BUT she was not promising a job. I was good with that, and two months later, BK Kirkland was on the WBLK request line. He lost my resume, so he didn’t have my number. He said he called the request line once a day to see if I would pick up. Ironically, I was resigning THAT day January 15, 1988, from WBLK. That’s why I was answering the request lines because I was saying goodbye to my listeners. Telling that story always gives me chills because it was truly a defining moment and a turning point in my career. Defining because I had become a part of an elite club that made the move from Buffalo to NYC radio.

Did you ever think you would have been in radio this long, especially in the number one market?

30 years? No, because New York is the ever-changing city. It is that way in an attempt to improve upon itself. 15 years ago I thought I was running out of verbiage that would stimulate these progressive minds. Then I realized that my audience is growing up with me. So how do I keep up? Talk about my daily challenges with this ever-evolving city and chances are there are a few million who are going through the same. It worked.

What is the greatest reward (and challenge) for having that kind of recognition on the air in one market?

The greatest rewards are the lifechanging relationships with listeners, colleagues, clients and mentors. The biggest challenge is staying social media savvy.

Was there ever a time when you wanted to put radio behind you? If so, how did you overcome that?

I was told my career was done when I revealed I was pregnant in 1990. I was told to look around me and count how many women were on-air full-time and full-time mothers. I was made to believe it was over for me. My support system (my family, coworkers and mentor Vaughn) said it may be difficult, but it’s NOT over.

“Act Like a Lady, Think Like a Man - it’s still a male-dominated industry.”

Shail a Scott

So on occasion, I wrapped my baby in a blanket and she slept on the studio floor. The playpen was too big to fit in the studio [laughs out loud]. Quite often Angie Martinez would let her come into the Hot 97 studio and, on any given night, a celebrity would carry my daughter in my Kiss studio because she fell asleep. Valerie Simpson [of Ashford & Simpson] used to take her to their home to play with their daughter. So my support system was a strong factor in my ability to overcome that obstacle.

Your daughter has also been bitten by the radio bug, did she show early signs of this?

Never!!! I used to try to bring her on air with me, and she would get tight-lipped and say “I never want to be on the radio.”

What is she up to these days?

Did you ever work with the legendary Frankie Crocker?

Yes, I did work for Frankie Crocker. He hired me as his primary fill-in personality in 1989 when he returned to WBLS. Besides Vaughn Harper and Raymond Anthony, Frankie gave me some priceless tools that contributed to my longevity. When Frankie Crocker started working for 98.7 KISS FM in 1999, he asked me again to be his fill-in for his countdown show and I sat in for Frankie until his death in 2000. He was a tough teacher and most of what you learned you had to watch, listen and learn. The Chief Rocker would make it a point to let you know this is New York and, on that strength, you SHOULD know your value.

He was known as “The Love Man” and I think it’s because he had a love for the music and the culture. He wasn’t afraid to blend R&B, Latin, Jazz, Blues, Gospel and Pop and self-confident conversation in a four hour show. Filling in for him was a challenge, but I loved it because it forced me to grow.

How important do you think it is for seasoned jocks to be well-versed in social networking and marketing their skills?

Of the utmost importance! That is where radio is moving to in this ever evolving industry.

Where do you see yourself in the coming years?

@scottiebeam is a social media butterfly and is always on her grind. She makes time for Mommy occasionally, while she’s trying to take over the world.

She does the digital & social media work for Hot 97 and can be heard from time to time on their morning show. She also hosts the local BET Music Matters Series. I’m proud of how she’s moving in the industry.

I have an organization called Sisterly Kiss Entertainment that creates fundraisers for women in need. I would like to see the organization grow. I would like to wet my feet in radio management, rrain in the travel industry and still be on the air [laugh out loud]. I’m working it out.

What would you tell young women entering the industry?

Yes, Kevin, I am so proud to see your growth!! You have adapted to the media climate changes and claimed your success. Your creative content is vibrant and compelling, just like your personality.

It is a pleasure to know you. Thank you for the opportunity to share and Happy 21st Anniversary! May God give you the health and the wealth to give us 21 more!!!

“Act Like a Lady, Think Like a Man,” it’s still a male dominated industry. You’ll find yourself in situations where you feel like you are not embraced, but you tackle those challenges, stay focused, sharpen your skills, take risks, believe in your talent.

Good for you and I wish you great success with Sisterly Kiss Entertainment. Anything else?

21ST ANNIVERSARY ISSUE | 13

FILM

Photo courtesy of Robertson Treatment

GIL ROBERTSON:

ADDING MORE COLOR TO HOLLYWOOD’S VISION

Gil Robertson is a journalist by trade and he’s been working in the industry for about 25 years. As an entertainment journalist, he has written over 50 national magazine covers, and he has also written for newspapers like the Los Angeles Times and the Atlanta Journal Constitution. Over the years, he has taken on many roles as a media professional in the industry, including public relations and media training. He has also expanded into books with five titles under his name, two of which were nominated for NAACP Image Awards and one that was a Pick of the Week with Publisher’s Weekly. All of his books will be adapted into documentaries.

Robertson is the co-founder and president of the African American Film Critics Association [AAFCA], the largest group representing black film critics in the world. The group has produced the successful annual AAFCA Awards show.

He was also the executive producer of a music CD based around the themes of his book, “Not in My Family” (Verity Records – 2006).

I have known Gil for about 20 years and can honestly say he is one of a few industry people who told me what he was going to do (AAFCA) before its inception…and actually did it.

It is incredibly rewarding to witness his vision unfold. He is inspiring, very humble and constantly provides opportunities for others.

14 | RADIOFACTS

You have had an incredibly diverse history in the industry. You’ve worked as a writer, film reviewer, in the music industry, for industry trades, as an entrepreneur and now as the head of AAFCA. How important is it for young black industry newcomers to diversify their skill set in today’s industry climate?

It’s all-important. I knew almost immediately that I couldn’t allow my creative growth to be centered around one form of artistic expression. So I expanded my writing portfolio to include covering films and television, plus automotive and travel. I also pursued opportunities writing artist bios and liner-notes. Of course the books have been another area of diversifying for me. And now producing presents further opportunities.

Mentoring in the music industry for African Americans is rare. There has always been a generational gap that remains today between older industry people and newcomers. Did you have mentors?

I recognized early the value of mentorship and sought them out as a way to grow my career. Former “L.A. Times” music writer, Dennis Hunt, was an early mentor in journalism and Logan Westbrooks is another. My relationship with him and his wife Geri spans over 30 years and has been of enormous value to my career and life in general.

We have often talked about the potential for success, but also the hoarding of information, contacts and opportunities in the industry.

Viola Davis likened it to a small piece of cheese given to a large population of mice scrambling to get their share.

How do you see this and what has been your experience?

Well, I’ve always been very open to sharing information with my colleagues. I’ve always found it empowering to share my resources with others. It can become a bit of a problem when that attitude is

GIL ROBERTSON Tell us about your last couple of shows in L.A.?

Gil and Jamie Foxx, photo courtesty of AAFCA

not embraced by others. But it’s all good… Fortunately, it’s not something that has ever held me back from reaching any of my goals and I’ve been lucky to benefit from people who have been willing to share.

Regardless, I’ve always been pretty savvy when it comes to creating opportunities.

What is AAFCA? AAFCA stands for the African American Film Critics Association.

We represent the largest body of black film critics in the world.

Annually, we produce the AAFCA and SYNERGY Award Programs. We also produce a number of educationallythemed student and consumer events nationwide. You can get more information about our activities via our website at www.aafca.com What made you decide to create AAFCA? AAFCA was founded in response to the need for support and oversight for the next generation of black journalists, content creators and talent in the industry. The idea rapidly developed between myself and AAFCA co-founder Shawn Edwards during the late summer of 2003.

We literally wrote out our mission statement on a napkin over breakfast at the St. Regis Hotel in Century City.

The awards show started out strong, but has definitely gotten better through the years. AAFCA has always had strong support from industry creatives and executives.

We have also become a mustattend event for talent. In Los Angeles, talent like Oprah Winfrey, Shonda Rhimes, Reggie Hudlin, Ava DuVernay, Ryan Coogler, Viola Davis, Octavia Spencer, Forest Whitaker, John Singleton, Sheryl Lee Ralph and others have supported our show. We also produce an event in Atlanta called SYNERGY that receives support from top leadership in the Mayor’s Office and City Hall, attracting leading talent in that city’s growing film and TV community.

As the founder for AAFCA, you were called upon quite a bit to respond to the lack of “diversity” at the Oscars.

What did you want the overall takeaway to be for the people that watched your various interviews?

[To understand] that they have the power in their hands to change things. This business is motivated by only one thing – money. The way you use that asset can really determine the direction of a lot of things. Also, it’s important to not be too dependent on the system. Folks have got to be willing to explore every avenue in pursuit of their dreams.

There are those that think it’s a waste of time to keep asking organizations like The Academy of Motion Picture Arts and Sciences to be more inclusive of African Americans. I have heard the same complaints about several music industry organizations. Do you think it’s

important that established industry organizations work together, form our own entertainment entities or a combination of both?

It’s important that we work with what’s been established, but It’s also essential to establish our own entities if we want our voices to be heard.

How do you feel about newer concepts like streaming and YouTube shows as they pertain to film and African American talent?

New technology presents an amazing array of opportunities for both established and new players in the industry. Streaming services like YouTube, Netflix, Amazon and others are clearly game changers and provide a door of opportunity for talent seeking to create or broaden their fan base.

Where do you see AAFCA in five years?

I suspect our awards show will be on television and I’m sure we’ll be pursuing additional opportunities to broaden our base. Hopefully AAFCA will become a household name, but we’ll definitely be here doing what we do best – creating opportunities for “next gen” journalists interested in entertainment, and filmmakers that are looking for exposure of their product.

Anything else?

It would be great to stay connected with your audience. My social media handles are: African American Film Critics Association on Facebook; AAFCA on Instagram; and @theaafca on Twitter. Our website is at www.aafca.com.

What is your vision for the organization?

The goal for AAFCA is to simply be a source of support for black journalists, content creators in film and television and the public in general.

Gil and the cast of Selma, Photo

by Arnold Turner

21ST ANNIVERSARY ISSUE | 15

THE GAMBLE PAID OFF:

my lack of experience in the imaging world, they decided to give me a shot.

So, my first gig landed me in the #1 market in the country. Since that, I have started imaging numerous radio stations in cities across the country, including Milwaukee, El Paso, Boston, Washington, DC, Atlanta, Orlando, Jacksonville, Birmingham, Syracuse, etc. I am also the voice of the syndicated “Breakfast Club.”

CAYMAN KELLY Cayman Kelly spent his early career working in radio. He saw opportunities and took advantage of them. He didn’t wait for anyone’s permission to guide his career; he did it himself, and today, he is one of the most successful voice talents in the industry.

My radio career actually led me to BET at the start of XM Satellite Radio.

BET had a third party channel called BET UPTOWN that provided content for XM. So, in order for us to stay in the loop with what the BET brand was doing, we sat in meetings with the television people. From those meetings, introductions were made and my voice-over career was birthed.

The first thing that I was approached to do was two radio commercials for “The Celebration of Gospel.” I was asked to do more and more things, which turned into me becoming the voice of BET. At the same time, their Digital Networks were being launched.

I made it a point to connect with the people that were running those as

well. I would constantly put together demos and send them. Months later, I got the email back that they were going to use me for the Digital Networks as well. Then BET J came around and I, too, was the voice of that platform.

When the radio side of things dried up and I was still able to pay my bills, it was then that I realized that I was on to something. I began to take it a lot more serious and sought some training from the Voice-Over Industry Professionals.

Outside of radio, I have voiced McDonald’s, Grand Theft Auto V, TV Land, Bounce TV, TV One, ESPN, Mercedes Benz, Cartoon Network, Nickelodeon and more. When things started to really roll for me, I was ultimately faced with a decision to put things in perspective - to try and protect this client base that I had established.

I decided to vacate my full time job at Sirius XM Radio. However, we were able to reach an agreement: I was able to leave the programming responsibilities and still maintain my show from my studio.

I found someone who recognized my potential and was willing to work with me one-on-one to perfect my craft. He told me, “You have the potential to be one of the greats in this industry because you can mimic really well and you can interpret copy.”

During my training days, I found parttime employment at a radio station.

Then about a year-and-a-half later, I was offered a full time position at XM satellite Radio.

By working full-time, I started to get complaints from my VO clients that I wasn’t readily available when they needed me. That’s when I watched all of that VO work become less and less until it eventually dried up. By this happening, it really forced me to unlock my potential and stop getting so comfortable. I started looking for an agent.

I received quite a few inquiries but decided to sign with Don Buchwald and Associates.

Things were kind of stagnant for the first few years. I knew I wasn’t top-of-mind at the agency, so I was constantly trying to find things on my own.

Ironically, I voiced a lot of things just being around the XM studios, never even considering the radio imaging side of VO. Then POWER 105.1 in New York was looking to find a new voice and a good friend of mine recommended me. We put a demo together. After some back and forth about

I have to say that I really love this arrangement because, even though I’m married to my studio most of the day, it is such a blessing to be able to have a commute that consists of walking down the stairs. I would also say that radio is in my blood. It really feeds my spirit. I love doing interviews and being able to connect with an audience.

No matter what else I do, as long as I have the opportunity to do radio, I will

“I knew I wasn’t top-ofmind at the agency, so I was constantly trying to find things on my own.”

Photo by Jackie Hicks, Fond Memories.

caym an kelly

fit it in some kind of way! By the way, I shot the pilot episode of The Cayman Kelly Television Show and I also did a session with director Malcolm Lee for

“Barbershop 3: The Next Cut” You’ll hear my voice throughout the movie.

My next goal: get my face on the screen.

21ST ANNIVERSARY ISSUE | 17

DOUBLE DUTY:

ORLANDO DAVIS

BY KEVIN ROSS

Orlando is a PD as well as a morning show host at CBS Radio’s Wild 94.1 (WLLD).

He hosts “Orlando and the Freakshow” each morning at the station in Tampa Bay, Florida.

He is one of the most respected Rhythmic programmers in the industry with an infectious energy plus a hilarious presence and take on life. Without question, he’s a comedian, but at the same time, he’s a great programmer who understands that being surrounded by a winning team is paramount to a station’s success. He’s been in the industry for about 26 years, and took the time to talk to Radio Facts and All Radio News about his show, the station and his programming philosophy.

Give me some detail about your history in radio?

I’ve been lucky in my run. I started in Tallahassee with WFHT, WXSR, WWLD and WHBX (1990–1998) then joined WLLD/Tampa in July of 1998 not a lot of stops but I’ve worked with some awesome people.

You do mornings and you program the station. In today’s industry climate, that’s a Herculean task. How do you do it?

It isn’t if you hire well and empower people. Many don’t share the shine, so it’s hard to share the responsibility.

It’s always my neck on the line, but I work with people who believe it’s “our necks” out there.

18 | RADIOFACTS

Photo by Greg Cruz.

Why you think it’s important to do both jobs?

PDs that are on-the-air get a different perspective of how their station sounds and how it’s reaching the audience. Again, this is only possible with a great support team. My APD/ MD Christine Peters is my boss. She runs the office.

My morning show producer Mark Baggio and co-hosts Meredith Andrade and Davy Rolando make the wake-up process work a lot better. So I’m held up by many hands.

What’s a typical day like for you?

You have a great presence on social networks. That’s important for the morning show but how important is it to your programming?

Information is key (“Major Key”... as Khaled says). Wherever it is, that’s where we have to be. It’s a total ‘other job’ - to stay connected with your audience - but I’m put onto a lot of music and events through the platform that I use, so it’s necessary on both ends.

When you hit the road and hear other stations, what is the common denominator that you would like to see changed?

I’m in the building at 5:40 A.M. and usually out around 6:30 or 7 P.M. However, it’s not like we’re pouring concrete. We’re being creative and that sometimes comes at strange times. Your success comes from harnessing those moments.

WiLD 94-1 (Ops Mgr Tee Gentry, Sister station WQYK Sales Mgr Erica Beasley and Market Mgr, Kent Dunn) on Toy Drive Tower.

Honestly, I love hearing other stations in other markets. When something is different than I would do, I just credit it to communication with their respective city. There are no wrongs…if it’s working. No outsider can drive your bus better than you.

Give me two social networks you check daily and that you feel are the best content providers.

I don’t want to give away my recipe but following the Snapchat of some people keeps you up on what’s popping. Also Instagram is a good connect with our core artists.

If you have two slots but five great songs, how do you determine which songs win?

In our current landscape, I look at what those two slots are doing to the balance of the station. If I’m heavy with Bryson Tiller and The Weeknd, I might look to do something that’s other than downtempo vocals.

Do you think research is more important than directly connecting with your audience, or a combination of both?

You cannot find all you need solely in “research.” The way we use the term ‘research,’ the other sources are the breadcrumbs that connect the big research map.

Why do you think directly connecting with the audience gives you an added advantage?

You find out about great ideas fast and crappy ideas faster.

Why do you think more programmers are not in the streets more often?

I’ve sacrificed a lot to be as out

there as I can, but it affects your family time. Wives start feeling your absence, etc., so those who don’t may be smarter than I am!

Give me three people that you greatly admire in the industry and why?

Scott Herman: He taught me a lot in my time with CBS. He’s a great coach - that’s in him as a dad.

Vince Pellegrino [deceased]: He taught me to never stop being a music guy. No matter what you’re fighting professionally or personally, a music guy has to stay a music guy - never mail that in.

Thea Mitchem: I’m inspired when I talk to her. In our male-dominated industry, she’s learned from the best and “Thea-rized” the rest. Now she is one of the best radio execs in our game...and my friend. I’m lucky.

Do you think radio is behind or ahead of the curve on technology? What do we need to be paying more attention to?

We’re behind, but growing at a much faster rate than tech. Tech does what’s cool and then the money comes. In radio, the great idea comes and we try to monetize it from day 1! That hurts the building of brands, in my opinion.

Do you think streaming will continue to impact commercial radio or will it reach its peak and people will lose interest?

Streaming is here to stay, but so are great radio personalities.

Technology and the abundance of material will never outperform great communicators. Even church has announcements.

What is your philosophy on jocks at your station when it comes to connecting with the audience?

Be necessary. If you’re plugged into your city - the loves, hates, feelings, pulse - then you’re being that source makes you necessary. People have to find you.

What creates a great winning on-air team?

Giving the talent the room to stand or stumble, and enough attention to tell them why either occurred so they learn and build.

What’s the difference between Rhythmic and Urban?

Our format is about vibe, tempo and the current place that music resides.

When it gets “dancey,” we shift to one side. When it got more hip hop, we shifted there - always as a result to listeners demand. Urban, which was the first format I fell in love with as a kid listening to Chicago radio, has a different responsibility. Urban is Fantasia, Tyrese and the like, in addition to other genres, yet one unified sound. It’s “soul” purpose is to attract one ethnicity. However, urban radio will also tell you “who has our best interests in the election.”

Better yet, how we need to get our cholesterol checked and many more “let’s make sure we’re good” methods that protect the black community.

It’s not a small undertaking, but I’m much happier presenting to everyone.

Diversity has always been the thing that my stations convey, but we all have our sides of the volleyball net.

What’s next for Orlando?

I hope to continue to entertain while doing my part to raise two girls: Kaelyn, 8 and Brielle, 6.

Photo by Mark Baggio.

21ST ANNIVERSARY ISSUE | 19

REGGIE

When you have a station with long term, full-time staffers how do you keep the part-time staff and newcomers encouraged about future opportunities?

VP URBAN PROGRAMMING/PD V-103

Our station is very busy. There are plenty of opportunities for part-timers to grow, host events, etc. Everyone is involved in the station.

V-103 is one of the most well-known and respected stations in the country.

Congrats. How do you remain such a consistent winner in the market?

V is one of the few urban stations in the country that has a great news presence. Why do you think urban stations don’t have as much news anymore and why do you feel it’s important?

ROUSE

We have a great TEAM - great air talent, community involvement, compelling content and good music.

We take nothing for granted.

You have more urban stations in your market than any other market. Would you say having that much competition is harder or easier for a station like V when it comes to programming?

Nothing is easy. We do what we have to do to win. We are flanked by stations on each side, in every demo.

Ultimately, we control our own destiny.

If we execute our game plan, we win.

If we need to make adjustments, we will.

Your GM, Rick Caffey, is very much involved in programming at the station. What is his background and how would you explain his contribution to the overall presentation of the station?

Rick has been with V-103 over 20 years. He is a great resource for the programming and the sales team for our cluster. He gives us the tools to do our job and it’s up to us to make it happen. I love talking programming with Rick. He has taught me a lot about sales as well.

How do you keep your programming perspectives fresh and innovative?

20 | RADIOFACTS

Our TEAM plays a crucial role in the success of V-103. The air talent, producers, promotions, etc…everyone has ideas. We welcome those ideas, use the ideas that fit and give credit where credit is due. We also study other successful companies, stations, individuals, etc…. Staying connected, staying in the streets and the community, keeping up with the changing trends and technology, listening to what’s important to your listeners - all of these play important parts in staying innovative.

Most of your full-time staff has been there for many years, like Ryan Cameron and Greg Street. Describe their undying appeal to the listeners.

Ryan Cameron, Wanda Smith, Greg Street, Larry Tinsley, Ramona DeBreaux, Big Tigger - and we JUST ADDED Emperor Searcy - are all market veterans. They are all connected to the community so our listeners have an emotional connection to our TEAM. They feel like they know our staff. That’s important.

Reggie Rouse with L.A. Reid Photo by Getty Images

As Rick Caffey likes to say, “V-103 is the Voice, the Newspaper and the Internet for the African American community.” In times like this especially in this election year - it’s important for our voice to be heard.

V-103 and our sister station, WAOK, give our listeners a voice - a voice that needs to be heard. Our OM/News Director, Jean Ross, and our News Anchor, Maria Boynton, do a great job of keeping our station plugged in.

There are still urban programmers that don’t see the benefit in social networking. How do you view that?

Social media is a major priority.

People communicate through social media - Facebook, Twitter, Periscope, etc. They are all vital. Just like onair benchmarks, we have digital benchmarks for each shift. Mobile is also essential to everyday life. You can do anything with a smartphone.

What are some big events for V? The V103 Car and Bike Show, our Black Music Month Concert Series and our V-103 Winterfest” concert.

Reggie Rouse with Big Tigger and Guest Photo by Jonell PR “The Catalyst”

LIFE AFTER RADIO...

BY KEVIN ROSS

I cannot tell you how many times I have heard from industry people who feel that the industry is no longer accessible to them. They are truly under the impression that their industry “friends” are always supposed to look out for them and be available for the rest of their lives. I’ve seen once-successful industry people get caught in financial woes - if a parent gets sick, or they are no longer working - when they get older and lose their homes. Truth be told, if you want to work forever in the industry, you have to start at a young(er) age. I’ve seen people diversify their skills in their 20s, 30s, 40s and even 50s. Here is a profile of some of the people that turned their industry lives into something greater by using the leverage they created in the industry.

There IS Life After Radio!

- Buying - Selling - Need a Referral CALL ME TODAY!

G. Keith Alexander G. Keith Alexander helped Frankie Crocker launch now-legendary WBLS as his assistant, music librarian and part-time DJ. He has worked at many other stations during his storied career, including WGCI, WRVR, WKTU and 98.7 KISS-FM. Later he became an entertainment reporter on FOX-5’s The McCreary Report. Throughout his career, his voice has been featured in over 1,000 national radio and TV commercials. “I leveraged my radio popularity into acting, commercials, TV hosting and reporting,” he states.

“I learned early on in my radio career that people were constantly being fired and I always wanted to have other options in case that happened to me. So I volunteered my TV hosting services and voice to supporting the

UNCF, its events and telethons in New York. That gave me even more exposure and career options.”

Alexander currently teaches people from all walks of life to become voice actors through his company, VoiceOver Academy. He’s also the director of professional communications for Touro College of Osteopathic Medicine (TouroCom), teaching the faculty of physicians how to improve their presentation of lectures on-camera. G. Keith has been working for almost 50 years but diversifying over the years. His job teaching doctors how to improve their presentation was a business that he brilliantly created based on being a professional communications expert via radio. How many other industries could use this kind of assistance?

We say MANY.

Time to Shift Gears

Michael Stradford Industry vet Michael Stradford was at a point as a Program Director where he recognized he wasn’t as confident picking hip hop hits as he was R&B. “I wasn’t fond of the trend of misogynistic and violent music that was finding its way to the airwaves unedited,” Stradford recalls. Fortunately around the same time, Quincy Jones - who watched his career as a PD at the once HUGELY popular KKBT-FM ”The Beat” in Los Angeles (pre Radio One), decided it was time for him to come over to the record side. “That was

Daisy Davis-Quick Realtor-Associate RE/MAX Preferred Mullica Hill, NJ Licensed in NJ and PA Direct: 856-628-1968 856-223-1400 ext 3301

daisyforhomes@aol.com daisyforhomes.com

21ST ANNIVERSARY ISSUE | 23

quite an experience but ultimately, it, too, ran its course,” Stradford states. “I knew that I had a skill set that was transferable, so when a friend talked with me about a gig at Columbia Pictures (Sony) Home Entertainment, I interviewed with Paul Culberg, EVP of the division, who just happened to have a 25-year record business career. He totally understood how to transition from one industry to another.”

“That’s one of the great things about being in Los Angeles,” Stradford continues. “I’ve been able to have several different careers in different industries without having to start at the bottom.

The challenging thing for a lot of broadcasters is, unless they’ve been able to build a strong foundation in their market that isn’t totally radio dependent, once their current job is over, opportunities in broadcasting in that market are generally over too - especially if a non-compete (contract clause) is in effect. I’ve been fortunate that my interests cross several industries in one of the main markets for all of them.

I think the challenge/opportunity for broadcasters that don’t live in markets like L.A. or New York is to find out what else you love and could see yourself doing aside from radio, then start laying a foundation to enable a graceful transition when the time is right. As I’ve said many times before, ‘Your skill set IS transferable and valuable.’

Once you determine what kind of work you really love, think through – objectively and without judgment - how your existing skill set could thrive in that new venture.”

Currently, Stradford works as the Director of Creative Services for Warner Bros. Home Entertainment.

What does that entail? Stradford explains, “I get assigned or lobby for a title. Once that’s determined, I work on the content concept, get it approved from marketing, then work with a vendor that does the physical production. We go through edits, then give the materials to legal and talent for clearance and sign-offs, then the final content is delivered for inclusion on the DVD and/or Blu -ray disc.”

24 | RADIOFACTS

Constructive Optimism

Monica Starr Starks

Monica Starr Starks started in radio at KMJM Magic 108 in St. Louis in the late `80s as a production/promotion assistant and gospel announcer.

She then left for KXOK-AM as news, midday announcer, music director and PD in the early `90s. She left there and then went to WPEG as midday announcer and programming assistant.

In 1994, she went to Chicago as PD for WEJM 106 Jamz. At the time, it was the second hip hop station in the U.S. She then came to Detroit as PD for WMXD in ‘96. She developed a bone disease - wheel chair and crutchesbound until 2000. Instead of giving up, that’s when her life and career began to change. “I worked as an instructor for Specs Howard [a broadcasting school] for a short time before joining Radio One where I was OM,” she shares. “I finally left radio in 2002.”

Starks got the entrepreneurial bug, using her radio knowledge and communication skills to start her own

Moving Out

GEOFF GILL A former jock and Production Director for KJLH Radio Los Angeles, Geoff Gill is currently a successful real estate entrepreneur in Los Angeles.

Gill started during the real estate crash around 2005. He saw many oncesuccessful industry people struggling with high mortgage payments and no longer working once the industry drastically downsized. Gill connected those industry people with investors that he knew and a new business was born. Today, he is in a partnership with a successful real estate company named Dwell California Real Estate. Gill states, “The story I want to share is how relationships matter.

Answering the phone is important...

business. “As an OM/PD, you really have to understand marketing and research. I honed that skill set very well and it’s helped me get to where I am today.”

She now owns a construction and environmental consulting firm in Detroit. The name of her company is GS Group LLC. “I didn’t want to take a position at Radio One in Research so I decided it was time to leave radio. After a while, you tire of the glass ceiling.

My business partner was the highest ranking African American female at PepsiCo. We decided to team up and go out on our own. Now the sky is the limit for us.” After 14 years of being out of radio, Starks is a big success and GS Group LLC has several multimillion dollar projects. The company has contracts with the GSA, EPA, City of Detroit and other agencies. Starks and her business partner have 12 employees and continue to grow.

checking in on folks when you don’t need something is what I’ve always done – ‘keeping it real.’ Relationships keep you working - never lose sight of that.” He also states, “I still talk to my former KJLH bosses, Karen Slade and Stevie Wonder, as well as another former boss, Earvin Magic Johnson (through Magic Johnson Music) where I signed Avant, who went platinum. There is life after radio and it’s good.”

Gill also states that he has gotten significant real estate business from people who remembered his name from the radio station. “Quite often we are under the false impression that once we leave a station, the fans forget about us.

We have to keep in mind, that as radio jocks, we may have a HUGE impact on listener’s’ lives even by playing a song.”

How many times have we all been surprised to hear that from fans? When you impact people’s lives, they NEVER forget you.

Is Radio All that there is?

Joseph Haynes Davis, Esq. Joseph Haynes Davis, Esq. initially got “started” in radio as the “producer” of Mt. Zion Baptist Church’s radio programs in East St. Louis, IL. He had a long career that included: WGLT-FM, KMJM, WFAN-AM, WQXQ-AM, WYLD-AM/FM, WUSL-FM, WDAS-FM, WVEE-FM, KRNB-FM, WCFBFM, WEUS and WPHT. Davis stated that he understood a professional broadcast foundation combined with formal professional credentials from the halls of “academia” were essential - not only for success but, ultimately, for survival in a free market economy. “It was pretty clear to me, at an early part of my broadcast career and life, that you had better have something to fall back on because the broadcast/radio/television business, especially for those in the ‘talent’ area, was ‘fickle,’ to say the least. I worked in radio and, at the same time, successfully matriculated at Illinois State University. I received my Bachelor of Science from Illinois State University. From the prestigious Ivy League institution, the University of Pennsylvania, I received a Master of Social Work. And from Rutgers Law School-Camden, NJ, I received my Juris Doctor in 1996. Again, I did it ALL “while working in radio.”

Davis is a licensed attorney in Orlando, Florida, and a licensed attorney in the State Courts and both Southern and Middle District Federal Courts of Florida. He is also a diligent and hard-working attorney in his own small firm Law Offices of Joseph Haynes Davis, P.A. in Orlando, Florida, where he handles all facets of real estate law, commercial and residential real Property closings, mortgage law, probate and guardianship, business formation and consulting, Creditor collections, bankruptcy, and all phases of civil and criminal litigation.

Davis has been a guest legal analyst on several shows, including MSNBC’s “Hardball with Chris Matthews,” where he covered the State of Florida v. Zimmerman trial in 2013. Currently, Davis is running for Circuit Court Judge for the 9th Judicial Circuit for Orange County and Osceola County FL (Group 4).

PD POLL

If you have two slots but five great songs, how do you decide which two songs go in?

Mikey Fuentes, PD-Power 89.3, Phoenix, AZ

Congrats on 21; that’s quite a feat in our business.

Here are some questions that help us decide on two out of the five records: Is it a core artist, sales, views, Shazam, Soundcloud plays, streaming, club buzz? What type of records we currently need for balance?

Then, of course, the ears are what gets us to the top five.

Phil Michaels-Trueba, PD-Hot 105, Miami, FL First of all...congrats on the 21 milestone!!

Amazing. In regards to your question, I look at the chart, ask my team their opinions, but in the end...I’m a research geek, so I always let the audience decide. “Give the people what they want” as the O’Jays’ classic song says.

Orlando Davis, PD-WLLD, Tampa Bay, FL In our current landscape, I look at what those two slots are doing to the balance of the station. If I’m heavy with Bryson Tiller and The Weeknd, I might look to do something that’s other than downtempo vocals.

Terri Thomas, PD-KBXX-Houston, TX I think you need to look at everything for direction: streaming, file sharing, video views, Soundscan, Shazam, street buzz, meaning, if the song is playing can I see that people are reacting to it?

Mark McCray, PD-KBFB-Dallas, TX Its usually a decision based on research, Shazam numbers in the market and gut. The other songs that didn’t make it may get a slot in our mixshow until a spot opens up. Also, we’ll examine chart position.

21ST ANNIVERSARY ISSUE | 25

ABOVE AND BEYOND

Jason Garte is another great example of someone who wanted to carve out his own niche in the industry. He worked in radio for a while, but wanted more. He took it upon himself to learn various aspects of radio when he couldn’t get the assistance he needed from experienced industry people. He also knew that he needed to take chances with his career while he was young. He had great confidence and passion in his ability to do imaging. He came up with the idea of creating a network of radio imaging talent for various formats. His brainchild, The Mix Group, was born. After a couple of bumps in the road, he cleared a great path for industry success and continues to expand his services.

How long did you work in Radio?

I started summer 1996 with the DJ competition that Guitar Center and the station hosted. I quit about eight years later, the day after I closed on my first house—September 1, 2004. I wanted to quit for months, but didn’t want to lose my loan because I’d technically be “unemployed.” I stuck around for the excellent job history.

How did you go from mixing to imaging?

It was a classic case of necessity breeding invention. In the beginning, when I was 14, I lived about 45 minutes from the station and would have my parents, or whomever I could beg to take me, drive me in for my hour-long show, typically around 9pm on Friday, Saturday and/or Sunday nights— whenever they’d schedule me. It was all about building my name and creating market awareness. So it was genuinely disappointing when the air talent would go on 30-40 minute smoke breaks 26 | RADIOFACTS

downstairs, leaving not only the station unidentified for such a long period, but leaving my efforts unidentified as well. I turned to the production director at the station, who was tasked with early iterations of station imaging, for drops for my show. I was turned down immediately—he didn’t even consider it. So, I took it upon myself to learn the room. I’d come in Saturday at one in the afternoon for my 10pm show and just camp out there. I’d touch every button and play with each fader, explore every menu and screw around with everything in the room. I became familiar enough to create basic drops for myself on the Akai DR-4 and Ensoniq ASR-10. This gave birth to my eventual long love of production.

Has it been an easy road to entrepreneurial success?

Hell no - the exact opposite! It’s harder now than ever. The bigger you get, the more moving parts, the more clients to keep happy, the more money

to spend, the more staff to hire, and the more hours to work. So why do it? Because it’s all I know and it’s all I want. I’m bat-shit crazy - a lunatic! Just ask my guys when we don’t sleep for 48 hours before each trade show because we’re setting up major concert-sized productions for the industry amongst a sea of tables with business cards and pop-up signs. I don’t do it for the money. I do it to be great. I want MIX to be THE company that people associate with great and powerful work.

We kick ass for our clients and we kick ass for ourselves 100% of the time, without fail – and often, without sleep.

You are now producing imaging for 1,000 stations. How do you keep your perspective fresh instead of resting on your success?

Life doesn’t let me. Sure, it’s completely natural to get comfortable but we’re just too busy to ever get to that point. Being a Type A, all-in, driven, passionate kind of guy, I’ve

got my hands in all aspects of the company. This passion fuels my work engine each and every day. Plus, there’s still so much left for us to accomplish here at MIX. In my head, even years from now, we’re JUST getting started. My perspective comes from knowing that there’s still so much more to accomplish, so much more growth to be had, and so much more amazing work to be done. I’ve always got some epic idea bouncing around in my head. My soul isn’t complete until I’ve manifested it into real, vivid, 3-D, tangible life.

How important is it to have the right team in a venture such as this?

I’m looking for people that don’t know what it means to give up and can devote themselves to a company that remains devoted to them. The only people that have left this company are the ones that couldn’t take the heat inside the kitchen. And, hey, sometimes that heat is created by me and I’m okay with that. I’m the captain of this ship and I’m going to make sure we get where we’re headed. I don’t like people that punch the clock at five and turn their phones off, which is why I don’t subcontract. I remember when Terri Thomas from Boom in Houston needed over 100 pieces to launch the station Monday morning and we got copy at 6pm on a Thursday and VO Friday afternoon. I had to rally my guys and go into war mode, night and day, for the entire weekend. We delivered and the station went live Monday morning and just KILLED the market. Success by any means necessary. I know a bunch of producers and production companies out there that wouldn’t have the balls or

the resources, let alone the dedication from the team, to pull something like that off. Clearly, we do.

You are very visible at conferences, and your branding, which is very colorful, energetic and interesting, really stands out. Was this intentional?

Absolutely. MIX started back in ’03 while I was at Power. It ramped up when I left to pursue things full-time at the end of ’04, then again up another notch in early ’06 when I signed with Premiere to offer barter availability to stations, but then we got lost. Better said, I got lost. Around ’07-’11, I decided to move the biz out of my house and into a 2000 sq. ft. space, then renovate and add another 3000 sq. ft. to dual purpose the entire facility as a recording studio – Mix Studios. I didn’t know it then, but that was a huge mistake! Not because I lost about three million dollars over four years. Not because it cost me relationships or because I gained like 50 pounds eating three meals a day at McDonald’s. It was the worst mistake because I took my eyes off my bread-n-butter, MIX, to try to build up some non traditional revenue with the studio biz. In doing so, I allowed competition to enter the market and thrive in my absence. I remember the day it hit me in late 2011. The studio was draining all of my money, and although Pitbull recorded “Give Me Everything Tonight” with us, Rick Ross did “BMF” and “Aston Martin Music,” and so many other records, I had to let this thing go and get back to my core business.

So in 2012, I hit the ground, running my ass off at 200 mph, and made branding one of our top priorities. I love to go big. I love to be bold. I like to stand out, be different and do things that no one either thought to do or didn’t want to exert the effort doing. That’s why our trade show displays are so epic, why our website has so much innovative, creative content, and why we produce killer, catchy ad campaigns for MIX. We know how to brand stations AND we know how to brand ourselves - Loud and Proud!!!

Several years ago, many agencies were not interested in hiring “radio”

talent or people that sounded like they worked in radio. Is that still the case?

Now more than ever, I’d say. I learned this best from Jon Zellner at iHeart. He’s been a mentor to me. In addition to being a fan of MIX, he’s been one to tell me when it’s not quite there and how it could be so much better. One of the great things he taught me is the value of authenticity.

That’s not only in the way you produce but in the way your VO Talent sounds, the way they deliver the copy and even the copy itself. Does it sound like the demo it’s aimed at or does it sound like cheesy, played out “radio” from the `80s and `90s? Voices that sound like people you might know, verbiage that you would use yourself in your everyday life, production that’s entertaining but, delivers the message clean, fast and with power. That’s what we’re doing here at MIX in 2016.

As an entrepreneur myself, I know that we never officially stop working. How important is it to have a personal life and friends outside of the industry?

You hit the nail—everywhere. The moment you decide to go for your dreams and give every breath, moment and ounce of your being to the mission of succeeding with your vision, you’re screwed. You clock in on Day One and you NEVER clock out. This is why it’s important to follow your passion. As Steve Jobs said, ‘It’s going to fill most of your time,’ and, in my case, almost ALL of my time. I learned very early on that you’ve got to fall in love with the pain of hard work and you need to have incredibly thick skin. You need to push when everyone else gives in.

It’s my insatiable work ethic that is the sole reason for my success. And if I don’t want to be dead by the time I’m 40, I need to have balance as well.

When I feel myself tearing at the seams from pushing myself too hard, then I’ll disconnect and disappear - whether it’s for a few hours or a full-on vacation.

Striking balance is truly where friends and family come in…and, boy, do I have the best of both!

21ST ANNIVERSARY ISSUE | 27

POWER SOURCE

DJ E-MAN/POWER 106

BY CAMERON PENNY

Emmis-owned Los Angeles staple Power 106 (KPWR) has established an undeniable history in the Los Angeles market.

The station is so incredibly well programmed - that it’s had few competitors over the years and has always remained consistently fresh within a music and jock perspective, creating a stand-alone presentation that has stood the test of time. The presentation of the station has always been huge and the music rarely stops during the weekends - even during the breaks. Few stations have been able to match the on-air execution of Power 106.

While Power is considered a Rhythmic station, this past year iHeartMedia debuted a new urban station to directly compete against Power.

Read Radio Facts and All Radio News (www. radiofacts.com - www.allradionews.com) for updates on what both stations are doing in the market. We have seen very few industry trade profiles on radio and mix legends like DJ E-Man, but we are aware that he is a legend in the market and at Power 106. We’re glad we got the chance to talk to the Power 106 APD/ MD and Mix Jock for this special issue of Radio Facts.

You have done a lot for the radio industry as well as the hip hop industry. With that being known, what is your status at Power and how is the station doing overall?

Thank you Radio Facts for the acknowledgement. What’s interesting is that much of the music industry knows me more for what I do “off-air” as the Assistant Program Director/Music Director and many listeners know me more for what I do “on-air” every morning on “The Cruz Show” as a DJ/mixer. I’m very blessed to be at Power 106 for this long and to witness and be involved with the evolution of hip hop into the mainstream and pop culture. Shout out to my VP of programming, Jimmy Steal, for allowing me to do “me” and let me shine with the music of Power 106.

Are there currently any other activities that you are working on outside of the radio station?

I was a DJ before I got into the radio industry and I’m still doing it to 28 | RADIOFACTS

this day. DJing every morning for the many people that start their day listening to traveling the “world” to DJ is an incredible feeling. I really enjoy traveling the world and seeing in the clubs/shows how music is “the universal language!”

I’ve also worked on some remixes and toured with some artists/shows. Though this is radio-related, but happens outside of the station, I put together and oversee a community service program called the “Power 106 All-Stars Charity Basketball Games.” Every week, I put together a collective group of Power 106 DJs, staff, artists, athletes and actors (The Power 106 All-Stars) to go to various high schools throughout Southern California.

We play the staff/team each school puts together in a fun and organized game of basketball in their gym. We have our street team there mixing, hosting and giving away cool prizes, plus special guest artists that perform at halftime.

It’s the whole Power 106 experience through music and basketball that brings each school together to help raise money for each school’s needs.

Where did you get your start in the radio industry?

Power 106 was my first actual job and only radio station I’ve ever worked for. One day, I dropped off a mixtape demo to the Baka Boyz, who were doing mornings and had a hip hop mix show called “Friday Nite Flavas.”

Exactly 90 minutes later, I get a page on my pager (yes, a pager…lol) with the radio station number. The Baka Boyz liked my mixtape and asked me to do a guest spot on their show. After a few more guest spots and on-air mix auditions, I was officially hired and put on a new Saturday night mix show with Big Boy as the host. From there, over the years, I helped out in the programming department, became Power’s first mix show coordinator, Photo by Cameron Penny.

then AMD, then was promoted to Music Director, adding APD stripes.

How do you determine which music picks will compete in the L.A. market?

Being in the position as the APD/ MD and being a DJ on-air, in the clubs and streets, definitely helps me see what works musically - in all aspects. Having that understanding of our audience’s music tastes, along with what I see, helps determine the songs we play.

Is it more important to do research or being in the streets where the new music is being created?

One word: RECALL! It’s what the listener/music fan can “recall” from a song - what ends up sticking in their heads. I’ve seen many songs become hits from that! I tell that to the many artists, managers, producers and label reps when they ask me about music.

Having that understanding of how research works, and what I see and hear in the streets and clubs, I base every music decision on that.

What is your favorite mixing equipment and what equipment looks most promising for making a change in the industry?

Technics 1200 turntables for sure!!!

That’s what I’ve been using practically every day over the years. The new Pioneer DJ turntables are pretty good, too. I also use Pioneer CDJs since most international clubs and venues use that. I also use a DJ controller (everything built in one) when I have to.

Mixer-wise, the Rane 62 and Pioneer mixers are great!!

“We’re all faced with the question “what’s the next big thing” that will take the music industry to the next level.”

DJ E-MA N If you could give any advice to aspiring young people that want to mix, what would that be?

These few things: Know more music and keep practicing. Don’t let anyone ever bring you down. Have patience, and when you least expect it, ‘it’ will come to you!

Where do you see the music industry heading in the future?

The Internet obviously changed the way the music industry operates. We’re all faced with the question “what’s the next big thing” that will take the music industry to the next level.

What are your thoughts on music streaming services like Tidal and Spotify?

Outside of terrestrial radio, they’re good outlets for fans to hear music as well.

When you are not mixing, what are some of your hobbies?

I’m a husband and father of three.

When I’m not working, I spend as much time with them as I can doing cool things like playing video games, chess, even listening to music together.

Also, I love playing basketball – I’m a HUGE basketball fan - playing poker and deep-sea fishing.

How do you balance handling the music and mixing?

What’s been your best celebrity encounter at Power?

Very easily…lol. Actually, I have a great music team around me that helps me with all aspects of the music of Power. My music team includes our Assistant Music Director Yesi Ortiz, Mix show Director DJ Reflex (RocNation), afternoon jock/DJ Felli Fel (Heavy Hitters) and my night DJ Justin Credible (LA Leakers). I also have an incredible mix team that understands and executes the “Science of Radio” and “Art of DJing” together flawlessly!

Wow… Growing up, I was a huge R&B fan. My favorite artists back then were New Edition and Guy. When I finally met them for the first time at Power, I was pretty starstruck - Beastie Boys and A Tribe Called Quest, as well! I’ve been at Power for so long that, over the years, I’ve met many of the major music artists, athletes, actors/celebrities that come through the studios. Being in L.A./Hollywood, that’s an advantage.

21ST ANNIVERSARY ISSUE | 29