8/15/1997
I had one of the most interesting conversations in the past five years this past weekend. I got the opportunity to spend almost six hours with the PD of an L.A.station, and the information we shared was informative and enjoyable. The first question you’re asking yourself is why would anyone spend six hours talking with me? The obvious answers would be: my wit, my charm, my intelligence. Of course, it was none of those. The poor fool agreed to go for a car ride and after the first red light, there was nowhere for him to go. Trust me on this one: There are no exit signs in a Porsche going 110 miles-an hour through the California desert. He wouldn’t ask me to slow down…especially after I showed him the loaded revolver I keep in the glove compartment.
In the course of our conversation, we got around to the problems concerning the radio and record industries and how the two relate to each other.
One of the biggest areas of confusion is a result of the changes taking place at radio. With stations being bought, sold and traded faster than Marvin Gardens on a Monopoly board, programming has adjusted accordingly. To quote a phrase: “It ain’t like it used to be.â€
Many of the executives in record companies today worked their way up (or at least are familiar with the process) through the promotion ranks. Although relationships still drive promotion, the way business is done has changed drastically. Couple the buying and selling frenzy with the advent of BDS and SoundScan, and PDs have an entirely different set of criteria to judge music in the ‘90s.
Although most music executives pay lip service to the new criteria, many don’t know how the changes have affected the way promotion people deal with radio today. it might taste like chicken…but it’s definitely frog legs.
Promotion people spend a lot of time explaining to their bosses why a record didn’t get added at a radio station. The reasons are often quickly dismissed as excuses, when, in reality, those asking the questions don’t understand the answers.
I know someone who had a solution. Gather round the fire, my friends, and let me tell you a story. Some of it is even true.
In the mid-‘70s, Mo Ostin was President of Warner Bros. Records. Although already a legend in the business, Mo wasn’t spotted at many conventions. Programmers knew who he was, of course, but most had never met him. Mo let his lieutenants do their jobs. He was occupied with signing some of the greatest acts in history. He didn’t have time to personally deal with radio.
Mo wanted each executive of Warner Bros. Records to know what was expected of the people under their supervision. To know what to expect, you have to know the job. And to really know the job, you have to do it.
Mo told each Warner Bros. executive to “work†a new release. This meant the executive, not a promotion person, had to visit a radio station, talk to the program director and try to get the record added. Mo chose the record. Each executive was given a major Top 40 station to visit. To make sure every executive knew the edict was serious, Mo even went out himself. Once.
To my knowledge, I’m the only programmer ever promoted on a record by Mo Ostin. I was the 17-year-old (I told you only some of this was true) PD at KHJ Los Angeles at the time. When the local Warner Bros. Promotion person asked if Mo could come down and talk with me, I quickly agreed…not knowing what the conversation would be about…and not caring. Meeting Mo was quite enough.
Mo came to my office and we spent over an hour talking about different aspects of our business. I learned more in 60 minutes than I had up to that point in my career. I’m sure Mo will tell you he learned as much from me. (I told you not all of this would be true!)
At the end of the conversation, he told me of his plan. He asked if I would listen to the record he had brought with him. I did. He then asked if I would add it.
At that time, KHJ was the flagship station of the successful RKO chain. On a great week, we added maybe three records. Usually, it was one or two. Nothing…absolutely, positively nothing out-of-the-box. If we really believed in a record, we would put it on one of our smaller stations first, then chart its progress before even thinking about adding it at KHJ.
So what did I do?
Added it right away.
Did I know it was a smash? No way. I added it for two reasons. First, I figured if Mo Ostin was asking, who was I to say no? He had never personally asked for a record to be added and it was doubtful he ever would again. I wasn’t worried about setting a precedent. And besides, I figured if Mo Ostin can ask me for a favor and I say yes, maybe one day the favor would be returned.
Second, I knew that my adding the record would make the life of every other executive and promotion person a living hell. I could see Mo going back to his office, picking up the phone and saying, “I got on KHJ, how did you do?â€
If Mo could get the record on the tightest, most important station in the nation out-of-the-box, what excuse could any other person use? I couldn’t wait until the local and regional people were working other records later to give Mo excuses. I could hear him say, “You need me to go down there?â€
It was an opportunity I couldn’t pass up…an opportunity more record executives should option. How often do you get to teach and learn in the same meeting?
Oh, did the song Mo worked become a hit? Oh, yes. The artist? I won’t tell you…but I think he could dance.