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10 Questions with ... EJ Bernas
April 2, 2007
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NAME:EJ BernasTITLE:Director Regional PromotionLABEL:MCA RecordsMARKET:SouthwestBORN:North Tonawanda, NYRAISED:Same
Please outline your radio career so far:
Soccer coach turned Record Rep
1. Go back in time. With the state of the industry today and knowing what you know now, would you still have chosen your same career path in the Music Industry? And, would you recommend a younger sibling to make a career in the Music Industry?
There is stress in any job, and any career you choose, this is really an amazing industry, which provides people with a pure form of entertainment. Music touches everyone's heart in one-way or another. I think my sister Michelle would be better then I ever could be, she belongs here.
2. What is the first thing you do when getting into the office every day? And the last thing before leaving?
Sit down pull up BDS, or MediaBase, see where my records are to start the day. Last thing I do before I leave is make a list and look at what I need to accomplish the next day who I am needing to talk to what can I make happen.
3. In a perfect world if you could eliminate "Pay For Play" how would you accomplish it? And, if not why?
IS there pay for Play? By the way I will need a letter from you saying this "10 questions survey" is not intended for station employees or for airplay, please put on company letterhead and signed by the GM and his GM.
4. What would you say is the toughest region in the country to work Country music today?
Ask Joe Putnam and he will say the Northeast, but of course the Southwest is. Texas has always had this movement with Texas music and Texas Artists, and not all of their music fits everywhere and not all Nashville music fits here, and that's a shame. There are some amazing artists here, and they get some great airplay here and not outside of Texas, and there are great artists not from Texas with great music that don't get airplay in Texas.
5. Do you think that showcases, artist visits and conference room concerts are all viable in getting new acts introduced to radio?
I do think if presented right showcases can show a full picture of an artist, and what he or she can give. The Programmer can see what he or she is investing in an artist. I think there are moments in a conference room, like Sugarland in the WSM conference room, was so powerful and moving it was magical. These artists are investments for a radio station, will they have value for the listeners and a tune in factor. If radio likes them, the listeners will like them.
6. What is the strangest request you've ever had to get an add?
IS this a trick Survey from Elliott? That doesn't happen for adds, but we get requests for artist to do things, something like having someone's grandmother paint George Strait's portrait on his horse, for her book. That would mean a lot for her and George can do it before his show.
7. How do you handle it when a programmer tells you that your single is too country or too pop?
I usually will pull some reference like, "I'll put my song up against any one of the five Ford commercials you are running this hour and lets see which three minute spot wins" actually not my line, but you get the point. The answer is until we can invest enough spins on a record, we won't know really what the listener wants to hear. You hear programmers (of course none of mine) say this and that about the sound of the station; well you need a little bit of everything.
8. How do you handle stations that have to get a "Green Light" from an outside source before adding or converting a record? (i.e. Consultant, Brand Manger, Format Capitan or Group Programmer)
"Excuse me? You would like 8 tickets and 8 meet and greets for so and so, and also an autographed guitar? Sure let me see if I can get the Green light from my boss. bbbbbuuuurrrrpppp
9. How do you go about building relationships in your region? How important are they in obtaining airplay?
It's all about relationships. You need to have a foundation with someone, and then being able to communicate with them about music and artists. I am a passion guy; my radio guys know that because they know me. If I am fired up about an artist or a song, they can see it and feel it. They don't need to hear that everything I bring to them is the greatest thing I have ever heard, it's just impossible to do cartwheels about every piece of music. I can't fake passion and they can see it. When I still get those songs played, that's promotion and that's relationships.
10. What do you do in preparation for making your weekly radio calls?
There is a mountain of information and tools at our disposal. Some people are numbers people, some are research people, but I'm a relationship guy. I'm going to call you every week and check in but I'm not going to beat you up about something you are not playing. Probably because I get you and where my song may fit eventually. You have to have a short memory in this business, and I didn't when I started. I use to think sometimes you have to burn a relationship down to build it back up, but I'm not burning them down so much anymore. There is a bigger picture and some people get it and some don't.
Bonus Questions
1. If you had the opportunity to work any act/artist from the past, present or future who would it be?
Total cheese is what I am going to say here but this is what came to mind. I have all that right now, Past and Legend and Hall of Fame Member George Strait, Gary Allan present, and the Future in Josh Turner. MCA is a heritage label rich in history.
2. What is your favorite road meal?
Sushi at Kona Grille in Kansas City.
3. Best road story?
At Steamboat with Lee Ann Womack, and she is doing an acoustic set in front of 4000 people with Ray Wylie Hubbard, Cody Canada and Stoney Larue. She turns to me, on the side stage, and points at drinks, as for me to get more for everyone. So I walk up with eight beers. Ten minutes later LAW looks and scowls at me again and I bring up a 12 pack. Fifteen minutes later LAW turns at me again, with the look like "EJ you better bring more right now!" so I brought up a case. Then 20 minutes later, again and she points at me, so I walked over to the back, picket up a keg of beer put in on my shoulder walked up on stage slammed it down, and said "that's it". The crowd went nuts!
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