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10 Questions with ... Shelley Hargis
June 7, 2005
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NAME:Shelley HargisPOSITION:Director Regional Promotion - SouthwestCOMPANY:Broken Bow Records (BBR)
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?
MOST DEFINITELY! I love music and cannot imagine doing anything else not related to music. I knew early on in high school that I wanted to be in this industry in some way, just not in what capacity. And while the Music Business can be extremely stressful and sometimes very political and frustrating, the good things and good-times more than out-weigh the bad.
If I had a sibling or a friend interested in the Music Industry, I would tell them to go for it! However, you have to LOVE it...and be ready to endure no matter what may come. I have actually given advice to interns, college students and friends who have asked about the business. If it is EXACTLY what you want to do...and you love it...then DO IT. I think that should go for any industry or any career field for everyone.
2. What is the first thing you do when getting into the office every day? And the last thing before leaving?
The first thing I do in the mornings is check Media Base and BDS, and then check Emails. I have to know where we are sitting on the charts, and what our spins look like on our records...and I want to see any new airplay or test spins that could have happened overnight. Then I jump into radio calls, and checking my stations websites. The last thing I do is check Emails, and develop a plan of attack for the next day in regards to obtaining adds and airplay.
3. You are the remaining survivor on a remote tropical island with no chance for rescue. You have a CD/DVD player with endless power. What five CD's are a "must" to have with you? What five movies?
CDS:
Craig Morgan - My Kind of Livin'
King's X - Ear Candy
Jack Ingram - Hey You
The Beatles - any of their cd's
John Mayer - Room For SquaresMOVIES:
You've Got Mail
There's Something About Mary
Dirty Dancing
Field of Dreams
Runaway Jury4. In a perfect world if you could eliminate "Pay For Play" how would you accomplish it? And, if not why?
Well first I think "Pay For Play" has to be determined EXACTLY. I firmly believe in supporting a song with promotional tools and things to BETTER and FURTHER expose the artist in the market. Making an artist or a song stand out can only help in my opinion. However, flat out payola is another thing...and I would eliminate it if I could.
I found it extremely difficult when I first came to Broken Bow Records because I was working for an INDEPENDENT record label. We had to scratch, claw, and bleed to get (a) noticed as a record label, (b) taken seriously as a record label and a record promoter, and (c) to get our artist and singles taken seriously.
A lot of the trouble was just getting everyone to realize that we are a viable company with viable artists and music that is going to be around for the duration. No one wants to step out on an artist if they aren't certain that artist or label will be around. If a radio station cannot give a listener what it wants (and they want more of a certain artist) then it looks bad on them. And unfortunately it's been hard for Independent Labels to play ball with the big boys in the past.
But I feel BBR's success is due to the fact that our team has fought hard with everything we had, didn't back down, were given the tools we needed by the owner of our company...and most importantly...delivered incredible music and star artists. Eliminating "Pay For Play" would make it a more "level" playing field for everyone, I think. Still though, "promoting" a song or artist is something totally different.
5. What would you say is the toughest region in the country to work Country music today?
THE SOUTHWEST. I don't say this just because I work the Southwest Region...I honestly feel it is the toughest. The Southwest is really the only region which has it's "own thing" going. Many of the Texas stations play A LOT of Texas music.
I don't really think that a lot of Pennsylvania stations play a lot of "Pennsylvania Music" or a lot of Alabama stations play a lot of "Southern or Bama Music". And typically, if you look at Regional Charts and Regional Breakouts, you hardly EVER see the Southwest leading on a single. But, it's also going to be different on every song.
6. In your opinion does syndication contribute in a positive or negative way to how the charts are compiled?
While I think syndication is great in once aspect, I think it's negative as to how the charts are compiled. I love the fact that many secondary markets carry syndicated shows...because those stations and markets matter too. It's all in the name of "record sales", and even small markets have Wal-marts!
However...in regards to the charts, I think it shouldn't be used for tabulation. Syndication can prop a record up when it's doing poorly, and hurt it when it's doing great and it's out of your control. Sometimes, if you accidentally lose a syndicated spin on a record, you are stuck trying to make up 50-70 spins the next week because of the loss of one spin.
Or when a new single gets jumped on the chart by a single from a "superstar" artist that is moving quicker up the charts, and it knocks your record out of the Top 40 or the Top 30. You then lose those spins two weeks later, and you have to figure out how to make those up. It's for that reason that I wish syndication wasn't used for chart tabulation.
7. Has the consolidation of radio made the job of promotion harder or easier? Explain why?
I believe it has made it harder. Because of consolidation, many of the Music Directors/Program Directors have to answer/check with an RVP, a Head of Programming, or other "powers that be"...and many of these people do not take calls from people on the "regional" level.
You end up having so many "middle men" and having to rely on your VP's of Promotion to talk to the higher ups, and also on your MD and PD friends to take YOUR information and records into their meetings and conference calls instead of someone else's music. And with as much music and as many new artists out there as there is...I do not envy the position of an MD or a PD at all. There's a lot of people wanting things from them, when there may only be one or two slots any given week...if any.
8. How do you handle it when a programmer tells you that your single is too Country or too Pop?
Fortunately I have actually not had that said to me since I have been at Broken Bow. The mentality of Broken Bow Records is to make GREAT COUNTRY MUSIC...so I don't think we are ever going to be accused of sending out something that is "too Pop".
"Too Country" may be another story...but that I don't understand. Isn't this the COUNTRY format? But no matter what...I think if you are told either one of these things, it is our job as Regionals to prove them wrong, and to build as many stories as possible to fight this argument.
9. 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)
I handle them just like any other station. The way I see it...they still have to like it too, and THEY have some say so in the decision or they wouldn't be the Programmer of the radio station. So I give them all the information I can, in hopes that they go to the Consultant, Brand Manager, Format Captain, or Group Programmer with MY record and MY information, and help us win the belief of those decision makers.
10. What do you do in preparation for making your weekly radio calls?
I obviously look at tracking for our songs, and then I pull comparisons to other artists and songs. I also look at my stations playlists carefully, to see where I am getting beat, or where I am winning. I also look at radio stations websites extensively.
I keep notes from week to week as well on what I talked about with the station the week prior...so that maybe we can move forward on some ideas, or make sure that something doesn't get forgotten.
I also look for any and all information possible on my artists and/or songs...from sales to videos to anything you can think of. I like to be as "in-tune" as possible with each of my radio stations and their playlists.
Bonus Questions
A) What is the first artist you ever worked to radio?
To Secondary Markets it would be Ty Herndon "Living In a Moment" and James Bonamy "I Don't Think I Will." As a Regional it would be Patty Loveless "That's The Kind of Mood I'm In."
B) What did you want to be when you were growing up?
Originally I wanted to be a Dallas Cowboy Cheerleader, as I got older I wanted to be a Dance Teacher, and then I wanted to work in the Music Business (and that was as a Freshmen in High School.)
C) Name a record person, not on your label, that you really admire?
I have the utmost admiration and love for JACK LAMEIER. I learned so much from this Legend. He gave me such a wealth of knowledge of this industry and specifically Promotion. Working for him at Sony Music was probably one of the most awesome things in my entire life, and definitely in my career. I wouldn't be where I am today if it weren't for Jack and Rob Dalton.
Jack is the Promotion God, and I love him for all he taught me and all the opportunities he gave me. I absolutely love him with all of my heart. While I may not get to go to Jack's Place like I want to all the time, he is always in my heart and will always be my Papa Pook. And I will NEVER forget the 13 Commandments of Promotion!
D) What is your favorite CRS moment?
My favorite CRS moment would have to be the year that Tanya Tucker crashed the Epic Alley Rally party at the Bourbon Street Blues & Boogie Bar down in Printers Alley. We showed them our hits...and she showed us her ... Let's just say it was a great party with our entire roster of artists, our entire staff, almost ALL of the radio seminar attendees...and a couple of friends.
E) Best road story?
Well, it started out...ARE YOU SILLY??? What goes on the road, stays on the road!
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