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10 Questions with ... Eboni Funderburk Grimes
September 13, 2005
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NAME:Eboni Funderburk GrimesPOSITION:Manager, National PromotionsMARKET:GospelCOMPANY:EMI GospelBORN & RAISED:Born in Seoul, Korea & raised in Washington, DC by way of Raleigh, NC
Please outline your career so far:
I have spent a little over seven years in the Gospel industry. My stint includes working in promotions for Verity Records and EMI Gospel. Currently, I am Manager of National Promotions for EMI GOSPEL and am responsible for the day-to-day operation of the promotions department as well as radio for such artists as Smokie Norful, Kierra KiKi Sheard, Darwin Hobbs, Micah Stampley, Myron Butler & Levi, Antonio Neal, LaShun Pace, the legendary Mighty Clouds Of Joy, and Bishop Eddie L Long's New Birth Total Praise Choir to name a few.
1) What was your first job in music?
My first job in music was at WHOV 88.9 FM while attending Hampton University in Hampton, VA. I was on-air Sundays and did the news during the week.
2) Who were some of your early influences?
grew up in the "church" and was accustomed to its traditional style of music. However, I also grew up in the eighties when music was really moving and hip-hop was really beginning to spread its wings. And as a kid, that's what I wanted to listen to--not the church music my mom liked. But it wasn't until artists like BeBe & CeCe Winans, Commissioned, the Winans, Transformation Crusade, Fred Hammond etc. came along that I really began to enjoy and develop a passion for Gospel music and its "diversity." It was because of artists like these and their style of Gospel music-music that was presented in way I could relate to as a young person-that I wanted to be a part of the Gospel industry.
3) What led you to a career in this industry?
I come from a very "theatrical" family. My mother was heavily involved in the arts when I was growing up and I somehow always felt that I, too, would end up in entertainment. However, it wasn't until my stint at Hampton University did I realize Gospel music was truly my "passion."
Upon graduating with a degree in Mass Communications, Broadcast Journalism, I relocated to Nashville, TN, in hopes of finally breaking into the industry. Eventually, I landed an position as Managing Editor of Gospel Industry Today Magazine. From there, my desire to learn more about the industry from the "inside" led me to an internship at Verity Records, which rapidly evolved into a full-time position in the Promotions Department. I worked as Promotions Coordinator for five years before moving on to EMI Gospel where I have been for two years.
4) Was there a defining moment, which made you realize "this is it"?
Once I began to work in radio promotions at Verity, started building the relationships and honing in on my craft, I fell in love with it and the challenge. It was at times a task, but I found myself rising to the challenge. I really have enjoyed working along-side my colleagues in the field..
5) If you were just starting out, knowing now, what you didn't then, would you still do it?
Absolutely. This journey has been very challenging and yet very rewarding. And my experiences-good and bad-have really helped to grow and shape my career and me, personally.
6) What was the first record/cd you purchased?
Would you believe the first record I ever purchased was not a Gospel record. It was The Sugar Hill Gang... and I wore it out!!!
7) How is the relationship between programmer and record label changing for gospel labels?
Relationships between programmers and labels are evolving on all fronts. For instance, after years of working to get the proper charting tools in place (i.e. Radio and Records and BDS RadioMonitor Gospel charts) and "catching up" in a since with our counterparts, we finally have tangible avenues to validate what we do at radio, to hold each other accountable, and to spend less time "tracking" a record and more time "working" a record and cultivating those relationships.
Additionally, as a result of FM Gospel success, Gospel programmers are under mandate to step-up their game in order to compete with their fellows on the FM dial. Likewise, our charge as a label, specifically in the promotions department, is how best to support their efforts. We are challenged to think outside of the box as it relates to promotions, and to present more cutting edge artists/music as a label-not only in order to reach the already established Gospel audience, but now to appeal to the new, and in many cases "hipper" audiences that FM Gospel is reaching.
8) How do you account for the tremendous surge Gospel music in general and EMI Gospel in particular has made in the last year??
I believe there are many contributors. For example, there are more avenues opening for Gospel artists to be seen and heard by broader, more mainstream audiences. The successes of our artists are garnering more recognition on the national level. Smokie Norful not only winning a Grammy, but also being the first recipient of the ASCAP Gospel Artist of the Year Award. More radio and television programming is including Gospel (ie Celebration of Gospel). And not so ironically, when there are disasters or major events that dramatically effect us, Gospel music has always been there to console and get us through those tough times-and these past five years have been full of them (9/11, the war on terrorism, Hurricane Katrina).
As of these past few years, there is seemingly more of a connection between the Gospel & R&B at radio. Gospel is crossing over and even is programmed in regular rotation at Urban AC, and vice-versa (R. Kelly "You Saved Me" ; Kanye West "Jesus Walks"). As well, Gospel labels are making it an initiative to "cross-over" more of their artists at mainstream radio. And, in many cases, are doing so very successfully-- Smokie Norful, Yolanda Adams, Dr. Charles Hayes to name a few.
9) How do you feel about call-out research and it's affect on adds and spins?
Actually, Gospel stations that participate in call-out are few and far between. A hand-full of stations do their own in-house research, however this is not yet a tool that is widely used in the Gospel industry.
10) Where do you see our industries going in the future?
I see our industry's style/sound of Gospel music continuing to evolve as radio reaches new, younger audiences. And as these younger audiences age into the target demo, bringing with them their own musical "tastes," the sound of Gospel will eventually have to progress to cater to them. In turn, I also believe we're going to start seeing the younger generation of Gospel artists coming up like Kierra Sheard, Micah Stampley, J Moss, MaryMary, Tonex, Deitrick to name a few-taking more of a lead roll in the industry.
Also, I believe we'll see more FM Gospel stations opening their doors and competing with mainstream formats at radio. We've already seen the beginnings of this in Atlanta, Columbia, Memphis, Norfolk/VA Beach and Raleigh where FM Gospels have landed top ten positioning and even, at times, top five and the #1 slot in their respective markets.
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