10 Questions with ... John Zarling

NAME:John Zarling TITLE:Director, National Promotion & New Media LABEL:Big Machine BORN:Santa Maria, CA RAISED:Santa Maria, CA

Please outline your radio career so far:

Big Machine Records (2005-present); UMG Nashville
[Mercury, MCA, DreamWorks] (2004-2005); Mercury/MCA Records (2002-2004);
Mercury Records (1999-2002); The Press Network (1999); internships at Decca
Records and Music Row Magazine (1998-1999). / Education: BBA, Belmont
University Curb College Of Music Business (2001).

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?

The state of the music industry today is more exciting than I have ever witnessed. When I arrived in Nashville 10 years ago, it seemed the outlook at that time was pretty grim. Labels were contracting, artists were losing deals--there was not the optimism that seems to be in the air now. I am thrilled to have the opportunity to be part of the Nashville music community during a time when there are so many possibilities for promoting our artists, and just an all-round excitement. There is no doubt I would choose the music business if I had to do it over--it's certainly not a gig tailored for everyone, but if you have the passion and the work ethic, you can excel.

2. In our highly competitive music field, where it seems more and more that every artist needs something special to get paid attention too, how do you position your self, and your label, to get YOUR artists the shot they need?

Every artist deserves to have a team around them with enough time to focus on their music. At Big Machine, I believe Scott Borchetta has encouraged the staff and the artists to always let the music lead the way. Every artist has their own sound, story and audience. It is our job to make sure we are recognizing what that is and tailoring a marketing and promotion campaign customized for each artist.

3. Do you think that showcases, artist visits and conference room concerts are all viable in getting new acts introduced to radio?

In my experience, excitement surrounding an artist is usually tied to a series of one-on-one encounters that translate to a buzz on the music. For that reason, I believe artist visits, showcases and interviews are still the most effective way to build a profile. In many ways the first impression an artist gives is with their demeanor and personality, and then their music. In order to effectively break an artist in the country format, you have to be on the road meeting people.

4. In your opinion, how has the slowness of the chart hurt the format, and what would you like to see done to speed it up, if in fact that's something that should happen?

I am split in regards to this issue. I have been part of promoting numerous singles that have become some of the longest-running singles in the history of the format: Steve Azar's "I Don't Have To Be Me ('Til Monday)", Sugarland's "Baby Girl" and, Josh Turner's "Long Black Train", are just a few that have spent 30+ weeks on the charts. And both Jack Ingram and Taylor Swift, here at Big Machine, saw their breakthrough singles build for eight months before peaking. In the case of Josh and Sugarland, they are now platinum-plus format stars...and with Taylor's gold album and Jack's string of hits, those two are well on their way to the next level as well. So, I have to believe, for a new artist, a long-running impact single can bring great results. That said, I can't imagine any promotion person who would wave the flag for a slower chart...I think many great songs and artists fail to be heard because of it.

5. In your opinion does syndication contribute in a positive or negative way to how he charts are compiled?

The charts are measuring listener impressions market-by-market and syndicated radio outlets are just one of many ways to reach the target audience. Given that my background lies in national radio promotion, I certainly feel syndicated programming deserves to be factored into the chart. Because of the slow nature of the charts, syndication does allow exposure for artists on stations long before the programmer may officially add the song. And the value of that exposure deserves to be given credit.

6. In your opinion does syndication contribute in a positive or negative way to how he charts are compiled?

No, I don't. We have had several internal discussions about callout and online research lately and it seems as though programmers are so ready to look at what this small sample of people wants vs. what may be causing a true impact locally or nationally. I feel outlets like MySpace, Big Champagne, iTunes, and SoundScan are determining the 'real' records in 2007. How many times have we seen projects that are selling tons of product on the strength of a polarizing record that is not testing? I'm not sure there is an easy solution: these are the moments where you realize the goals of radio and records don't always align.

7. If you had the opportunity to work any act/artist from the past, present or future who would it be?

Not sure I could pick one artist, but being that I have always been a country music fan and consider myself a country history buff, I'd love to roll the clock back 30 years and see what it was like to work in the country community at a time when all of today's legendary artists were just getting started.

8. How do you go about building relationships in your region? How important are they in obtaining airplay?

Relationships are essential to the continued success of a label and an artist's career. I make it a priority to keep in constant contact with the various gatekeepers.

9. In this the day of many labels releasing just one or two singles on an artist in order to see how it does before actually investing in a complete project ... what do you feel this practice does to your creditability with programmers?

Labels must make their investment in every artist evident. I firmly believe everyone can sniff out a project that is being released with little support and belief. The 'throw-it-out-and-see-if-it sticks' method rarely works and, more importantly, it does such an injustice to the artist, let alone the label, and ultimately your own reputation. (Can you tell I am not in favor of that approach?!)

10. What do you do in preparation for making your weekly radio calls?

I look at as much information as I possibly can, check out what is currently on the play list, and make sure, given my knowledge of each artist's music, that I can effectively convey why the music deserves to be heard.

1. What did you want to be when you were growing up?

I grew up in an agricultural community, so for several years in high school I was involved in the FFA (Future Farmers Of America). I raised a pig, a steer, was on the soil and pest judging teams, etc. I ended up discovering Belmont and choosing the music business over agribusiness.

2. What is you favorite CRS moment?

New Faces Show 2005: The moment after Sugarland concluded their set and the crowd was on their feet and there was an unquestionable magic feeling in the air. At that moment, a superstar band broke through.

3. How do you balance your family life?

No family commitments yet. The music business is a lifestyle more than a job. You can't turn it on and off. And when you are lucky enough to do what you love, I can't imagine wanting to.