Orlando

In a profession where U-Haul can often be your best friend, Orlando Davis is an exception to the rule. Rare is a programmer who has spent over two decades at the same station; rarer still is the programmer who has been able to hold on to that job after the station changed owners, in this case from CBS Radio to Beasley. On top of all that, he also heads up the WiLD's popular morning show. Yet Orlando's continued success speaks volumes on how his insight and passion has influence well beyond his market. Here, he explains how he does it...

When did you start at WiLD ... and when did you realize that this would turn into your career radio gig?

I started on July 1st, 1998, in afternoons. We actually didn't have a PD at the time. They offered me the MD position, but I wanted to wait until a PD was in place. That way, when Dr. Dave got there, he didn't inherit someone but had a choice in his right hand. He would eventually tell me that my work had proven the post was deserved and onward we went.

I didn't know at the time that this would be my biggest career stop, but I had faith. I had multiple offers to leave Tallahassee before choosing WiLD - and when I did arrive in Tampa, soon after I was up against Dom Theodore at WFLZ. I got to know Dom while in Tallahassee, as he was traveling between Island 106 in Panama City, where he was PD, and his Tampa/FLZ responsibilities. He always said we had to work together, and many don't know he tried, tirelessly, to get me hired at FLZ, but to no avail. When WiLD called, I wanted to decline out of loyalty, but he said, "You take that job and show these guys their mistake." So I knew Tampa was going to make me as happy as a crackhead with cash. I couldn't pass up the opportunity and it has really been fun - a great place to live and raise my kids.

After you were promoted to PD at WiLD, was there a certain time when you realize you could handle the programming duties?

I had left a programming position to come to Tampa so I knew could do job, but it was still a big undertaking because the people who gave me job had much more faith in my work than I did. When our Market Manager at the time, Tom Rivers, named me PD in 1999, he sent out a memo to the staff ... just a quick couple lines ... but I still have that memo on my wall. Having him hand that memo to me was my Grammy Award. To be able to work with Jerry Clifton and to have CBS Radio decide to have me be the one to protect their license, to put the station's success under my direction ... and then to have everyone running through walls for us ... it's been a fantastic experience.

Were there any bumps along the way?

The hardest part was convincing Sales I could do the job. I was 28 when I was made PD - and everyone else before me were more seasoned PDs. Our Sales department was probably thinking along the lines of, "I know he can do afternoons and work clubs, but I don't know..." Fortunately, the GM backed me up; he told them, "This is the guy who's going to lead us," and gave me the chance to prove myself.

You've often been quoted as saying you can pick the hits from finding out what's being played at strip clubs. If that's true, then aren't you essentially saying that the dancers' taste in music is essentially the same as your P1s?

When you think about it, if a woman feels comfortable enough to choose a song to dance in public, she's going to pick carefully. She wants something that makes her feel sexy, assertive ... and makes her want to dance in front of people. You don't have to be a Mensa candidate to realize that certain music moves some to move, twerk and act up. Those are usually the records that evoke emotion and get great run on streaming services and the like. We lean on programming hit radio like a club: There's a reason there are no "men's nights" at nightclubs -- if you get the ladies, you get the world.

Over the past few years, we've send a trend of heritage Rhythmic Top 40s - Wild in San Francisco and B96 in Chicago, to name just two -- re-brand themselves as Mainstream Top 40s. Did you ever consider that for WiLD ... and what does that say for the format?

Everyone has to do what's right for their station and market, so the changes don't bother me. In Tampa, WiLD has grown as the market has grown more diverse. We're still riding and responding to Tampa's music interests. We're their consistent, Rhythmic voice, whether during the EDM movement, the Dirty South wave, the New York sound or Trap ... we've been able to sway back and forth to hold par and succeed in mirroring what works for the market. It's just about us being true to our audience. The station has made a point to not push the format but reciprocate culture; we'd lose the credibility with our audience if we didn't treasure and respect that responsibility. Now we're 20 years on, and we still remain true to who we are.

What went through your mind when CBS Radio swapped WiLD to Beasley?

It was a nervous time. Nerves definitely set in when you've spent 15 years with one company, and the next day you become part of a new company. Dom called and said, "You don't know it yet, but you just won lottery, my friend." Not knowing what other changes were afoot, from whence I had come and with little info about my new digs, having a friend and consigliore say, "I'm telling you this is the best place for you," that was the second career decision that I can count as great counsel from Mr. Theodore.

Is there a definite difference in corporate culture in the two groups?

Corporate culture is always a consideration. In most big groups, you have higher-ups that you report to, in L.A. or N.Y. When I was reporting to Dan Mason and Scott Herman in New York, I learned so much but always felt that we were in trenches and they were on high. Our Beasley HQ is in Naples, so I can easily see my EVP/Programming Justin Chase, and our COO Brian Beasley in the building, any random weekday. After speaking at the Worldwide Radio Summit, Beasley CEO Caroline Beasley took us all for dinner and it was awesome to chat radio, and get to share with our leader. That's something other companies don't get to experience so I'm in a great space.

This is a constant, local feel to our corporate structure. I can contribute things that can become a substantial part of the platform. At times, decisions have to be made hard and fast and recently a decision was made that I didn't agree with, which I shared with my VP/Market Manager, Steve Triplett, and Brian Beasley. They agreed with the case made and reversed the decision. That's a local feel for me. We're all looking for a strong return but working through some obstacles as a team feels like your market experience and opinions matter. It feels good.

Outside of WiLD, what other stations do you work with in an advisory capacity?

The head of our Rhythmic stations is John Candeleria out of Detroit. Justin Chase named Candyman and who could disagree? We're charged with helping anywhere it's needed. I can be on a call for a client in Detroit, a hire in Fayetteville, or even within our cluster, Country outlet WQYK. We always brainstorm amongst ourselves; I enjoy helping the stations with advice and any ideas that could spark something major. And of course, they return the love. I've never wanted to be the guy who's bugging people for e-mail, reports and the like. I just want to help when and where I'm needed.

How much of your playlist are Rhythmic-only hits? Or do all true Rhythmic hits eventually cross over to Mainstream Top 40?

It's all in the timing. If we get out on something early -- and most records we play, we're usually on an island by ourselves at their launch -- we don't get lot of cross-pollination. However, if we're powering Ariana and the two Top 40 stations are playing it as well, we can gather a bit more info. When "Rhythmic only," that lifting is solely ours, so timing may be adjusted. I don't think the hits change that much; it may take time to get a big record working in Oakland to permeate Central Florida, so time is everything. But in the end, a hit is still a hit.

Where do you see the format evolving?

I see the format becoming more robust because of what we've been missing for years - mass female representation. There haven't been a lot of females in Rhythmic. We've had Beyonce and Rhianna, but then it fell off to one-hitters, which is a hard sell as a cornerstone of a format. Now, here comes at all these incredible artists -- Ella Mae, H.E.R., SZA, Cardi B, City Girls, Megan Thee Stallion and of course, Ariana. They're now swinging it out with the guys ... and rounding out our buffet. For a hearty meal you can't live off chicken fingers. With the ladies, you got variance ... a little mashed potatoes, some mac n cheese, some greens. The vibe is a lot nicer when there's more diversity in the meal.

Diversity in our format is healthy and it proves that people's interest in radio is still there. The streaming conversation is incessant but I don't fear it's going to replace radio. It's just another change in the delivery of music. New stuff was found on the mix tape circuit or from the flea market CD man, where they could delve into different kinds of music. Now that streaming has become prevalent, when we put a song into rotation, it's already in a different stratosphere. It has been incubated and we chart that progression from a different starting point. We share that interest in music and we can work in concert with streaming to make these records really big. I've had numerous artists confide that they can have a song kill in the streaming space, but the trajectory has a massive shift when radio joins. Radio will always be necessary.

Does that mean streaming's growth has significantly impacted the way you program?

Not entirely. It hasn't changed the way we do anything; it's just more information. Anytime we do music meetings, be it 20 years ago or yesterday, we'll always have a number of reports in front of us to bounce info around. Streaming is just one more sliver of info we can use to make our decisions. We want to paint a vivid picture for our audience, and this info is a big help in identifying trends well before the stations, who simply watch our rotations, catch wind of it.

So exactly who are you competing against - the Top 40 across the street? A direct-format rival? YouTube? The Spotifys of the world?

We're competing against everybody. It's interesting ... when I started at the station, there were still plenty of record stores and we used to send our street team to ask people what they're buying, browsing or listening to. People who were listening to JaRule, Green Day, etc. Today you take that same diversity and multiply it by 100. TV programs like TMZ and Entertainment Tonight jump from pop stars to Hip-Hop stars, from Nipsey Hussle to Justin Bieber. That's why we want smoke from all sides. We compete against everyone. This content biz means you not only have topical info but a take on that info. When Nipsey died, Orlando and the Freak Show was all over it. Other outlets mentioned it but we felt it differently. The audience senses that on most stories. They called and asked, "What time will you be talking about it because we wanna hear what you have to say." That's the connect I always dreamed of having.

Are there any characteristics that separate a successful Rhythmic Top 40 jock from a successful Top 40 or Urban one?

I don't think so. You look at Top 40 -- Ryan and Elvis - Hip-Hop with Ebro, The LA Leakers or what you see The Nuthouse or Joey Franchize accomplish here in Tampa ... it's still about delivering content. That really hasn't changed; the method has. The way Nielsen monitors it -that required a juggling act to try and fit what we do into the strange box they prefer. All in all, these personalities and so many others connect with the audience in a major way. People have to get music that they enjoy but in between the songs, we have some of the best stewards of the medium holding us down. That's a strong position for the radio industry, no matter who you're targeting. It's still about connecting with people, making an impression and not reading too much of your own press. Once you start thinking you're more important than the music, it's time for a nap.

How has social media changed the way you connect and relate to your audience?

I'm pretty active on socials because it's a direct line to the audience. I was out a couple weeks ago at the WWRS, and I decided to share the trip with my folks on socials. Most of them probably haven't driven around LA, or seen the studio back lots. My love affair with In & Out was new to some and informative to others who were planning to journey out West. When you share things like that, you realize that even though you're not on the air, you're still communicating and sharing experiences. Our addiction to these last episodes of Game of Thrones is totally shared with our audience and we live each episode together. I try to follow at least 10% of those following me - and I keep refreshing that list to get more people into the conversations.

By being so active at work and on the socials, how do you balance all that with your personal life?

Honestly, I think we have great system at the station, starting with APD/MD Christine Peters. Prior to the advent of the hashtag #metoo, I'd be able to call her my "work wife." She makes sure the right info gets to me. My GM told me about all the potholes he went through and how I could avoid them. He said, "If you're going to be on the air and the PD, you'll need someone to be your point person when you're in creative mode." I'm fortunate to have smart people around to advise me and share different ideas. Our Promotion Director Tom Davis works with me and leads a team of constant inspiration. Every time they come into the hall or my office, I get more ideas. On the personal side, I have two daughters (nine and 11) and their mom does an incredible job in keeping things covered while I immerse myself in all things WiLD!

Finally, do you still have big plans for a future in terms of career goals or challenges - or are you content enjoying your role in this world as it is?

Personally, I've been on the keto thing. I whisper it because I don't want to spark the obligatory conversation that comes with it, but it's been a new lesson about food and how my body responds. Learning is living, so there's always something to learn.

Professionally, as long as I love what I'm doing, and the company enjoys having me, I can do what I'm doing. I've started to write a bit more, which has been a release since my teens, so there are some things in the works. I also love music and have met some of the most incredible record execs and producers, as the A&R world has always fascinated me and I've become more involved in helping artists find their way. However, I don't see myself hanging up my headphones anytime soon. Caroline Beasley and the Beasley Media Group have given me the golden opportunity to grow our brand and continue to create moments for Tampa and abroad. I take that task very seriously and love every moment of it.

Orlando & The Freakshow’s “Game Of Freaks.”