10 Questions with ... Mike Abrams

NAME:Mike Abrams POSITION:Sr. PDDance/Hits Formats (and Some Micro and Holiday Channels) STATION:XM MARKET:U.S. and Canada OWNER:XM Satellite Holdings

Please outline your radio career so far:

It all started over 20 years ago at a little radio station called 91 FM WKRB, Kingsborough College, Brooklyn NY, which led to doing research for WAPP (thanks, Gary Spears) and Z100 (thanks, Shadow Stevens), New York. Then the long drives of passion for on-air work took me to WRCN/Long Island (thanks, John Grappone), then to WJLK K-94 ... Now "94.3 The Point" Asbury Park (thanks, ALL ACCESS' Pat Gillen), and to LASER 104.1 WAEB/Allentown (thanks, Jefferson Ward).

Then, it was off to the West Coast and 102.3 KFIV/Modesto (thanks, Carey Edwards), and simultaneously to Hot 97-7 KHQT/San Jose, (and the first time working with Steve Smith, who exemplifies "passion.") From there, finally an MD position at start-up X-102 KSXY/Reno, NV (thanks again, Carey Edwards). After a quick trip to 93.1 KSND/Eugene, OR as MD and night jock, it was off to Phoenix to work with Steve Smith once again at POWER 92 KKFR as Programming Coordinator ... which ...

Led to the East Coast... and WQHT Hot 97 as Programming Coordinator, again with Steve Smith as the PD and Tracy Cloherty as MD, the first 24/7 Hip-Hop station for the masses ever. While at Hot, I was also a part of putting together the original blueprint of Smooth R&B and Classic Soul 98.7 KISS FM, the highest-rated station in New York (12+) with a 7.4 share (since Z100 got a 7.2 in 1986). It was a unique time in radio, and Emmis, which owns those two stations, saw the opportunity and was not afraid to go into uncharted areas, which paid off greatly (thanks, Rick Cummings).

Then, it was off to program at WBHK (98.7 KISS FM)/ Birmingham, AL., an Urban AC start-up, which became the highest-rated Urban AC in the country at the time (AQH Share) (thanks, Bill Tanner and David Dubose).

After KISS Birmingham was bought by Cox, I went to Atlanta for a brief time to start up, sign on and program WBTS 95-5 The BEAT (thanks, Bob Neil). In its first few months of life, the station obtained its highest 12+ share (3.9) to this day.

Then, an incredible opportunity came about at Radio One, as the company partnered with XM Satellite Radio to bring five channels of programming to XM. I was hired as Dir./Operations for the SATELLITE ONE division of Radio One to launch this initiative, which started from the floor boards. This was not only a start-up operation, but a chance to be involved in a totally uncharted area of radio (thanks, Alfred Liggins, John Mathews Scott Royster). In 2004, the partnership changed, and several Radio One staff members and I were hired by XM directly, where we remain now (thanks, Lee Abrams and Dave Logan). I started with dealing with special projects and programming AC channel THE BLEND, and eventually added other duties, and am now overseeing many of the Hits channels (along with Hits guru and SVP Jon Zellner) and the Dance channels. Plus, the occasional Micro channel such as Mardi Gras, Party City or Radio Hanukkah.

Sorry ... that's about as brief as I could be to wrap up over 20 years of carpet-bagging!

1) What are the most significant differences between this job and your terrestrial radio programming gigs?

From a programming standpoint, I actually I feel the differences shouldn't be THAT significant. People come to both for the same reason ... entertainment!

The difference is really a logistical one. In a terrestrial, pre-PPM world, it was all about keeping people listening. Either more people or longer listening ... cume or TSL. At XM, the main goal is serving the FAN of each channel. It isn't about quantity as much as quality. Being a subscription-based service, we excel when people are HAPPY with our channels and service as a whole. Therefore, the main goal is to make the channels compelling, and superserve the fan of the format. If someone leaves a channel to take in a baseball game or another music channel, that is okay, as long as they're happy with what we provide overall. Each channel needs to meet the expectation of the subscribers when they tune in to it. Most importantly, the channels need to be compelling and interesting enough, or different enough, that they keep someone subscribing each month.

However, the same methods can be used to obtain the goals in terrestrial radio as well. When you put aside the "logistics" and remember that BOTH are about entertainment, you can focus on what MATTERS. I have been fortunate enough to work at terrestrial stations that were successful NOT because they would "follow the formula" and "be safe." They were successful because they were groundbreaking. They were different. They were exciting and compelling. They didn't follow the "usual path." By doing so, they gave the audience something to be excited about ... something unique. By doing that, the ratings and everything else falls into place on its own. So the differences I feel are negligible. Both are about the same result. Hopefully, regardless of the delivery system, those programming won't forget that radio has always been about entertainment and passion.

2) You oversee a boatload of channels. How do you balance your time between them? Do some channels get more attention than others?

So far, luckily, I am happy to report, I have not accidentally placed a John Mayer song on the Electronica channel! With some of the channels I oversee, I have day-to-day responsibilities to take care of. These take more of my time. Some channels are more active than others just because of the format. However, I am passionate about and a fan of every format I oversee, which makes doing this job a tremendous joy.

Over the years, I have worked in many formats from Top 40 to AC to Urban to Dance, so overseeing varied channels is something I am very much happy to be doing. However, as a Sr. PD, there are other channels with their own programmers who I work with to make sure we are on target in obtaining the mission and goal of the channel they are running.

One of the advantages we have here is that our programmers are able to program. I do not need get intimately involved in every aspect of the channels that have their own Program Directors, although we love to brainstorm as a team. But, we hire the right people, and let them do what they were hired for. Going "old school" for just a bit, the "legendary" radio programmers were special because they were allowed to "create." Rick Sklar, Sunny Jo White, Clarke Ingram, etc. They were PEOPLE you wanted to work for. It wasn't about the company or even the market. It was because of the PROGRAMMER and the vision they had and their ability to execute on the air that made you want to work with them. I enjoy tremendously working with those on my team, and we all work great together. Their input is treated with respect. But I let them do their jobs. That is how we operate, from EVP Eric Logan to Jon Zellner and down the chain (thanks, Eric Logan). It makes for an amazing, unique working environment that spawns creativity around every corner.

3) How would you describe your first radio gig?

It was the mid '80s. Being interested in radio since childhood, a co-broadcaster from my college station and I used to call stations to just talk to the people there about radio and getting into the industry. (It sounds weird now ... but gosh, I STILL stay in touch with so many people from back then.) Once, we called up WAPP, one of four Top 40 stations in New York, and talked to Gary Spears, the jock on the air at the time. After a few conversations we somehow invited ourselves down to visit the station, which was in a small building on the service road of the Long Island Expressway at the time, and we went to lunch with Gary (at Sizzler). We asked him about jobs. A few weeks later, after keeping in touch, he gave our names to Terry Danner at sister AM WHN, located in Manhattan, where research was going on for WAPP. We interviewed and both got positions there.

But it all started with just a phone call. I have stayed in touch with Gary all of the years. And now, whenever someone calls, (or in today's world, e-mails) regardless how busy I may be, I always will talk or write to them. It may have been over 20 years ago this happened to me, but I never will forget the people who helped me over the years, and always remember to pay it forward. I'm sure there was a person or people who believed in everyone reading this article right now. Why not take a second and drop them an e-mail or a call real quick? I bet they'd appreciate it!

4) Are you wearing more "hats" than you have in the past?

I have added many more responsibilities since starting at XM. But they are all so enjoyable and there is nothing I would trade. I have had the opportunity to program some of our micro-channels, which are small limited channels that are on the air for a day up to a few months. However, creating them is such a great feeling, when I am told we are doing a new one, I look so forward to working on it. If you enjoy your hats, wear 'em proud! Don't forget that our "living" in this industry, even under the worst circumstances, is AMAZING. The one thing that also is important is to leave time for yourself, friends and family. If you love the business, like I do, it is very easy to get "lost" in it, to the point where you work all the time on something (there is ALWAYS something to do or make better). However, taking some time for yourself REALLY helps clear your head so you are more EFFECTIVE at what you are doing.

5) What is your favorite part of the job?

Being able to actually create and program ... to put together entire channels and ideas. For example, in 2006 we launched Radio Hanukkah, which was a suggestion by our former CEO's neighbor (thanks, Hugh Panero and his neighbor). In our early meetings, we decided to make this a "full-service" Hanukkah channel ... not just play music, but embrace the lifestyle of the listener. I was able to put together an amazing lineup of compelling shows and lifestyle features that united people across the country in an incredible way, as the content was NEVER available nationally before. It would have been easy to just throw on some music and call it a day, but going this extra mile created a special listening experience for our subscribers.

That is what we are about at XM. We created a bond with the listeners with Radio Hanukkah. Did it take a LOT of work? YES! But with our small but totally dedicated staff (thanks, Allen Goldberg, Greg Kellner and Randi Martin), we presented programming two years in a row that generated THOUSANDS of the most amazing emails I have ever read, that again, proved the bond radio can have can be overwhelming. If I am ever feeling down, I can look at these e-mails we received for this micro-channel, that contain the most touching, heartfelt words I have ever seen in the business, and feel good. Creating programming is the favorite part of the job. Hands down.

6) What was your favorite station to listen to when you were a kid?

WABC. It was the biggest radio station anywhere. I'm sure I share the views of many New Yorkers who feel like the station was the glue that kept the city together. In crisis, during fun times, everyone could relate to that station. It didn't matter if you were from the 'burbs or the borough, rich or poor, black or white ...WABC had music and personalities ... PEOPLE on the air you could relate to. If you didn't live through the era of that station's dominance, you may not understand the amazing impact. The best you can do is try to envision it, and look at sites like www.musicradio77.com and try to experience what it was like. This was the station that kept a generation slightly before mine connected to the Beatles. It kept me company during the 1977 New York Blackout. Dan Ingram, Harry Harrison and the rest of the crew from this station is the reason I got into the business.

When disco took its hold on New York, I became infatuated with WKTU (Disco 92 not 103.5) and the impact it had on the city. It totally lived and breathed the lifestyle. So those two stations are the ones that I will never forget. Both were about focus, passion, and living a lifestyle.

7) What would you like to do to save radio from its "dying-industry" image?

Satellite and iPods are NOT why this image has occurred. When cable TV came around, network TV stagnated. It took awhile for the big 3 (or 4) to figure out that the old-line sitcoms and dramas were not the way to go. So along comes Survivor, other reality shows, the Simpsons, and Millionaire. Shows start defining a new paradigm. It isn't about WHERE the shows can be found. It is that they were compelling, different and interesting, and people came to see them. On network TV.

"Radio" and "buying" records just 15 years ago were the ONLY ways to get music. There were no downloads, satellite, streams through your TiVo, or phones with everything. Radio was it. There was NO competition. Those days are gone. Now, radio needs to give people a REASON to be a pertinent part of their lives. Radio needs to give listeners a product they can't get anywhere else... one they will spend time with. It needs to be not only reinvented but totally rethought.

Can radio come back and be what it was? Sure. But NOT if the same positioning statements ... the same morning shows ... the SAME THING is done OVER and OVER, while the world continues to evolve technologically and musically. Take a step back and LISTEN. Is your station COMPELLING? Is it INTERESTING? Are the laser shots in the production you love so much something that the listener REALLY cares about? Radio doesn't NEED to have a dying-industry image. It needs to re-evolve as a renaissance medium.

8) What is it about our industry that keeps you wanting to do it for a living?

As an industry, we are able to affect change. We are able to affect lives. Things such as raising $70,000 for those needing help after a hurricane, or putting on a multi-act concert that 20,000 people are taking the time to go to, or making someone's day start out on the right foot with entertainment in the morning, or providing content that is lacking and unavailable anywhere, keeps me wanting to do this. There are very FEW industries where you have the opportunity to touch people in the way we can do it in radio. It is easy to get caught up in the business end, the paperwork, the other day-to-day items, and not take the time to see we are having real impact on people's lives. That has been the most satisfying thing over the years for me. It is what will continue to keep radio a relevant industry and need.

9) What is the one truth that has held constant throughout your career?

Treat people with respect and honesty. Be fair with them. Let them know when they are doing something good -- and be honest with them when they don't. Work around their individual quirks. Everyone has them. I do my best to take my staff to dinner, shows, events, and let them know when things are appreciated in SOME way. In today's world, people are so busy, giving compliments very often falls by the wayside. When people are appreciated, they do a good job for you, and it makes the working environment something you WANT to do eight-plus hours every day. A hostile "watch your back" environment is the worst. Bringing everyone together and always making them part of your vision, and listening to them is what makes the work environment fantastic, and makes the "job" enjoyable to everyone every day.

10) What advice you would give people new to the business?

Reach out to anyone who will be good enough to talk to you. Be passionate for your entire career, regardless of where it takes you or what you do. Priestly, who is MD at our 20 on 20 Top 40 channel is constantly championing new music ... because he actually likes and lives it ... passion. And most importantly, never stop learning. Over the years, I have had the opportunity to work with and know some very respected programmers. While I have learned much from them, they also pick up things from me and respect my views and ideas as well, as seasoned as they are.

It is very easy to say, "This is the way I do it, period" and only do it THAT way. When coming to Birmingham from New York, although both stations were Urban AC-formatted, the market was totally different. If I took the things we did in New York and just duplicated them, we would never have had the success we had in Birmingham. When I arrived, I listened to the people who had been in the market, and talked to the listeners to find out what they were all about. If you are new to the business, LEARN! Form your OWN opinions and hypothesis as well, to become your own person, but never stop learning and adapting. Just ask All Access maven Joel Denver. Once you close your mind to new ideas, you become only one thing ... a dinosaur.

What's the biggest gaffe you've made on air?

My first job and shift, at an AOR (that's a ROCK) station, I was a bit nervous (just a bit) ... I spilled water all over the counter and the night guy nearly killed me ... then went on the air ... said the call letters wrong twice ... and later took off the record that was playing and nervously explained on the air "so much for that!" I actually got called back for another shift. Things had nowhere to go but up from there! To this day, this is why I NEVER listen to new jocks on their first shift. There's a first time for everyone. And it will never be your BEST time. But there is one thing you can get ... better.