10 Questions with ... Eugene Brown

BRIEF CAREER SYNOPSIS:

I got my start in radio in 1983 at the age of 16 upon being offered a summer job at Flint radio station WDZZ. I have been fortunate enough to have had the opportunity to have held the position of MD during my tenure at WDZZ, and PD at WTLZ/ Saginaw, MI. In the Spring of 2009 I launched my own internet radio station, Eugeradio in Flint, MI.

1) What's the state of Internet radio for independent owners these days?

It's an interesting time for independently owned-and-operated Internet radio stations. Internet radio is gaining in popularity from a listener standpoint; gaining a certain level of respect from record labels, especially now that BDS (Nielsen Broadcast Data Systems) has allowed Internet radio to be monitored entities. Also, it's my feeling that Internet radio is being looked upon as becoming a potential competitive force from owners of traditional radio outlets, and an attractive advertising vehicle for companies and ad agencies alike. All of these factors are going to have some interesting consequences on the medium in the foreseeable future, regardless of what genre you represent. Right now, there aren't many barriers to starting an Internet station, but those days are numbered if one has been in a position in the past five years to see how far Internet radio has come. There will come a time when Internet radio will become big business, and for us Internet broadcasters that are already positioned to face these upcoming changes, this is definitely the time to make the necessary preparations to have a plan in place to deal with what lies ahead, so one is not completely caught off guard when these changes start taking place.

2) How do you think connected car is going to affect Internet radio?

The connected car's effect on Internet radio may be two-fold. It will obviously provide the medium with the possibility of a wider audience, but the question is are most of the independents adequately prepared to take advantage of this opportunity? For Eugeradio, I understand from my many years of being in traditional radio that there is a formula for programming and consuming radio, and there is no way around this. If an indie Internet radio station wants to take advantage of the connected car's possibilities of widening its audience, the focus has to be how are you going to not only compete with the other Internet Radio states already in play, but how are you going to effectively compete with the traditional outlets as well, because they too have an Internet presence, and a powerful outlet to drive their listeners to their online properties. With Eugeradio and my PD background, it is my observation that there isn't a lot of difference in programming a music-oriented, Internet station from a traditional station. Listener want to hear music they're familiar with; that's what attracts them to any station. Granted I have complete autonomy with the music on Eugeradio, but the station's positioning statement keeps me focused by giving our listening audience "The Best in Today's and Yesterday's R&B." This programming concept keeps me in line when making decisions about what's offered in all aspects of the station. All content has to have a certain feel in order to keep things consistent. The advancement in the connected car will also create an opportunity for Internet radio to be rated, just like our traditional radio counterparts which will undoubtedly increase our costs of doing business but make us attractive in potentially generating advertising dollars creating a revenue stream to allow us to function.

3) Would you share with us how you got started in radio?

I got my start in radio back in 1983. It was a part-time summer job at WDZZ/Flint following my sophomore year in high school. I left there in my senior year, and after completing my first college degree, I decided to get back into broadcasting, I tightened up my skills at Flint public radio station WFBE beginning in the fall of 1990; in the spring of 1991 the late, but still great Kris McClendon gave a part time slot at WDZZ after he took over the reigns as PD. Prior to his departure six months later, I was offered my first full-time slot. In 1995 I became MD, which lasted two years before a major managerial shift occurred. I segued to WTLZ/Saginaw, MI in 1999, becoming PD in 2002 after previous PD John Long left after being offered a PD post in Shreveport. I handled PD duties until December 2008.

4) What does the future hold for audio media in the future?

The future of audio media will continue to become more complex due to the fact that there are so many forms of competition for a listener to experience than ever before. How we as programmers -- be it Internet radio, traditional and even satellite radio -- present our content is extremely important. In terms of mobility, back in the day radio's biggest competition was prerecorded audio (records, eight-track tapes and cassettes), however there was a direct connection between the two as the only to experience new music primarily was on the radio, and that stimulated sales of prerecorded music. In the real world today, radio is competing not only with the different forms how its distributed (Internet, traditional, HD or satellite) but with outlets like Pandora, Spotify, YouTube, iTunes, Amazon and others. I'm sure this landscape is going to expand over time; however my goal with Eugeradio is to make a strong enough brand that its listening audience will not only maintain, but expand and viewed as a viable outlet to enjoy "The Best in Today's and Yesterday" R&B.

5) Do you think terrestrial radio will ever do original programming instead of streaming?

Absolutely. Terrestrial/traditional radio will eventually get into producing/programming original content in lieu of basically streaming or simulcasting their current radio signal(s) via Internet radio. This situation can be a great opportunity for those indie Internet properties that are already up and running in much the same way as a traditional music-oriented station. For example, if Eugeradio should have the opportunity somewhere down the road to partner with a traditional radio concern that wants to have a stronger presence with Internet radio, their risk wouldn't be that great, given that technically and format-wise (Urban AC), Eugeradio is already efficient in what we're doing, so a partnership of sorts logistically would make sense as neither entity would be growing from the ground up. The challenge would be how to effectively and efficiently monetize the situation in a mutually beneficial way. In other words, partnerships may become necessary in order to maintain a certain level of growth of all parties. If history repeats itself (and it always does) just as the independently owned-and-operated radio stations and record companies in the '70's and '80s were courted by their larger corporate counterparts, the same will happen to Internet radio. This is something that I've given a lot of thought to during an unexpected Eugeradio hiatus that lasted a year-and-a-half in the wake of a decision by the Copyright Royalty Board in 2016 that put the brakes on music-oriented Internet stations.

6) Who governs Internet radio and how does it work?

Currently, there isn't a governing agency that regulates Internet radio like the FCC does with traditional radio and TV outlets. However, there are rules pertaining to Internet radio by way of the US Digital Millennium Copyright Act. The goal of the Act is to protect creators from digital illegal usage of their respective intellectual properties. For Internet radio, the DMCA sets certain parameters for music scheduling such as the number of times a song(s) can be featured from an artist, album/compilation, and the minimum length of time allowed for a playlist. Depending how an Internet radio's stream is managed, there are ways to see if you're in compliance with DMCA rules. A Google search can provide a more detailed outline on how DMCA works. Internet radio is also monitored by the majority of performing rights organizations; Soundexchange as Internet stations are required to pay performance to artists' whose records we play. And there is the FTC, too.

7) How much of an effect has mobile technology had on Internet radio?

The major effect that mobile technology has had on Internet radio is that it has made the medium more relevant. When I started Eugeradio in 2009, pretty much the only way you could be a part of the experience was from a stationary position in front of your desktop or laptop. Wi-fi provided a certain level of mobility, but it was limited at best. With the development of apps and the growth of Androids, iPhones, tablets and various other types of technology. Increased mobile technology has aided in the growth of social media which has put situations like internet radio on an entirely new platform. Eugeradio has attracted several new listeners through social media.

8) What would someone need to do to get started on owning an Internet station?

Depending on what you want to do broadcasting-wise, starting an Internet station is relatively cost-effective. For starters you'll basically need a computer (desktop or laptop); a mixer or console; scheduling and playback automation software; editing software, a microphone; and wi-fi. Once you've acquired all that, you can be ready to broadcast for around a $1000. Do note that if you're an independently owned entity and your format is music, depending on your circumstances, your music library can turn out to be a huge expense. This is just a basic overview of getting an Internet radio station off the ground. For persons who want to go all out and acquire office/studio space leasing, insurance, rent, etc. these costs will up the ante' accordingly. So, approach your options cautiously.

9) Who has inspired, mentored, and or influenced your career?

I wish I had the time and space to list everyone, as there are so many people who fall into these categories. For starters, my parents and my grandfather, the late William McKinley Organ, Sr. were the first people to have a huge impact on my career. My mother purchased many of the records in our home, and my father, though he loved music, was the one who bought the books and documentaries. My grandfather was a combination of both, but was into technology as well, and drilled in me to get into jazz. As I got older and started taking my aspirations more serious, I became conscious of fact that the roles they played in my life had a significant impact professionally as well as personally.

The people who inspired me to get into radio were Gerald McBride, Don Wiggins, Cleodia Myles and Art Franklin. The first three individuals mentioned I became familiar with via radio stations they worked at in Flint and Saginaw. In fact, I remember meeting Gerald McBride when I was 10 or 11 years old and he worked at WAM-A/Flint. I won some free albums from the station via a phone call-in contest and when my mother took me to pick up my records, the PD allowed Gerald to take me and my family into the studio. That was the first time that I saw what went on behind the scenes at a radio station, which was a life changing experience.

Don Wiggins was the most passionate radio person I had met in the late '70s. This guy had an energy I had never seen before, an attribute that holds true to this day, he's the consummate radio person. Cleodia Myles was the overnight DJ at WDZZ when they launched in 1979 and I would listen to his show on a regular basis .He had a smooth demeanor and his music selection was different from anything I had ever heard during that time .To this day, certain tracks that I play on Eugeradio, I first heard listening to Cleodia Myles' show .Art Franklin worked middays at WDZZ when I started working there in the summer of 1983, and all three taught me how to navigate in the studio and production room.

Berry Gordy/Motown has been a huge influence. Growing up in Flint and being a lover of music, admiring Motown was a given. I don't remember the first time I ever heard his name, but I clearly remember the first time that I heard his voice. It was in January of 1977. My mother had purchased the five-album box set "The Motown Story: The First Decade" and that recording was the first time the I viewed Motown for more than just its records. It was the first time that I viewed Motown as a business, and I wanted to learn as much as I could about the organization. Mr. Gordy's narrative was about two minutes long, but powerful. Fortunately, I came up during a time that a lot was written about Motown and Mr. Gordy, so I was able to study both was relatively easy to do.

There are four women I have to acknowledge, because if it wasn't for them, I probably wouldn't have accomplished some of the things that have come to pass: the late Yolanda King; Motown legends Martha Reeves; Claudette Robinson and Janie Bradford. I met each and every one of these women at some crucial stages in my life and career, and their influence has been a strong foundation for me personally and professionally.

There are several others people who have been important in my career that must be mentioned: Alice "D" Evans; John Long; Sammie Jordan; Ross Holland; Tom Joyner; Michael Baisden; Sheryl Underwood; Harry Lyles; Marcel Thornton; Monica Starr; Maurice Harley; Andrea Harley; Sandra Sullivan-Smith; James Alexander (radio programmer); Clay McMurray; Ken Wilson; Kelvyn Ventour; Gordon Alderson; Leonard Rowe; CeCe McClendon; Glen Wright; Wanda Hayes; Carlos Glover; Brian Harris; Toni Johnson; David Linton; Larry Khan; Shelly Berger; Barney Ales; Nelson George; Chuck D; Richard Nash; Kevin Ross; Kevin Fleming; Jim Baade; Andy Skurow; Harry Weinger; Al Bell; Joby Phillips; Vicky Hill; Yvonne Daniels and Carman "August" Wallace.

There are a few individuals who we've lost in recent years whose influence, mentorship and inspiration were important to me that deserve mention: Freddie Gorman; Ewart Abner; Jack "The Rapper" Gibson; Esther Gordy Edwards; Jheryl Busby; Thomas "Beans" Bowles; Dwayne Holmes; Tammy Tisdale; Ken "Crown" Carrol and Bobby Rogers.

This list could go on and on, so for those who weren't listed, charge it to the lack of time and space, not a deliberate exclusion.

10) How do you see your future in 5 years?

It is my hope that I'm still an active participant in Internet radio in five years. In the near future I see things such as ratings, competing for ad dollars, expanded technological offerings and the like having a big impact on how Internet radio functions. When BDS opened its panels to Internet radio last year I knew this was the beginning of a new existence for the medium. Eugeradio embraced this opportunity and after becoming a part of the BDS Urban AC panel a few months ago, we've been able to assist in showing those who are skeptical of Internet radio that this a viable medium on many levels.

Is there anything that would surprise people who think they know you?

I love going to antique stores and museums. I'm a history buff and some things of the past give me inspiration. When I get to a point where I start to doubt myself and feel that whatever I'm working towards has no significance, I go to these places to remind myself of the humble beginnings of those who came before me. These places give me the motivation.

What advice do you give those who want to get into radio or some other form of audio media?

The one thing someone looking to get into radio, or some other form of audio media, is to get as much education as you can and diversify yourself. As time passes, it gets harder to break into radio, and if you do, longevity isn't a guarantee. So the best thing to do is be open to learning all you can about every aspect of being in radio -- board operating, on-air, music scheduling (if your PD/MD allows it), maintaining the music library, traffic (commercial scheduling), engineering, promotions, sales, etc. This is not a guaranteed solution for job security with one employer,but being diverse will make you more attractive in the job market. You'll have the necessary skill set to launch your own situation should the opportunity present itself. This is exactly the approach I took long before I dreamed of starting Eugeradio.

Though it's not related to radio directly, I would highly recommend purchasing the Jeffery Gitomer "Little Book" series and reference each book as often as possible.

Who, or what, would you say inspired you to start Eugeradio?

I would say that honor goes to Prince, though not consciously at first, and a long-forgotten website called broadcast.com.

When Prince was going through his situation with Warner Bros. in the '90s I felt his argument wasn't totally about the label, per se', but the fact that technology was advancing at such a rapid pace, that maybe the model the entire industry was operating under was becoming obsolete. I found this argument compelling because at some point, the same or other issues pertaining to radio were going to come up and affect the radio industry. When the Telecommunications Act of 1996 went into effect in the Spring of 1997, radio was never the same and a lot of people were caught off guard, especially in Urban radio ownership.

Around this same time, I had experienced Internet radio for the first time. I can't recall exactly how I came across the site broadcast.com but I remember checking out the website and coming across a link to the BBC and listening to a discussion about a Mars Rover exploration that was going on at the time. I said to myself, "This is how music is going to be broadcasted in the future" and I wanted to be a part of it. I started playing around with Internet radio around 2006 or 2007 and launched Eugeradio in April 2009.