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10 Questions with ... Sam Weaver
January 8, 2019
Have an opinion? Add your comment below. But a lot of places could do better. There are still too many sites with too much clutter and not enough local content. It is good to see radio operators grasp Internet radio streaming and podcasting. However, I believe stations are correct in theory, but wrong in application. Consumers want to be involved in the new media world. Radio needs to look at itself as a social network community, consisting of the terrestrial station and the web with various social platforms
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BRIEF CAREER SYNOPSIS:
I am the Editor for Urban/UAC at All Access and owner of a radio talent coach/strategic advisor business (Radiocoach.biz) for terrestrial/Internet radio personalities and programmers.
I have been in the business for many years as a programmer and air personality. My format background includes Top 40/Mainstream, Urban, Country, Sports, Talk and Rock. I have worked in Chicago, St. Louis, San Francisco, Dallas, New Orleans, Pittsburgh, Detroit, Memphis, Greensboro and Kansas City. My list of 12 stations programmed includes WDIA/Memphis, the oldest Black-operated property, and KPRS-KPRT/Kansas City, the oldest Black owned-and-operated stations.
Besides numerous programming awards, other career highlights include teaching in the Broadcast Department at Columbia College in Chicago, comedy writer for the late Jerry Boulding's Highlights radio show, and hosting Westwood One's Superstars of R&B Concert Series.
I thought I'd interview myself to touch on some concerns and topics I think are on people's minds.
1) Do you think artists and the music industry are in sync with consumers?
For the most part, when it comes to the variety of ways for delivery of product, they are very on target. Free radio, satellite radio, Pandora, Google Play, Xbox, SoundCloud, Spotify, iHeartRadio Plus and iHeartRadio All Access, Mixcloud, Tidal, YouTube, Facebook, MySpace, the Internet, connected car; Internet-only rRadio, and a bunch of other digital delivery systems.
Art and commerce have always clashed especially with the low streaming rates and some of these 360 deals. This past Christmas Eve, Mariah Carey's "All I Want For Christmas Is You" broke Spotify's single day streaming record with 11 million steams.
Spotify pays whoever holds the rights to a song anywhere from $0.006 to $0.0084 per play. Assuming the song is paid at the highest price of $0.0084 per stream for 11 million listens, the rights holder or holders will earn $92,400 before splitting the earnings. Welcome to the new world of music consumption.
Keep in mind, various media reported in 2017 that the song had earned royalties in the amount of $60 million dating back to its debut in 1994. Obviously that figure would be entirely different if earnings were solely based on streaming calculations in 2019.
Remember, although percentage-wise in the music industry, companies don't make as much as they used to in the traditional sales area; we are still talking millions and millions of dollars worldwide for catalogs and publishing.
2) Are radio stations doing a better job with their websites these days?
Some companies are doing much better in-house with their sites. However, still too many sites are cookie cutter and negotiated through third parties in exchange for commercial airtime. Most web hosts nowadays offer content management systems (CMS) permitting stations to edit content without third-party presence; technical support for questions is provided.
But a lot of places could do better. There are still too many sites with too much clutter and not enough local content. It is good to see radio operators grasp Internet radio streaming and podcasting. However, I believe stations are correct in theory, but wrong in application. Consumers want to be involved in the new media world. Radio needs to look at itself as a social network community, consisting of the terrestrial station and the web with various social platforms.
3) What is the biggest challenge facing radio in 2019?
The biggest challenge is the melding of the old and new media. In addition, radio needs to continue to maintain its unique identity and focus on what it will take to stay a step ahead in relevancy and hipness; it all affects ratings and profit.
4) Do you have any concerns with radio these days?
The apparent misunderstanding of the product and what it means to the consumer. All radio people are not created equal; some are creative and there are too many people being promoted with limited skill sets. You would think with so many publicly-owned companies that this would not be the case.
5) What do you think Urban radio is doing a better job of these days?
One of my pet peeves is distinguishing the difference between Urban broadcasters and Urban radio. When using the term "Urban," people associate the term with African-Americans. However, today, many Urban broadcasters (African-Americans) work in formats other than Urban mainstream or Urban AC; it's safe to say the majority in those formats are African-American. At the same time, many of those who have worked with Urban radio properties are White and from other cultures.
I also think Urban properties are understanding a lot better that the listeners want to hear perceived hits -- and tempo is not at issue. Something else has been done better -- playing songs in rotations to take advantage of PPM and diary methodology. That's why you're seeing many Urban-formatted stations do well in their respective marketplaces. A better interpretation of research and discipline have been major contributing factors, too.
6) How do you see the future of Internet radio?
I love the iHeartRadio Internet streaming platform providing a space for so many to be heard all over this country; those stations are making money because of it, too.
We're going to start seeing some companies launch Internet-only radio stations as opposed to streaming their terrestrial properties. These stations will become another revenue source just like HD stations and translator properties. Imagine what would have happened to FM frequencies if the AM owners had merely simulcast and had not programmed FM frequencies separately. I know there are others who think about this the same way I do.
And then there is connected car (vehicles equipped for Internet access) is going to be become interesting. More car manufacturers are getting on board for this. I don't believe in coincidence; everything is tied together; Nielsen's BDS (Broadcast Data Systems), the corporation's division for music monitoring ... they're testing the waters with a select group of Internet-only online stations being given reporting status. I believe it's all connected to the potential of a Nielsen Audio measurement for "Internet Only" stations.
7) How should air personalities view their roles?
That the airways are the frontline platform for a station and air talent is a major asset to the entire process. The mission of the programmer is to oversee a successful plan from every angle. The role of the personality is be a positive in the scheme of things. Don't make your bosses' job harder than it already is; always leave them in a defensible position. It's alright to disagree and discuss programming directives off the air with your PD, but don't go on the air or social media and share an opposing view point in public. Stay in your lane.
8) What do stations need to be watchful of in 2019?
It's the same as it has been for any business over the years. In radio, team chemistry and office politics are sometimes overlooked and undervalued. A few bad apples with narcissistic tendencies can ruin a station's ratings, revenue base and morale. Before you hire someone, find out as much as possible about them beyond their skills. Never second-guess yourself if things still don't work out with a new employee; there is the right of free will. You can't anticipate or plan for everything.
9) For air talents who want to grow quickly in this business, what should they do?
Knowing what to say and how to say it is an easy art form to learn, it takes passion. I would suggest the following:
- Aircheck every show and listen to it
- Once a week, get your boss or someone to critique your work
- Be patient with yourself; the more you work at it, the easier things will become.
- Off-air, practice ... practice ... and then practice some more
- Find a mentor with a track record of success
10) What's one of the funnier things that you've ever experienced?
I was working for the late Jerry Boulding in the Bay Area, KDIA/Oakland. He tricked me into emceeing the Vacaville Prison annual show for the inmates. He had me meet him at a hotel where all the talent gathered to head over for the event. I met up with Boulding and as I was about to ask, "What exactly is it that you want me to do?" He excused himself supposedly for the men's room, "Sam, I'll be right back." He didn't return and the next thing I knew, they were loading up the bus and one of the organizers came over and welcomed me. Other than meeting Jerry there at the hotel and having him quickly say something about emceeing, I knew nothing and here I was headed to a prison for a local USO-type event.
There were four or five acts on the bill and like all shows, the stage lights were too bright, and I could not see the audience very well. Every time I was onstage, I would say something concise and keep things moving, but would always make it a point to tell the ladies in the audience how gorgeous they looked. The inmates in attendance were not the hardened criminal, or at least that was what I was told; later I found out Charles Manson was housed there.
The prisoners, guards, and our visiting troop shared the restroom area. There were no dressing rooms and the acts that day came prepared to hit the stage. But back to the bathroom thing; I could not hold out any longer and had to go. So, I cautiously went in and noticed one of the ladies from the audience was at a urinal, and it hit me, those weren't ladies in the audience.
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