10 Questions with ... Robert Hollywood Rhodes

BRIEF CAREER SYNOPSIS:

On Air Talent: SiriusXM/New York, WBLS/ New York, WWPR /New York, WNEW/New York, WTJM/New York, WJMN/Boston, WWKX/Providence, KWRD/Dallas, Production Director: WJLB/Detroit, WYLD New Orleans, SJS Entertainment

1) How much fun was it growing up listening to New York Radio?

It was like listening to a party all the time, whether it was Mr. Magic and the Rap Attack on BLS, Pacos' Supermix on 92KTU or Ken Webb and Jeff Foxx on Kiss, I was all in. I still have tapes that I made from those days. Growing up in New Haven, New York was right down the street and I listened 24/7.

2) What are some of your challenges?

One of my biggest challenges is time, there just doesn't seem to be enough time in the day. I constantly shift between doing radio production and TV voice over every day so it's very difficult to try to balance the two in a 24-hour period. The other challenge is dealing with the current state of the industry and trying not to let it affect my approach. The thing that concerns me about radio today is that jocks, music and presentation sound the same from coast to coast. There used to be great programmers who were also great teachers of the craft. Radio needs more mentors who teach the art of the craft. Even in this social media and PPM arena, you can still let your personality and not just your Twitter feed shine through.

3) Has your experience has ever worked against you?

Sure, it has. I've had a few programmers over the last few years tell me, "We can't pay you New York money." One PD asked me, "Why would you want to work here? You are overqualified." People assume just because I worked at a lot of big stations that I won't stay or I'm looking for a prime shift. The truth is that I didn't get into this business for the money, it's strictly for the love of radio.

4) How difficult was it going from on-air to Production Director?

My focus was like most youngsters when they get into radio: "I gotta get on the air." That was until the first time I was fired, then I knew to stay in this business I had to have another skill. Tony Gray got me the Production Director gig at WYLD/New Orleans, and I've been in a production studio ever since. When my family and I moved here 13-years ago I was voice tracking my show from home on Sirius until the XM takeover. After that I focused solely on VO (Voice Over) and production.

5) What are you doing these days?

I'm voice talent for ESPN for promos on radio and TV, I do the Monday Night football promos; US Open, and for ESPN; tennis, football, WNBA, some track, and anything else the Networks of ESPN want me to do. Because currently I am the Production Director for Radio One Dallas properties KBFB 97 9 The Beat and KZMJ Majic 94. And because of the ESPN association, I occasionally get to do something for ABC-TV. Oh, one more thing, I'm the voice for Heart & Soul at SiriusXM.

6) I love your stories about the legendary Quincy McCoy, would you share one?

My favorite was the first time we met. Quincy (Q) just got the PD gig at BLS. At the time, I was a production assistant. Quincy came into the studio and introduced himself and asked me where else I had worked and if I had ever been on the air. I told him I worked in New Orleans and Boston, etc. He tells me, "Give me a tape." I say yeah sure, I'll get that to you, not really taking it seriously. A couple days go by and he asks me again and I "yeah yeah-ed" him again. By the end of the week he sees me in the hall and says, "Look MF, you better get me a tape today or you're done." By this time, I had been through so much stress and drama there that I was planning to leave anyway. Before I went to lunch, I went to his office with tape in hand. Quincy was having a meeting with consultant and legend, Jerry Clifton, so I dropped off my aircheck and walked away. I heard him start my aircheck and before I could get down the hall he yells after me, "Hollywood, can you do a shift today? I need you to fill in for Frankie Crocker." I held afternoon drive for over 2 years. Needless to say, at 24, it was one of the highlights of my career.

7) How important is production for a radio or TV station?

I think production for radio and television is about the same. In radio, it's all about what you put in between the records simply because 9 times out of 10 your competition is playing the same music you are. Therefore, I try to make the commercial break sound as interesting as possible to get people back to the music and keep the money flowing.

8) Any advice for production guys who still do air shifts?

On-air, Quincy taught me how to be a personality, how to talk to and with listeners. It's just radio, not brain surgery, have fun! In the production room just keep it simple but hot. Stay on the cutting edge but remember you're selling a product, so your message must be clear, not drowning it in effects. As a voice talent, my job is to relay the message of the client as if I owned the product or service.

9) Would you share the names of those who have influenced or mentored you?

In Radio: Quincy McCoy, Michael Saunders, Frankie Blue, Tony Gray, Broadway Bill Lee, Sunny Joe White and Frankie Crocker

Voiceover: Pat Garret, Eric Edwards, John Garry, Zurek, Sandy Thomas and Joe Cipriano (another Connecticut guy)

10) Have any equipment suggestions for building a home studio?

It all depends on what you want to do and your budget, but you can get started for under $1,000. For me as a voice talent, the microphone, preamp and computer are the most important. I still do concert, club spots and radio promos. I use Cubase Pro 9. It's a system that's widely used in Europe for most of the spots I produce. If it's strictly pure voice talent, a good mic and preamp and a program like Adobe Audition is good; but I would never use it for multi-track production.