10 Questions with ... Mickey Johnson

NAME:Mickey Johnson TITLE:Dir./Programming STATION:WHWT Hot 1035 MARKET:Huntsville, AL BORN:Miami RAISED:Miami

Please outline your career path.

Promotions Asst. - WHQT (Hot 105)/Miami 3/86-2/89
Promotions Director - WJHM (102 jamz)/Orlando 2/89-10/92
Program Director/Marketing Director - WHJX (Hot 101.5) / WJBT (92.7 The Beat)/Jacksonville 10/92-6/96
Program Director - WBHJ (957 Jamz)/Birmingham, AL 6/96-9/07
Director of Programming - WHWT (Hot 1035)/Huntsville, AL 10/1-present

1) What was your first job in radio? Early influences?

WHQT (Hot 105)/Miami, at the time was owned by EZ Communications. They owned a bunch of EZ listening stations back then; they took a chance with the South Florida station and changed the format to one of the early days of Churban -- which we know today to be Rhythmic today. Bill Tanner was an influence; his popularity on air was huge in south Florida in the '80s. I was the van driver and was responsible for taking care of and setting up one of those giant boomboxes. Remember those rolling radio? They were great promotional toys back then. Later, Duff Lindsey took over as PD, and I eventually took a job in Orlando and started 102 jamz. Duff was very instrumental in developing my creative marketing skills; with him it was always "Showtime."

2) What led you to a career in radio? Was there a defining moment that made you realize "this is it"?

You know, it's an interesting story. My family owned three record stores in south Florida. During the early days of research, Hot 105 would call the stores for information regarding music. I answered the phone one day while working at the store and gave the caller information about record sales. I remember telling the Music asst. at the time I was always interested in radio. I would always try to track the station van down and show up at station events and dance parties. I just thought it would be so cool to be part of all of that.

3) If you were just starting out in radio, knowing now what you didn't then, would you still do it?

That's a tough one, because when you are working hard and delivering results for your station, the last thing you are thinking about is what can go wrong or all the negatives that could happen in this business. Yes, there are plenty of bad that outweighs the good, but a lot depends on what company you are working for -- the market, ratings and revenue share plays a role as well. So like I said, that's a tough question, but our industry does have some challenges ahead of it. I tell most college kids at career fairs the real deal about our industry and where it's headed, so if I'm telling them to really think it through now, I would be doing the same.

4) Where do you see yourself and the industry five years from now?

Working for one of the big three major companies or owning my own station in a medium-sized market. You really only need the opportunity. If you understand programming, marketing and sales, that's half the battle. The industry, five years from now? We better figure out fast what our audience is doing. One thing for sure: They aren't into radio the way we were as teenagers ... not even the teen from just five years ago. My kids can't even tell me who's on the air at what time; they are totally into computers, iPods and satellite radio. Yes, change happens, but this change is happening fast. Tthe labels got caught with their pants down on the downloading thing and you see what happened or what's happening to their industry. Is syndication the answer? In some ways, yes, but not all syndication content is the best just because it's syndication. In five years, we better have a game plan that keeps us viable.

5) How you feel about being asked to wait on a record you hear until the research validates it?

Well during my days at WBHJ, I really didn't have that holding me back. If I thought a record had a chance to work, I was always on the edge trying to break a record. I hate following; I'd rather be the leader. Of course, the company I worked for at the time gave me the ability to do that. Not every company is like that. Rules are in place to prevent that: then you have no choice but to wait it out until callout proves different. Stations with that rule that are targeting the hip-hop audience must keep in mind that those records come from the street, so waiting on them to pop could be a while. In most cases they aren't signed to a major label, and with no real major label support except the streets, you could be waiting forever to finally put a record in. Meanwhile, the streets are laughing at you.

6) How do you feel about syndication? Does it affect significantly on the number of hours that you have control over the music that you play?

Syndication works in some situations -- on stations that execute it properly, not the stations that try to totally save money by automation and syndication without some local segments. In most cases it sucks; relying totally on cue tones sent by the syndicator sucks. Flawless execution means having some local segments, and great production parts in and out of the show to make it sound as local as possible. Of course, I'm referring more to morning shows than anything else. I've heard some stations do syndication well, and some do it VERY poorly. In the current economic climate we are in right now, syndication works for those companies or mom-and-pops that are trying to survive.

I really haven't had to deal with it much on a music scheduling situation. Huntsville's really my first time dealing with a morning show that's syndicated.

7) Because of call-out research are today's Urban and Urban AC programmers going to be slower in adding and playing new music? And what is the maximum number of spins a record in power rotation could be expected to receive in a given week on those stations?

Like I said earlier, it depends on the company, but I'm seeing more and more companies wanting their PDs to hold up and wait on callout. But here's my take on callout: How many people have home phones now? How many companies are doing Internet research? How many research companies are recycling and calling the same callers over and over? How reliable is callout research based on today parameters? This isn't 1980s or '90s when everyone had a house phone, there was no caller ID, not many cell phones and limited computers. So callout, yes, it's a tool, but it shouldn't be the only tool when making a decision.

Urban station powers: 60 - 65

Rhythmic/Top 40 powers: 85 - 100

8) Of all the skills you have gained through the years, is there an area you'd like to improve? The current changes with callout research, in what way can we make it better?

I like to say I'm an Old School guy in a New School business. Stay focus on the way things are now, and I've think I've done a pretty good job of doing just that. But there's times when I slip and I say, "Man, I remember how it use to be." The youngin's look at me like I'm crazy when I say, "We used to do those appearances for free," or everything didn't have a talent fee attached to it.

9) How do you account for and what effect do you feel the continuing ratings pattern of the station you're currently consulting in Huntsville will have going forward? And are there going to be new challengers from other formats?

Just staying on top of everything. The station was new and out of the box back in October, so it's been slow climb. It's interesting how you get to see, step by step, the growth, and you are able to make changes along the way that will impact what you do. Huntsville is right smack-dab in the middle of a battle with the Top 40 and the Urban; long-term success will depend on what the competitor does, as well as the Huntsville station I'm working with does have signal issues. I don't think there will be other challengers.

10) As you look back over your career ... any regrets? Missed opportunities?

There's always regrets and missed opportunities. You just try to make the best move possible by what's put in front of you. Regrets? Things I could have handled better ... decisions as a manager I've could have made. Missed opportunities? Yes, I can think of about three big ones ... I won't go into details.

How do you feel about Arbtron's PPM eventually replacing the diary?

I'm always for advancement in technology. Let's be real: The old way of doing things ... Arbitron's methodology ... left too many unanswered questions and left many GMs perplexed as to what was right and what was wrong. Let's see if they can get it right this time; it's been in the experimental laboratory for over a year. It's definitely going to make us all rethink about how we program our stations moving forward.

Who is going to train tomorrow's air talent and programmers if the current trend of voicetracking and syndication continues?

Wow, that's an interesting one. Remember when we had consultants during the '80s, '90s and early 2000? They were the trainers who got us on the right track. I learned from some of the best over the years, followed their style and added a little flare to fit my style of teaching. But it's tough now; I don't see anyone remotely being a consultant now. Most of the old school guys are retiring. They made a bunch of money (which they deserved), but you're right -- who follows in their footsteps? Will a company even give you the chance to step up and take that role? My answer is, it's just one of the many changes we have to accept. Most stations don't even have a morning show to train or send to a boot camp. Now afternoons and even nights now on many stations are all syndicated. There could still be a small amount of programmers who are well enough respected to still teach the trade to those who survive. But are the few jocks left be willing to listen ... and to learn it the right way?

Do you feel that Urban stations should be more careful not to blindly copy formats, but tailor them specifically to the age and racial make-up of their own markets? How important is consistent marketing to a station's overall success?

Well, I can just look at the success I enjoyed in Birmingham over the past 12 years with WBHJ and WBHK ... we kept a pulse on the market because we continued to do marketing throughout the year, of course, with emphases on Spring and Fall books. The marketing departments should be much more than just an extension of your sales department, which in most cases is what they turn out to be. It starts with having a good marketing director. Again, this person can't simply be an extension of your sales dept. Great promotions give your audience content and a reason to continue to listen longer.

Do you feel that Urban stations should support new artists?

It depends how much support, Radio, as everyone knows, is a different game now. You don't get too many chances, and with the Internet, iPods ... Blah, blah ... when you play something, it better be a hit.

How important are contests to ratings success?

Contest are always important. They are huge, but one must be careful. They help in a big way or they hurt you in a big way. The audience is smart these days. "Caller 10 wins a CD" ain't cutting it, and "Be caller 10 when you hear the new Lil Wayne" isn't gonna get it, either. Think about your target audience and what they do. What's the new thing and what are their habits? Which means you gotta know your audience and do some research.