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10 Questions with ... Eugene Brown
October 30, 2007
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NAME:Eugene BrownTITLE:PDSTATION:WTLZMARKET:Saginaw, MICOMPANY:Next Media GroupBORN:Flint, MIRAISED:Flint, MI
Please outline your career path.
WDZZ Flint, MI 1983-1984 & 1991-1999
WTLZ 1999 - present;
WGRI (former Flint Gospel radio station) 2001...1) What was your first job in radio? Early influences?
My first job in radio was WDZZ in Flint back in 1983. Some of my early influences were Don Cornelius (I was always impressed with his delivery on Soul Train; when I found out he got his start in radio I understood right away why I liked his style); Lee Bailey (I used to listen to Radioscope when he first started airing it and really enjoyed listening to his commentary; his delivery was outstanding. Then I found out that he used to work at the former WAMM in Flint back in the day -- wow)...On the local level, including Detroit, I was influenced by several legends, such as Gerald McBride; Sam Williams; Don Wiggins; Art Franklin; Alice D; The Electrifying Mojo, the late Chris McClendon (who actually gave me my real "big break" in radio after I graduated from college) and the late Ken Crown. There was so much air talent that came out of this area that there are really just too many to mention.
2) What led you to a career in radio? Was there a defining moment, which made you realize "this is it"?
My career in radio was actually offered to me, though I realized later on that in some ways I was prepared for the opportunity. I had an uncle that was part of the WDZZ hierarchy at the time and he asked if I would be interested in a summer job at the station. I accepted and was given a weekend slot and I did some fill-in from time to time. Being on the air was great -- it still is -- but I have to admit that being around the equipment all the time was the real thrill.
Ironically, I knew that "this is it" happened in Saginaw, MI on Thursday October 18, 1979, at a concert starring The Jacksons, three-and-a-half years before I actually got into the radio side of things. I was 12 at the time, and though I had been to many concerts prior to this one, it was the first time I actually paid more attention to the technical aspects of the show -- the lighting, the sound, the special effects, the reaction of the crowd and so forth. But the thing that stands out most was the fact the Michael and his brothers were obviously doing something that they loved ... and were making thousands of people happy in the process. So I knew then that somehow I was going to be involved in entertainment in some type of capacity...
3) If you were just starting out in radio, knowing now what you didn't then, would you still do it?
If I was starting out in radio today under the same set of circumstances, I'm sure that I would still jump at the chance. In fact I would probably be more excited about the opportunity today because the technology that I would have access to didn't exist when I first started. One of the benefits of the technological advancements that are being made is that it allows you to create more types of opportunities for yourself....
4) Where do you see yourself and the industry five years from now? How do you feel about the PPM eventually replacing the diary?
In five years, it would be nice to be involved in some type of syndication situation. Last year I produced a two-hour radio special on the life and career of Marvin Gaye; it was more of a test project and I actually got it aired on a few stations. I got a lot of positive feedback from the programmers who aired the special -- and that got me excited. I just completed a similar type of project on R. Kelly and hopefully that will be well-received, too. As far as the PPM issue, the situation is still in its infancy. All of the kinks haven't been worked out yet; I just hope in the overall scheme of things Urban radio is better represented in the marketplace and the numbers are better reflected in terms of generating more ad dollars...
5) How you feel about being made to wait on a record you hear until the research validates it?
WTLZ is an Urban AC format station and that situation is a lot different from when we were Mainstream. The burn on Urban AC records is slower, so sometimes the wait can be a good thing when you're looking at how certain songs you're considering are performing in certain cities that are similar in audience make up like what we have in Saginaw. The Internet offers research that you can get almost instantly, but old-fashioned gut feeling and being a true music lover has to play a part in the process, too.
I've always loved music first and foremost and a lot of times when I'm reviewing new music, I put myself in the position of the consumer rather than being a programmer. I ask myself the question, "Would I keep my radio on and listen to this song in its entirety?" "Does this record make me feel good?" "Is this record relevant to what's going on around me?" "Would this song turn me on so much that I would be willing to sacrifice a couple of gallons of gas to purchase the artist's full-length CD when it comes out?" These are real life questions that you have to ask yourself if you're truly in tune with your audience ... if the research you're utilizing is in tune with the overall decision-making process and not necessarily your final deciding factor, depending on a given situation, it can be a great thing.
6) What is going to happen to the training of tomorrow's talent and programmers if the current trend continues? How do you feel about syndication and voice-tracking?
I have always been person who has never been afraid to take initiative to learn about new technology. You have to be technically savvy in radio today, not to mention versatile. Because of all the downsizing that the industry is experiencing, a lot of programmers may not be in a position to spend as much one-on-one time with air talent as he or she would like.
If a new hire or intern has the drive to take his or her opportunity to the next level and is willing to listen and implement what the PD has offered, then things can be lovely. When Chris McClendon hired me at WDZ, that's how he was with the air staff. He was quick to criticize, but just as quick to complement, so you knew if what you were doing was acceptable or not.
Some of the same principles can be used in training aspiring program directors, but future program directors must have an abundance of common sense, be dedicated, be willing to ask questions, be very observant, quick to learn and good at problem-solving. If you don't pay attention and understand how your PD schedules music, come up with imaging and promo, understand why the talent lineup is like it is, you're already at disadvantage.
When this PD opportunity at WTLZ came about, I had a great working relationship with our then PD John Long (aka Long John) and we talked a lot about the things that I mentioned, so the transition from being just an on-air talent to a PD wasn't difficult to make. But there again, it's all about the initiative of the individual. One must read the trades, read the trades ... and did I say read the trades? There's a wealth of information available to those looking to get their PD stripes, so utilize it!
There are pros and cons to syndication and voicetracking. Effective localizing can be a challenge to some PDs when dealing with syndication and voicetracking situations in terms of interaction with listeners, but when you think about what Tom Joyner is doing with the Cash Call contest, when many companies are dealing with various budgetary issues, look at the fun you can have locally when your audience perceives that you're giving away $1,000 per hour during your morning show.
In addition Michael Baisden has been a big advocate on a variety of issues since we've been carrying him. The broadcasts he did from New Orleans in the aftermath of Hurricane Katrina were beneficial to our listening audience, not to mention the things we were able to do locally to coincide with the Jena 6 March he spearheaded recently.
7) What adjustments have you had to make in your present position at WTLZ?
The two major adjustments I've had to make are managing my time properly and trying to affectively balancing what I do in and out of the studio; 24 hours are not enough time in a day, and a large majority on my waking hours are spent concentrating on work. I try to make sure that I spend quality time with my wife and daughter, who just turned a year old, and to try to get some time to relax for a couple of hours. A lot of PDs would agree that in today's broadcasting climate, you have to deal with a lot of issues in and out of the studio, so one's focus should be on the most important issues that effect what goes over the airwaves.
8) Of all the skills you have gained through the years, is there an area you'd like to improve?
The one area I wish I could dedicate more time to is production. I'm just amazed when I listen to things that a lot of the production guys are doing around the country...
9) How do you feel the current situation with fines and firings is going to affect future morning shows? Are air personalities going to be less creative and adventuresome because of the fear of being fired?
Outside of a few bizarre incidents that I've read about in the trades, I don't think that Urban radio has had to deal with some of the issues that some of the other formats have had to contend with in regards to fines and firings. However, Urban radio is being affected by the actions of those on other formats. We in radio do have a moral responsibility to our listeners ... and shame on you if you cross that line of decency and indecency in a detrimental way. That doesn't mean you'll be less creative or less adventurous if you don't say or do certain things; to me that means that you're being responsible.
I remember an off-air incident about four years ago where I was DJing a friend's birthday party and most in attendance were adults. As the party got really going, some adults wanted to hear "Strokin" by Clarence Carter, a song that was going to take the party to another level. Well, I stopped the music and explained to the adults who brought children that a majority of the guests wanted me to start playing a song that I felt were inappropriate for minors, and that I would like for them remove the children from the premises.
I expected some grumbling, but to my surprise I received a standing ovation. The parents took their children home and came back. After the party was over, each and every one of those parents came up to me and said that they were so glad that I did what I did, because they had been at other events where the DJs weren't considerate at all. Radio should be viewed in the same manner. We've got to be considerate of our audience. Radio is still a major component in transmitting information, treat it gently
10) As you look back over your career ... any regrets? Missed opportunities?
I can honestly say that looking back, the only regret I have is not looking at the "big picture" in some aspects early in my career. Growing up in Flint, Michigan in the '70s and '80s, the 30-and-out rule applied via General Motors. What that meant was you worked a job 30 years, you retired and got a pension. Well, that doesn't necessarily apply to radio. I would have made different choices sooner as it applied to my career in radio, but all in all I don't have any regrets. As far as missed opportunities, I never feel that an opportunity is missed, it just wasn't time for you to get that opportunity.
Bonus Questions
How did you get your present job?
John Long (aka Long John) was leaving to go to a station in Albany, Georgia and he referred me to management for the PD position...Thanks, man!
What do you do with a song you don't like?
If there's a song I don't like, but the record is a hit, I play it. You can't let your personal taste allow you to make a bad decision like that. I remember back in 1984 when "What's Love Got To Do With It" came out. I just wasn't feeling the track, but the listeners were calling and requesting the record so I played it. What happened next? Tina Turner made a comeback, had a #1 record, had a platinum album "Private Dancer," and "What's Love Got To Do With It" became the title of Tina's blockbuster biopic. So what difference did it make if "What's Love Got To Do With It" wasn't one of my favorites at the time?
What's the best piece of advice anyone's ever given you? The worst?
The best piece of advice I ever received was from my grandfather The late William McKinley Organ, Sr. "Always keep a pen/pencil and a piece of paper close by"...
I can't remember any worst advice; I try to tune out all negativity...
What's the best liner you've ever heard?
I remember back in the day when WJLB used the "Strong Songs" slogan. That was inspiring.
What is your favorite album of all time?
Marvin Gaye "What's Going On."
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