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10 Questions with ... Brian Anthony
May 9, 2006
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NAME:Brian AnthonyTITLE:Program DirectorSTATIONS:WXBT-FMMARKET:Columbia, SCCOMPANY:Clear ChannelBORN:April 20, 19-- St. Louis, MORAISED:East St. Louis, IL Carolina
1) What was your first job in radio? Early influences?
My first job in radio was as an intern/morning show host at KTSU-FM in Houston. Doug Eason, Jim Gates, Rod "Dr. Jockenstein" King, Doc Jones are all early influences.
2) What led you to a career in radio? Was there a defining moment, which made you realize "this is it"?
My college studies and internship at KTSU and my early education background as a drummer through my senior year in high school and a tempting and short career with the "Ocean of Soul" at TSU led me to radio. Oh, and my focus was actually Journalism.
Anyone that really knows me will tell you that I grew up typically shy and reserved (keep the comments to yourself because I'm still like that, at least when you first meet me). Overcoming my fear of public speaking and being in a visible position with the opportunity on-air at KTSU really helped. I had the opportunity to be a part of the growth when KTSU really began to develop into a market favorite even though we were college-owned with a good contemporary jazz, non-Top 40 format focus. My defining moment was being a part of the staff when the station was instrumental in introducing to the Houston community Grover Washington, Jr. influenced Pieces of a Dream. I knew I had radio as an option if Journalism didn't work out.
3) If you were just starting out in radio, knowing now, what you didn't then, would you still do it?
Radio is a lot different now than when I first got started. More of the "Black" stations were independently-owned. Now that radio is much more structured with more resources, today's neophytes to the radio business MUST gain all of the skills necessary to compete now while at the same time knowing THE BUSINESS OF RADIO before you try to get in the game. "How do you do that if tight budgets, syndication, and voice tracking don't make a position available for those interested in developing on the job?"
4) Where do you see yourself and the industry five years from now? How do you feel about the PPM eventually replacing the diary?
Will there really be an industry? If I have anything to do with it, being in position or a position to continue to show that radio is a viable necessity in everybody's daily life. It provides a lot of features to your daily lifestyle. Urban stations play a vital role in their communities and that will continue to be the challenge to solidify and continue to prove our value in the industry.
5) How you feel about being made to wait on a record you hear until the research validates it? Elaborate.
I've had the fortune of being exposed to a lot of research beginning with my years at WGCI. I can tell you first hand that I've seen a lot of songs I thought were the stuff and songs I've seen other people react to in the clubs that fell by the wayside once it was researched because the test scores don't indicate that song had power potential. I prefer to wait because I'm not my listening audience (unless I just know it's 90 percent-ish a bonafide hit). That percentage comes from what James Alexander in Mobile defined as a "Guillotine Test" (and I don't want to get into what that means). It makes you look at new music totally different. Plus there's no worse feeling as a competitive PD than I've got a record being exposed to our listeners that they don't consider to be a "passionate" favorite of the masses, not just a segment of your audience.
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?
You have to be resourceful and do the next best thing and invest in your own development with your time. Take part time opportunities (not just on-air opportunities) when they are available, as well as public and college radio. Develop your game there and your chances of latching on to a radio staff ready to compete increases. Would I still do it? Of course, that's my competitive nature.
7) What adjustments have you had to make in your new position?
This is not a new position for me, but as I've continued in this business, radio has changed so you have to constantly make adjustments whether you want to or not. My biggest adjustment has been developing patience with on-air talent that make themselves a challenge to coach. Oh, and then there's the politics.
8) Of all the skills you have gained through the years, is there an area you'd like to improve?
Yes, there are several. I compete a lot with myself to make sure I'm challenging myself to be the best that I can be. No need in letting competitors and potential competitors know my lesser-skilled areas, though.
9) How do you feel the current payola investigation is going to affect both industries? Are urban programmers going to be slower in adding and playing new music?
The investigation has nothing to do with adding and playing new music. However, it has had an immediate affect on how the record industry can do business with radio. As a PD, if you focus on the "business" aspect of what is going to do the best job of endearing your listeners to your station because of their passion for a particular song, the investigation won't and shouldn't even cross your mind.
I do feel that the investigation has a major affect and limits a record label's ability to provide the basic exposure for an artists' project necessary in today's efforts to compete for consumer attention through radio.
10) As you look back over your career ... any regrets? Missed opportunities?
Not at all. I'm at peace with the many twists and turns in my career -- the highs and the lows, the good and the bad. In each and every situation I've encountered, I've been able to learn something from which have prepared me to be in the position I'm in now and any that may be available for me in the future.
Bonus Questions
What's been your biggest disappointment in radio today?
That there are not more independently-owned Urban stations and that the Smooth Jazz format is not close to being the best it can be.
What is your biggest challenge working at this station?
The distance between my job and my family and friends. We're working on changing that.
What do you do with a song you don't like?
Why hold on to it unless you're using the instrumental for a music bed.
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