10 Questions with ... Patrick Lagreid

NAME:Patrick Lagreid POSITION:Program Director MARKET:Seattle, WA COMPANY:Mercer Island School District BORN:May 7, 1978, San Jose, CA RAISED:Seattle, WA, plus college in San Francisco, CA

Please outline your career so far:

High school football broadcasts ('95-'96), then on-air, program director, and station manager and program director of "K-Donz" at the University of San Francisco ('96-'00), intern at KUBE/Seattle (Summer '97, Summer '98), sales assistant, Allied Radio Partners ('00 - '01), music director, KMIH-FM (Feb - Aug '02), program director, KMIH-FM (Aug '02-current)

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

The first time I got on air was during my high school's football broadcasts. I kept stats during the game and did a "Metro League Wrapup" during halftime. Five minutes of fire!

I listened to a lot of music and radio growing up; KNHC/Seattle, KUBE/Seattle, KPLZ/Seattle, KFOX/Seattle, plus all the hip-hop and R&B that was coming out at the time. I was particularly fascinated with the mixers; Bobby O, formerly at KUBE, was probably the person I tried to emulate most, because he was doing something completely different with the music by meshing songs together so well. It was a call to him one day at the studio that connected me to DJing and radio.

Going to college in San Francisco and listening to KYLD and KMEL solidified that I wanted to get into radio. Those are two of the best stations I've ever listened to, and thanks to the Internet, I still get to hear what they're doing.

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

Being fascinated with what radio could do -- both big and small -- hooked me. From putting on a big concert to showing up at the neighborhood 7-11, I knew that they were always putting something on and that I wanted to be a part of it. Couple that with a real love of music, and the match was made.

My first Summer Jam as an intern with KUBE made me realize the ability radio has to motivate people; seeing all the people who came to the station's major event of the year was pretty powerful.

I find myself looking for smaller "this is it" moments, though, like when an artist tells me that playing his record helped open up more doors for him, or when a listener tells you how much they appreciate the station. That's what keeps me going in a business that can run you down if you're not careful.

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

Probably, but I would change the game plan a bit. I would have sought out even more opportunities and kept a better log of everything I did. While I am a big advocate of going to college and getting educated, radio is a business of doing; you learn by doing, you grow by doing, and you network by doing.

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

Alive and well, although maturing into some different segments. Hip-hop just turned 30 recently, so we've had a generation grow up with it, and their kids now have hip-hop as the soundtrack of their adolescence. I keep wondering when "Rapper's Delight" and "The Message" will show up on an "oldies" station. You have to think it's bound to happen at some point!

Hopefully urban radio and urban music never gets too far away from their roots of being a movement by the people, for the people. The landscape of urban music has changed so much; now it's in demand and corporations are using it for their imaging, whereas twenty or thirty years ago, getting a rap record on the radio would be jumping out of format for a lot of stations..

5) What's your take on radio currently? Is it as good as six months ago, better, or about the same? Elaborate

In Seattle, I think it's much better with X104 around! Before we switched to hip-hop in 2002, Seattle was one of the few markets in the Top 20 with only one rhythmic station. To me, that's a shame. Traveling really opened my eyes to what other markets are doing, sometimes with four or five rhythmic or urban stations.

There is too much good music and new artists -- not to mention talented staff people -- to be limited to only one station.

I think on the whole, radio faces a changing landscape where people have more options as to how to get their entertainment. Radio will need to compete creatively more than ever, and the sales end will need to find fresh ways of delivering listeners to clients. The expansion of media opportunities has fragmented audiences, so finding ways to unite a group of people around a music format is what radio needs to do now.

6) What is the one truth that has held constant throughout your career?

The greatest freedom we have is choosing how we feel about the world around us. You can choose to feel however you want, but it is those that are in the best control of their feelings and choose the positive outlook that generally come out ahead.

7) What was the transition you had to make in your new position?

Learning to deal with the demands on my time and attention. Because of the power and influence of radio, a lot of people want to be a part of it (artists, organizations, companies, potential staff people, etc.). It's tough trying to filter out those who are genuine about their desire and really have what it takes. Being the point person for what ends up on the air makes you fairly in demand, which is something I'm still not used to

8) Of all the skills you have gained through the years, is there an area you'd like to improve?

Personal communication. Little things like sending congratulations cards and making a friendly phone call. People are doing so many great things all around me, and I want to fuel that by showing them that I notice and appreciate it.

9) How well do you think today's urban broadcasters really understand Arbitron?

I really don't know. I'm not a big fan of Arbitron, because our numbers can be affected so drastically by one or two books. While I understand the need for Arbitron, I think broadcasters need to market more on what they do and how many people they reach. If you're doing a club night, count how many people came in the door. Same thing with a concert, van stop, or toy drive. Count how many people came to each event, and total it up by month, quarter and year. Market that number right next to your Arbitron numbers. Radio is about getting people to act, so highlight the active listeners and expand on it with photos and testimonials.

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

Doing more and meeting more people. I think most people generally enjoy making connections, so I'm not sure why there is an intimidation of meeting people with power. We're a species dependant on one another for survival, so why wouldn't we want to meet more people?

Overall, though, not really. Besides, I can't do anything about the past other than learn from it and hopefully not make the same mistake twice.

What's been your biggest disappointment in Radio today?

That advancement opportunities in Seattle aren't as plentiful as I thought they'd be. It's a great city, and it really is a destination market. The majority of people on TV and radio have been here for a long time, which makes it tough for younger people to get into the business.

How did you get your present job?

I was a friend of the former PD who asked me if I could help him out as the music director. I said yes, and a few months later, he left to pursue new opportunities, so I got the gig.

What is your biggest challenge working at this station?

BUDGET and COVERAGE. Being owned by a school district means that you're a small blip on their radar, and they don't always understand why you need 5,000 balloons or a new station vehicle.

If we had more coverage, I think we'd be able to reach even more people and generate more momentum in growth.

But I control neither of those things, so I don't let them stop me from doing what I need to do with what I have.

What do you do with a song you don't like?

Play it for people around me and see if they like it. If I see them connecting with it and making a case for it, I'll give it a shot. My opinion is not final, so I have to admit when I just don't hear something that other people do

What's the best piece of advice anyone's ever given you? The worst?

Mike Tierney, formerly the PD of KUBE, told me that a program director's main goal is to surround himself with people who are the best at their craft and to give them the tools to do what it is they do well.

Second best? My mom always told me not to let negative thoughts and people live rent-free in my brain.

The worst? Stay out of non-comm radio, because no one takes it seriously.