11/26/1993
Be kind to those people who are being paid to be kind to you.
Some years ago, the esteemed Bill Gavin uttered that quote when he was questioned as to how radio should treat record promotion people. Years later, conflict still exists between those who play the records and those who promote them. And Bill Gavin’s quote rings louder than ever.
For a program director, never is the contradiction of his job more pronounced that in his dealings with record promotion people. For the promotion people, the relationship and job description are pretty well defined. It is their job to work their way into a program director’s office, into his heart and onto his playlist. It’s really simple. Do what it takes to get the record added.
For a program director, it’s not nearly that simple.
A program director’s job is to choose the music that’s right for the station. What is right and what is not so right is almost always undefined. Adding records to a playlist is usually a subjective judgment at best.
In the past few weeks, I’ve talked to several program directors who were confused about this relationship. “Doesn’t his guy understand the record is not for my radio station?†“Why is the record company pushing so hard on this record?†“Some guy is even threatening to pull service if I don’t play his record.â€
Just as many who do record promotion have posed questions from the other side of the fence. “Why won’t this guy play my record? It’s perfect for his station.†“After all we’ve done for this guy, I can’t believe he’s not on this record.â€
The answers to these questions depend on your relationship with people who do record promotion.
If you’re a program director who has never asked for a promotion, has never asked for a group to play at a station function, has never asked a record company to pick up the tab to fly your listeners somewhere to see an act, has never accepted a record company invitation to travel to hear a particular recording artist perform, then you have a very definable relationship. The record people who promote you are free to present their product to you with an emphasis on promotion and not pressure.
If, however, you’re a program director who asks for promotions (hey, it’s not a sin…sometimes you have no choice…if your station’s budget requires it, you’ve got to go for it), if you’ve asked for a group to play at a station function, if you’ve asked for a record company to pick up the tab for winners to travel to hear a recording artist or you’ve done the same, then you’re open to pressure as well as promotion.
As a program director, you must understand where the pressure comes from. In almost all of the cases, the person you ask for the favor doesn’t have the power to grant it. The local promotion manager will have to ask his boss for approval of an expenditure for the station. Before the boss approves it, he almost always asks questions…questions you might not be aware of. Will the program director “pay back†the favor? Can we depend on him in the future? Will this solidify the relationship?
If the LPM answer yes (and be assured he will answer yes…he is, after all, in promotion), then the VP who okays the promotion will expect favors in the future.
As a program director, it is very easy for you to avoid problems in your relationships with promotion people. Be honest and upfront in all of your dealings. If you need a promotion, explain your needs. If the promotion person can help you, be specific in asking what the record company wants in return. Don’t be, or allow the promotion person to be, ambiguous. Find out exactly what is expected of you in return and then determine whether or not the price is too high.
If you’re a promotion person, do the same. If it’s a favor, explain that. If you expect something in return, outline your expectations. Later, when you feel the program director owes you and he doesn’t share the feeling, your ambiguity may very well harm a relationship that could have been maintained.
The biggest problem in relationships between program directors and promotion people is ambiguity. Be upfront and relations will improve.
As a program director, you can’t ask for favors, even little ones, without having a payback. As a record promotion person, makes sure the program director understands that there must be a give-and-take when favors are extended.
As for relationships in general, I’ve found that the more educated the promotion person, the better for the relationship. Do you want promotion people to understand your station and philosophy? Take the time to explain it to them. It won’t take long. They’re intelligent people. If you take a few minutes to explain how you work, what segment of the audience you’re trying to attract and how you’re working to position the station, you might be surprised at what you get back. Promotion people are looking for an edge. Educate them about your station and it could come back to you in a big way as they look for and design promotions that are specific for your needs.
You don’t have the time? Make time. It’s your business to carve out an edge in every facet of this business.
Promotion people should take time to listen to the stations they service. Try and find out what the program director is looking for and fill that need. Spend time with the program director when you’re not working a specific record. Nothing impresses program directors more than when you say you don’t have a particular record for them this week. Or how about pulling them off a record when you know it’s fried? Those little things create more good will than 10 promotions.
Both sides shouldn’t kid themselves. Relationships are important. If you’re a program director who thinks you don’t need relationships with record company representatives, you’re wrong. The same goes the other way. We’re in this business together. Handled correctly, the relationships can help both ends of our business.
As a program director, be honest in your expectations and your ability to pay back the favors. I always said it’s the record company representative’s job to ask, it’s the program director’s job to say no. However, if the program director asks, it’s the record company representative’s job to say yes. Although that’s supposed to be a joke, many program directors take it as a fact!
If, as a program director, you’re upfront with record promotion people who are still pressuring you about records you don’t believe in, make a proposition. Tell them that you don’t believe in their record, but if they are sure it’s a hit, you will add it. If it turns out to be a hit, everything is fine. If it turns out to be a stiff, they can never again promote you on any record. In other words, if they are willing to bet their future on this one record, you’ll take their word for it.
Their answer will determine your future relationship.
Honest give-and-take…that’s the best policy.
Or a stack of $100 bills about six inches tall!