Vol. 1 No. 5 (Nov. 1, 2003) Page 15

Page 1
The Hardest Working Band in Rock? / Salisbury

Page 2
Salisbury (Cont'd)

Page 3
Travis Speaks!

Page 4
Fan Profile

The Reviews
Page 5
Page 6
Page 7
Page 8
Page 9
Page 10
Page 11
Page 12
Page 13
Page 14

Page 15
In Step With Alli Morgan

Page 16
Graham Colton Rocks Glenville, NY

Page 17
Things to Consider

Page 18
News/Links

Page 19
TTOY Hall of Fame

Archives
March 2003
May 2003
July 2003
Sept. 2003
 

WZXL's Alli Morgan

IN STEP WITH:  ALLI MORGAN

Alli Morgan co-hosts the 'ZXL Morning Show with Steve and Alli on classic rocker WZXL in Atlantic City, NJ.  She has graciously agreed to talk to the SERENADE about the radio industry, her experiences therein, and why she loves BTE.

So Alli, can you explain the wonderful world of radio to the Ezralites in less than 200 words?
The radio of old – the disc jockey that you got to know, whose personality shone through, the guy who picked the music you heard and made you think it was his own personal playlist – that radio is going the way of the dinosaur.

Radio in 2003 is all about machines, computers and automated programs. Large corporations are buying up the smaller independent guys and blowing out the talent only to replace them with machines and automated programs. Often, a guy will do his shift in a market like Washington, D.C. and then shuffle off to a production studio to record a show for a station in Des Moines. Usually the jock has never been to Des Moines, but has to pretend that he or she has.

Live and local radio is slowly slipping away. It's sad. Creative people don’t have as many outlets n the industry today. Mornings, in my opinion, are becoming the only way to get your creative freak on. It's where you make the most money and where you have the greatest outlet to be funny, have fun and let that shine through with your personality on the air. Unfortunately, there is so much syndicated talent out there it's hard to get a job doing what you love.

Was that 200 words? I can't count – I'm in radio!

I know you work for a "classic rock" station. Silly question, but how does the industry define the format? When does a song or a band become "classic?"
The rule of thumb is that a song becomes "classic" 15+ years after the band/song is a hit. But, it can also depend on the demo. For example, a person in the 18-24 year old demographic might think that Pearl Jam or Nirvana is a classic. Someone who is 25-54 years old might consider music from 1968-1975 a classic, and so on and so forth. Some 18-34s like the 80's hair band stuff. That's why you'll find some classic stations that have a mix of the classics, mine included.

What are the major radio formats? Does each have a specific associated ratings and charting systems?
There are a zillion formats these days, or at least it seems that way. There's Rock/Classic Rock/Active Rock/Alternative/Adult Alternative. There's Country, Christian, Smooth Jazz. There's Adult Contemporary (basically your light-rock kind of stuff), Top 40. News/Talk/News Talk. All of these are viable formats at one time or another. Radio's like fashion – there are fads all the time and some formats are hotter than others. It just depends on what the popular music is doing.

As for ratings, most radio markets participate in the Arbitron Ratings survey. Most of the markets in the country are rated – larger markets are rated all year long, some smaller ones, like mine, are rated twice a year, winter and spring. Arbitron takes a sampling of the people in your market, and sends them diaries in the mail. The listener will fill out a diary for one week of the ratings period, writing down everything they listen to in that time. Then, they send it back, and Arbitron tallies everything up, releasing statistics a few weeks after the ratings period ends. In a nutshell, that's how you'll end up hearing that your station is "Arbitron Rated Number One." Each specific format does not have its own ratings system. Sometimes, I wish it did!

Has the industry changed as much as they say? What are some of the positive and negative impacts of industry consolidation?
Yes, the industry as changed. It’s harder for the start-up guy to get a job nowadays. It’s harder for the veteran to get a job, too. Consolidation means that there are less jobs for everyone all around. Voice tracking (where another jock in another market is doing a shift in your market) is ruining the industry, in my opinion. It’s less personal. As for positive impacts, I’ll have to get back to you. I haven’t experienced any firsthand yet.

What role do "independent promoters" play in the industry?
I don't have too much interaction with the indies, but from what I understand, bands or companies hire them to promote their singles, to get them the maximum amount of spins possible.

What’s the best way to get a song played on the air?
As a request? Call the station up. As a band? As much as I hate to say it, and I’ll probably catch heat for it later, sign with a major label or one that’s going to go the distance for you. Program Directors today have a lot on their plates. Many of them are managing 2 and 3 different stations and many times singles and tapes sit on their desks forever. A label will have a promoter peppering them daily with calls, begging for the song to be added to the playlist. A good record rep can go a long way for a band. If the label’s not behind you, well, we know how that goes.

How did you get into the wonderful world of radio?
Like many folks these days – I was in the right place at the right time. I went to school for communications. I couldn’t find a job. I went to a job fair at a mall near my house one day and made friends with a guy who owned a small, independent Alternative station. He gave me a job in sales, which I hated and quit. On my way out the door, they offered me a position up front, doing what they call traffic (making sure commercials run). Then, I started doing live broadcasts throughout the summer for them and they eventually gave me my own show. It sounds like it was a piece of cake, but it really wasn’t. Even though I went to college, I still had to work 65-80 hours a week for a REALLY small amount of pay. But, I paid my dues and now I only work a normal 40.

What’s a typical industry career path?
It depends on what you want to do. But anywhere in the business, you have to be somebody’s bitch before they let you be king. Actually, it’s like that everywhere in the world, I think.

What sort of job titles are there? (E.g., Program director, engineer) and what do each of these people do?
Program Director – he or she programs all the music, is the boss of the airstaff, decides ultimately what promotions go on the air. He or she decides what music gets added to the playlist.

Music Director – PD’s minion. Takes a lot of the calls from the record reps regarding new music to be added. Sometimes can be considered the PD’s assistant.

News Director – we don’t have one of these at my station, but it’s the person in charge of getting the correct, factual news together for broadcast.

Traffic/Continuity Director – person in charge of commercials.

Promotions Director – sets up live events, is the boss of the street squad or rock and roll patrol, or delinquents or whatever the interns are called on your favorite station. Thinks up promotions for on the air. Our promotions director even writes copy. You’ve gotta be creative and multi-talented. Not to mention a good multi-tasker!

Production Director – the person that hands out commercials for the jocks to record. He or she puts commercials in the system and makes sure that they are right so that they'll segue into one another.

Sales Director, General Sales Manager, National Sales Manager – guys that do sales. I try to stay away from that side of the building.

General Manager – the big boss. The guy in my office who signs my paycheck. I like the GM.

Any special advice for people wanting to get into radio?
Get in on the ground floor. If you want to be on the air, don’t go into sales. Sometimes people make that mistake – they take a sales job figuring that the powers that be will recognize what a wildly funny talent they are and put them on the air. Not gonna happen. If you want to just be in the building, but not be on the air, promotions is the way to go. If you’re looking to get on the air, all I can say is get together a viable package – a disc or mp3 of you doing your best stuff and get it to the PD. He or she will decide whether or not they will give you a chance. Make yourself stand out from the crowd – that way they’ll be more apt to remember you. After sending the package, give a follow up phone call. Don’t annoy the PD with a call every day. Maybe you’ll be lucky and stumble upon a station that’s small and independent and will give you a chance. I did, and I now have over 7 years of full time on air experience. But I had to whore myself out to do it, and I probably will again. You have to be willing to let them crap on you for a while.

How and when did you first get into BTE?
I happened to answer the phone one day at the alternative station where I once worked. I was doing mid days there and I don't know why I answered the phone, but I did. It was BTE’s Elektra rep, Pat. He was calling to offer my boss tix to the HDYGG show at the Trocadero in Philly that night. I talked Pat into giving me the tickets instead. I love free concerts. So, I took the tickets and a friend and dragged my ass to Philly. I got hooked that night. I have NO idea how many shows I've been to since, but Kevin's stage presence and the energy generated by the crowd really turned me onto the band. BTE has now become the only band I'll pay to go see. And, I do...every time!

What’s your favorite CD? Your favorite tune?
Geez... That's so hard. I used to really love "This Time of Year." But, my tastes have changed. I love all of the band’s albums, but I think I dig Artifakt the most. My favorite song, I think is a toss up between "Rarely Spoken" and "Mercy." But, ask me next week, it could be "Teenager" and "Allison Foley." See my problem? I like them all.

And what’s your favorite venue?
I’ve seen a lot of shows in a lot of places, but I think my favorite venue is the Trocadero in Philly. Not only does it bring back a lot of great memories for me, but it’s in the middle of Chinatown. The ambience getting to the show is great. The ambience inside the show is great. It’s aesthetically pleasing on the inside, and good beer upstairs. How can you go wrong with that?

Got a favorite BTE moment/memory?
They’re all great memories. One of the better ones is Baltimore August 2002. My boyfriend surprised me with tickets and a trip down for my birthday. That rocked.

Thanks so much for taking the time to talk with the SERENADE, Alli.  We really appreciate it.

For more information on Alli's current radio show, check out: www.wzxl.com. 

And for some soundclips and more from a previous show, check out: http://www.matthewinthemorning.com