The Radio Biz

For this blog I interviewed my aunt, Stacy Yelton, who has been in radio for 31 years now. She currently works at WUKY, an NPR affiliated radio station at the University of Kentucky. WUKY was the first university-owned FM radio station in the country, as well as Kentucky's first public radio Station. Stacy was one of the reasons I had the courage to pursue an education in the music business and I keep in contact with her often about what I'm learning here at Full Sail. I had asked her to think about how negotiation fit into her daily routine at work, and a few days later we talked on the phone.

I discussed some of the topics we've covered in our negotiation and deal making class with Stacy, such as role, status, leverage and power, affiliation, and mutual benefit. It wasn't necessarily a question an answer interview, but it was a very good conversation that we had. She said: "There is a negotiation that happens between the radio station and representative of an artist. It's funny, because I never realized how often I actually negotiated until you asked me about it. When you think about it, the radio can't really negotiate per say. When a promoter comes to the radio station with a record, they can give us stats or chart numbers all they want. The disc jockey can argue that it isn't right for their audience all they want, and the promoter usually comes back with 'yes it is because...' and it is a weekly dance that you do. Music and program directors have hours upon hours in the week where the phone rings off the hook with people trying to get you to play a certain record. There's nothing they can do for you to make you play a record and you're sitting in such a position of power. The best music directors won't use that power, and they can easily just hang up. You are in control with every right to say 'no, we don't want to play your record.' I give credit to the promoters, especially when they understand who they are talking to and they understand where the power sits, which is with us, the radio station. DJ's are usually kind to the person on the other end of the phone, because from experience you realize they are just out doing their job. It's always a pleasure when a promoter calls and doesn't say 'Hey, I've got a hit song you need to check out' but rather says 'Hey, how are you doing? How did the pledge drive go?' When they do their research and seem invested, it's much easier to listen to what they have to offer. They know they aren't likely to get what they want, but they try to make it personal and take their chances that way. Sometimes you will play a lessor record simply because that promoter has given you so many hits in the past and you're willing to take a chance. It's interesting because with what I do, as a program director, I have nothing to lose. I still take those chances though, and occasionally it's panned out way better than I could have ever imagined. I'm known for going early on records. The beauty of public radio is that there are no consultants; you just get to follow your gut and go. I personally know within hearing the first 20 or 30 seconds of a song if I will play it on my radio station or not. It's all in the hook, and if I think I'll lose listeners because that certain feel isn't there, I won't play it. The promoters know that though, so that helps. I can say now that I enjoy the negotiating that I do every week, and I am very happy that I am the one sitting in the side of power. I wonder what it'd be like if I were a promoter for a day?"

Stacy didn't go into this story like I thought she would when she talked about how she's known for playing records early, but I'd like to share it. Stacy was the first person to play The Civil Wars on the radio, ever. I think it's crazy when I think back on it over a year ago. She called me up, told me a promoter had called and had a fantastic new band that she instantly loved and put their song in rotation immediately. Since then, The Civil Wars have made quite the name for themselves. In fact, they played their single on the Grammy Awards last weekend! A few days before the Grammy's were on, I got a chance to see The Civil Wars live in Orlando, and the whole time thought about how cool it was that my aunt was the very first person to get their music on the radio. I have a new way of looking at how negotiation plays a role in the music business every single day, and how exciting the outcomes can be.

Here is a video of The Civil Wars at the Grammy's:

and here is their performance. They performed the song "Barton Hollow", which was the song that Stacy put on the air.