I’m not going to even suggest these blog posts write themselves. Because they don’t. But many are in my “sweet spot” – topics or areas in which I feel reasonably well qualified, or where I’ve done enough research to be articulate.
But today, I may be punching well above my weight. Or my gender.
And you may conclude after reading it that not only am I out of my league, but as an older white guy who’s worked in and around radio for well more than four decades, I may indeed be a part of the problem.
If that’s the outcome, I’m good with that. Much of this blog’s mission over the past 15+ years is to discuss issues impacting radio – and its assorted communities – that aren’t always layups, much less easy to discuss.
One of the outgrowths these past couple years – and it transcends the pandemic – is that many controversies that have typically bubbled below the surface are now in our face – no matter who we are and what our experiences have been.
Perhaps it started with #MeToo, first in the showbiz realm, and soon all aspects of media, technology, sports, the workplace, and in our day-to-day transactions with other people.
And it gained momentum with George Floyd, and the still open wounds of systemic racism that have plagued this country for centuries.
Emotions are raw heading into six long months of COVID, and an election that promises more noise, bitterness, and division. All the while, there are new constituencies aching to be heard.
In recent days, weeks, and months, we’re hearing from all sorts of folks – educators, athletes, and yes, even postal carriers – all of whom are feeling the stress and the disorientation of these times.
In radio, we are no exception. Public radio operations are now experiencing their own unique trauma. While these stations and networks may be more mission focused and “enlightened” than the average Sports Radio or Classic Hits station, their staffs have perhaps higher expectations. And many are challenging their managers and executives to do better.
In Country radio here in the U.S., the discussion about female artists and their (lack of) airplay has been a topic for many years, perhaps reaching a new crescendo earlier this year at CRS where at least two panels addressed this controversial topic.
Last February, a story in MusicRow by Jessica Nicholson pointedly asked the musical question:
“CRS: Is 2020 the Year of the Female Artist?”
You’d have to check in with Country listeners, programmers, artists, and execs to get an idea whether the format and its programmers have lived up to this lofty goal so far this year.
But recent developments in the Rock Radio community suggest these conversations will not be isolated to just Country.
It is interesting how the planets have lined up in 2020 – across the spectrum of music and life. And in the world of Rock, there are touchstones to be aware of, and discussions to be had.
As I trend watch, it’s been interesting how the planets are lining up.
First, it was the Go-Go’s, and a new documentary on Showtime. While there were lots of “girl groups” like the Ronettes and the Supremes back in the ’60s, the Go-Go’s were one of rock’s most successful all-female bands. When we think back to the New Wave movement, there’s a special place for the Go-Go’s.
In our documentary you get to see how we pushed boundaries to become the most successful all-female rock band of all time!! 🤘 #WomenWhoRock #WeveGotSomethingToSay pic.twitter.com/vhIztKfOl3
— The Go-Go’s (@officialgogos) August 9, 2020
It was not an easy road to success for the band, littered with rejections, until I.R.S. Records finally signed them. In 1981, they released “Beauty and the Beat” featuring their big hit “Our Lips Are Sealed.” Lead singer Belinda Carlisle summed up the band’s journey this way:
“We thought anything was possible, including succeeding in an industry run by men.”
That quote resonates today. And it hit a flash point last week when Evanescence vocalist Amy Lee conducted a radio interview, and then followed it up with an impassioned Facebook post. It is worth reading all the way through, and sets the table powerfully.
A story in Altpress by Rachel Dowd – “Amy Lee Addresses Double Standards For Women In Rock Music” – frames this issue well.
As someone who personally programmed a Rock station back in the late ’70s/early ’80s zone (they were called “AOR” back then), our playlist included lots of Fleetwood Mac, Heart, Grace Slick, and the other female icons of the format and the genre. During my watch, artists like Pat Benatar, John Jett, Annie Lennox, and Stevie Nicks (as a solo artist) easily made their way onto our current playlist. We welcomed them, and like every song a programmer adds, you hope the audience shares your enthusiasm.
That said, I was taught not to play two female artists/singer back to back – and other “isms” about radio that now sound downright prehistoric. And while I don’t remember ever thinking about whether a female rocker would sound good or bad on the station – I have long believed that men are often their biggest fans – the institutional bias, and the second-class citizenry Amy Lee talks about isn’t something she’s made up.
It is real.
All of that is not to suggest there’s not just systemic sexism in Rock Radio. That’s because there is “gatekeeping” happening at all levels. It starts with the labels and the A&R “guys” – the ears that recommend new bands to sign. And from there, it’s the recording process, the release strategy, and the promotional plan.
While there may be many different ways to measure what is popular today via streaming and other distribution outlets, back then, it was pretty much a function of what the labels brought your station.
Back then, most Rock radio stations were (and still are) programmed by men. And did any of us push the labels to do a better job searching and discovering women rockers? Nope, not on my watch.
And so the systemic bias Amy Lee talks about – that “it IS harder to make it onto the cover or the radio” – needs to be heard, considered, and acted upon.
It is real.
When I interviewed Donna Halper a couple months ago about Rush and her role in discovering the band for WMMS in Cleveland back in the ’70s, our conversation wandered back to the “good old days,” when men were mostly the PDs, while women (if they even opted to stay in programming) were relegated to being Music Directors.
So, imagine my surprise. @PatriotLedger, honoring 100 years of women voting, named the Women of the Century, & then the Women of the South Shore (the part of MA that includes Quincy). One of the women they chose… was me. https://t.co/qOea4rxntb pic.twitter.com/lVLmrK35v5
— Donna Halper (@DevorahLeah) August 15, 2020
Donna and many other women who did much of the heavy lifting in Rock Radio always worked for male programmers.
It is real.
The story – or at least this chapter – has a happy ending. In Amy Lee’s Facebook post, she wraps it up with a shout-out to Taylor Momsen and The Pretty Reckless who recently saw their hit single, “Death By Rock and Roll” hit #1 on the Active Rock chart. We blogged about Taylor a couple weeks back.
KLOS’s Keith Cunningham recently sent me a cover version of Queen’s “We Will Rock You.” But it’s epic in that three of Rock’s most talented vocalists of today, Momsen, Lzzy Hale (Halestorm), and Maria Brink (In This Moment) came together to record it – and make their statement. As Keith noted, “They all have such amazing rock voices.”
The message in this song and this collaboration is as loud and clear as Amy Lee’s Facebook post, the Go-Go’s documentary, and the other voices we’re hearing from.
There’s something happening here. And it’s happening at this amazing junction in time.
It is real.
On the radio side of the equation, this moment is an opportunity for all of us – yes, especially us men who have dominated Rock Radio since its beginnings – to step back and see the industry through a different lens.
More female PDs of Rock stations would be a great start. But the foundation is about encouraging young women who aspire to a career in broadcast radio believing there’s a place for them running a radio station’s programming department – that it’s a career path worthy of pursuing.
Oddly enough, radio broadcasting has some “powerful” women running entire companies, as well as strong female representation in sales, sales management, digital, marketing, and other departments.
But as PDs, not so much.
When we think about how our stations sound – how radio sounds – the person making the calls about what goes on the air – and what doesn’t – has a lot of power in his – or her – hands.
It is real.
Jacobs Media has consistently walked the walk in the digital space, providing insights and guidance through its well-read national Techsurveys.
In 2008, jacapps was launched - a mobile apps company that has designed and built more than 1,300 apps for both the Apple and Android platforms. In 2013, the DASH Conference was created - a mashup of radio and automotive, designed to foster better understanding of the "connected car" and its impact.
Along with providing the creative and intellectual direction for the company, Fred consults many of Jacobs Media's commercial and public radio clients, in addition to media brands looking to thrive in the rapidly changing tech environment.
Fred was inducted into the Radio Hall of Fame in 2018.
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Thanks for these well-considered thoughts on a topic that has affected me throughout my career. I remember when I started at WHCN in Hartford back in the 80’s, two female artists back to back was NOT happening. Now I’m at a Triple A Saga station where we regularly play female artists back to back without a second thought. Progress! I’m proud to work for a company that does this, and promoted me to PD. More progress!
However, it’s still true that only 10% of program directors in radio are women. One out of 10. So we still have a way to go. I would suggest that next time a management position in programming opens up at your station, take a look at the women on your staff. One of them might be your next great PD.
Joan, I think about the 10%, too. Thanks for responding and doing what you do. Congrats on the promotion!
Thank you Fred!
Thanks for this post, Fred. There’s more hope embedded in your words than many women in this industry feel and have felt for decades. After being passed up over and over, relegated to the sidelines, asked for input and then ignored, dramatically underpaid compared to their male counterparts and stuck in promotions or sales roles that are not what they want, many women get discouraged and beaten down. How many times does someone have to raise their hand and be dismissed before they walk away? If that happened to men, there would be big, loud yelling. But when women demand to be heard, we’re asked “don’t you think you’re being emotional?”. My fear is that women will be invited to the table just to check a box, but they will still be dismissed and marginalized in any number of ways, most glaringly in compensation inequity. Let’s hope there IS hope out there for women in programming.
Abby, for all the right reasons, I hope so, too. Thanks for the thoughtful response. Truthfully, you were one of my “guides” when I wrote the post – W.W.A.S? Appreciated.
Power 97, one of Winnipeg’s local rock stations, is currently running a promotion for listeners to leave a list of 8 song requests, and if the list is chosen, they’ll play it on the weekend (it’s part of a contest, and the person’s name goes into a draw for beer or something, but I don’t care about that part). I’ve been sending in lists of 8 songs by women, and have yet to be chosen, but the point I’m trying to make is that I shouldn’t have to ask to hear them in the first place. There should be more women on radio in all genres, period. My hope is that the PD will look at the list and think, “oh yeah, these songs” and add them to regular rotation, a lofty goal indeed!
No one should ever think it patronizing to play women’s music on the air. Listen to Joni Mitchell or Bonnie Raitt or countless others–it’s not great female rock, it’s great rock, full stop. Progress!
Indeed.
Bonnie, interesting, but not surprising. Hopefully, Power 97 will come to their senses. (And I hope you win the beer!)
A timely and interesting article. At one point years ago there was a stat in Harper’s Index that stated that female artists were played once to every 12 songs by male artists. I was DJ’ing at that time and started the show with 12 female artists as a means of “turning statistics on their head”. I offer this final comment with all due respect – the choice of girl power in the title is unfortunate. These are female artists – not girls.
Sally, it’s a matter of averages.
About the title, I thought about that before I went with it. It’s a well-used phrase, but sorry if it didn’t sit well. That was not the intention.
Great read, Fred. I remember in the 90’s, during my time as Anita Wadd on Bubba’s show, as I was combing through Radio & Records looking for other women in Rock to create a “Women in Rock Radio” forum, I found there was typically only one woman (middays) per rock station. I was young – and that moment became the *first* time learning the dominance men play in radio.
I’m guessing today – it’s still the same. Perhaps 1% have reached the PD role – but close to the same. Your piece offers hope. It’s what we all need to read. Thank you!
Thanks for the kind words, and also for your contribution. It was very formative when you worked with us. It brought much-needed perspective for us. I learned from it and leaned on it. Appreciate everything, Lori.
The Role Rule in music scheduling today should be used to spread out as many female artists as possible throughout today. Its not a ‘near’ issue as much as it is a ‘hear’ opportunity.
Exposure, not separation. Thanks for that distinction, Marty.
Some 56 years ago in my first radio job we had a “format”.
Male singer,
Female singer,
Group
Instrumental.
Did we follow this ? Nah. Once I felt comfortable I was trying all sorts of things. Did I ever think twice about avoiding two females back to back ? Nope. Fast forward to 2020. If I have a researched list of 400 songs and 80 songs test “power”, I’ll look at how many are male or female oriented. That percentage will drive the male/female ratio in a given hour. Same with secondaries and tertiaries (if needed). Early on I learned you didn’t have to “add” songs to keep your music fresh. You just had to make sure the rotation was fresh and varied enough to keep the listener contented. There are plenty of great artists of all genders around, Fred. I realize it’s a challenge when gender is involved, but women will and should always have a place on music radio regardless of the format. It’s essential to research and identify the best, then work out the formula that will present the music in the brightest light possible.
Dave, I appreciate the “formula” approach, something us PDs tend to do. But I have to wonder if people reading this just think: why don’t you just play good songs, and not break them up or categorize them by gender? I get it – that’s the way we are all taught to architect radio formats. But in 2020, is that still relevant?
Thanks for continuing the conversation. It’s already been a good one.
Speaking as a member of the human race.
I agree that the ‘rules’ of no female artists back to back, the unwritten rule of only one female on-staff (usually in midday) and the lack of women PD’s is detrimental to the broadcast industry. I also think it’s best to focus on equality of opportunity and not fall into the trap of equality of outcome. Race and gender based quotas are, like it or not, racist and gender biased.
I spent a lot of years in rock radio and later transitioned to Talk, well, because I came to the conclusion that the reason I got into the biz was because I really loved shooting my big mouth off more than playing Led Zep for the one millionth time. Talk radio is even worse than rock radio with gender. Good luck finding a really sharp experienced female talk Programmer. (I can think of two).
I could tell you of my experience, as a biologically born male of the human species, as part of the first talk radio network for women, but out of kindness I will let that sleeping dog lie. Equality of outcome, IMHO, never advances the talented and qualified. Managers DO need to champion women of talent and ability to programming positions.
Interesting you brought up that there are more women in actual roles of management (GMs and VPs) than PD’s. In that vein, let’s count the number of PD’s who move into the management positions of GMs. Now there’s a real equality of opportunity problem.
I always enjoy reading your comments, John. You always do a great job of augmenting my words, and making the ideas more thoughtful and provocative.
I especially thought about your last point. PDs who companies never trusted to run the whole shebang. I actually think that in recent years, that’s turned around a bit. Bob Pittman and Jarl Mohn are notable exceptions. I’ve had the pleasure of working for Tom Bender, John Gehron, Chuck DuCoty, Bob Bellini and a handful of others. But your point is well taken – these are the people who know what it takes to create strong content – how to make ratings and generate revenue. That’s an important skill set.
Fred. 10% here. Dang. Thank you for this. And I must l credit you, Jim Harper, Tom Bender and a few other programming dudes who completely rock for taking a chance on a too-young-to-be-in-the-core demo PD wanna-be that I was, and I wasn’t the first. Working harder and stronger than ever.
-Signed, the female PD/air talent for Triple A WKLQ and OM of Classic Rock WLAV Grand Rapids. Plus a bunch of other stations including one with the first 2 woman hosted AM show here that may or may not compete against yours, LOL
Lori, great to hear from you. You’ve done alright for yourself, especially with those odds. As an industry, we’d do well to take more chances, period – on people, in particular. Thanks for making so many of us look smart.