Women of Color 2018 Radio Facts

3rd Annual Special Issue!

CELEBRATING

WOMEN OF COLOR IN MEDIA 2018

RADIO’S ROYAL

DeDe McGuire

You will forever be in our hearts and souls Love, your Atlantic family

WOMEN OF COLOR IN MEDIA 2018

Angie Martinez | 10

Tina Davis | 14

Delia Orjuela | 16

CELEBRATING AMAZING WOMEN OF COLOR IN MEDIA 2018

DeDe McGuire | 20

Dionne Harmon | 40

Felicia D. Henderson | 6

We’d like to thank all of the amazing women who participated in this special 3rd anniversary issue. We interviewed each honoree and they all have great stories to tell with words of encouragement and inspiration. We hope that you enjoy reading the issue as much as we enjoyed putting it together. Congratulations to the Radio Facts Women of Color in Media 2018.

Gabriela Gonzalez | 22

Sheila Eldridge | 26

Kathy Brown | 30

Imani Ellis | 34

Tamar Rand | 36 RADIO FACTS | 3

WOMEN OF COLOR IN MEDIA 2018 GUEST EDITORIAL:

R.E.S.P.E.C.T.

BY JANINE COVENEY As this issue of Radio Facts arrives in your hands we are still mourning the passing of the incredible Queen of Soul, Aretha Franklin, who left us on August 16, 2018 (see RF’s tribute to Aretha Franklin through five of her albums on

page 24).

As an ambassador of American-bred musical artistry and excellence as well as a global emblem of the African American experience to the rest of the world, Aretha Franklin was unrivaled.

Her personal life was complicated at times, but always marked by a strong faith in God and an unwavering understanding of the matchless singularity of her vocal prowess. When she sang she was lit from within; her phrasing, ad libs, low trills and sky-high vocal embellishments were entirely unique to her and always thrilling to the ear. Her piano playing, informed by both gospel and jazz, was inventive and skilled. Her recorded repertoire spans gospel, Broadway tunes, ballads, blues, pop reinterpretations, dance-floor jams and straight up funk.

Aretha did not suffer fools – or those who underestimated her – gladly. Nor should she have.

As a Black woman working within the arts since before the gains of the Civil Rights Movement, ultimately sustaining a career lasting almost six decades, she was a witness to the best and worst not only within the entertainment industry but within America as a whole. She was crowned the Queen of Soul by WVON DJ Pervis Spann and it was a title she earned by the sweat of her brow. In her manner and how she conducted her affairs, she was regal in every regard. It is no wonder that the song most associated with her is the one in which she demands “R.E.S.P.E.C.T.” Aretha Franklin commanded respect as a woman, as a African American, as an artist and as a professional.

Respect for the professional abilities and accomplishments of women of color at all levels of the entertainment industry is what the Radio Facts 2018 Celebrating Women of Color in Media issue celebrates. Women of color have made significant inroads as top executives, business managers and arts creators, becoming in the process the influencers, taste makers and thought leaders who help drive the fast-paced, ever-changing marketplace. The fact that they do so in a business still primarily dominated by men is noteworthy.

4 | RADIO FACTS

This year’s slate of 2018 Women of Color in Media honorees include some ladies you know and perhaps some that you don’t. They represent radio broadcasting, label A&R, promotion, distribution, publishing, publicity, performance rights, artist development and television production. Their expertise spans hip-hop, R&B, Latin and gospel genres, as well as both the television and film industries.

Included are industry veterans like radio programming exec Kathy Brown of WWWZ Charleston, SC; entrepreneur Sheila Eldridge, CEO of Miles Ahead Entertainment and Radio personality Angie Martinez of Power 105 in New York. These ladies have paid their dues and have risen to the top of their fields by doing what they do best.

Also in this mold are Tamar Rand, VP of Promotions & Strategy for RCA Inspiration, who is key to keeping gospel music on the cutting edge and Tina Davis, VP of A&R for Empire Distribution. Tina represents the new age of hybrid executive whose projects span both music and screen projects; she serves as producer for a new reality show airing on BET this season.

Among the new vanguards within film and television are writer, director and producer Felicia D. Henderson, who just inked a deal with Twentieth Century Fox TV; Imani Ellis, Senior Communications Manager at Bravo and Oxygen Media, NBCUniversal; and Dionne Harmon, VP Development at Jesse Collins Entertainment.

The cross-cultural vitality of Latin music and culture cannot be denied (the success of “Despacito” is only the latest indicator). The 2018 Women in Media issue celebrates two of the women making a difference from the performance rights side. Honorees Delia Orjuela, VP Latin Music, BMI, and Gabriella Gonzalez, VP Latin, ASCAP, are diligently developing songwriters and performers who are innovating new sounds not only within the Latin market but within hip-hop and pop music worldwide.

By celebrating the myriad ways women of color are making a difference across a broad spectrum of entertainment paradigms, Radio Facts looks to give them their “propers,” as Aretha would say.

Congratulations to all of the 2018 Women In Media honorees.

Janine Coveney is a freelance editorial consultant. She has previously been advocacy content & communications manager for The Recording Academy, smooth jazz/urban AC format manager for United Stations Radio Networks, Managing Editor of Billboard R&B Airplay Monitor, editor at Gavin, editor at Impact, R&B Music Editor at Billboard and careers editor at Essence.

PUBLISHER: RMI Publishing Inc. EDITORIAL MANAGING EDITOR: Kevin Ross

kevin@radiofacts.com

CONTRIBUTORS: Hassahn Liggins, Dwayne McClary, Coka Lani, A. Scott Galloway and Janine Coveney.

PRODUCTION DESIGN: Kevin Ross PHOTOGRAPHY: (various) ADVERTISING ACCOUNT EXECUTIVE: Kevin Ross kevin@radiofacts.com Copyright © 2018 RADIOFACTS.COM 11054 Ventura Blvd. #142 Studio City, CA 91604 PHONE: 323.285.6099 FAX: 413.521.3669 EMAIL: staff@radiofacts.com WEBSITE: RADIO FACTS www.radiofacts.com RHYTHMIC.FM (Rhythmic) www.rhythmic.fm PODCAST PORT www.podcastport.com BLOGWALLET www.blogwallet.com

3rd Annual Special Issue!

CELEBRATING

WOMEN OF COLOR IN MEDIA 2018

RADIO’S ROYAL

DeDe McGuire

Photo credit DeDe McGuire Kauwuane Burton Photography

Felicia D. Henderson 20th Century Fox/Multi-Year Deal - WaterWalk Productions

You may not know the name Felicia D. Henderson, but you know her work as a television writer and producer. Newly signed to a multi-year overall deal with Twentieth Century Fox, Henderson will contribute as a producer of “Empire” for the fifth season while also developing family dramas, comedies and adapting graphic novels. Her lengthy resume includes two years as a co-executive producer on Netflix’s Marvel drama, “The Punisher.” In addition to “Soul Food,” Showtime’s longest-running African Americanthemed drama series, where she earned three NAACP Image Awards, Henderson is also known for writing and creating such half-hour hits as “The Fresh Prince of Bel Air,” “Family Matters,” “Moesha,” “Sister, Sister,” “Soul Food: The Series,” “Everybody Hates Chris,” BET’s “The Quad” (also Executive Producer) and “Gossip Girl” to name a few. She has also written for such comic book series as Teen Titans, Justice Society of America and Static Shock for DC Comics.

Photo Credit: Matthew Jordan Smith

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WOMEN OF COLOR IN MEDIA 2018 Photo Credit: Matthew Jordan Smith You began your career with shows like “Everybody Hates Chris,” “The Fresh Prince of Bel Air” and “Family Matters,” and you’ve talked about how you had a boss who encouraged you to write scripts. Was writing something that you planned?

It’s only in retrospect that I’ve realized that I’m exactly where I was supposed to be. You know, when I look at my life now, I’ve written in what was then diaries since I was seven and eight years old, but nothing in those diaries was ever true. I would write, “Dear Diary, Today when I flew to the moon...”

So, I did that since I was young and my father kept them and I still have a lot of them. I was full of a lot of angst. I was like, what was I so, like, deep about at nine years old? [laughing] And then I wrote for the school newspaper, and for the yearbook in high school, and at UCLA for the Daily Bruin. Then when I got to grad school, I was the editor of the MBA Newsletter, so really, I was always writing. I always took creative writing classes, I was always in AP English and creative writing because I enjoyed it, but really, I thought that I was going to be a doctor. And you know, I just took another path. I was always good at math and science, my bachelor’s degree is in psychobiology, but it was getting an MBA that basically was a fellowship from NBC and the Peabody Foundation that paid for my graduate education. That’s what led to my access to NBC after graduating, I was in the management training program and that was my first exposure to scripts.

I’d never seen a script before. I didn’t know anyone in the business or any of that. So it was my boss at NBC while I was in that program who encouraged me, and he said, “Have you ever thought about writing?” Because I was so fascinated by it, on every single page, and I would ask so many questions about the story and the structure, and “why didn’t they do this instead of this?” And, “did you think that would have been a better story than that?”

And [he said] “I’ve never seen someone so enthusiastic!” [laughing] It was he who said, “There is this program called the Warner Bros.

Writers Program, I think you should think about applying.”

I was reading someplace that when you were a child you were plagued by illness and you were in the house a lot, so you developed a fascination with comic books and cartoons.

Do you think that your fascination with cartoons as an adult started when you were a child?

Absolutely. When you spend a lot of time by yourself, or if you’re an only child, even if you’re not a sickly child like I was, I think that having a very creative imagination sort of saved me. I can’t imagine who I would be, who I would have been or what my experience would have been had I not had that imagination. I think I would have felt lonely, or just probably sad.

Even today, I really like spending a lot of time by myself, but I don’t ever feel lonely even when I’m alone. I never do; I really like being by myself and I think it is born out of that time of not being able to go out and growing up in Pasadena, in Los Angeles County, at a time where smog was unbearable, so there were days where it was like, oh, we have a smog alert, if you have respiratory problems then you have to stay inside, and it would be another day, like, I can’t go outside, and literally the smog was so bad my chest would hurt. So, yeah, that was when my mom would be like, “You can’t go outside.”

Or some days you can’t even go to school, so they’d send packages of work home for me. I had a built-in ability, if you will, to spend time alone and then I had a very active imagination.

Isn’t it amazing how things that happened to us as kids that appear to be, at the time, the worst things in the world, can end up being blessings later on?

I think so. This is a total sidebar, but I just spoke at a conference recently called The Blueprint, and it’s basically to help people get their lives on track and follow their dreams. My particular session was called, “Permission to Dream,” and I was so, like, “What am I gonna say, what am I gonna say?” It took forever for me to write my speech and that’s exactly what I talked about is what you just said. Is that, you know, when I was that young, at two years old, and had a horrible accident, where they had those big, giant, heavy percolators, they used to call them coffee pots, and I got ahold of a cord and pulled it down on me in the kitchen. Thank God that I was two and I was very small for my age; nobody thought I would grow up to be five foot eight and a half [laughs] but I had this tiny little body that was burned over 75 percent, but I grew into this big, tall person, so, it turns out now I just have a couple of burns. I went through a lot of health problems because of it, but I grew up thinking, I can get through anything because I survived that, so it’s obviously always about what attitude you bring to it.

Somebody asked you how it was being a black woman working in the industry. And you responded that is isn’t one of your favorite questions because it’s like any other industry. Do you get that question a lot? And how do you respond?

Oh my God, yes. From either young people, students, professionals, reporters, young executives and even the students I teach – I’m a professor at the University of Texas, in Austin – I get it from them too. If I do any kind of panel, doesn’t matter the audience, I get it. I think that it frustrates me more, to be honest, when it is a predominantly black audience because I get worried for my people, that they’re focusing on all the ways that a system is designed to keep us down. And if we focus on all the ways that it keeps us down, as opposed to ways to conquer anyway, it’s a waste of our time.

How are you teaching in Texas?

How in the heck am I doing it? That’s a good question! But I commute! [laughing]. I literally get on a plane every fall. I will go on Saturdays or Sundays. I will teach two classes on Mondays, and every Tuesday morning, I will get on the 7:30 a.m. flight and be back in L.A. by 9 a.m. local time.

Do you ever think that you are overdoing it?

Or do you enjoy being consistent in having a full plate?

You know what? Every once in a while, there is a bottleneck and then I’m like, ah, God, it’s a little

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WOMEN OF COLOR IN MEDIA 2018

So, my life is full in exactly the way that I want it to be.

Some people say that at the end of life, a lot of older people say, “I wish I wouldn’t have worked so much,” but then I think to myself, how many MORE people say, “I wish I would have worked more and made something of my life?”

I’ve wondered the same thing! I mean, I want to leave it all on the floor, and if there is something that I am interested in, then I want to say that I’ve tried that. I pride myself … I don’t want to have regrets, personally or professionally. So, I spend time with the people I love. I sometimes integrate the two, like I took my 13- and 17-year-old nieces to Comic-Con with me recently because I needed to spend some time with them, but I was also on a panel.

Have you ever had a situation where you brought somebody who wasn’t industryrelated into the industry and then you regretted it?

crazy! Like, ugh, why do these things happen like this? But for the most part, it all works out well and I’m only doing exactly what I want to do. I’ve gotten very good – I wasn’t always – at saying “no, I’m not going to do that,” or “no, I don’t want to do that,” even as recently as setting up these interviews. Two or three of them were doing pieces on the Me Too movement and wanting my opinion, and I just said, “I’m not doing those.” Like, I don’t really feel like I have anything else to add to a very, very rich conversation and a very necessary one, but I don’t have anything new to add. So, I don’t do what I don’t want to do, to be honest, and I’m doing only the things that I enjoy.

When I need time off, I’m like, I’ll see you guys.

I just spent four days at the spa, a resort and spa that I went away to. [laughing] And I’m like, I’m going away, I’m tired, so I try to, you know, certainly practice some self-care. I spend a lot of time with family and friends; I have nieces and nephews who are the true center of my life. My dog is in the car with me, so she won’t want to hear that they are the center of my life and not her. But they are, and I am an important figure in their lives, and so I have to be there for them. When I’m in Texas I Skype with them and sometimes do homework with them over Skype.

8 | RADIO FACTS

That is such a good question. You make me think of a story about that. When I was working on “Moesha” – I didn’t bring them in because I wasn’t the showrunner – but that was the case where the showrunner felt like we have an obligation to our community and ended up hiring a PA that was recently out of prison. Like, you know, “he deserves a chance,” and we were all with that. But it ended up being way too interesting if you will. And it started to be like, this was a bad idea. But we didn’t say, “We’re never doing that again,” we just said, “Wrong one,” “We’ll try again.” And, you know, I believe in that.

And, my brother will kill me for telling you this story. But I once had to fire my own brother. He was a PA when I was doing a show and he did something very dumb. And, you know, I’m kind of known for being about business; I’m a great mentor, and I think I’m a great boss, but I also am not about bullshit. And he did something dumb that [I thought]: Now how can I look all of these people in the eye – who I’m [looking at] like, “if you are not here and ready to do the job then this isn’t for you” – if I let my own brother get away with what he’d done? So, it was very painful. I think I cried for two hours afterward on the night that I had to say, “I can’t keep you.”

It was very painful and, for my whole family, it was just a nasty moment. And yet, of course, we survived it, but …. that was like, maybe I can’t hire family – which was always sort of one of my romantic dreams, that I can just be surrounded by family in my business life, too.

You know, from the craft services person, I was like, “One day it’ll be my sister,” who is a really good cook and is amazing, I’m like, I’d like her, and I’d like this; I’d always had that dream.

And it hasn’t worked out that way ’cause they have the nerve to have their own lives. But my brother’s one of my best friends, and he’s a very successful editor in reality television now; he’s on a big show right now. He’s been very successful and worked over ten, twelve years.

But it was a very big learning moment for him and he struggled for a couple of years after that and couldn’t get a job, which was hard for me. And I’m like, you can’t do it, you can’t do it, you can’t hire him, you’ve got to let him find his way, and he did. I think his first shot back in the business was on “America’s Next Top Model,” and he just knew what the opportunity was and he got very serious. And, of course, he got married and had children, and all that grew him up real quick, too.

So you want to help people, you have a good heart, but then you understand that everything that you put together, or everything that you’ve done, it can change in an instant and you’ve got to protect it.

That’s right! And that is in personal and professional again and, you know, one of those things I talked about at that conference yesterday was that sometimes you’ve got to clean house and it’s painful. And, on the personal and professional side, where you have friends, where you’re like, I’m carrying this friendship.

Or, you know, people that you keep giving a break to over and over again, and yet the break doesn’t stick. I’ve had all those experiences, with students, with people I’ve brought in to give them their shot.

One of my dear friends is Sara Finney Johnson, who’s this great, amazing, talented writer; she’s like my sister. She co-created “Moesha” and “The Parkers” and I first met her on “Family Matters” and she worked on the Quad with me and we’re dear friends. But, you know, she’s kind of known, when we’re working together, she’s “the nice one,” people say. [laughing] Because she’ll say, “Just give them another chance,” or, “You don’t know what they’re going through.”

And I’m like, “Sara, I can’t teach them what their mama didn’t teach ‘em.” You know, when you get the opportunity, you’ve got to be ready for the opportunity. She’s like, “But everybody didn’t grow up how we grew up,” and I’m like, “You know what? I need to spend my time with the ones who get the opportunity and know it’s an opportunity.”

Absolutely. Now as part of your new deal, you’re going to be working with “Empire?”

It’s going into its fifth season. I’m literally driving into the office as we speak.

What is it like working on a show like that?

How important is it for other producers to be on the team, to bring new ideas, or collaborate on ideas, for a long-running show? Does it help or hurt the original vision?

I think it helps, you know, when a show is in its fifth season, and the studio, Twentieth Century Fox, they were very clear to me that that’s why they were after me to come on. It’s in its fifth season so, with anything, you just need a breath of fresh air, you need new ideas.

Sometimes, with all of us, you’ve been working on it so long, you can also just tend to kind of get stuck. There’s a wonderful showrunner, Brett Mahoney, and I’ve been working there for a month and I’m like, I love this guy already.

He really knows how to be collaborative, he really invites all voices to the table; he welcomes the fact that I’m like, No, I haven’t been here the first four years, but what about this, or what about that? It isn’t always the right choice, or they’ll tell me sometimes why we

can’t do that, but they welcome that I’m a new voice. So, I think it’s very important, if I were the showrunner for a fifth-year show, I would welcome new voices for sure. I’ve just finished the second season on “The Punisher,” and so I just I believe in mixing it up ’cause I believe that mixing it up is good.

What is your new position and what exactly does it entail?

I have a new overall development deal at Twentieth Century Fox that allows me to develop comedies and dramas for network, cable, streaming, any of that. And I will write, produce and direct those projects. As part of that deal, I will be a consulting producer on “Empire,” while I develop my own new ideas until I’m working on my own ideas. My goal is to build a company.

That’s what I wanted to ask you about, too.

Water Walk Productions, give me a little more detail about that?

Water Walk Productions is my company. The company will not only be for the stuff I write, produce and direct, but, I’ve always been a mentor; I’ve always had a mentor’s heart and I’m also a teacher, so, it will also be a place for

young writers to come and for me to develop the next generation of content creators. And not to be mean, if you’ve done it before, I don’t want to see you. I look forward to being a part of who the next generation of content creators are and being part of their success.

How important is it to volunteer?

It’s very important, I mean, to me. Like, I’ve just been so blessed, and part of that is from people who were volunteering at some organization that took an interest in me, and it’s a privilege to be where I am. It is as important to normalize my existence for people who look like me as it is for people who don’t. Because for people who look like me, I give them hope. Seeing me there, particularly teaching in places where so many students say they have never had a black professor, let alone a black woman professor.

It’s why I speak on panels; it’s important to give those people access, and it’s important to see people who look like you so they know they can do it, too. But it’s also important for people who don’t look like you. It’s also important for white America to see me in these places so it normalizes it for them, so they go, “Oh, I’ve seen someone who does that and who looks like that, I should hire someone like that.”

WOMEN OF COLOR IN MEDIA 2018

Angie Martinez Photo Credit: Brian Friedman

Hip Hop radio icon, TV host, New York Times best selling author, actress and artist Angie Martinez has become synonymous with New York radio, reigning on the airwaves for many years and becoming the go-to interview for a broad range of contemporary artists and celebrities. A native New Yorker with Puerto Rican, Dominican and Cuban ancestry, Angie has been on the front lines of change in music and culture, as well as the radio industry.

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WOMEN OF COLOR IN MEDIA 2018

Сongratulations on your legacy in the industry and being honored as one of our honorees for the Women of Color in Media 2018. Did you think you would be at it this long or make this kind of impact when you started?

Thank you so much. I don’t think you can ever predict anything. All you can do is show up and be passionate, put in the work and be consistent.

As you know, the industry is very segregated and artists rarely have relationships with jocks. Everybody pretty much stays in their lane, but you have managed to sustain true relationships with artists like Mary J. Blige.

Do you think that your work as an artist got you that “in” with them? Or do you attribute it more to repeatedly interviewing them on the radio?

then chances are that you are playing it too safe and not challenging yourself. For me, I need challenges to keep my fire going so I’m always trying to raise the bar for myself. I’m never too comfortable and I think you can only maintain that grind if you’re doing something you truly love.

So, find your passion, outwork everyone and take chances.

pretty special. We are in a long-term relationship, so they often have stories and moments they connected to and I love that! When they are inspired, I am motivated and inspired back.

A lot of legacy hip-hop artists state that today’s hip-hop is lackluster. How do you feel about hip-hop today?

Man, there are so many. From navigating through the ‘90s and the loss of Big and Pac, to adapting to the PPM era, which in my opinion changed radio and how we operate. There are literally lessons at every turn, but I think making the decision to leave HOT was definitely one of the biggest for me. It cemented the importance of pushing past my comfort zone and, in a weird way, it confirmed that my voice was my own no matter where I used it.

In the ‘90s they said ‘80s hip-hop was more real.

In 2000 they said, maaaan, things were better in the ‘90s. People are always going to be nostalgic to whatever era they most listened to. Hip-hop is a forever evolving art form and that is part of its beauty.

What do you like most and least about today’s industry overall?

«CONSISTENCY IS KEY, ALSO SEEKING OTHER WOMEN AS MENTORS IS IMPORTANT. THERE ARE SO MANY AMAZING WOMEN IN THIS BUSINESS WILLING TO HELP.»

Is it [segregated]? That’s never really been my experience. At the end of the day, artists are just people. I have been in the business a long time and have always tried to provide a fair platform that was comfortable for both my listeners and guests. If you are in any business for a significant amount of time and prove to be someone people can trust, ultimately you will have great relationships.

You have been very willing to take on opportunities that have come your way even when they didn’t work out. How would you advise other young women when it comes to opportunities in the industry?

Well, first of all, you can’t be afraid to fail. It’s part of the process and if you have never failed

I love the fact that there are so many outlets for people to be heard. Artists no longer have to wait for a record deal to make it. Personalities don’t have to wait for that one radio shift to start connecting to an audience. If you are talented and have some drive, there are literally opportunities everywhere.

Least? Probably that people’s consumption of information and content is in constant overload – so attention spans are short. Corners get cut and important nuances get lost when everyone is trying to get everything done quickly.

You also had a great interview recently with J. Cole. Artists back in the day would never admit to things like addiction, depression and abuse; the industry policed these things heavily for marketing purposes. How do you feel about today’s industry where artists are allowed to be more human?

That’s not really new. I think history shows that the best artists are the ones that share their life challenges in their music. What I love about Cole is he is not only concerned about being a great artist but he is always looking for ways to be a great human being. He is extremely thoughtful in that way, which is why his interviews are so good.

Have any fans and/or listeners ever called you and told you how your interviews have helped them?

Yes, and that’s the best and most important part of what I do. At the end of the day, we are all here to serve in some capacity, so if I can help tell a story or share some information that can make someone’s day or life better, then it is absolutely my job to do that. And my relationship with my listeners is

What was the most pivotal moment in your career, something you will never forget that you learned the greatest lesson from?

New York is the best radio market with so many different personalities. You always seem so cool and laid back. How do you maintain that level of calm in such a competitive environment?

Ha! I’m not always calm and I am extremely competitive. But, yeah, I definitely have developed a level of comfort on air where I can just be myself. And thank God! It’s way easier to just be yourself than to try to keep up with some type of schtick every day. People eventually see through that anyway.

Do you still have the same passion for radio that you did early on?

Absolutely. I couldn’t operate at this level if I wasn’t passionate about it. Ultimately radio is about people and music and creating an experience that is forever evolving.

Have all the things in your career been planned? Did the opportunities just keep presenting themselves or were you prepared for the opportunities before they came?

Definitely not all planned and I was definitely not always prepared. But I would always show up for the challenge if it felt right.

Have you ever turned down an opportunity and regretted it?

No regrets, only lessons. It’s a much more productive and peaceful way to live.

Tell us about your New York Times bestselling 2017 book “My Voice.” How did that come about?

I was at a turning point and I was getting ready

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WOMEN OF COLOR IN MEDIA 2018

to do other things in my life and my career. It just was the perfect time to reflect and share some of my lessons and experiences. Also, I had just made the move [from WQHT Hot 97] to Power [WWPR Power 105.6] and the magnitude of support I felt from my community and my listeners made me want to open up to them on a different level. That really was the inspiration.

don’t get overwhelmed by the end result. Just take yourself back to the moments that shaped you and write, unfiltered and truthful. Honestly, I think everyone should write a memoir even if you don’t share it with the world. And do it a couple of times in your life, if you can. I absolutely can see myself revisiting my story in ten years.

Was it difficult to write? What was the most challenging part?

When you look back on your career, what are you most proud of?

It wasn’t easy but it was worth it. When you share your story that intimately there is a different kind of connection you build with your audience.

I think that I have been able to navigate through all of the changes and time with my integrity and spirit intact, which is not always easy for people. Especially in a people-pleasing business. I will also be really proud of the interns and assistants and kids that I have mentored along the way that find their own voices and career paths.

For those in radio who want to write a book – and there are many – can you share what that process was like?

It’s the greatest self-reflection exercise you can experience so I say, do it! Start today. And

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Where would you like to be in ten years?

Still at it. Finding new ways to use my voice and platform in organic and honest ways. Whether in radio, television, film, books or some new platform that will be invented in five years. The goal is to still be of service and to keep growing.

Any advice for future Women of Color in Media Honorees?

Just to keep at it. Consistency is key, also seeking other women as mentors is important. There are so many amazing women in this business willing to help. I’ve watched the EVP of programming for iHeart’s Northeast division, Thea Mitchem, mentor her assistant Cara Hahn into an APD position. I also just watched two of my former interns, DJ Nyla Symone and DJ Steph Cakes, go live on air for the first time.

It’s been a hell of a year for women in media, so it’s fulfilling to witness the progress and inspiration across generations.

CONGRATULATIONS THE POWER 105.1 AND IHEARTMEDIA FAMILY CONGRATULATE ANGIE MARTINEZ WHO PAVED THE WAY FOR WOMEN, PEOPLE OF COLOR AND MEDIA PERSONALITIES EVERYWHERE.

THANK YOU

WOMEN OF COLOR IN MEDIA 2018

Oakland, California native Tina Davis developed a natural flair for music and media early on. She has worked her way up to becoming one of the most influential A&R execs in the industry, first as senior VP of A&R at Def Jam for more than a decade and also as manager. She is currently VP of A&R for independent Bay Area music and distribution company Empire, which inked deals recently with Universal Music Group and Hitco, and she is also developing and producing television content.

Tina Davis

VP of A&R at EMPIRE Distribution | Recordings | Publishing

H

ow did you get your start in the industry?

I got my start in the industry by working as an assistant at

Chrysalis Music Publishing for my best friend from high school, LaRonda Sutton.

Then interning for Def Jam’s A&R staff while working as an A&R admin for them on the West Coast.

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Did you go to college?

to focus on the music business.

I attended Grambling State University in Louisiana. I did not finish. I had one year left and I decided to seek a job in the music business. I envisioned being a sports anchor and reporter. I loved journalism and being at the anchor desk in front of the camera. I changed directions because I could no longer get financial aid so I decided to go for my love which was music.

I played classical piano for 13 years and knew I didn’t want to be a pianist. I chose

You started off on the performing side in Oakland then decided you wanted to work for Def Jam. Do you still have the urge to be in front of the camera?

Yes, I do have the urge to be in front of the camera. I recently created, executive produced and appeared on a new, ten-episode show called “The Next Big Thing” on BET that’s due out this fall.

WOMEN OF COLOR IN MEDIA 2018 EMPIRE is described as an independent music distribution company. What are some of its artists and projects?

EMPIRE is an independent music distribution company, but it also a music label. We have Young Dolph, Tyga, Lil Duval, Wande Coal, Jade Novah, MAJOR, Mario, Trevor Jackson, Cierra Ramirez and many more.

I’m responsible for everything concerning the artist and repertoire.

You also worked in A&R at Def Jam for a decade. What artists are you most proud of having worked with?

I’m most proud of working on Scarface’s “The Fix,” DMX, Case, Montell Jordan, Music Soulchild, LL Cool J, The Nutty Professor and the Rush Hour soundtracks. There were so many great projects ... and proud moments.

competing against yourself. If you put in the time and use the tools that are provided you can be The Next Big Thing. I created the show to give those fans that don’t have a deal and that don’t have direct access to A&R reps the opportunity and the skills needed to be better.

If they all learn from the tools, music and artistry will elevate. That will be my contribution to music overall. That kid that’s in the heart of his town and never believed he could be heard and learn from the greats, will have that opportunity to shine!

What has been the most challenging and the most rewarding part of being a manager?

In BET’s “The New Edition Story,” their manager had a massive heart attack dealing with them. Would you say that most artist managers should expect the same outcome?

I think there were a few things that happened to R&B. One is the fusion of hip-hop and R&B. Rappers are singing and singers are rapping.

The other thing is the lack of respect for musicianship and production. Who is the modern day Quincy Jones? I also feel that the creation of autotune offered people that can’t sing a fighting chance.

I don’t think all managers will have the same outcome that New Edition’s manager had.

If you’re emotionally invested and it’s your

Are there challenges for women executives within the world of A&R? There are absolutely challenges for women executive in the world of A&R. It is hard to maintain a relationship if you’re in the studio all night and morning with stars. Your relationship becomes a messy pool of insecurity and hurt. You sometimes find that your business etiquette and kindness is mistaken as a personal interest and you have to get past that and get the music done and on time within budget. I have found that a majority of the artists that I’ve worked with respected my position and knowledge. However, there were others that needed to be reminded from time to time.

I KEEP UP WITH TRENDS

BY HAVING YOUNG ADULTS AROUND ME AS MUCH AS POSSIBLE AND KNOWING THE HISTORY OF ART AND LIFE. NOTHING IS REINVENTED ON THE WHEEL OF ... ART AND LIFE ...

Has it changed since you started in the business?

It has changed for me because of what I have accomplished. I cannot say what the junior female executives have to go through.

I somehow feel they may be going through bigger challenges than I did when I was a young A&R. However, we didn’t have Human Resources for a period of time.

Tell me more about “The Next Big Thing” on BET. What type of show is it, who is on it?

“The Next Big Thing” is airing in the fall on BET. It’s a music competition show that takes contestants through an artist development boot camp. The boot camp includes the tools that are needed to become a star. You’re

The most rewarding part of management is seeing a new artist break and rise to stardom. The most challenging part of management is getting an artist that has major success to do what they did to get there.

The industry has drastically changed over the last two decades. What do you think happened to R&B?

How important is it for today’s artists to know about black music history?

It is very important for artists to know about music history, in general, to strive for greatness and to carry on the legacy that precedes them. However, it is not important for success anymore.

Could this be the disconnect with R&B today?

It is absolutely one of the reasons for the disconnect in R&B music today. However, the biggest disconnect is the lack of artist development.

Especially in these times of streaming, touring is the biggest money maker for urban artists.

How do you keep up with music trends?

only income source, you can very well be stressed out. It’s a 24-hour job ... An artist manager does it all. They manage everyone that is involved in the artist’s career. They bring opportunities to their clients and manage their ancillaries.

What kind of advice would you give a young manager today?

The advice I would give is to have more than one client at all times.

I keep up with trends by having young adults around me as much as possible and knowing the history of art and life. Nothing is reinvented on the wheel of ... art and life ... it’s just enhanced and developed through experience.

What are your thoughts on the streaming industry and the future of options for music fans?

The streaming industry has taken over. Consumers consume music freely through subscription. The downfall is that artists, writers and producers do not get paid what they used to get paid so they rely on ancillary income like touring, PROs, Sound Exchange and merchandise.

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Tell me a little about where you grew up.

Sure. I was born and raised in Mexico City, Mexico, and I came to California when I was 15.

I attended Edison High in Huntington Beach, and it was definitely very different. When I was in Mexico City, I attended an all-girls British School, and then I came here to a high school right on the beach. It was pretty amazing; it was like being in a movie. For me, it was very different.

But it was exciting and I really enjoyed it. From there, I went to Long Beach State. That’s when I majored in Journalism and I minored in French.

Is that when you were bitten by the bug to work in entertainment?

Actually, no. Growing up, I was so fascinated by this TV show called “Siempre en Domingo” – it always aired on Sundays – and [the host] would have all of these artists perform. It was from six to eleven o’clock at night. I remember there were times that I would be upset because I would have to go to bed and didn’t get to see the artists that I wanted to see on TV. But that fascinated me because when you’re a teenager you’re a fan of artists and now going back [I can see] how it relates to what I do now. I always loved to sit in the living room, my grandma had these old LP players, and I would sit there with my headphones and I loved to read the lyrics of the songs and look at the credits to find out who wrote the songs, and who produced them. I just loved being involved with music. I didn’t imagine myself performing or anything, but I just loved music.

You did news reporting at one time, correct?

Photo credit: BMI

Delia Orjuela Vice President of Latin Music, BMI

Latin music artists and rhythms are driving pop and urban music these days. As Vice President of Latin Music within BMI’s creative department, Delia Orjuela works closely to develop and support new songwriters and publishers, serving as a liaison between the Latin music community and the music industry at large. She’s worked with a who’s who of Latin music talent, including Pitbull, Luis Fonsi, Juanes, J Balvin and many others.

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Yes, I started my [career] at CNN en Español and started freelancing there, and when they decided to partner with Telemundo, they asked me to do a one-minute entertainment segment.

I would go out and do the interviews. My first interview was with Marc Anthony. I remember he was going to do a cameo in that movie Carlito’s Way. It was pretty cool to be out in the field during the Rodney King trials and the earthquakes, the fires in Malibu, there was a lot going on in the early ‘90s.

Yeah the early 90s in LA was very interesting ...

How did you come to work at BMI? From CNN I went to RMM, which was Ralph Mercado’s record label. They had Tropical artists Celia Cruz, Tito Puente, Eddie Palmieri – it was the hub for salsa and Latin jazz. And from there, I came to BMI because my former boss here at BMI used to work at RMM, and I took a trip to New York to visit a friend of mine who was her assistant, and she introduced me when we were at a concert. We spoke, and then I said “hello” to people from my CNN days, and I knew some of

WOMEN OF COLOR IN MEDIA 2018

coaster of emotions leading up to the big night.

At the end of the day, getting to present a songwriter’s very first award is very rewarding.

I mean, I know them so well, and know that it means working hard, and struggling, and when I get to say, “receiving his first award,” it is just amazing.

I’m sure that once the awards are done that you’re spent; you probably have to sleep for a whole day or something.

Not necessarily because usually the next day, you still have the texts, the emails about transportation, people missing their flights. I also have to ID photos for the press release so it’s still going on the next day as well. I wish I could sleep all day but no, it doesn’t happen like that. It’s part of it all, you know, just going over things: we should have done this, we should have done that or this was so special, you know, it goes on.

BMI’s Delia Orjuela with members of Diamante Electrico at the Los Producers concert in Las Vegas 11/16/17.

Photo Credit: JC Olivera

the artists and managers who were backstage.

Later, after the concert, she called and asked me if I would be interested in working for BMI [because] they wanted to open a Latin division out of the LA office because she didn’t have someone here before. I interviewed and got the job…. and here I am, twenty-one years later.

Wow! Okay, so obviously you love what you do.

Yes. Every morning I wake up happy to come to work. I really enjoy what I do. I’m one of those fortunate people who really loves what they do.

That is the key. It’s like, when you wake up and you’re excited about the day, that’s when you know that you’re doing what you love.

Yeah, definitely. Obviously, it’s not like every day’s perfect, but to have the opportunity to work with songwriters, up-and-coming or established ones, is fascinating.

What part do you play in the BMI Latin Music Awards?

I am involved in all aspects of it from the very beginning. From working on who’s going to be an honoree, to the guest list, to planning the show and presenting the awards. So, a little bit of everything.

DIFFERENT TYPES OF SHOWCASES ARE PUT TOGETHER BECAUSE WITHIN LATIN MUSIC, THERE ARE SO MANY DIFFERENT GENRES. IT’S VERY DIVERSE ...

What are some of the acts that you have worked with? Or some of the talent that you’ve signed that have done very well?

Juanes, for example. I get so thrilled and excited to see how his career has developed and where he’s at right now, because we started together. Remembering someone like Espinoza Paz – the first time we saw him perform it was in a small showcase in Mazatlán, Mexico. And Pitbull, Luis Fonsi, J Balvin now … there’s so many and I don’t want to forget someone! Because everybody is so special; and that’s what makes it special here at BMI; we do become a family and we get close to our songwriters. It’s a special relationship.

Pitbull has evolved quite a bit over the years.

Yes, he has, definitely. I remember our first meeting at a hotel bar in Miami; he shared his vision and dreams. Mr. 305 became Mr. Worldwide.

What do you think about streaming and the future of the industry?

That has to be challenging because it’s very minute-to-minute; you don’t know what to expect.

Yes. It is a challenging event, just because from confirmations, from not knowing the [exact] day of the show [at first] … I remember one year we were honoring Los Lobos and the day before I received a text that they were not going to perform. I remember thinking “Oh no, what happened?” It’s always a wonderful evening that celebrates our songwriters, but it’s a roller

I feel like it’s going so fast! Things have definitely changed in that area of the industry. It’s so immediate and, obviously, the consumption of music is just crazy; you can get access to music from all over the world at any time and that’s fascinating to me. At the same time, it’s overwhelming because you try to keep up-to-date with everything and sometimes it’s difficult. There’s a new artist popping up every minute: someone new in Chile, someone new in Japan, someone new here in LA. It’s hard to keep up, but at the same time, it’s

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WOMEN OF COLOR IN MEDIA 2018

an exciting time for music because it’s so diverse. It’s fascinating to see how everybody’s cooperating, how people are really going out of the box to not be so specific about the style of music they’re doing. Everybody wants to explore, or: You know what? I like that rhythm, I like that beat, I would love to do lyrics in Spanish, or now do lyrics in Portuguese, or … and there’s no set formula anymore that could work.

kids, one from Colombia, one from Puerto Rico, and maybe they can have a theme song, the way baseball players do, so as you can see, it is really hard for me to separate my work and personal life. [laughs]

What is the best and worst way for a potential songwriter to approach you?

I love putting together showcases. They are a platform for the songwriters. Different types of showcases are put together because within Latin music there are so many different genres.

It’s very diverse, so just being able to put that platform [in place] for songwriters and giving the fans the opportunity to hear something new is rewarding. I like to think of our showcases as a place of music discovery.

Now that’s a good question. I’m older, so the first time is still that old-school [method].

I still love to find new music. I get random emails and I do listen to the music. I still reply.

I also like getting new music at events and conferences. I do listen, and I think I’m very honest with my comments. I always say … just because I don’t like it doesn’t mean it’s not good. It’s just that we all like different styles of music. But I like to feel I’m giving constructive criticism when anyone asks, because it’s important. I guess that’s a good way to approach me … I’m very approachable!

Probably too much sometimes! We all deserve an opportunity and, here at BMI, we have an open-door policy. We never know who is going to be the next big star.

Do you interact with younger people, individually or as part of your team to ask questions if you’re not sure about something? Or are you steadfast in your own thinking?

Oh, no. I am very much a team person. And I like that, and I love to hear new ideas, and it also helps that I have a 16-year-old daughter who loves the business and is always telling me, “Have you heard so and so?” Or, “Why don’t you guys do this?” My husband’s also in the business … but I love to hear what the new generation has to say. It’s a good balance, and that’s what we need to be better at what we do.

How do you separate work and personal life?

Not sure I’m good at it … sometimes I don’t separate it so much; my husband’s also in the business and we love it, but when I do, I love to watch sports. That’s my way to disconnect from music. But then sometimes even when I am watching the sports I immediately start thinking of how we can connect. Just to give you a quick example, I went to a skateboarding competition, it was my first time, and I was very excited to be there. But then I was like, Oh yeah, they are playing music all the time! And there were

18 | RADIO FACTS

In one of your interviews, you said that part of your job is merging songwriters with the Latin music fans. What are some of the ways that you do that?

So, when you do your showcases do you feature the songwriters, or the artists singing their songs?

Sometimes it’s both. Depending on what kind of showcase it is… sometimes it’s more of a showcase for the rock bands, and then we also put on some that are geared more for the singer/ songwriter. And then we might have another one that features our DJs and Urban acts.

Are you a member of any boards? Do you do any outside or charitable work?

Do you run into situations where you’ve had signings with ego problems?

Sometimes songwriters come in already thinking that they know everything... “What do you mean?

I’m already an artist.” Especially because I deal with a lot of songwriters that are coming from other countries and they have had a hit on the radio in their country, but not here. So sometimes I let them know that the market is different here, you know, “let’s try to stick with what works here.”

Because sometimes they don’t realize that it doesn’t matter how big you are, sometimes you have to go back to performing at smaller venues.

You started like that, you need to feel that energy again. It’s not always just about performing at big arenas or theaters. I tell them: Be humble! Don’t forget! [Because], yes, you might have to start from scratch.

Tell me about the next BMI Latin Music Awards.

That would be next year; our awards always take place in March, but we don’t have a location yet. We’ve had it in L.A., New York, Puerto Rico, Miami, Vegas and we’ve been in San Antonio, as well. So, I don’t know where we’re going to be next.

Well, I thank you so much for your conversation; it was very enlightening.

Thank you!

I sit on the Latin Hall of Fame Board and the Saint Jude’s Latin Advisory Board and with our showcases; we try to get involved with various charities.

On average, about how many hours a day do you work?

That’s a tough one because the moment I wake up, I start looking at emails. And I can tell you when I’m making dinner at home I have my phone next to me and I’m replying to someone.

My family complains about that because I need to focus on what I’m doing, but I’m at it all the time!

What advice would you give new songwriters right off the bat?

I just tell them: write a lot, write all the time and network. Find good networking opportunities and learn the business. If there’s an opportunity for you to take a course, if you see that the Recording Academy is having one of those one-on-one sessions, it’s important to really learn and prepare yourself, because it’s not just about the creative. It’s about your timing and learning how to look out for yourself. It can go bad in no time if you don’t know the business.

BMI’s Delia Orjuela with MOTIFF at the opening of his new studio in Sherman Oaks, CA in February 2018. Photo Courtesy of BMI

WOMEN OF COLOR IN MEDIA 2018

People still want the personal touch of a good radio personality.

People want company and that’s what we give them.

Photo Credit: Kauwuane Burton Photography

DeDe McGuire Syndicated Morning Show Host

DeDe McGuire started her career in radio in the Killeen/Fort Hood area at Texas at a country radio outlet. She was a receptionist at KOOV. She got a chance to practice being on the air during the weekends. Shortly after that, she hosted her own show in various markets in Dallas, Chicago and Philly. She got a call from the late Doug Banks, who was looking for a co-host, and she got the job.

She continued to co-host the show while taking another position at KKDA in Dallas. She filled in on the morning show then became a co-host when a new morning show came into the market, which didn’t last long. That’s when she was offered the opportunity to host the morning show on her own.

Recently her show, DeDe in the Morning” went national and is now syndicated.

20 | RADIO FACTS

WOMEN OF COLOR IN MEDIA 2018 W O M E N O F C O L O R I N M E D I A 2018 You have seen many changes in the industry over the years, did you ever think you would end up hosting a show in a slot that is still male-dominated (mornings)?

Yes and no! A woman I worked with in Chicago told me I would host my own morning show one day and I laughed at her. I knew I could host after co-hosting Doug’s show and was waiting for the opportunity. It was actually on my vision board.

When posed with the question ‘How does it feel to do a morning show as a woman’ do you try to not focus on that if so, why or why not?

I wouldn’t know how else it would feel. I’m honored to host and I’m honored to know that since I took over as host years ago, more women have been given the chance to host.

What are some of the benefits, selling points, of women doing mornings in radio as far as the listeners?

Women are more sensitive about which topics are appropriate for the time of the morning.

I think we are more intuitive about the mood of the country and city you’re in. When there is a serious subject, our approach changes and becomes more comforting for the caller and listeners. As women, we wear so many hats. We are chameleons, so there are very few situations we are not capable of handling.

We know our listeners. We know where they are in life or know someone that has, or going through any scenario now. It’s that knowledge that women can offer to start everyone’s day with sympathy, empathy, education, entertainment and some morning laughs!

You’ve had an amazing career and you have worked with industry legends like the late Doug Banks. What are some of the most valuable things that you learned from Doug?

I learned how to lead without a heavy hand.

I’ve learned how to make every member shine.

I’ve learned that by keeping the mood in the room light, brings out the best in everyone.

People are more prone to feel comfortable and creative. I also learned to let mistakes happen and embrace them. That is what humans do… we make mistakes. He used to tell me his #1 rule – “super-serve” the audience and clients!

He was the best radio teacher I ever had! He gave me advice on how to deal with and be a leader of my own show and how to work with management.

What did people like Doug learn from you?

I think Doug learned how to be a brother/ sibling from me. He was an only child and he and I were like brother and sister. He would come to my house when my mom was in town.

He was also close with my brother Mychal and talked radio with him every chance he got. He also learned from me how to watch the length of our breaks! That man could go looong on a break and because I began to know PPM and our syndicated breaks would be too long, I would pull out my timer and self-edit. He started doing that as well.

The Brand Manager/PD at the station, Geo Cook, is extremely supportive of you. Have you always been supported during your journey in radio? If not, how did you keep motivated?

Yes…I was always supported! From Terry Avery’s support to Derek Brown, Gary Saunders, Russ Parr, to my husband. Heck, even record rep David Linton was supportive!

Today, I get overwhelming love and support from women all over radio. I have women coming up to me at radio panels, conventions and on the street saying “go girl,” and “we’re so proud of you!” Compass Media has been very supportive as well. Their commitment and vision was the reason I wanted to work with them.

With streaming making such an amazing impact on the music industry, how do you think it will affect commercial radio?

People still want the personal touch of a good radio personality. People want company and that’s what we give them. Information, entertainment and music are a winning combination.

What are your thoughts on Podcasting as a radio pro? For whatever reason jocks are seemingly completely disconnected from this growing and hugely successful concept.

Freedom! The freedom to do what you want (which tells a lot about a person). There is also a lot of branding opportunity if done right. I think podcasting is another vehicle to get your message out and hone your skills and expand your brand. I’m working on developing one now.

When you watch or listen to podcasts, what are some of the first things you notice (good or bad)?

The first thing I notice is whether the person is a trained broadcaster or not. It’s so evident and it can be painful to listen to when a host isn’t. I also notice conversation clutter … direction of break or lacking one. The good thing I notice is the expansion of a break and the chance to be authentic with your thoughts or opinion.

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Gabriella Gonzalez is Vice President, U.S. Latin & Latin America, for performance rights organization ASCAP (American Society of Composers, Authors and Publishers). Based in Los Angeles, Gonzalez oversees the ASCAP Latin Membership Department, including staff based in Los Angeles, New York, Miami and Puerto Rico.

At a time when Latin music is having an increased impact on pop, hip-hop and R&B more than ever, Gonzalez is responsible for developing the careers of ASCAP composers and songwriters, recruiting new members and serving all of ASCAP’s Latin writer and publisher members.

Photo Credit: ASCAP

Gabriela Gonzalez Vice President Latin ASCAP

What’s the hottest style of Latin music right now?

Reggaetón is our new pop. Reggaetón and Trap are Latin’s hottest genres right now.

Regional Mexican continues to be very strong; our 2018 Latin Songwriter of the Year is a Regional Mexican writer, Joss Favela. There are a few ASCAP members from other genres who top the charts whenever they come out with something new, such as Romeo Santos, Carlos Vives, Maná.

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Your job sounds very challenging and rewarding at the same time. How many hours a day do you work on average? And is every day different?

Every day is different. I have to work late when we have events or start very early because of the time difference with Latin America. Other days I have regular office hours.

The job is fun, never boring. Latin music grows and changes and we have to move with it. At ASCAP, we have an excellent Latin

membership team of people from very different backgrounds and we are constantly finding new ways to serve our Latin members.

How do you recruit new members?

We are always working to be in tune with what’s coming out. Our team develops strong relationships with the members themselves, with their representatives, music publishers and labels. We also work very hard to keep our members happy so they recommend

WOMEN OF COLOR IN MEDIA 2018 W O M E N O F C O L O R I N M E D I A 2018 ASCAP to their peers. We are everywhere; we go to industry events, we visit recording studios and songwriting sessions. We also create our own events that bring in new members, such as songwriting camps, showcases and networking parties.

What advice would you give new songwriters?

Learn about the business and your craft, and co-write every chance you get. Co-writing helps songwriters discover more about themselves and evolve. And, of course, it expands your network of contacts.

Do you keep your eye on radio?

You were born in L.A. but you were raised in Argentina. Did you plan to come back as an adult to work in the industry? Or did all the pieces just fall into place?

I knew I wanted to get into the music business.

I knew I had to start at the bottom answering phones. Spanish was my greatest asset at the time – I had three job offers because of it.

Who are some of your most recent signees?

We have signed some significant writers in the past couple of years: Maluma, Carlos Vives, Draco, Milly Quezada, Anitta, Ulices Chaidez, among many others. I’m really excited about the Latin talent we have on the ASCAP roster.

Yes, radio, streaming and Latin television.

How does Latin music do in the streaming format?

Latin music never stops growing. The IFPI (International Federation of the Phonographic Industry) announced earlier this year that Latin music saw a 49 percent increase in streaming revenue in 2017. Some of it was due to [the Luis Fonsi global hit] “Despacito,” but that is just the tip of the iceberg – there is so much talent and every year the genre just gets even bigger.

How do you nurture difficult or challenging clients?

We try to put ourselves in their shoes and see what we can do. Sometimes a small gesture can go a long way and put people at ease. We are always honest since we find that everyone appreciates honesty. After all, honest feedback is the most valuable feedback to help members become their best.

Before ASCAP, you were Assistant Manager of Film, TV and New Media at Peermusic. How did your previous experience at Peermusic help to prepare you for this job?

Peermusic was my stepping stone into the music business. I started as a receptionist and that allowed me to meet people in the industry.

Later in Film/TV and New Media, I learned how to understand contracts, developed an ear to suggest songs for scenes and learned the details of licensing.

REGGAETÓN IS OUR NEW POP. REGGAETÓN AND TRAP ARE LATIN’S HOTTEST GENRES RIGHT NOW. REGIONAL MEXICAN CONTINUES TO BE VERY STRONG...

Photo Credit: ASCAP

subways in New York, and Mario Domm before he started Camila. We included Jerry Demara in several songwriting camps and he won two ASCAP Latin Awards this year. We showcased Luis Fonsi in 2001, and Manuel Medrano the year before he was nominated for three Latin Grammys, just to name a few. We love to include new talent in all our events.

Who are some of your projects coming up?

Do you still scout out new talent or do you

The ASCAP Latin team has a very busy fall ahead of us. Next month we have a Regional Mexican song camp in Los Angeles for Del Records, another song camp for Zacarias Ferreira in the Dominican Republic, then we are hosting events during Expo Compositores in Mexico City and the Latin Songwriters Hall of Fame, before heading off to the Latin Grammys in November.

handle it now?

What artists are you most proud of having nurtured from the beginning?

We have a lot of success stories, people we have signed when they just started and are now huge songwriters. For example, we signed Joss Favela before he had his first major single and he grew to be our ASCAP Latin Songwriter of The Year for three years in a row. We signed Romeo Santos when he was performing in the

rely on staff in other ASCAP locations to

I am the only ASCAP Latin representative for the West Coast and I share Mexico with one of my team members, so I’m very much involved in scouting new talent and meeting with writers at every level. The relationships are very important to me and everyone on my team; I don’t want that to change.

Who are some of the industry people who have helped you most in your career?

My mentor is Alexandra Lioutikoff, now EVP of Universal Music Publishing Latin (and former head of Latin Music for ASCAP). She has always been a strong role model for me and for Latin women in the industry.

RADIO FACTS | 23

Congratulations to

’s

Gabriela Gonzalez Vice President, US Latin & Latin America

For being recognized by Radio Facts for your outstanding efforts in media supporting, advocating and promoting the work of Latin songwriters, composers and music publishers worldwide.

WOMEN OF COLOR IN MEDIA 2018

Being an entrepreneur in any industry has challenges but understanding your industry, research and identifying a niche in the market lessens your risks.

Photo credit: Miles Ahead Entertainment

Sheila Eldridge CEO Miles Ahead Entertainment

Sheila Eldridge is a highly respected industry entrepreneur who has used her years in the entertainment industry to fill many necessary niches. After years of working in corporate America, she opted to start her first business, under the Miles Ahead Entertainment umbrella, called Orchid Communications. She worked with acts like Janet Jackson, Jimmy Jam and Terry Lewis, the O’Jays, Ice T, En Vogue, Yolanda Adams and more. She has owned and run several businesses after that using her leverage as an industry vet to consistently propel her into new successful ventures. One of her latest projects is a nationally syndicated radio show called Café Mocha. The show, hosted by Loni Love, Angelique Perrin and Yo-Yo, is on in several markets in the country.

How many hours a day do you work on average?

My hours really vary based on my lifestyle at any given time. One of the benefits of being an entrepreneur is that you can set your own schedule. For example, I’m best early in the morning when I can focus so, by 9 am I’ve already put in four to five hours, go workout, and start my day. For entrepreneurs, there really are no set hours…you do what it takes to get it done!

26 | RADIO FACTS

Ten years ago I started a routine of working four days a week. Learned the hard way the importance of downtime to balance your mental, physical and emotional health and not burn yourself out. It’s called my “mental health day” that I dedicate to the personal business of being me.

Your company, Miles Ahead Entertainment, offers a plethora of services. How do you balance it all out?

Thirty years ago I started my first business, Miles Ahead Entertainment, that’s a media marketing, public relations and special events agency that serves as the umbrella company for subsidiary Miles Ahead Broadcasting that has been syndicating niche radio properties such as the Café “Mocha” show, “AfroZons” and “B. Lifted” for the last ten years. Having two businesses is like raising two kids, both require nurturing to grow. Taking my “mental health days” helps me maintain balance, allocate my time and

WOMEN OF COLOR IN MEDIA 2018 What are some of the greatest misconceptions people have about entrepreneurs?

keep a team motivated to help bring my ‘vision’ to fruition.

What made you decide to become an entrepreneur?

I grew up in Washington D.C., and like many Washingtonians, my first internship was in the Government. [Laughs] I learned early on I could be the traditional nine-to-five person.

Of course, it took some time to recognize that I was a natural for entrepreneurship but once I did, I was ready and courageous enough to embrace it. I’m driven by taking a concept and making it into something. My mother was an accountant (in the government) and she was my first investor who taught me money management skills that have been essential for longevity as an entrepreneur.

Is being an entrepreneur in the industry easy?

Anything worth having is worth fighting for!

Being an entrepreneur in any industry has challenges but understanding your industry, research and identifying a niche in the market lessen your risks. Believing in your ability to turn a vision into a profitable entity mitigates the stress and uncertainty that is inherent in running your own business. If you need a paycheck every two weeks... it’s not for you!

28 | RADIO FACTS

One of the greatest misconceptions about entrepreneurs is that they are successful because they are driven by their passion. The truth is you cannot be successful in business (long-term) without a business plan that helps guide your decisions.

Entrepreneurs are in the high-risk business because, at the end of the day, we shoulder the responsibility for the operations that are often forgotten in a job environment.

Another misconception is that success happens overnight. It does not!

Success is more akin to a running a long-distance race, you have to train, stay focused and plan to be in it long haul. Part of being able to go the distance is in knowing how to keep your risks as manageable as possible. Understand it’s a ‘we’ business with your greatest assets being your team that includes employees, CPA, accountant and lawyer.

What makes an entrepreneur successful and what makes them fail?

One of the things that make us successful is having the ability to motivate and inspire people, internally (your staff) and externally (consumers). We fail when we start believing it’s all about the “I” and not “We.” You once lived in Los Angeles but have since moved back east. What kind of challenges are you faced with by not being on the west coast?

Really, there are no challenges. Starting out on the west coast and then moving to the east coast has actually been extremely beneficial in my business growth. Living in the Washington DC (DMV) has afforded me the opportunity to add another dimension to my business repertoire as my company is now certified as a government contractor with one of our first clients being the Smithsonian National Museum of African American History & Culture (NMAAHC).

You have had great success with your syndicated radio show “Café Mocha.”

Congratulations. How many stations are you on now?

We are on 35 stations airing in New York, Chicago, Atlanta, Washington D.C., Dallas,

Houston, Charlotte and Richmond to name a few. We also air weekly on Sirius Channel 141.

One of your hosts Loni Love is also on the TV show, “The Real.” How did you find her, Yo-Yo and Angelique and what was it like putting the show together in the early days?

When I launched “Café Mocha” nine years ago the trend was toward live and local radio.

However given the economy and watching ownership downsize consolidation, I foresaw a trend toward syndication as stations looked to attract and engage their female listeners.

Understanding the value of women as the key decision-maker in the home and their value to advertisers, “Café Mocha” was created to offer a programming vehicle to fill that void and provide local advertising opportunities for affiliates.

“Café Mocha” is “radio from a woman’s perspective.” My idea was to create a lifestyle radio concept with three female personalities that could offer differing opinions on subjects from relationships, health, celebrities and politics all with the best backdrop of urban music. Fortunately, I was blessed to find three women that fused the concept perfectly.

I had seen Loni Love at the time on the Chelsea Lately show and I was impressed with how diverse she was on contemporary topics, an engineer HBCU graduate who decided to follow her dream into comedy. Today she’s a multimedia personality – a comedian, a TV and radio personality, and actress who brings a fresh “a-ha moment” to the show. Yo-Yo brings her vast musical knowledge and background to the show, and always keeps it real! Producer and co-host Angelique Perrin is a seasoned producer who has worked both national and local shows, so she brings a unique skill to keep us PPM-friendly. Together, they offer different yet complementary perspectives that women from 18 to 80 from around the country can enjoy.

Our new show “AfroZons” hosted by Sheila O is where hip-hop meets Afrobeats. That’s airing in eight markets led by Chicago. “B. Lifted Up”, a faith-based financial empowerment show with hosts Rev. Dr. Buster Soaries and motivational speaker Dee Marshall.

All are relevant programs fused with music serving the African American community.

What’s it like being the only Black woman running a syndication company?

Quite honestly, I do not think about being the only one. I focus on filling a void, serving the community and creating an advertising

WOMEN OF COLOR IN MEDIA 2018

vehicle to generate revenue. I follow the path of my mentor, Cathy Hughes, who defied the odds when she bought her first radio station WOL, and look at her now. She never stopped to think about being the first; she just kept her eye on the prize ... looking forward.

You also do events and own a radio station.

How important do you think it is for entrepreneurs to have multiple streams of income?

It is incredibly important to have multiple sources of income, particularly in any field remotely related to communications and technology. Thus, I have different marketing and broadcasting businesses. The first offers services and the second offers products.

The business environment is so volatile; you need to have the ability to pull from different revenue sources. Communication and technology change rapidly so we do not always know what’s next. Radio used to be terrestrial. Now it’s terrestrial, it’s satellite, podcasts and online, offering multiple revenue streams.

What are three pieces of the best advice you were ever given?

(1) Your greatest wealth is your health, (2) the little things you do can make a big difference in someone else’s life, and (3) there is no one bigger and greater than God. What is the worst advice you were ever given?

When things get tough, go get a job.

Where do you see Miles Ahead Entertainment in the next five years?

A new destination for sure! Whatever it is, we will have adapted but we will work to stay Miles Ahead.

How do you get inspired?

Working with young people who keep me abreast of the trends and sharing my business knowledge with them. Honoring women with our Salute Her Awards over the last eight years and hearing their journey keeps me inspired that we are truly ‘Black Girl Magic.’

How do you motivate yourself?

By seeing ideas come to fruition and by not being afraid to take the path less walked.

How do you disconnect?

As an equestrian, there is nothing like connecting with your horse and riding into the horizon!

Tell us about your other events.

Our biggest event is Café Mocha’s Salute Her Awards, a tour that stops in local affiliate markets of N.Y., D.C., Dallas, Charlotte and Atlanta in 2018. This will be our eighth year where we bring together and honor women of all different races and ethnicities with partners Toyota America, AARP, and Meille Organic. It’s a perfect example of our unique multimediamarketing strategy of creating an opportunity for our sponsors that are looking to engage the very lucrative and attractive female multicultural market in conjunction with the show.

Sheila with singing group En Vogue. Photo Credit Miles Ahead Entertainment

RADIO FACTS | 29

WOMEN OF COLOR IN MEDIA 2018

Veteran radio executive Kathy Brown has been in the industry for more than three decades. A native of Chicago, she jumped into radio feet first at WLNR, and has programmed and/or managed stations from Atlanta to Detroit, Baltimore to Charleston and more.

Currently the Program Director at Cumulus Media’s Charleston, SC, urban/urban AC duo WWWZ and WMGL, Brown shares her journey within the ever-changing radio business.

Kathy Brown Program Director, WWWZ and WMGL, Cumulus Media, Charleston, SC

What’s your background in the industry?

I’ve been afforded the opportunity to grow in this industry for 30-plus years. Getting my start from my days back in my hometown of Chicago, working for Johnson publishing company’s WLNR right out of college. During the span of my career, I’ve worked in different markets including Baltimore; Richmond, VA; Washington, DC; as well as Detroit, MI; and Augusta, GA. During my career I have also held different positions such as Assistant Program Director for CBS Radio - Atlanta, Operations Manager and Regional Program Director.

30 | RADIO FACTS

After my departure from iHeart Media St. Louis, where I was the program director of the urban station KATZ-AM, I decided to join Cumulus Media - Charleston, where I am now the program director for the urban station WWWZ 93.3 and urban AC station WMGL 107.3. While doing this I also assist in programming for other stations, such as [WEAS] E93 in Savannah, GA, as well as other stations within Cumulus.

What are some of the best markets that you have worked in and why?

Washington; I liked the community while I was there and the diversity that the city brought.

How important is it for radio programmers to be on social media?

It is very important, especially since we are in a mobile era. Everything is done with technology to disseminate information. Social media accelerates information much faster than television and other media outlets. Streaming is a huge part of social media and is a source for sharing music, information and our way of life.

Programmers have to embrace and fold social media into their programming philosophy. Onair talent should be posting at least once a day organically and bringing listeners to their page.

Digital is the new revenue source for radio stations, so if you are not embracing social media,

your station is missing out on key revenue.

When do you find time to participate in social media?

In the wee hours of the morning, and I schedule posts.

What do you like most about your current market?

What I like most about being here is the emphasis on community and connections that the people here have with one another, along with the traditions and heritage that Charleston has.

What do you like most about your current employer, Cumulus?

I got to Charleston right after the current CEO, Mary G. Berner, changed many things about Cumulus. Within my year and a half here, I’ve had the chance to meet the CEO, and I have great admiration for where the company is headed and what is making us successful. I enjoy being able to program for the listeners and working with Ken Johnson, my VP of Programming.

NOT MANY ARE ABLE TO RETIRE FROM THE PROGRAMMING SIDE OF RADIO. THE EVOLUTION TENDS TO START TOWARD SALES IN ORDER TO RETIRE FROM THIS BUSINESS, BUT I WILL KEEP HOPE ALIVE. If you were not on the radio what else would you be doing?

I have a passion for teaching. So, if I wasn’t in radio I would be a teacher, most likely teaching at the college level or kindergarten.

With so much moving around within radio careers, is it possible to comfortably retire from the industry on the radio side?

No, not many are able to retire from the programming side of radio. The evolution tends to start toward sales in order to retire from this business, but I will keep hope alive.

What is the greatest challenge facing today’s industry?

The greatest challenge is being able to draw in more listeners of the younger generation, and learning how to keep them coming back to listen. Streaming is also a challenge when working in this industry lately, because streaming is an instant progressive market. In today’s culture of radio, you are required to do more with limited resources. With this being the new culture, I’ve learned to multi-task.

Would you like to see the urban side of the industry have more physical get-togethers?

Yes, it is imperative that we network and create opportunities for the millennials who are trying to get into this business.

WOMEN OF COLOR IN MEDIA 2018 Where do you think the industry will be in five years?

The industry will be leaning more towards streaming, and digital numbers will dominate our musical choices.

How do you separate yourself from work?

Separate – what is that? If you are successful or have a legacy in this business, it can dominate what you do, but not who you are.

What changes would you like to see in the industry?

More programmers mentoring others. And more opportunities for young people to flourish in this business.

You have a very good reputation. How do you maintain that after all these years?

Thanks, I have a long-standing reputation because I believe I am a woman of my

DJ AUTOMATIC

word. When I say I’m going to do something, I do my best to always follow through. It’s the Chi-Town in me.

Who are three people in the industry you admire the most?

Steve Hegwood, who continues to be a programming mentor of mine. Every time I talk to him he will drop programming nuggets to me.

And the late Tony Washington, who was my “radio dad,” who taught me the ins and outs of the radio game. Cathy Hughes, who taught me how to be a great female program director and the importance of giving back to the community.

Are you mentoring anyone?

Always, each and every day. I believe in leaving a footprint in each market I have been in.

Are you a part of any organizations?

The NAB (National Association of Broadcasters).

Tell us about your team.

My team is amazing! They have my back every step of the way and I have theirs. Through downsizing of staff, we continue to thrive and not miss a beat. In tragedy we are there for one another like a family would be.

How would you sum up your career so far?

I think I’m blessed to have been in this business this long. Each market that I have been in has taught me a major piece of my life.

Chicago was my roots where I had great family and friends; Milwaukee taught me the importance of community; Baltimore taught me leadership; DC taught me power; Atlanta humbled me; St. Louis taught me perseverance and not to ever give up. Charleston is teaching me the importance of heritage and lineage.

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WOMEN OF COLOR IN MEDIA 2018

Originally from Atlanta, Imani Ellis is currently the Senior Communications Manager at Bravo and Oxygen Media, NBCUniversal, where she spearheads press strategy on numerous shows.

Prior to Bravo and Oxygen, she was a NBCUniversal Page working on “The Tonight Show Starring Jimmy Fallon” and “Saturday Night Live.”

Ellis also gained experience as an intern with Creative Artists Agency, Viacom, Universal Music Group and ESPN. A graduate of Vanderbilt University with a major in communications and a double minor in German and film, Ellis got her work ethic from her parents, who are both pastors.

Photo Credit: Chi-Chi Agbim

Imani Ellis Senior Communications Manager at Bravo and Oxygen Media, NBCUniversal

I

was watching a show segment about success on PBS recently, and everyone they interviewed said their parents were their first lines of inspiration and motivation. Even though you didn’t know what you wanted to do, how did your parents inspire you?

My parents have had an incredible impact on my life. They are ambitious, fearless, generous and kind. From an early age, they instilled in me and my siblings that hard work and gratitude can take you to places unimagined. From driving me an hour away to my ballet class five days a week to seeing their faces at every single track meet, recital and spelling bee, they have stood

34 | RADIO FACTS

beside me for every chapter of my life and are both pillars in my life. They inspire me to be a better person everyday and I can’t express enough how thankful I am for them.

What is the biggest misconception, from your experience, about being a “PK”?

I think the biggest misconception about being a Preacher’s Kid (especially the daughter of two preachers) is that you are constantly being forced to live your life abiding by strict rules, harsh judgment and disapproval of anything fun. I experienced quite the opposite; I had an awesome childhood. My parents instilled love, respect,

gratitude, integrity, honor and discipline in our house. We had fun, went to amusement parks, had sleepovers and went to church.

My need to honor them didn’t come from a place of fear, it came from my yearning to reciprocate all the love they poured into me. Because they trusted me, I wanted to maintain their trust and because they loved me, my world was filled with love.

You were raised in Atlanta, which is a market that is certainly a leader in black entertainment. Where do you see the city in the next ten years?

Atlanta is so incredible! The city has my heart and continues to be a frontrunner

WOMEN OF COLOR IN MEDIA 2018

in entertainment production. “Atlanta,” “Stranger Things,” “The Walking Dead” and “The Real Housewives of Atlanta” are all produced there and I think because of the diversity in terrain and landscape, the production opportunities are endless. I believe Atlanta will continue to thrive as the industry continues to search for authentic backdrops to tell their stories.

Tell us about some of the shows that you are working on.

I oversee press strategy for various series, including “The Real Housewives of Atlanta,” “Watch What Happens Live with Andy Cohen,” Emmy-nominated “Million Dollar Listing New York” and “Dirty John” amongst others. I’m working in my dream job.

How do you handle when something doesn’t go as planned? Do you usually have a back-up plan? Do you look at what went wrong or do you simply move on?

My job can be extremely unpredictable and because of this, it’s so important to be able to pivot and think of solutions quickly. There really isn’t time to dwell on how things should have been; you need to shift your focus on what your next move will be. Although time is usually of the essence, you want to make sure that you are always strategizing with the big picture in mind and not thinking only in the short-term. I usually like to operate with contingency plans in my back pocket but sometimes I am not afforded the luxury of a Plan B and have to execute a revised plan in the moment. I always make it a point to take a moment and find the lesson when situations deviate from the original plan, so that I can take those learnings with me for next time.

Do you think social media has changed how publicity works in today’s media?

Although social media has changed the way we engage with consumers, the principles of publicity still hold true. You need to be nimble, have great relationships, think quickly on your feet and have a must-win mentality. These characteristics will forever be a requirement of the profession.

In what ways can we be supportive of each other without offering “the hook up”?

I think support can come in all types of ways.

You can support your tribe by agreeing to grab coffee when you’re asked or reviewing a friend’s résumé. Any step forward helps

others cross the finish line. Sometimes the best way to support someone is to offer a new perspective or insight they hadn’t thought of. It’s okay if you don’t feel comfortable vouching for every single résumé that crosses your desk; there are other ways to lift as you climb.

You work with so many other people and teams, how do you plan the day out with them? Do you meet each morning?

No day is the same for me, so meetings and schedules are contingent on whatever priorities I have at the moment. I love working in public relations because we get to touch every other department. From the marketing team to the talent team and digital team, we are coordinating with endless individuals all day long.

When you started out, were vets in the industry cooperative in helping you at all times or did you get some resistance?

I feel super blessed that I’ve always been able to find mentors in this industry. I would reach out and ask if I could take them to coffee and then just ask them 1,000 questions. To this day, I’m constantly seeking mentors and advice. I literally can’t get enough.

What is your goal with the organization, let’s say, five years from now?

No matter how fast we grow, we want to stay steeped in community. I want our focus to continue to be curating brave spaces for creatives of color and I’m excited to see what the future has in store. I don’t even want to put limits on it.

What advice would you offer women of color looking to break into the industry?

My advice would be to work hard, even when you think no one is watching. I know that seems so simple but nothing beats hard work. Show up early, stay late and raise your hand when no one else wants to do the work.

Anything new in the works?

I’m always looking forward to the future, so recently I’ve taken a new joy in living in the present. I’m not sure what the future holds but I’ll be ready.

Congrats on the success of your organization, Creative Collective NYC. I know that you started this with ten friends in your apartment as a way for millennials to connect ideas. How many members do you have now and are you only in NY? Thank you! The Creative Collective NYC began as a meetup for creatives in my apartment and we now reach and connect with over 12,000 creatives!!

Right now, our focus is in NYC, but there are plans to expand our chapters to different markets soon.

Steve Gold, Imani Ellis, Ryan Serhant and Fredrik Eklund of Million Dollar Listing New York

RADIO FACTS | 35

WOMEN OF COLOR IN MEDIA 2018

Tamar Rand is one of the forces continuing to drive the vitality of the gospel music marketplace. She joined the staff of RCAI as VP, Promotions & Strategy, in 2016 after making her mark as Senior Director of Promotions at Light Records / Entertainment One Music Nashville. As a Women In Media 2018 honoree, Rand shares her views and her career journey with RF. Gospel singer Marvin Sapp, Tamar Rand, and Richard Nash/Red Music. Photo credit RCA Inspiration

Tamar Rand

Vice President of Promotions & Strategy for RCA Inspiration

Tell us about how you got started in the industry. Did you want to be a performer?

I played the French horn. I didn’t really aspire toward being a professional player. I pursued a degree in recording industry management at Middle Tennessee State University and was determined to work in the industry. Then the promotions coordinator position became available at Verity Records shortly after I graduated from college and I’ve been working in the industry ever since I was offered that job.

Is it true that gospel fans still prefer vinyl and CDs over streaming?

I honestly think there’s a shift happening as

36 | RADIO FACTS

it concerns the taste of gospel consumers.

We are seeing way more engagement with digital service providers. There has been a sharp decline in physical sales over the past few years, but the genre has definitely seen an increase in streaming. Gospel artists have been experiencing a more robust presence in the streaming space thanks to gospel consumers.

Besides OWN’s “Greenleaf,” which is a great show, why don’t we see more TV and streaming programming targeting the gospel fans?

Gospel music is definitely a niche genre, however we have seen an increase in faith-based [media] programming. For example, OWN

TV’s “The Book of John Gray,” TV One’s “We Are the Campbells” and “The Manns,” Bravo’s “Thicker Than Water,” and faith-based films, of which our parent label, Provident Films, is a forerunner. I believe that we have seen a lot more effort to incorporate faith-based narratives into mainstream culture because it really is reflective of a lot of people’s experiences.

Has the decline of R&B helped or hurt the gospel industry as far as airplay?

It hasn’t negatively or positively impacted the genre. The changes in gospel music consumption that we have seen are a result of how music is consumed across genres.

Gospel music being heard on R&B stations still occurs and we are happy for those oppor-

WOMEN OF COLOR IN MEDIA 2018

tunities to expose new listeners and existing fans to the music in a different format.

Recently there have been negative news stories about the lives of gospel personalities, and harsh criticism of black church leaders who showed support for the current President. Do you think fans hold gospel artists to too high a standard at times?

They are held to a higher standard because of the platform they represent. But, I also believe we need to be careful of how harshly we judge others.

Has gospel hip-hop caught on or is it still in the works?

There has been a strong underground movement brewing and working for years. We are starting to see more partnerships with labels in an effort to monetize it in a more expansive way.

You helped keep Marvin Sapp on the charts and he broke a record by doing so.

How did you achieve that?

I was blessed to be part of the team that achieved that amazing accomplishment. Seeing the impact of the song on so many lives was the most rewarding part. The success of “Never Would Have Made It” superseded our expectations and showed the world that people were still in tune with their faith and with God. I learned so much during that process.

What are the duties you perform most in assisting the artists on the roster?

Developing promotional strategies, listening to their hopes and dreams and working to fulfill them. I have to understand their vision and mission in order to effectively communicate it to the radio community. I also analyze statistics and break them down, so that I can explain what they mean and how that information relates to their vision being met. I spend a lot of time speaking on their behalf regarding their music and message. It’s important that I have taken the time to understand who they are, so that it translates well to the players and consumers.

You’re located in Nashville. When most people think of Nashville they think of country music. Some say it’s now the new music capital in general. Is Nashville’s music identity changing?

RCA Inspiration team with Marvin Sapp and his awards. Photo credit: RCA Inspiration

It’s definitely diversifying! Christian music has always been a staple in Nashville, but gospel music has become a lot more visible in Nashville over the past five years. There has been an increase of artists migrating to Nashville, so the gospel music community has definitely expanded. Nashville is a centrally located city.

We’ve seen tremendous growth throughout the city over the last couple of years. It’s a great city to live and work in.

Do a lot of the RCAI artists record in Nashville? Are you a part of that process?

Some of our artists record in Nashville. Travis Greene recorded his latest project in Music City. This process is handled by another department, but I’m able to get sneak peeks of new music throughout the creative process.

RCAI was nominated for several Dove Awards this year, including Koryn Hawthorn as best new artist and Kirk Franklin as artist of the year. Tell us about that.

I am happy for all of our nominated artists. It’s a great feeling knowing that the time and effort put into the records has been recognized by the Gospel Music Association.

What is the common denominator for most gospel artists?

Many of them are leaders in their church communities.

Who are some of the artists that you have worked with closely?

The list includes Michelle Williams, Kirk Franklin, Snoop Dogg, Marvin Sapp, Donnie McClurkin, Hezekiah Walker, Donald Lawrence and Koryn Hawthorne.

Do you ever stop working? How do you shut it down?

Yes. I am a wife and mother of a two-yearold. I’m a strong believer in having a work/life balance.

What are some of the best lessons the music industry has taught you?

I have learned how to master patience, how to be assertive and vocal about what I believe in and how to come out of my comfort zone to get the job done.

Who are some of the people in the industry you admire most?

Cathy Hughes, Clive Davis, Phil Thornton, Cynthia Johnson, Sylvia Rhone and Ethiopia Habtemariam.

Are you a part of any boards or volunteer organizations? Why is this important for industry people?

Yes, I’m a board member of Progress, Inc. It’s an organization that serves the elderly and people with disabilities. I’m also active at my church. It’s important to give back to the community and serve others.

What projects do you have coming up?

New music from Israel Houghton, Donald Lawrence presents Tri-City Singers, Christon Gray and J. Monty.

What’s it like to work with Phil Thornton, RCAI’s Senior Vice President and General Manager?

I love working with Phil. He’s a risk taker and he’ll always push you outside of your comfort zone toward greatness.

RADIO FACTS | 37

QUEENS TRAILBLAZERS GAME CHANGERS

CONGRATULATIONS M otown R ecords proudly salutes

The 2018 Women of Color in Media

WOMEN OF COLOR IN MEDIA 2018

Dionne Harmon Vice President of Development, Jesse Collins Entertainment.

Photo credit Kawal Mathews

Congratulations on your success and being picked as one of this year’s Women of Color in Media. Tell us about how you got started?

My first entertainment job was at MTV Networks in Santa Monica, CA, where I worked as a casting recruiter on the hit dating show “Dismissed.” I was paid to go to clubs, parties and concerts with my Polaroid camera, searching for good-looking people to come on our show. As a kid fresh out of college, I couldn’t have asked for a more awesome job! After two seasons of “Dismissed,” I worked on three more shows at MTV: “Becoming,” “Next” and “Wanna Come In.”

40 | RADIO FACTS

What is your exact position at Jesse Collins Entertainment?

I’m Vice President of Development, which means I’m responsible for identifying and developing content for JCE. I’m also a producer, so once a project is greenlit, I get to actually make the show as well.

It’s a cool hybrid that allows me to be involved in every step of the creative process from idea to execution to the screen.

I did some research and on “Hollywood Takeover with Katie Couric,” they list you as a DJ. Can you tell me about that?

As Vice President of Development for Jesse Collins Entertainment, Dionne Harmon is the person who identifies, develops and produces content for a variety of media outlets.

Under her direction, JCE has produced a number of music-related performance and awards shows for television, in addition to developing reality shows, entertainment specials and long-form dramas. JCE had a huge hit in 2017 with “The New Edition Story” and is following it up this year with “The Bobby Brown Story.”

With varied experience in TV broadcasting, including the early days of the OWN Network, Harmon is definitely a force to be reckoned with in media.

I’m also a DJ (fun fact: Jesse Collins was a DJ, too!) and I’ve been spinnin’ records for the last 17 years. [Former network news anchor] Katie Couric had a talk show that was based out of NYC, but they decided to tape a week of shows on Jimmy Kimmel’s stage at El Capitan Theatre in Hollywood (hence, “Hollywood Takeover”). I was the show’s resident DJ for that week. It was a blast and I got to hang with Rod Stewart, Maya Rudolph, Mindy Kaling, Snoop Dogg and lots of other fun guests while playing music for the show.

Did you initially have a desire to be in front of the camera?

WOMEN OF COLOR IN MEDIA 2018 W O M E N O F C O L O R I N M E D I A 2018 Dionne on the set of Katie Couric’s talk show

I’ve never had the desire to be in front of the camera. I’m a big nerd and I become super awkward when all the focus is on me. I truly enjoy putting all the pieces together behind the scenes, then seeing that creativity and vision come to life. Even as a DJ, I’m hidden away in a DJ booth or tucked into a dark corner behind headphones and crates, but from that place, I still get to create an experience and a vibe.

What was it like to be a part of the early/original team at OWN? It was one of the most challenging and educational experiences of my life. I had never worked on the network side before, so it gave me a whole new perspective. As a part of the programming and development team, I was involved in the entire process of creating a show – from development to production to the airwaves. I worked in daytime programming, so some of our shows included “America’s Money Class with Suze Orman,” “The Gayle King Show,” “The Rosie Show,” “Ask Oprah’s All Stars” and “Home Made Simple.” While at OWN, I had the opportunity to work with so many amazing people, many of whom I still keep in touch with to this day.

We all had one shared goal – to help bring Oprah’s dream to life. There was a lot of blood, sweat and tears, but on January 1, 2011, we made it happen!

Everything I learned at OWN gave me the experience and the confidence to take on the challenge of building JCE’s development department from the ground up. And it has totally paid off.

I just moved back to LA after being gone for a year. This heat and the traffic is like nothing I’ve seen before, working in an industry where you may have to travel quite a bit to get from place to place. How do you deal with it?

I avoid it as much as possible! I try not to travel when the streets are crazy and I pride myself on finding top secret shortcuts (and no, I will not tell you any!) Nonetheless, the traffic is virtually

impossible to avoid, so I just make playlists of my favorite songs, get lost in the music and try not to cuss anyone out.

through a lot and that has definitely impacted his life. Bobby was a producer on the film with us and he was on set almost every day, so you can expect an honest and authentic portrayal of his life.

You’ve done a lot of work with BET, producing and coproducing projects.

What are some of the greatest moments that you recall?

Did the actors from “The New Edition Story” come back? Or were their roles recast?

Wow… That’s a hard one because there have been so many great moments, but hands down, my absolute greatest moment was producing “Love & Happiness, An Obama Celebration.” Never in my life did I imagine that I would film a show at The White House for the President and First Lady. To top it all off, we partied with Barack and Michelle after the show in the East Room until almost 3 a.m. It was surreal! And as if that wasn’t enough, we won an NAACP Image Award for that show – icing on the cake. Another great moment was our last “BET Honors.” I was responsible for producing the honoree packages so I got to spend time with former Attorney General Eric Holder at his law firm in D.C., [director/producer] Lee Daniels at his loft in N.Y.C. and Patti LaBelle at her studio in Philadelphia. Talk about being in the presence of greatness! Last, but certainly not least, was at the BET Awards in 2016 when Beyoncé and Kendrick Lamar opened the show with an epic performance of “Freedom” in a huge pool on our stage flanked by fire.

What’s it like to work with Jesse Collins?

Working with Jesse marked a huge turning point in my career. He’s an amazing mentor and has literally taught me everything he knows about this business. He’s smart, hilarious and a true creative. He demands a lot from us, but that’s because he gives so much of himself. He’s truly one of the hardest working people that I’ve ever met. Watching him, I’ve learned to trust my instincts and to go with my gut.

You just completed “The Bobby Brown Story,” which premieres this fall. What can we expect from that?

Yes! “The Bobby Brown Story” was a labor of love for us. It premieres on September 4th and 5th on BET. Everyone has read about Bobby in the tabloids, but we really wanted to peel back the curtain and expose Bobby’s heart. He’s been

Yes, we used some of the same actors from “The New Edition Story.” Woody McClain came back as Bobby Brown. Algee Smith came back as Ralph Tresvant. Luke James came back as Johnny Gill. Elijah Kelley came back as Ricky Bell. We even brought back Tyler Williams, who played the young Bobby Brown, and Sandi McCree, who played Bobby’s mother. It was like a reunion on set!

Is there anything that will surprise fans of Bobby they didn’t know before?

Absolutely! Fans will learn a lot about Bobby and his relationships with family, friends and partners in this movie. I’m not going to spoil it, so you are just going to have to watch!

How do you feel about the plethora of women of color in top positions at many corporations right now?

It’s exciting. The glass ceiling definitely still exists but women of color across multiple industries are shattering them left and right and paving the way for young girls to follow in their footsteps.

Where would you like to see more women of color working in the entertainment industry?

I would love to see more women of color at the network level. Of course, we see them at BET, OWN, TV One and other minority-centric networks, but it would be great for us to have more of a presence at other, broader networks, like Channing Dungey [President of the Entertainment Group] at ABC. You produced the BET Awards. What is that process like?

Intense. The BET Awards is a three-hour live show with ten performances, so every member of the team has to be on top of their game. It truly is a team effort. There is no room for error.

Out of all the award shows that we produce, BET Awards is by far the most exciting and the most stressful!

Are you working on any new projects that you can you tell us about?

I can tell you about one. We have a brand-new series at BET called “American Soul,” about the life of Don Cornelius and the dancers on his burgeoning series “Soul Train.” It takes place in Los Angeles

RADIO FACTS | 41

WOMEN OF COLOR IN MEDIA 2018

in 1971, so we get to relive the music, fashion and fun of the ‘70s.

What kind of advice would you give younger women in the industry?

Stay focused and keep your eyes on the prize.

During the course of my 17-year career in entertainment, there have been many detours. I came across a lot of crazy people and some jobs just didn’t work out, but I always remained focused. I knew that when one door closed, another would open. In retrospect, now I see that each experience, both good and bad, has helped me get to where I am today.

Music manager Adrian Miller speaks very highly of you. How do you guys know each other?

Adrian was one of the first people I met when I moved to L.A. He saw me working really hard, casting music videos, and hired me to be his assistant. I learned a lot about the music industry from him and he was also working on some DVD projects at the time, so I got a crash course in producing as well. I got an opportunity to be a segment producer on HGTV’s “Designed to Sell,” so he gave me his blessing to take the job and continue to pursue my production career. He remains one of

42 | RADIO FACTS

my closest friends and colleagues to this day.

The networks have stated they are going to be more committed to black shows since streaming services and the motion picture industry have had great recent successes. Do you see this happening? What suggestions would you have?

Absolutely. I see this every day. With the success of projects like “Black-ish,” “Insecure,” “Atlanta,” “Moonlight,” “Get Out,” “Black Panther,” “Sorry to Bother You” and many, many more, it has opened the door for us to tell our stories and proven that those stories are commercially viable.

My suggestion is that black writers, producers, actors and directors continue to create and put out content so the world can see things from our perspective.

imagine someone bringing them back now. I’d definitely rather see more new shows. That’s why I love “Atlanta,” “Insecure” and “Grown-ish.” They speak to where we are in the present day.

Who are three women in the industry that you truly admire and why?

That’s hard because I admire a lot of women in the industry. Mara Brock Akil, because she is such an amazing storyteller. She’s a writer, producer, mother and wife and she manages to do it all with style and grace. Oprah Winfrey, because she is Oprah Winfrey! She has done so many amazing things that I don’t even know where to start. From host to actress to entrepreneur to philanthropist,

What do you think about the ‘90s nostalgia?

What shows would you like to see come back, or would you rather see more new shows?

Oprah is living proof that you can achieve anything

I love it! The ‘90s were my most formative years.

There were so many shows that I loved back then:“The Fresh Prince of Bel Air,” “In Living Color,” “Martin,” “Saved by the Bell,” “Ren And Stimpy,” “Seinfeld,” “Whose Line Is It Anyway…”

Those shows were perfect then, but I couldn’t

vided the soundtrack to most of our adult lives, she

you set your mind to. Erykah Badu, because she is a force to be reckoned with. Not only has she prois a producer, actress, writer, comedian, doula… the list goes on and on (no pun intended). I’ve had the pleasure of working with her on several projects and she is a true creative and collaborator.

TRIBUTE TO A QUEEN

Aretha:5 Album Masterpieces Compiled and Annotated by A. Scott Galloway

five more gems. It’s an album (#1 for 14 weeks) you can let spin from start to finish and simply be mesmerized. It paved the way for Aretha: Lady Soul (#1 for 16 weeks) and Aretha Now (#1 for 17 weeks).

Beginners and the casual Aretha fan can start at her generous double-disc anthology, Aretha’s 30 Greatest Hits, for the Atlantic years (released in 1985), Arista’s Greatest Hits 1980-1994 (released in 1994) and Columbia’s double disc, The Queen in Waiting: 1960-1965 (released in 2002).

2

Live at Fillmore West [Atlantic – 1971]

However, for folks ready to dive into some of Aretha’s finest albums, here are five - all on Atlantic – that are arguably the sweet-sweetsweetest places to start.

1

I Never Loved a Man (The Way I Love You) [Atlantic – 1967]

This is Aretha’s first album for Atlantic Records after eight on Columbia, and the one that changed the game for her. Here in one richly inspired 11-song burst of soul, “Re’” kicks the album off with what became her signature anthem “Respect” (which she snatched up from Otis

44 | RADIO FACTS

When Aretha Franklin, The Queen of Soul, passed away, her body may have become absent but her body of work lives on. None but the most fervent of her fans can truly say they know the entirety of Sister Franklin’s catalog inside out. She recorded roughly 50 albums between her early gospel days, the Columbia Records years of jazz and easy listening, the ground-breaking soul years on Atlantic Records, the diva years on Clive Davis’ Arista Records and a few precious independent projects including a Christmas album and 2011’s “A Woman Falling Out of Love,” which she released on her own Aretha’s Records imprint.

Redding who wrote and recorded it first), followed by “Drown in My Own Tears,” the seminal title track, “Soul Serenade,” as well as her instant blues classic, “Dr. Feelgood” (which she wrote with first husband Ted White), “Do Right Woman - Do Right Man,” her friend Sam Cooke’s “A Change is Gonna Come” (the album’s poignant closer), plus

Aretha had recorded live albums before this, but this one is where she brought the house down before a Love-In of an audience in San Francisco circa the early `70s. Backed by sax man King Curtis’ band (which was also the opening act) featuring Billy Preston on organ, Bernard Purdie on drums, Jerry Jemmott on bass, Cornell Dupree on guitar, the Memphis Horns and special guest Ray Charles – The Genius of Soul – sittin’ in on “Spirit in the Dark (Reprise),” Aretha works her mojo on pop-rock hits of the day “Make it With You” (Bread), “Bridge Over Troubled Waters” (Paul Simon), “Eleanor Rigby” (Beatles) and

“Love the One You’re With” (Stephen Stills) before dropping everybody off into Soulsville with “Don’t Play That Song,” “Dr. Feelgood” and Ashford & Simpson’s “Reach Out and Touch Somebody’s Hand.” This concert is a kinetic time capsule of Aretha when she was just on the cusp of having the music world in the palms of her hands…an absolutely essential listen for one and all. It was reissued by Rhino Records in a deluxe 2-CD set in 2006 with disc 1 comprising the original material and disc 2 comprised of unused songs from the concerts including “Mixed-Up Girl,” “Call Me,” “Share Your Love With Me,” “You’re All I Need to Get By” and alternates of the other material. Well worth the investment.

music for the Alvin Ailey American Ballet’s classic dance piece “Revelations”), a medley of “Precious Lord, Take My Hand” with Carole King’s “You’ve Got a Friend,” “How I Got Over,” “Climbing Higher Mountains,” Marvin Gaye’s “Wholly Holy,” the closing salvos of “You’ll Never Walk Alone” and her gospel classic “Never Grow Old.” Internalizing this album is like sitting at home listening to a great Sunday service on the radio as it also includes parts of a sermon by Aretha’s father, Reverend C.L. Franklin. His complete sermon enhances a deluxe CD reissue that Rhino Records released in 1999 that includes his opening and closing words for the day in their entirety.

4

5

Sparkle [Atlantic - 1976]

After a string of so-so LPs, Aretha rebounded strong, but with collateral damage. The poignant film “Sparkle” – about a young trio of singers struggling to make it out of the ghetto – had captivated audiences via performances by newcomers Lonette McKee, Irene Cara and Dwan Smith. However, instead of launching

Young, Gifted and Black [Atlantic – 1972]

As the Fillmore and Grace live albums were working their magic as projects of a whole, Aretha released this studio masterpiece, Side 1 of which stands as one of the greatest “sides” ever in soul music and a treasure trove of R&B radio classics. Working with among the hippest musicians and singers in all of New York City, Aretha ladles out the love with “Oh

3

Amazing Grace [Atlantic – 1972]

The second in the trinity of backto-back albums that, in this writer’s opinion, cemented her status as The Queen of Soul (starting with the aforementioned Live at Fillmore West).

Accompanied by the legendary James Cleveland and The Southern California Choir in Los Angeles’ New Temple Missionary Baptist Church, Aretha gloriously returns to her gospel roots, giving praise and worship to The Lord like no other. Seminal performances include “Mary Don’t You Weep” (later utilized in perpetuity as part of the

Been Loving You Too Long” and finally, one additional Aretha original: the evocative “First Snow In Kokomo.” Perfection Confection.

Me, Oh My (I’m a Fool For You),” plus a trinity of songs she penned: “Day Dreaming,” “Rock Steady” and “All the King’s Horses.”

Then there’s the anthem title track “To Be Young, Gifted and Black” penned by Nina Simone (music) and Weldon Irvine (lyrics), two Philly Soul gems in “A Brand New Me” (which Aretha snatched from Dusty Springfield) and “Didn’t I Blow Your Mind (This Time)” (originally sung by the Delfonics), soulful covers of the Beatles’ “The Long and Winding Road” and Elton John’s “Border Song (Holy Moses),” the effervescent Bacharach & David song “April Fools,” another Otis Redding interpretation in “I’ve

the singer/actors on the all-important soundtrack album, a decision was made to have the Queen of Soul re-record all of the Curtis Mayfield-composed and produced songs instead. Though a shame for the talented cast of the film, the album became a smash hit for Aretha containing the songs “Look Into Your Heart,” “Giving Him Something He Can Feel” (#1 for 4 weeks and made a #1 hit again in 1992 by En Vogue), “Hooked On Your Love,” “Jump,” the main title theme and more. Strangely, an excellent follow-up album also produced by Mayfield entitled Almighty Fire failed to match Sparkle’s success. Still, Aretha remained loyal to the music master, beautifully re-recording his introspective classic “The Makings of You” (previously recorded by both Mayfield and Gladys Knight) on the various artists CD A Tribute to Curtis Mayfield after the artist was paralyzed in a freak stage rigging accident. Someone should cull all of this material (plus her `60s recording of The Impressions’ “People Get Ready”) into one package and call it “Sister Aretha Sings for Brother Curtis Mayfield.” Respect.

RADIO FACTS | 45

TRIBUTE TO A QUEEN

We halted production for this special issue to make sure we could add a tribute to the legendary Aretha Franklin. Her legacy will live on forever and there will never be another Aretha Franklin.

We got a few quotes from industry legends on their relationship with the Queen of Soul.

Dionne Warwick, five-time Grammy winner I met Aretha when we were teenagers and she was singing prior to her father delivering his sermon at Abyssinia Baptist Church in Newark, NJ. She sang a song called “Never Grow Old” and it was memorable. Regarding “I Say A Little Prayer” she, like Luther Vandross who also recorded many of my recordings, made it their own which was truly wonderful.

Dionne Warwick As the head of promotion at Atlantic Records in the 70s, where Aretha had many of her hits produced by Jerry Wexler, Tom Dowd and Arif Mardin, all I can say is she was without question the Queen Of Soul. Always so into her artistry, she worked hard in the studio where I had the privilege to watch. Doing other people’s hits, doing it her way, and having a hit with that song again, that was her trademark - unbelievable. Now, Aretha, you are with Jerry, Tom and Arif again, so sing away. Prayers and thoughts to her family.

Jerry Greenberg Former President of Atlantic Records During my Atlantic tenure, I had many opportunities to sit with, eat with and travel with Ms. Franklin. I had the civility to listen to and learn from this genius lady. We laughed together, but she also gave me many music and life lessons.

Some are so memorable that I repeat them to younger people still. I also spent equally quality

time with Ms. Franklin at Arista records from 1981 to 1983, where I was West Coast Director of A&R for R&B, under Clive Davis. During this time I also had the opportunity to interact and work with Aretha while she was being produced by Luther Vandross. In the studio with them was the viewing of two of the greatest voices and talents to ever grace this planet.

music at Arista. She was the Queen, she is the Queen and there will be none like her again in our lifetime. Hers is one number I won’t delete from my phone.

Primus Robinson Former National R&B Album Director, Atlantic Records from 1975 - 76

In these times where it’s hard to define who’s on the radio, Aretha never had that problem. She had a voice all her own. I had the pleasure of performing at one of her renowned Christmas parties in Detroit some years ago, and it was a direct request from the Queen of Soul. I was so honored that she was a fan of my music, as I was a huge fan of her’s. She will be greatly missed, but the Heavenly Choir just received a major upgrade. Rest In Peace, Aretha.

I am blessed to have interviewed and been in Ms. Franklin’s company many times throughout my career. However, one of my favorite memories of the Queen of Soul will always be in the press room of the Grammy Awards in 1998. She was on the microphone and all of a sudden she pointed at me and said, “And that’s Flo Anthony in the gold.” I was so proud and honored that she knew my name. Heaven now has another angel!

Flo Anthony Host of Gossip On The Go With Flo, syndicated by Superadio I’ve never been in awe of any artist, but Aretha and James Brown were two artists that I found myself saying to myself “Do you know who you’re talking to?” At first I couldn’t believe I was actually talking to Aretha. Aretha had a sense of self-worth/confidence we can all learn from; she knew her talents and she established standards for herself and she kept them and you had abide by them. I recalled while talking to her on the phone about her project she called me “Mr David.” I found that to be a compliment, knowing, as the old folk said, “when you put a handle on someone’s name it was a sign of respect.” She had a great sense of humor and sarcasm that made you say, “Did she really say that?” I consider myself very fortunate to have grown up listening to her music from her Atlantic days and then work her

David Linton Former VP/Black Music Arista Records

Gerald Albright Jazz Musician/Entertainer I was interviewed by Jerry Wexler and Tom Dowd after the first Atlantic session in Muscle Shoals.

Tom played “Never Loved A Man” on the first Sony Walkman I’d seen. Track was right off the board and became a lifetime fan immediately.

I also got the job, eventually becoming Sr. VP Atlantic Records.

Dick Kline Former SVP Atlantic Records My biggest moment with Aretha Franklin was in Washington D.C. at the Kennedy Center the night before she sang at President Obama’s inauguration. I asked her what would her father say about the history being made in America. She replied, “My father would have been so proud.

His dream had been realized. All of the years of marching had led to this moment.”

Clarence Waldron Former Jet Magazine Editor Former Aretha Franklin Publicist