TheIndustry.Biz "Christian Keyes Issue"

UNPRECEDENTED ACCESS TO THE MASTERMINDS IN THE INDUSTRY

NOV/DEC 2023

PLUS

TheIndustry.Biz

TOP-TIER RHYTHMIC PROGRAMMERS

marketing Expert

Tim Bronsil

AURN CHIEF REVENUE OFFICER

Andy Anderson

Pio Ferro

DJ Buck

Christian Keyes Renaissance Man Respects Radio’s Influence While Expanding Career with New Music

Pup Dawg

VIEWS, VIDEOS, LINKS AND CLICK ACCESS

CONTENTS BUSINESS - CELEBRITY - INDUSTRY

05 EDITOR'S NOTE

Making the decision to change is not something that you share with others, when you do that you are asking for permission... it’s somthing that you just DO...

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08 ANDY ANDERSON - AURN

MAN OF MANY TALENTS

Andy's insights on ad agencies and business are not only informative, they are truly inspiring. His interview is a treasure trove of valuable knowledge.

14 POINT TO POINT’S TIM BRONSIL Tim is a marketing expert with extensive experience, shares his valuable knowledge and practical strategies.

24 DJ BUCK DJ Buck is a renowned radio personality with over two decades of experience, garnering numerous awards for his contributions to the industry.

28 PIO FERRO

Driven by an unwavering passion for radio and Hip-Hop, Pio has crafted a flourishing career, journeying from his Miami roots to the pinnacle of the industry in the coveted Number 1 market.

32 PUP DAWG

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From Los Angeles house parties to Boston's radio scene, DJ Pup Dawg has established himself as a multi-faceted music powerhouse.

Cover designd by TheIndustry.Biz Photo of Christian credited to: Madworks Photo

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32 Cover Design by TheIndustry.Biz. Photo Credit for Christian Keyes, MAD Works Photography

NOVEMBER/DECEBER 2023

03

Follow or Become The Leader!

Greetings, I certainly did not pick the right time to produce a magazine. I had to put together media kits, we are rebranding the business, including changing the name (which is a herculean task), and I’m winding down for the year. That all adds up to a lot of work, but I got it done and here it is. This year has been extremely educational because this is the first time I’ve ever seen the labels almost come to a complete halt while they investigate new possibilities for promoting and marketing music. In the meantime, I have been wanting to make a change for quite some time, but I was apprehensive because I wasn’t sure how my clients would handle it. Being the last man standing in the Black industry trade arena, I realized that you either follow who you perceive to be the leader or you become the leader, and in my position and with my cultural disadvantage in hand, I’ve decided on the latter. To me, it makes the most sense for me.

Come along for the ride, and I hope you enjoy the changes. I’ve got a lot in store for you, and we will maintain our industry news email blasts during the week with additional features on the site. Thanks for your support.

Kevin Ross Founder: TheIndustry.Biz and Radio Facts

THEINDUSTRY.BIZ

Top-Tier Rhythmic Programmers

2023

PIO FERRO

SENIOR VICE PRESIDENT,

PROGRAMMING HOT 97/WBLS 107.5FM President of Vampiro Consulting, LLC

DJ Pup Dawg

Program Director JAM’N 94.5 - Boston iHeartMedia

DJ Buck KS 107.5 (KQKS) - Denver Brand Manager and Morning Show Host Hot 93.7 (WZMX)/Hartford, CT

PUBLISHER: RMI Publishing Inc. EDITORIAL MANAGING EDITOR: Various info@theindustry.biz CONTRIBUTORS: Kevin Ross, Hassahn Liggins, Ayanna Cymone, Tre’oshola Monet, Deborah Walker, A. Scott Galloway, Ural Garrett, Ian Wanjala, CokaLani Kimbrough, Ural Garrett DESIGN: RMI Publishing CEO: Kevin Ross info@theindustry.biz ADVERTISING: info@theindustry.biz Copyright © 2023 THEINDUSTRY.BIZ 11054 Ventura Blvd. #142 Studio City, CA 91604 E-MAIL: info@theindustry.biz WEBSITE: TheIndustry.Biz https://thindustry.biz

THEINDUSTRY.BIZ | 7

FROM RADIO HIGHLY RECOMMENDED

Andy Anderson

Chief Revenue Officer/American Urban Rdio Networks

“Black culture is global.

So brands want to be associated with that global reach that the Black community provides.”

Andy Anderson is the Chief Revenue Officer of American Urban Radio Networks (AURN), a Blackowned, minority-certified, and Female-led broadcast radio company. He has been with the company for over 20 years, and has played a key role in its success.

Anderson is responsible for overseeing all of AURN’s revenue-generating activities. This includes sales, marketing, and partnerships.

He also works closely with the programming team to ensure that the company’s content is appealing to advertisers and listeners alike.

Anderson is passionate about using his platform to amplify the voices of the Black community. He believes that Black media is essential for telling the stories of Black people and for promoting Black culture.

In recent years, Anderson has led the charge in making AURN more profitable. He has developed new revenue streams and has expanded the company’s reach. He has also worked hard to build relationships with advertisers and to make them aware of the valAURN is a radio network that represents over 6,000 ue of Black media. radio station affiliates across the United States and reaches over 40 million listeners a week. The com- The following is an exclusive interview in which Anpany’s programming includes a variety of genres and derson discusses his achievements with AURN, the formats, including music, entertainment, news, talk, global effect of Black culture as it pertains to adverand sports. tising and more.

8 | THEINDUSTRY.BIZ

Kevin Ross: Can you share a brief history of American Urban Radio Networks?

Andy Anderson: We’re celebrating our 50th year in business, but we started out in 1973 as National Black Network (NBN), providing news and information to the black community. Then in 1993, NBN merged with Sheridan Broadcasting Network to form American Urban Radio Networks. We started off with 400 affiliates, and today we have over 6,000 affiliates. That's a broad stroke of who we are and where we came from.

KR: AURN has been notably successful in syndication. What do you attribute that success to and what strategies have played a key role in your achievements?

AA: I contribute our success to our sister company called Superadio (Superadio Networks), which is the syndication arm of A Wonder Media, the parent company of AURN. The success of Superadio can be attributed to their strong relationships with radio affiliates, programmers, and content creators. Superadio is one of the largest syndicators in the country. We have 20 top-rated programs with clearances in the top 25 markets. In the New York market, we have both the AM and PM drive shows on Hot 97. We syndicate Ebro in the Morning as well as Nessa On Air in the afternoon. We have additional shows that broadcast out of other top-tier markets like Yung Joc and The Streetz Morning Takeover out of Atlanta, the Quiet Storm with Lenny Green, and Café Mocha. So I think that one, our reputation as a top syndicator has always provided us with access to new artists and we're multiformatted. We have country shows, top 40 shows, we have gospel shows, dance, hip hop, and news. So, we go across the gamut.

KR: I've always been confused about this. What is the difference between AURN and Superadio?

AA: Superadio is the syndication arm of A Wonder Media and AURN is the sales arm. We have some programming, but for the most part, we sell the syndicated program for Super Radio.

We're all in the same office; Superadio is headed by Eric Faison and we work closely together, determining the value of what a syndication program would bring to the network.

KR: Was it a challenge to bring on shows outside of the urban media landscape?

AA: Well, when you think about it, there's always gonna be a challenge, but for the most part, when you have 6,000 radio affiliates, there's only about 500 Black targeted, Black owned radio stations in the country. So we have a broad base. We're well known, as you may know, in the general market space with the ad agencies. So when we bring on a non-urban targeted show it still fits within our general market offerings.

KR: Given the widespread popularity of Black culture across various demographics and other cultures do you think that exclusively targeting African-Americans might limit opportunities for Black-owned businesses such as yours?

Black stations and listeners. We are an exceptional radio network that provides advertisers with total US reach, not an exceptional Black radio network. We see general market media companies have black divisions. We see general music companies have black divisions. We should be able to go outside of our own community, to grow our businesses. We talk about the buying power of African American, but again, when we look at the dollar spent, we're only representing a very small number. So to grow your business and maximize opportunities, a Black business needs to be a part of the general market to take advantage of the larger budgets.

KR: I wanna know if you can elaborate on the increase in ad dollar allocation to media serving AfricanAmerican consumers and with the whole you know, situation that we had with COVID as well as George Floyd. Many think that situation with ad spending and support has faded. What do you think about that?

AA: The purchasing power of the African American consumer can’t be ignored. By 2025, it is estimated that Black spending power will reach $2 trillion. There are 47 million people

" So to grow your business and maximize opportunities, a Black business needs to be a part of the general market to take advantage of the larger budgets."

AA: I don't think you need to exclusively target African American consumers; at the local or network levels.

We just have to be who we are. Black culture is global. So brands want to be associated with that global reach that the Black community provides. However, as a business we don’t want to limit our business opportunities to only

that self-identify as African American, and they tend to be 10 years younger than the median age of white Americans. So, if you are looking for growth, the African American community provides a brand with great possibility to gain market share and grow revenue.

We have seen incremental dollars going to Black owned and Black targeted media companies in the last three THEINDUSTRY.BIZ | 9

years, since the murder of George Floyd. But the bottom line is, when we look at the total dollars that are being spent in the United States, we only receive a little more than 1% of the total ad budgets. So, if we have seen a threefold increase in ad dollars being spent with Black owned media in the last several years, that just tells you how low the spending with Black owned media companies was before the murder. The Black community has been underserved and overlooked.

KR: In advertising, how do you define ‘maximizing reach’ and how can that be achieved?

AA: I would say that ‘maximizing reach’ means you want to reach as many people as possible. And I was at a seminar actually outside the country where Mark Pritchard of Procter & Gamble (P&G) said, it used to be a thing if you got 70% of the population, you were good. If your media plan targeted 70% of the population, you were good. And he said, why not go 90%? So, you know, P&G is leading the way in many different ways; but one of the things that he's saying is that we've got to get beyond what's been the norm if we want to reach new markets. So that would be my answer to what ‘maximum reach’is. You want to make sure you're going beyond just maybe the top station in the market to make sure you could pull that ‘maximum reach’ for all consumers.

KR: What do you think makes P&G a standout company besides other corporations when it comes to supporting Black consumers?

AA: The first thing that stands out is the dollars that they spend with us. When this started three or four years ago, Mark Pritchard went to the Cannes Film Festival in France and said that corporations had a social responsibility. And he emphasized the Black community for being underserved. He told us that he was going to double what they were spending and then double it again, and then double it again. And to his credit, he's done that. So when I say ‘Why I do give him a lot of credit?’ It’s because 10 | THEINDUSTRY.BIZ

they're spending their money. They're putting their money where their mouth is.

KR: Are you on any boards?

AA: I'm on the Nielsen Advisory Board, yes.

KR: With the advent of podcasts, streaming and audiobooks, how does radio remain vital in connecting with the community?

AA: I think one, you know, radio in general for the Black community has always been a source of news and information. It's also where the talent, you know, has a strong following for local radio stations and national radio stations. So when you look at that, again, radio, especially Black radio, is a trusted source for the Black community. It's one of the main places that people go to get their information.

They have the personalities in those markets that people trust and follow.

So there's always gonna be new platforms coming in. I think radio has a strong grip on where they are.

KR: You have a theory about how companies can be at an advantage for supporting Black media. I noticed that social responsibility, goodwill, and trust were a few of the things that you mentioned. How often do you express that when you do public speaking or when you do interviews? Additionally, has that helped to inspire or influence companies to support you?

AA: I was at The Association Of National Advertisers Media Conference earlier this year (ANA), and I talked about my top five reasons that African American brands should be utilizing Black owned media. But the bottom line is this, it's an underserved market. It's overlooked. And it's a virgin ground for advertisers that really want to take a dive into it and merge into Black culture and get an understanding of that marketplace. So when I told them Goodwill, we did a list. Goodwill was number five out of my top five lists. The Black community is savvy. They understand that they don't want someone coming in just doing

Black History Month and Black Music Month, and they never see them again. You got to build a relationship.

So you need to build goodwill. They need to know that you're going to be there. You're not there just to get a promo or public relations picture and leave. I try to emphasize, they have to understand this so they can address the needs of that Black community. So when we talk about trust, that's what we talk about. Again, when we talk about the Black radio station, how that has been a part of the Black communities for time in memorial. So when we sit back and they hear your message on Black radio, they see you active in the community. It gives you that goodwill and trust, and you gain that loyalty of that consumer.

KR: What are your thoughts on General Motors?

AA: General Motors (GM) has been a good advertiser with us. One of the things that General Motors did do for all Black media earlier, is when they came out with their paying process to pay within 30 days. One of the biggest problems that you'll find with Black-owned media and not just small companies, you know, is we cannot afford to wait 90, 120, or 150 days for payment. We don't have the luxury of carrying a multi-billion dollar brand payable. So what General Motors did, they made a commitment. They would pay their bills within 30 to 40 days. So that's definitely going to help the cash flow of any business, let alone a small business or Black owned business.

We give GM kudos for that!

KR: I have heard that complaint from several Black owned stations.

I've never understood that policy of why some corporations, I mean, when you consider payroll and other things that these stations have to accomplish, why do they pay so late? I never understood that.

AA: I think it's just the process. You know, I think it's the process and it's not really targeted towards African Americans. You know, they're sitting back saying, listen, I think the norm has been 90 days. So that's typical

in itself. But then when you get to 120 and 150, or 180 days, you're chasing down advertising who have much more money than you have. And you still need to accept their business because they're probably one of your biggest customers. It hurts your business and could put you in financial jeopardy.

KR: What are some of the most significant growth areas in advertising as far as categories with the African American consumers?

AA: Well, by far, consumer products are good. number two, we see pharmaceutical and pharma industries really stepped up. Number three would be retail. Number four, is insurance.

That is what we see here at our network. I would think that it’s pretty much the same for even local, well, local may be a little different, but those are major categories for national media.

KR: What are some of the things that you'd like to see improved or changed when it comes to doing what you do? I mean, from your perspective, what things would help you do a better job on the outside.

AA: On the outside, you know, just to be able to get in front of more and more people. That's what we work on. That's my job to tell our story. A story not only of our network, but of the people that we service, the African American community in particular. We have such a large affiliate list, our general market capabilities, and I think one of the things that many people may not realize is that for many years, AURN was always purchased by general market agents. And one of the reasons has been, for the most part, Black agencies were brought in by general market agencies to do content. They would develop content for those agencies, but those agencies kept the media buying and the money that was generated by that with them. And because we were probably the largest and one of the very few networks that had a national reach, we were always in that market pool. What has happened is we've gotten better in understanding how market agencies spend. In the

past, they would come to us knowing they wanted to target African Americans, but they would make us submit on a general market budget, which is going to be cheaper. The deeper you go in targeting tends to be the higher the price goes up. But because we had just, you know, pretty much Black affiliates, we were using our Black affiliates, which they wanted, but they didn't want to pay the price for reaching African Americans.

We've gotten smarter and we've increased the number of affiliates. So now when someone says we want a general market buy, and they want to pay a general market rate, we can push them into our general market offer. And for those brands that are intentionally looking for African Americans, we now could put them into our African American affiliates and demand a higher price.

KR: So you mentioned that at one time we were getting a very small piece of the pie when it came to advertising. Can you give me a ‘guesstimate’, how are we faring as far as the support from advertising companies for Black radio now?

AA: I mean, we have seen an increase, but like I said before, I think it was called ‘Standard Media Index’, it said that Black spending in 2022 totaled $800 million, which represented 1.16%. So we've got a long way to go. And I've heard people say, well, ‘there's been a disproportionate amount of money going to African Americans’. We're fighting over pennies. I always wanna tell people, forget about the percentages.

That means for every dollar we're getting, let's round it up to 1.2 cents out of every dollar. $2 trillion in circulation buying now. I don't think that is an investment that you can really go out and say, and I don't want to compete with the other diverse groups like the Hispanic group or the Asian group.

When we're combined, we're getting less than 2 cents. So, I don't want to fight amongst ourselves over crumbs.

I just wanna say that there's still 98 cents out there that we should be getting since our population represents

more than 2% of the total population.

KR: You mentioned earlier that AURN started off as more of a general market company. You had more general market appeal. And I believe you said that has been very beneficial when you started targeting more urban stations?

AA: Well, let me backup. No, we started out always targeting African Americans but we were a news and information company. What happened was when companies were looking to have a national footprint, they didn't have a lot of options. AURN was there. So we had for the most part, like I said, we started off with 73 affiliates even 20 years ago. Matter of fact, even 10 years ago, we had 500 affiliates, and I would say 90% of them were African American affiliates. But because of the demand and because of our ability to deliver to our advertising partners, we went out and our CEO purchased a few radio shows, and we expanded our offering with general market companies because people saw that we were delivering. So no, we were never intentionally a general market company; we were just thrust into the general market buying community because we had the scope from a national perspective that no one else had.

KR: That's very interesting because you wouldn't necessarily expect that.

AA: We definitely were a hybrid. I remember telling an old administration, I said, you know, for the most part, most Black-owned companies have to play within the Black dollar space.

KR: Absolutely.

AA: Which is limited.

KR: Yes. Very limited.

AA: We're very fortunate, but we made the investment into the research, we made the investment into the system, which is called Radar. That’s very expensive, but it gave additional credibility to our numbers. So that way we

THEINDUSTRY.BIZ | 11

can go back to the general market and compete against the various, you know, iHeart and Cumulus and the different other networks, Westwood, Premiere, because we were on the same playing ground. We had the same information they had, and we could show the efficiencies and the deliveries of our audience.

KR: Was there anything else that you wanted to elaborate on?

AA: I just wanna elaborate on my top five reasons why companies should utilize Black owned media to reach African American consumers.

KR: Okay, go ahead.

AA: One, I would say, you know, Number five in the descending order would be ‘Goodwill’. We wanna make sure that brands should understand the concerns and be in the community so that they have a meaningful understanding of the Black experience.

That way they can talk about it in an authentic manner. We talk about politicians only showing up around election day. Don't be that person. Don't be that brand. Number four would be

an afterthought. Number two, I would say is ‘Market Share.’ Understand that this community has been underserved and overlooked. It's virgin ground for the right brand. You know, come into the marketplace and show that you're there. Show that you care, show goodwill. You know, all these good things will show that you can take advantage of that $2 trillion buying power. And because we're younger, we are looking for people that understand who we are. Buyers are more conservative, and are more savvy, and they wanna make sure the brands that they support are brands that have the same outlook that they have. I will make an example. In my day it might have been ‘did a brand disinvest from South Africa?’ Now it would be equivalent to does a brand have a more urban footprint? You know, are they worried about the environment? Are they worried about the systemic racism in our community? Those things show that you have a true understanding of the needs and that will help you get that additional market share. But the number one reason they should use blackowned media is ‘Profit’. We're talking again about a $2 trillion buying power opportunity against a younger demo-

“The deeper you go in targeting tends to be the higher the price goes up.”

‘Incremental Reach’. Again, one of the things that really helped us with P&G was the fact that we could show them that the audience they were using to go after the African American market wasn't sufficient. We showed them that they were only reaching about 20% of our audience, and that unlocked the floodgates for us with the revenue side of this. So, with ‘Incremental Reach’, you don't have to be number one in the market. You can just show that they're missing your audience by not advertising on your station.

Number three would be ‘Authenticity’. You know, make sure that you're speaking with an authentic voice. That you have intentionality. We know that you're talking to Black people. You wanna make sure you're speaking to us in an authentic voice so that we know that you're here for us. We're not just 12 | THEINDUSTRY.BIZ

graphic that's going to be there. So I just looked up at a report by the McKinsey company that said, right now there's a $300 billion opportunity for those brands that want to get into and be a part of the Black community and service their needs. And they said that if African Americans see those things being done, they'll switch their brand loyalty because they haven't been given what they wanted. They've had to accept what was out there. But when you see brands like, you know, Rihanna is blowing up with a billion dollar brand because she's addressing a need that was there, the same type of thing could be done with other corporate brands. So those are my Top Five reasons why brands should be targeting African-Americans utilizing Blackowned media.

THEINDUSTRY.BIZ | 13

FROMHIGHLY RADIO RECOMMENDED

ESSENTIALS FOR EFFECTIVE MARKETING Tim Bronsil is the CEO and owner of Point-To-Point Marketing. Point-ToPoint works with broadcasters and podcasters of all sizes, helping them grow and retain their audience in a shifting audio environment. Known for his fierce competitiveness, deep understanding of effective messaging, and love of data analytics, Tim is regarded as a partner to his clients for seamless audience development marketing. Tim got his start in the industry at the young age of 17 and worked during his time as a student at Xavier University, where he earned his degree in Sports Marketing. Tim was just 20 years old when he went on his first sales call to Bob Proffit at Citadel (now Alpha), for which he bought a pair of glasses at the airport to look older. Now he TikToks to look younger. Tim lives in Cincinnati with his wife of 25 years, Susan.

They raised two sons, Will (22) and Jack (17), who are now in college, one working towards his masters and the other starting his bachelors.

14 | THEINDUSTRY.BIZ

TIM BRONSIL

CEO and owner of Point-To-Point Marketing.

Can you give me an overview of your audience development marketing services?

Every campaign is custom to the client’s situation. After a needs analysis is complete, our team looks at the competitive matrix of the marketplace and recommends specific campaign parameters to meet the client’s goals. This may contain a paid social media campaign promoting a contest or content, direct mail to be sent to the most important households in the market, or an at-work digital approach to reach people in workplaces.

What are the core objectives of your audience development marketing campaigns?

Identifying the brand/show’s clear relative advantage and connecting that message to listeners who can have the biggest impact for the client. We want to own two to three core attractions that we can grow recognition for and set barriers against the competition.

How do you target the right people with your marketing campaigns?

Every radio station/show has broad demographic segments for which they are compatible. However, there is an underlying foundation that is much more specific about the listener. We want to sharpen in on that specific target so that the message is most compatible.

Overlaying Nielsen information makes certain we are maximizing the impact of a client’s marketing dollars.

What are the most effective marketing campaigns you’ve ever run?

The most effective campaigns are when there is a clear relative advantage that the brand can exploit. The talent buys into promoting that advantage and are

What are the biggest challenges you’ve faced in running marketing campaigns on social media?

advertisers. We do wonder if they will roll out ad space to the biggest advertisers like Snap did a few years ago. Get the users comfortable with seeing paid ads and then layer in smaller buyers. For Threads to be successful in the ad space, we have a couple observations:

We just passed one billion impressions that we have created for our clients over the past year. So, a lot has gone right! But staff cuts at the tech companies have forced a heavier reliance on A.I. for ad review, which has caused some hiccups.

And when you ask for a human

Human review of rejected ads when the client contests is vital. A.I. can do a lot but discerning between a gambling advertisement and a station giving away Taylor Swift tickets to caller #10 is important.

While staff are being cut at these social networks, this is a place

willing to put in the work to amplify that message. Sometimes that is around a contest, an event, or all the above.

Video, video, video. A human in the frame of that social post creates significantly better engagement than a static ad. review of the content to prove there is not a violation of one of the network’s policies, that can take a while. We have work arounds for that, but it can be like a pothole on a highway when you are doing 80mph.

Our team adapts.

What are your thoughts on Meta’s Threads platform?

So far, Threads is not accepting paid

where the investment would pay dividends for all involved.

Community Standards keeps content off the channel which incites violence, promotes pornography, or glorifies crime. So far, Threads seems to be doing well with that.

What are your best practices for running successful social media ad campaigns?

THEINDUSTRY.BIZ | 15

views.

Finally, for our ticket sale campaigns, we can track traffic to the purchasing site and actual purchases. We then put an ROI on the campaign. We have seen those campaigns produce a 10x ROI. Video, video, video. A human in the frame of that social post creates significantly better engagement than a static ad. Hooking the viewer in the first 3-5 seconds with a benefit is key.

And daily, if not hourly, monitoring of all the underlying ad sets makes sure the dollars are spent effectively.

How do you measure the success of your audience development marketing campaigns?

It depends on the goal of the client.

For those who are looking for a ratings lift, we correlate the run times of the campaigns to the Nielsen performance for the daypart and demo we were trying to impact.

How do you ensure that your campaigns are aligned with your client’s business goals?

It is the first question we ask.

Marketing dollars are at a premium these days, so what we do has to tie back to a way they can monetize the results. This can be an improvement in Cume, Rating Point, or overall rank. Having the stakeholders clear with what moves the financial needle enables us to focus that goal.

How do you stay up-to-date on the latest trends in social media marketing?

By having every app on our devices Some clients want to raise overall and interacting with content regularly. awareness of a show or feature. We No, I am not making TikTok dance have done pre and post testing for that. videos, but you will see videos of my dog. In all seriousness, immersing in For our clients in the podcast space, it those platforms allows us to see what is all about creating usage for a show is resonating and what is last year’s and driving up streams/downloads/ trend. We also have regular contact with the humans that remain at the tech companies.

What are your thoughts on the future of social media marketing?

The future is bright for radio and podcasters. Personalities on video engaging with their audience and potential audience always raise awareness for the brand. There will be new networks every year.

Understanding your audience is the first step.

What advice would you give to businesses that are just starting out with social media marketing?

16 | THEINDUSTRY.BIZ

Not using paid social media is one of the biggest. Creating great content for social and then having maybe 1/20th of your followers see it is almost like a tree falling in the woods when no one is around. Adding some dollars, with the right targeting, amplifies the message to your followers and more importantly the followers of your competition. Find innovative ways with clients to underwrite some or all of that expense.

What are the most important things that businesses need to keep in mind when creating social media content?

Keep it short (20 to 30 seconds). Make sure it is on brand. No piece of creative is perfect. Authentic over highly produced.

How can businesses use social media to build relationships with their customers?

Engagement is key. Respond to comments, create content that starts conversations, and use the platforms to provide customer service. Social media isn’t just a broadcasting platform, it’s a two-way street.

What makes Point-to-Point a standout from competing marketing companies?

We have built our company on having the highest quality, the best strategies, and the most experience. Our campaigns are built around the client’s goals and we do not have a “package” to sell you. We dive deep to understand your brand and the needs you have to drive your business forward. In our 25th year, we have some clients who have been with us since we first opened our doors!

How can we reach you for more information?

A conversation about your needs and how we can help is just a phone call, zoom, or email away. Tim@ PTPMarketing.com or 513-702-5072

THEINDUSTRY.BIZ | 17

Christian Keyes

Christian Keyes is an actor, singer, and writer who has been in the entertainment industry for over 20 years. He is currently on a tour with City Winery, and his single “Under That Veil” is in the top 30 at radio. Keyes grew up in Flint, Michigan, and he credits his work ethic and hustle to his upbringing in the blue-collar city. He started his career in theater and commercials, and he eventually moved to Los Angeles to pursue acting and singing. Keyes has been in a number of successful TV shows, including “Saints & Sinners,” “The Family Business,” and “All The Queen’s Men.” He is also a writer, and he has written several books and scripts. Keyes is a passionate advocate for diversity in the entertainment industry, and he is always looking for new ways to challenge himself and grow as an artist. He is also a generous mentor to other young artists. Keyes is an inspiration to many, and he is sure to continue to be a successful and influential figure in the entertainment industry for many years to come.

18 | THEINDUSTRY.BIZ

KR: Tell me about the City Winery tour that you are currently on.

How many shows is it, and how has it been so far?

CK: So far, we did two in Atlanta, the same night, which was different because, I mean, it’s work if you’re going to give them a show and give them energy, and you’ve got two 75-minute shows. That’s some work. So, I’m grateful for it. And you know, I learned a lot. And then we did a show in Pittsburgh, and a show in Philly. And that was wonderful as well.

KR: You say it’s work, you mean just the stress of actually doing a show that long?

CK: Oh, no, just that on top of the rehearsals on top of, you know, wanting to give them your all. Like, I’m a firm believer in wanting to give people their money’s worth.

You know what I’m saying? And if they’re going to come out, especially like, we’re in St. Louis, it’s cold. They come out of a nice warm house. You know, we’ve got to give them something to experience and feel and not just, you know, I don’t want to just stand there and sing 10 or 12 songs or something, I want to move around and have some interaction and make them feel like they’re part of this show, and give them a wonderful musical experience.

KR: So tell me about growing up in Flint, Michigan? I’m from Buffalo and Flint, from what I understood, makes Buffalo look like LA. CK: Buffalo feels in certain pockets like Flint, but Flint is a little more country, but the people are beautiful. It’s hella melanated. And the city raised me, you know, that’s where I became a man. I found my family. My second adoption there.

That was incredible. That helped change and saved my life, probably.

And yeah, just really shaped me because you’ve got to grind in Flint.

And nothing comes easy. So I’m

grateful for that.

KR: So what helped you make up your mind to be successful, especially growing up in an environment where you have so many opportunities to go the other way?

CK: I think the grind of it, you know, you learn. You can’t teach certain talents; certain things are God-given. If you have a yearning or longing for something, and you have some talent in that space, you can build upon that. But therein lies the grind, and the work ethic and the hustle. And in a city like Flint and a lot of these other cities in the country. You know, they’re grinding cities, they’re blue-collar cities, you know, where people just want to work hard, go home, enjoy their time, save up and go to a concert, save up and take a trip. Get some good presents for Christmas for the kids and for the family members, or for their wife or husband, or whatever the situation is. And Flint’s like that; it’s just a blue-collar city where you grind and work at all those big automotive companies and stuff like that. I used to want to try to get into GMC, and I thought maybe that might be my future. You know wanting to work a good job, make some good money, good legal money. But getting out of college and then you

commercial, you know, that’s kind of cool. Because it didn’t go to my head, it went to my heart. I was like, Yo, this is crazy. But I can do it.

This is possible. Some people think that because you’re on TV, you’re automatically a multimillionaire, or whatever. That’s not the case. It’s a blessing, you know.

KR: So you, were you approached to do commercials? Or did you actually seek them out on your own?

CK: Well, I was modeling, I was doing like talent, I was putting together my own calendars. And all that I had, I had really long John the Baptist, Jesus hair, like really long hair. That looked a lot like my mom with that hair, because she was Native American and French. My birth mother anyway. And, um, so I was doing some modeling, runway shows, editorial, won a couple of online contests with like, FUBU, and was in some magazines, and I was like, this is kind of cool. But I’m really not wanting people to care about what I look like, I want to be healthy.

But it’s not a priority that, you know, I want to, I’ve got to make sure I’m looking wonderful all the time, I really don’t care. I just want to, I want to be good. And here and in here and have my peace. So once

“If you have a yearning or longing for something, and you have some talent in that space, you can build upon that.” start to realize there’s other things out there and like, you know, I could potentially make a decent living at being a creative and acting and singing and then you’ve got to be brave enough to lean into it, do the work, study, take the classes, and then trust God to do the rest.

KR: What was the first professional thing that you did?

CK: Um, commercials and theater in Michigan back in the day, around 1999? Geez, 25 years ago. You know, seeing yourself on TV in a

it got to cooking, and once that got to cooking, I was okay, well, let me try some theater because that looks challenging, then that’s not going to be easy, and they hold you accountable, and they’re going to kick your behind. And I’m glad I did. Because again, that work ethic, you know, it is hard. You do have to commit to it and put time in and miss events because of it. Because you need to practice and rehearse and get ready. And the more I started to sew into that, you know, more opportunities came and I was even more ready for this new opportunity than I THEINDUSTRY.BIZ | 19

was for the last one.

KR: At what point did you move out? You live in LA, right? Yeah, at what point did you decide to make the move?

CK: Um, in ‘06, after the Madea stuff. I had put up all my Madea money, and made the decision to make the jump and was like, you know, this is going well. And I’m theatrically trained. So let me go and shoot my shot at commercial TV and film.

KR: How did that work out?

CK: It was scary. It was slow.

Yeah, I almost gave up. Because work wasn’t you know, coming in fast enough, and you start burning through your savings and you know, but um, so, you know, you figure it out, man, I was doing background for three or four days out of the week, for months and months and months. But, you know, when people were like, Yo, you were just the lead in the Madea plays. But being background, it taught me to be around the cameras and get comfortable.

I was in Britney Spears videos and Nelly videos and just any commercial like Party City commercials. it was $135 a day, right? You know, three, four days a week, you know, four weeks out the month. I just made my rent doing background work, and I’m still getting a little bit better every day at my craft. So I didn’t think it was a step back but I thought it was like a pivot.

KR: You wrote a couple of books as well?

CK: Um, we were filming a project that I co-produced, The Man in 3B. I was associate producer on that.

I was co-producer on that. I don’t remember because it was a while back but talking with Carl Weber and I was like, Man, I got a couple of scripts. And would you mind looking at one of them to see if there’s something there, if there’s enough meat and potatoes there to build that out into a book. Because

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I had been chopping it up for like four or five years and people weren’t getting it. And I figured, you know, if you’ve got a really good script, and it’s already a book out there that’s making noise and getting buzz, that’s going to be tough for some network or studio to say no to because it’s, you know, it’s just multi-platform. buzz and excitement about this thing. And he read it, came back, and said, Yeah, he’s like, you know, you can do it. I know, it’s intimidating. But you can do it. Let’s do it. And that was Ladies Night. I changed the title because by 2019, when I licensed it to Tyler Perry studios, BET already had a show called Ladies Night. So and I’m glad, because I like All The Queen’s Men, title better, but that first book ended up being “All The Queen’s Men.” KR: And now when you were shopping it? Do you think that the issue was you weren’t shopping it to people who were interested? Or do you think you weren’t? In other words, just like, were you shopping it to the wrong people? Was that the lesson from this?

CK: I don’t think so. I don’t think I was shopping it to the wrong people. I think, you know, if anybody is gracious enough to let me in the room and discuss my intellectual property, my content. You know, I’m going to seize that moment and have fun with it, I’m going to try to make sure I’m prepared to answer every question that they have, and even some that they wouldn’t even think to ask, okay, you know, I want to know, the world that, you know, that I’ve been blessed to be able to create, you know, fictionally.

And that’s how it went. And it went well. And like, even when I pitched to BET, they were like, wow, you wrote the book and the script.

I was like, Yeah. And they, you know, they were like, well, we got to look at you a little different now.

You know, not just, you’re not just an actor. And I respect that and appreciate it. But it, I think it ended

up where it was supposed to be, but it got optioned once by a major, major studio. They had it for 18 months, and they never moved on it. I rewrote it like four or five times while it was there. And then I got it back. Because the time lapsed and then a casino in Vegas optioned it for about six or nine months. And they never did anything. And I think actually that casino kind of looked at mine and wrote one of their own.

And I got mine back and they put out something else similar.

KR: The Magic Mike thing?

CK: It’s not that one, but it’s something similar. Because, you know, this was 2016 or 17 something like that. And there was nothing like that. I wanted to do this, like, yeah, it would have that Magic Mike, Chippendales element but the rest of everything in it was going to be you know, the show All The Queen’s Men, it was going to be the dramatic moments. The you know, somebody owes somebody money, she you know, she’s getting harassed by her boss, and she eventually has to kill him and all this other stuff, you know, like a wonderfully crafted dramatic piece, you know, that also happened to have this male exotic component, but that wasn’t essentially the story. And it still can happen like once you know, once the show’s over and three or four seasons, I can take it to Vegas because I get it back. So I can, you know, I could put it up in Vegas and do a live musical. Add a couple of R&B singers, you know, some quality nationally known vocalists and just do a residency over there. I think that’d be really cool.

KR: Now when you say you get it back, didn’t you just sell it to Tyler Perry?

CK: I licensed it. So once we’re done, I think I think three years after we’re done, I get it back. So if it goes to season six, or season seven or 100 and some odd episodes, that’d be wonderful. And

I think that’s the goal for all of us. But once it’s done, I can relaunch new books, I can spin off and do movies for certain characters that I want to do in that world and take it whatever direction I want to and I love that part.

You know that the ownership of it.

KR: So you do so many things from singing to acting to writing books now producing TV shows.

Will you continue to be in the show and continue to write on it or is that going to be in Tyler’s hands?

CK: Um, no, actually, thankfully, my show was WGA. So contractually, I get to have a say in where the show goes and get to consult on, you know, the seasonal arcs and what each character is going to have to do and that kind of thing, my character is going to stay; we’re not killing me off my own show, that’s not going to happen. And I enjoy it. I mean with myself and the cast and the people that helped me develop it, Ilan Johnson, Michelle Sneed, and Deandra Short. It is a family member. And even though it is my show, it does feel like it’s ours, because I brought them a really good show.

And they, they helped make it into a great show. They challenged me on things and said, “Hey, we should do this here. And that sounds good. But what if we did this?” And then some of those components actually made the show even better. So it’s going to keep growing. I’m excited to see where it goes, and all of that.

KR: What has the viewership been like?

CK: Um, that’s a good question, because I don’t know how many subscribers BET Plus has. But when seasons first dropped the program on BET streaming, and then I know there are two or three million subscribers over there. And then they do an edited version, and then play like that. The first season has already aired on BET. And I think the second season is about to drop on BET. And the first season is now over on VH1. So, you know, people are seeing it; we’re getting millions of

people watching each episode, which is wonderful. And it’s good for the show, good for the network, good for the actors, the newer actors, and the established actors.

KR: So when did you get the idea to diversify your skill sets? I mean, because a lot of people, they’ll do one thing, and they do it well, and they stick with it. But I was going to say you do so many different things. Where did you get the idea to say I better? Or maybe I should do as many things as possible? In other words, what’s your purpose for doing so many things?

CK: To avoid regret is one of them.

You know, I would much rather try and it just be okay. Then not try. And wonder like what it could have been, you know, I’ve done that before. I tell the story often that back in college, 20-some years ago, I drew the Bentley SUV, and I never told anybody, never showed anybody because I thought they’d laugh at me. And

vorite, because it’s way out of pocket.

I’ve never seen anything like it. And it’s exciting .

KR: Where do you want to see yourself in the next few years? ?

CK: I don’t want to be a master of everything. Um, you know, I don’t want to be mediocre at like 12 different things. I’ll always do music, I’m hoping musically, you know, I’m definitely going to do another album for sure.

Because people are loving this one.

And I’m excited about that. It was scary to step away from being an actor for 25 years. And then I’m brand new over here, again, in this musical space, learning the game. And that’s where I’m having good mentors and putting a good team together to help me learn this world over here.

But now that I have music out that is reputable. Hopefully, I’ll be able to write with, and for, some of my favorite artists musically. I’ve been writing songs since I was 12. So I got five or 600 songs on my phone. And when

“... in college, 20-some years ago, I drew the Bentley SUV, and I never told anybody, never showed anybody because I thought they’d laugh at me.” what came out in 2018, or 2017, the Bentley SUV, and an expensive lesson—they didn’t steal my idea; God gave that idea to somebody else, and they actually moved on it. And lessons like that taught me to, you know, it’s better to present the most polished, most prepared and informed version of whatever vision I have for something and try it. And if it doesn’t go, it doesn’t go. But I don’t feel like God gives us these great ideas for no reason, I feel like, you know, he’s kind of checking to see if you’re going to man up, put the work in, and do everything within my power, and then trust him to do the things that I can’t do. And then just getting a little more brave about those things. Because I love the creative process. I started writing a movie on the plane today.

And it might be my new favorite film that I’ve ever written. I’m probably 10 films in. And it might be my new fa-

God comes and gets me in 40 years, I don’t want to have all those songs in there. I don’t want to die with that.

You know what I mean? I want those songs to go around the world and that way they’re not just my song anymore, but they’re you know, Bruno Mars may take a song of mine around the world or Anderson .Paak or Chris Brown or some of the female artists, they’re wonderful. So musically, that’s where I want to go. Content creation-wise, I want to keep building these shows, I have about five or six more, seven or eight more shows, a couple of unscripted and then the other six are scripted. Because I love the opportunity that it provides for other people, like every time a show goes into production on “All The Queen’s Men,” 150 or 200 jobs are created. That’s 150 to 200 people that get to take a check home, while they chase their dream and live their THEINDUSTRY.BIZ | 21

dream and build a resume. And that’s definitely one of my favorite parts. So I like leaning into this, I’m not going to start doing a whole bunch of other stuff. But the ones that I have these passions for, I’m going to stay faithful and true to them.

to be that guy that just does stuff for checks. Because earlier on when the work was slow, you know, there was a project or two that I didn’t love, but it was like okay, you only need me for two weeks and I’m getting paid how much. Okay, work is slow. Alright,

“I grew up on radio. So I value radio. It’s cool. You know, it’s important, but you know, radio raised me. So I definitely want to show that appreciation and show that love in return.”

KR: How exactly is streaming different from regular TV because I’ve noticed a lot of shows only last like two or three seasons. And they seemed like they could go on much longer.

CK: It depends. If they’re getting the viewership numbers, they can go like I’ve seen some go for five, six seasons. I’ve also seen a lot of streaming companies go back and get hits and bring them to streaming and let’s say maybe they were pretty good over here. But like, let’s say our third season just ended last Saturday, and it did well. It did well on [another network] but once it got to Hulu... you know how many millions of people have Hulu in the world? So now you have a bigger viewing audience.

KR: How important is it for you to be on top of your business as far as your money is concerned?

Have you learned any hard lessons about that? Or have you just always been on top of your income?

CK: You learn as you go, but I will say this, you know, once you have a set rate, you know, you kind of have to, there are times where you have to pass on something that might be a great check. But if it doesn’t intrigue you or encapsulate everything creative in you or just fill you with excitement and thrill you... it’s not moving you forward or challenging in the way that I think it should be. Then you may have to pass on it even if the check is great, because I don’t want

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God, I’m going to go ahead and take this. And thankfully, now I don’t have to do that anymore.

KR: Alright, so let’s get into the music. Under That Veil is top 30 radio. Have you been doing a radio tour since you go to these different cities with City Winery?

CK: Definitely I’m going to try to do some stuff tomorrow with the morning news. And then the R&B station here in St. Louis, as well and try to do the same thing in Chicago when we get there Tuesday morning. So that’s what I’ve definitely been trying to do. Because I grew up on radio. So I value radio. It’s cool. You know, it’s important, but you know, radio raised me. So I definitely want to show that appreciation and show that love in return.

KR: Now there’s a trend for a lot of artists. When they take pictures with the fans, they actually charge them. What do you think of that?

CK: Um, I paid. I went to Vegas for a couple of artists and did the meet and greet and paid an exorbitant amount because I wanted to get back there and say ‘hey brother, I’ve demo-ed some songs to you, who do I talk to to get them to you? And it worked. I got a chance to submit the music. So for me, that makes sense. After giving you everything for an hour and a half, if they’re going to take you know another half an hour and you know take three, four or five selfies and pictures with you and give you a church

hug and a flower or something, I’m not against it as long as it’s not, you know, ridiculously expensive. If it’s a little something, then that’s one thing, but if it’s just out of order, I can’t condone that. I won’t be doing that.

KR: What is your goal for the album? What do you want to do?

As far as continuing to promote it because you got so much on your plate? Will you actually have time to do that as well as all your acting?

CK: Absolutely, thankfully, most of the music shows happen on the weekends. And union-wise, we don’t really film on the weekends like that.

So it works out, I can kind of pick and choose my dates. And then like, let’s say I get on a tour somewhere. Um, you know, we do the same thing that we do with the TV shows, you know, we schedule around whatever tour dates I have, I show up prepared, punctual, book and know my stuff, kick butt and go about my business.

So I think if you honor both of the blessings, you know, they’ll bless you back if you take them for granted and just kind of coast and mail it in.

And you know, it’s not gonna bless you. So I’m honored to sing. I’m literally when we get off, I got one more interview, and then I’m gonna do some vocal drills, go to the show for tomorrow, sing those songs out and just do the work.

KR: Okay, is there anything else you wanted to add? I wanted to talk to you more about the business aspect. I know a lot of people talk to you about the music or film only and I know, that’s important.

But I’m just always interested in how black men do business in Hollywood.

CK: I appreciate that. And I think we need to put more emphasis on that because the ownership thing, you know, understanding, don’t sell it off, you know, put a caveat in there that you get it back, things like that, that if they take any of your characters and write them into another show, they’ve

got to pay you for that there’s money in the business aspects of it. And when I am in a position to have my own production company, I’ll know how to treat people and how not to treat them. I’ll know how to move in these spaces. And I can help launch the next Angela Bassett and the next this person, that person and help set them up to go even farther than I’ve been blessed to go.

KR: That’s really insightful. Do you see yourself moving more into those executive and behindthe-scenes roles in the future, particularly in production or studio management?

CK: Definitely. I think that’s a natural progression for someone like me who’s been in the industry for so long and seen so many aspects of it.

I’ve been fortunate enough to learn from some of the best in the business and now, I want to apply that knowledge. The idea of being able to create opportunities for others, especially those who are just starting out or who might not have the same chances I did, is really appealing to me. It’s not just about making movies or shows; it’s about building something that can last and have a real impact on the industry and the community.

yourself and your vision. The industry can be tough, and it will test you in every way possible. But if you have a clear vision and the determination to see it through, that’s half the battle.

Also, never stop learning and growing. Be open to new ideas, be willing to adapt, and always look for ways to improve. And finally, remember to give back. Help others along the way, just as you would have appreciated help when you were starting out. It’s all about lifting each other up.

KR: That sounds like a great vision for the future. Lastly, what advice would you give to young, aspiring artists and entrepreneurs, especially those from underrepresented communities?

KR: Thank you so much for sharing your experiences and insights with us today. It’s been really inspiring.

CK: The most important piece of advice I could give is to believe in

CK: Thank you for having me. It’s been great talking with you.

THEINDUSTRY.BIZ | 23

Rhythmic Legend

DJ Buck

KS 107.5 (KQKS) Denver, Brand Manager Morning Show Host Hot 93.7 (WZMX) Hartford, CT

DJ Buck is a well-known DJ and radio personality in Connecticut. He is the Program Director and Morning Show Host on Hot 93.7 in Hartford, CT, and has been with the station for over 20 years. He is also the Brand Manager for Audacity’s Hip Hop “KS107.5” KQKS Lakewood/Denver CO. Buck started his career in the music business as a local record store manager for Skippy Whites and was responsible for bringing Hip-Hop to Rhode Island College’s WXIN. He worked at various college radio stations before landing at Hot 106 WWKX, where he eventually became the station’s Program Director. After five years, he took the job in Hartford at WZMX, where he has made his home for the last 22 years.

DJ Buck has been recognized with various awards, including The NAACP Award for being one of the state’s most influential African American men, 100 Men of Color, and various radio industry awards. Buck is a talented entertainer and a positive role model for young people. He is a valuable asset to the Connecticut community and the radio industry as a whole.

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What are some of your most popular features on the morning show?

QUESTION OF THE DAY- Every day, we come up with questions that get the listeners involved. Simple questions that make you say that highlight made the difference.

FACT OR CAP AND THURSDAY THROWDOWN- Every Day, we come up with something true or false. Keeping up with the times, we call it “Fact or Cap.” THURSDAY THROWDOWN- Thursday Throwdown is the Verzus of radio. I’ve been doing this for the last 15 years. I am putting two great artists or groups against each other. Nothing is safe—Big Pun vs Jada (kiss) Prince vs. Michael Jackson. We do things that could never be done on Verzus.

I came up with these ideas because I understand that being live and local helps me win.

Making radio fun again is what my goal is— finding that caller that calls so much that the listeners can’t wait to hear them on the air.

They say they love the energy and can come to us to laugh and be themselves.

How do you handle being on the morning show and programming the stations daily?

My days are pretty long, but I’ve been doing this so long I’m numb to it. Seriously, it can be challenging. I had to teach myself to separate myself from the morning host and the Brand Manager. That’s one of the biggest challenges. One of the best things I get out of doing the morning show is that it keeps me close to the vibe of the station. I get real honest feedback from every caller, and every contest reaction I get firsthand. Also, when I’m on the air, I’m all into being Buck the personality. At 10, I try to reset my day and shift to programming responsibilities.

One of the things I do to stay creative is to utilize the talent around me. My ideas may not always be the best, so I use the people here. The younger staff members are born into this creator's world we live in.

Is the pool of new jocks as plentiful as it used to be?

The talent pool isn’t what it was in the past.

There are a ton of people who want to do radio, but they are not prepared to do it. We live in a world where people just want to come in, sit in front of the mic, and talk. The way radio is being done now has changed. I came from a world where you ran the board, you understood hitting the post, and we recorded and edited our calls. Today, personalities want to come in and wait for someone to turn their mic on and off, and that’s it.

With that being said, there have been some amazing personalities who can entertain the listeners.

Radio is becoming a place where podcasters land or get their start. I haven't incorporated any podcasters on my shows, but I have had people who came in with that mindset. I do believe that they can work hand in hand, but the need for a true radio jock will always be there. You need to know how to be the same personality when the camera is on and off.

My advice to anyone wanting to get into radio is to take time to learn everything about the job. Watch what people do in the building.

What’s the producer's job? What does the engineer do? Why are you going into commercials at this time every day? There’s so much more to being a great personality than just having a great personality.

How can radio remain relevant in the next 5 years?

Stay live and local as much as you can, and be true to what you’re doing. My boss always says you can’t fake the funk. Be real. Listeners want to trust you, believe in you, and become someone they can relate to.

The music has always been the star, but when I was growing up, I fell in love with the voices I heard between those songs. Content is super important.

Challenges - There are so many challenges that radio faces from all the platforms that exist today. People have choices now, and radio has to stay focused on doing great radio. One of the biggest challenges in radio is radio. We won’t change and we won’t adapt to what’s going on around us. Listening habits have changed, music has changed, and the way we consume information has changed, and we need to find a way to adapt to that change. One way is to be as unique

as possible. The brand has to have its personality, its own vibes, and its own culture. When we don’t have that, it becomes hard.

I can’t just say radio has to change because, for music stations, we need the great product that we had in the past.

We have some current superstars, yes, but we don’t have what we had. Some of the biggest artists of this year will probably never have another hit on record. Let’s get back to developing artists that can build catalogs of great music, or are those days gone?

We live in a world of analytics and different ways to tell us if a record is a hit; we sometimes never listen to a record at all. Become the radio station that breathes the culture no matter what that culture is. Be that, and if we don’t, we will have station after station playing the same songs and with music research determining songs on familiarity and love vs hate. The best songs will probably be the classics, which goes back to developing great artists.

What makes Connecticut different from other markets? What are some of the unique challenges and opportunities that radio DJs face in Connecticut?

There aren’t many. Social media gives smaller market Dj’s a chance to grow their brand faster.

What are some of the things that you love most about the Connecticut radio market?

I love that CT has allowed Hot 93.7 to be a station for all. I see the numbers and the demographic breakdown of CT. On paper, we are not supposed to succeed, but music wins, the culture wins, and we do our best to stay true to the culture.

Who are some of your mentors in the industry?

I have a few people who have helped me along the way. Bonnie Gomes and Jerry Mckenna, who gave me my first mix show on commercial radio, and Steve Salhany and Suzanne, who be-

lieved in me in Hartford. I have Davis Simpson, one of the smartest radio guys I know.

What have you learned from your mentors?

I have learned to believe in yourself. I’ve learned the importance of using all the tools you have at your fingertips. Those combined with your gut will always help.

How have your mentors helped you to achieve your success?

They have always let me do things my way. They let me bend the rules with my music choices and ideas. This allowed me to break records in this format that I had no business breaking, but at the end of the day—those bold decisions made since.

What advice would you give to aspiring DJs who are looking for mentors?

Look for someone who works hard and is not only a leader but someone who leads by example.

THEINDUSTRY.BIZ | 27

PIO FERRO

SENIOR VICE PRESIDENT, PROGRAMMING HOT 97/WBLS 107.5FM President of Vampiro Consulting, LLC

Pio Ferro has carved an illustrious path in the realm of radio, driven by his unwavering passion for music and technology. His journey began at the age of 13 when his mother secured a job at WXDJ-FM in Miami, setting the stage for a lifelong love affair with the radio industry. His story is one of dedication, mentorship, and an unrelenting commitment to the hip-hop culture that has become synonymous with his name.

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KR: Can you share a bit about your background and what led you to pursue a career in radio?

victories and failures under my belt, which prepared me to understand what HOT97 needed to regain its status.

step and address issues as they come.

Like eating an elephant—one bite at a time.

PF: My love for music and technology played a significant role in drawing me towards radio. When I was 13, my mom got a job at WXDJ-FM in Miami. I fell in love with the atmosphere there, particularly the production studio, which had its unique blend of scents and vibes—8-track tapes, humming audio gear, and vintage JBL speakers. I even started running Sunday morning Public Service Announcement (PSA) shows on reel-to-reel before I turned 15.

KR: As the Program Director of HOT97, what does your day-to-day involve? How do you balance curating music that appeals to a diverse audience while staying true to the station's identity?

KR: How has the role of radio evolved in the digital age, and how does HOT97 adapt to these changes?

KR: Were there any specific artists or songs that ignited your passion for hip-hop?

PF: Growing up, my friends and I were heavily influenced by LL Cool J and Eric B and Rakim. Some of my friends even became party DJs, learning to mix and scratch. I didn't go that route, but my love for attending parties where "Bass" or "bass music" was played developed my affection for the hip-hop genre, particularly the Miami bass sound.

KR: Prior to your current role as Program Director at Hot97, what were some pivotal moments or challenges that helped you develop your expertise in radio programming?

PF: I had the privilege of being mentored by greats in the industry. Gino Latino, the Program Director at WXDJ, encouraged me to be on air, while consultant Bill Tanner pushed me to learn music scheduling. They saw potential in me beyond my technical abilities, and by the time I was in my late teens, I had gained a thorough understanding of research, strategy, and brand building in radio.

KR: How did your experience as Vice President of Spanish Broadcasting Systems and your time at CBS Radio contribute to your approach at HOT97 in New York?

PF: Working in various markets with different formats taught me that the principles of great radio apply universally, regardless of language or genre.

By the time I joined HOT97, I had both

PF: My team is my greatest asset.

Ebro Darden, TT Torrez, Funk Flex, DJ Enuff, and others contribute to a collective effort in curating music. We constantly collaborate to maintain the balance between audience appeal and the station's identity.

KR: Can you describe the process of selecting songs for airplay and deciding which songs make it onto the station's playlist?

PF: We have weekly meetings where we go over data to identify songs that deserve more airtime. The buzz around new tracks quickly becomes evident thanks to input from NYC's best DJs like DJ Camilo and DJ Kast One. KR: What have been some of the most rewarding moments in your career at HOT97 so far?

PF: Watching our morning show with Ebro, Laura, and Peter climb the ranks to become NYC's #1 hip-hop morning show has been incredibly rewarding. I also take immense pride in the orchestration and success of our annual Summer Jam. KR: How do you approach failure and setbacks, and what lessons have you learned from these experiences?

PF: I live by the quote, "I don't lose, I either win or I learn." When faced with failure, it's essential to identify mistakes, learn from them, and move on.

KR: Can you share a specific instance where you faced a challenge and how you overcame it?

PF: Challenges come every day, and you can't let one setback define or defeat you. The key is to take it step by

PF: Radio has had to adapt to the ondemand world. At HOT97, we focus on creating compelling curated playlists and delivering high-quality content across all platforms to keep our audience engaged and coming back for more.

KR: With the rise of streaming platforms and digital media, how do you see traditional radio stations like HOT97 remaining relevant?

PF: It's all about the content and the connection we have with our audience. We aim to be a cultural hub that reflects the diversity and dynamism of NYC's hip-hop culture.

KR: How does HOT97 embrace and reflect the diversity of New York City and its hip-hop culture?

PF: HOT97 is a mirror of New York City. Our on-air talent is as diverse as the city itself, which allows us to remain true to the multi-faceted spirit of NYC. This diversity is essential in curating music and content that resonates with our diverse listenership.

KR: What role does HOT97 play in promoting emerging artists and giving them a platform to be heard?

PF: We take great pride in nurturing emerging talent. Our New @ 2 feature, Funk Flex's exclusive new music showcases, DJ Drewski's "the MVMNT," and our HD-2 channel all provide platforms for new artists to be heard. We also host live events like "Who’s Next" to showcase emerging artists.

KR: How would you describe the essence and unique identity of HOT97 to someone who's never tuned in before?

PF: HOT97 is more than just a radio station; it's a cultural institution. We THEINDUSTRY.BIZ | 29

for a successful Program Director in the radio industry today?

PF: To be a successful Program Director, you have to be a great manager and leader. Effective management is crucial. Your team should feel confident in your guidance and direction. It's crucial to possess a deep understanding of music, technology, and the everchanging cultural landscape. You also need to be skilled in analytics and data interpretation. Lastly, having a genuine passion for radio and the genre of music you're working with is non-negotiable.

KR: How do you balance your professional responsibilities with your personal passion for hiphop? are deeply rooted in hip-hop culture and represent a blend of the old school and the new, the mainstream and the underground. We're driven by a dedicated team of individuals who live and breathe hip-hop.

KR: What do you believe sets HOT97 apart from other radio stations, especially in terms of its connection to hip-hop culture?

PF: Our people and our commitment to authenticity set us apart. With legends like Ebro, TT Torrez, and Funk Flex contributing, HOT97 is more than just a station; it's a hip-hop cornerstone.

KR: Are you still doing your shows overseas?

PF: Currently, we are not doing shows overseas. We did have two "Summer Jam" shows in Japan, but at the moment, our focus is on our stateside operations.

KR: Are there any particular radio moments or segments you've been a part of that stand out as particularly impactful or memorable?

PF: Apart from our success with the morning show and Summer Jam, other impactful moments include disaster relief initiatives, community outreach programs, and on-air debates that have ignited essential discussions in the hip-hop community. Each of these moments contributes to the rich tapestry that makes HOT97 what it is today.

KR: What personal qualities or skills do you think are essential

PF: My professional role and personal passion for hip-hop are deeply intertwined. In many ways, my job is a natural extension of what I love.

However, I also make sure to carve out personal time to enjoy music purely as a fan, which in turn refuels my professional drive.

Balancing professional responsibilities with a personal passion for hiphop is less of a challenge and more of an advantage for me. My love for hip-hop culture and music is what fuels my enthusiasm for my work. It's what keeps me constantly searching for new artists, innovative sounds, and groundbreaking content. The two are so interwoven that they naturally complement each other.

KR: Finally, what legacy do you hope to leave in your role as Program Director at HOT97?

PF: I hope to leave a legacy of innovation and authenticity. My aim is to further solidify HOT97 as the go-to platform for all things hip-hop—where new artists are discovered, where the culture is celebrated and dissected, and where fans know they will always find content that is both entertaining and enlightening.

Pup Dawg

Program Director JAM’N 94.5, Boston

32 | THEINDUSTRY.BIZ

KR: How did you get started in the industry?

PD: I was always in charge of the music and being the party starter at house parties so my love of music and love of djing started from being the party starter.

From the vibrant house parties of Los Angeles to the bustling radio scene of Boston, DJ Pup Dawg has carved a niche for himself as a multi-faceted force in the industry. Whether you know him as the music director and afternoon drive host of JAM'N 94.5, or as the magnetic DJ who has opened for musical legends like J. Cole, Alicia Keys, and Beyoncé, Pup Dawg is a name synonymous with relentless energy and an undeniable love for music. Yet, it's not just the mixing boards and turntables that define him.

He's an advocate for diversity, a mentor to aspiring DJs, and a man deeply connected to his community. In this exclusive interview, we delve into the life and times of DJ Pup Dawg— his journey, challenges, inspirations, and how he's changing the game, one beat at a time.

music director and afternoon drive host. Can you share some highlights and challenges of these roles?

KR: KKBT is a legendary station that was one of the biggest stations in the nation in the mid-90s through the early 2000s, tell us about your experience there.

PD: Every role was challenging, from board-op to producer, but I always thought of it as “I want to learn everything,” and luckily I did.

With the current state of radio, you can’t be one-dimensional. I always wanted to learn every aspect of radio. It was all challenging but I’ve always run towards challenges.

PD: Definitely a legendary station.

Growing up listening to them, to being there mimicking personalities, it was surreal to be in that building.

KR: How has your experience as a DJ with major artists like J. Cole, Alicia Keys, and Beyoncé influenced your career in radio and music?

KR: Can you tell us about your journey from being a club DJ and on-air mixer in Los Angeles to working at KKBT?

PD: Listening, learning, and seeing the longevity of these artists and realizing that it’s a marathon not a sprint. Seeing them perform in front of 25 people and still sticking with it and then becoming the biggest superstar in the game, helped me understand, nothing happens overnight.

PD: Long story short, I was in the right club at the right time. Eric Cubiche, host of 92.3 was there and liked what I did and started using me to open his spots and introduced me to the right people at the station.

KR: How did the opportunity to join JAM’N 94.5 in Boston come about in 2002?

PD: I started submitting airchecks and Houston and Boston both showed some interest. I’m a huge Reggae fan and when I came out to Boston to visit and heard Reggae on the radio, it made me think Boston could be my home. I have a lot of family in Houston, and wanted to make it in a city without a safety net.

KR: What do you enjoy most about working in the Boston radio scene?

PD: Boston has that East Coast go getter energy. The iHeart team is all about lifting you up and motivating you. From the GM to the OM there’s a lot of support on what JAMN is and what we do here at JAMN. KR: What has been the key to your longevity at the station?

KR: Were there any stops in between Los Angeles and Boston in your radio career?

PD: Consistency, hard work, and listening to the city. Boston is a unique market with all the colleges, and diverse demos, so being attuned and connected to the city has been key.

PD: Besides the cross country dive with my records and my clothes? No.

KR: Who are some of your mentors or influential figures in the radio and music industry?

KR: You’ve held various positions at JAM’N 94.5, including

PD: I’ve got a long list of mentors, so here are few: In program-

KR: What made you take the journey to help others in this instance?

moments or experiences from your career that have had a lasting impact on you?

PD: I had a long list of people that helped me, so I want to be that person to help and inspire people to go after their dream. If they express they want to be on-air or a DJ and are willing to put in the work and be consistent, then I’m there for them.

PD: Where to start? The most epic was being invited to the Marley’s house to listen to their upcoming album and consulting on the songs for the project. Another, is listeners coming up to me and thanking me for being the soundtrack and voice through the good times and bad.

KR: How do you see the current state of radio?

ming- Cadillac Jack, and Dylan. On Air personalities- Julio G, and G-Spin. Mixers- Icey Ice, E-Man, and Roy Barboza.

Music- Dj Khaled, Dj Drama, Kevin Liles. Work Ethic – My dad & Kobe Bryant (Never met Kobe, but man both their drive was like no other).

PD: Very healthy. We had mixtapes growing up and people buying albums, it’s different now, but there’s always been other outlets and radio is still on top. Radio will always be local, and personal. Radio can be your mentor, and your companion. And the best thing for me is, introducing actual hit records and creating superstars. You’re not selling out arenas without radio play.

KR: Can you describe your approach to creating energetic mixes?

KR: What trends or changes do you anticipate in the industry?

PD: Just having fun! I never really set a playlist. Just knowing what I need to play and having fun around the hits, thinking it’s 12am prime time in the club.

PD: It’s always evolving. Luckily, being with iHeart, they’ve always been ahead of the curve and have stayed relevant in streaming and podcasts. Now my friends and family in LA and across the country can hear me on the radio in Boston!

KR: You’re known for your positive energy. How do you maintain that energy and enthusiasm in your work?

PD: I wake up and get to play music all day, how could you not? There’s enough negativity in our day, I choose not to focus on that.

KR: As an advocate for diversity and inclusion in the music industry, what initiatives or efforts have you been involved in?

PD: We’ll start with my slogan ”From Pakistan, to LA, to Boston”. I am a Pakistani Radio personality on a Hip Hop station, that’s unheard of. Kids need to see that they can be anything they put their mind to. I try to get kids in the studio to get them excited that this could be a future for them. Getting kids to mix on my turntables or get on the mic and hear themselves back is a key way to spark passion from a young age.

KR: In your opinion, what role does radio still play in promoting and supporting emerging artists?

PD: Radio still plays a big role, but the playing field is level for every artist, it’s off to the races. We can’t get to every artist, but the new artists that put in the work come out ahead.

KR: What advice would you give to aspiring DJs and radio professionals looking to make a name for themselves in the industry?

PD: What I want to say is, do it with your heart and have fun and it will happen when it’s going to happen. Don’t rush the process, don’t chase the bag… chase the dream.

KR: Can you share some memorable

KR: How do you balance your roles as a radio DJ, music director, producer, and remixer?

PD: I take advantage of all my calendars on every device. I have a great support system and a great team.

KR: What’s next for DJ Pup Dawg in your career and personal journey?

PD: To continue to grow JAMN, to grow the brand, and continue to help new artists get to superstar status.

KR: Finally, what message or words of inspiration would you like to share with your fans and the listeners of JAM’N 94.5?

PD: “Don’t just show up, make it count”, that’s how I start my daily to-do list.

Showing up is easy, everyone has a limited amount of time so tune out the distractions and noise and follow your gut.