Bobbi Silver, Interscope Records A Legend Retires!

As many of you know by now Bobbi Silver is retiring from label promotion after an illustrious 42 year career. In lieu of writing an advance on her memoirs we asked Bobbi to share many of her thoughts, feelings and experiences throughout her storied career. Few have lasted as long as Bobbi in a profession where jobs can be perceived as disposable and people interchangeable. Not the case at all with Bobbi. Truly extraordinary and unique in her work ethic and high standards, Bobbi will never be matched nor duplicated in a business that sometimes promotes replication. When you professionally lose an icon like Bobbi in an industry that truly cries out for passion, dedication and devotion, you become less of an industry, as will be the case when Bobbi officially retires at the end of the year.

Bobbi Silver began her career in 1970 thanks to a chance dinner meeting with the head of a small Philly Urban label. Bobbi recalls, “I got into promotion through a friend Nancy Meyers who invited me to a dinner with Jerry Stevens (the first PD of WMMR) and Larry Cohen, who was the head of promotion at Jamie/Guyden Records. Larry needed an assistant and decided to hire me in his department. Nancy went to Hollywood and became a very successful film producer/director. I was left on Broad St. in Philly working in an area I knew nothing about…record promotion.”As a fresh graduate of George Washington University, Bobbi indeed found herself in un-chartered waters, but as we’ve come accustomed to learn, she had no fear and dove in the deep end. Within months, Bobbi became the head of promotion for the small Philly label.
Her first major label gig came at the end of 1971 when she joined Chrysalis Records based in Philly, which became her home base for the rest of her career. She worked the heydays of RSO Records (Saturday Night Fever, Grease, The Bee Gees,Andy Gibb, Eric Clapton) and Casablanca Records (Donna Summer, The Village People, KISS) late seventies into the eighties. RCA, Polygram and Polydor occupied the eighties, and in the early nineties Al Coury, her former RSO boss, persuaded Bobbi to join the very hot Geffen Records. Bobbi relates, “Al gave me an awesome deal to go to Geffen and all of a sudden I was right in the middle of Guns N Roses, Cher,Whitesnake and Aerosmith.”
During the course of the nineties, Interscope, Geffen and A&M merged to become one company and Bobbi wound up staying with the newly formed structure headed by Brenda Romano and Chris Lopes. She adds, “I told them then that I’d never leave them until the day I retire and here I am still with the two of them after all these years. I really love working with them.” It’s been a wonderful union for the triumvirate as Bobbi proceeded to remain dominant in her profession through the next decade and beyond culminating with the recent news of her retirement.

You’ve been a field promo rep for 42 years. What’s been the key to your longevity in the business?
Honestly, it’s hard work, more hard work and follow-through. Always do what you promise, and tell the truth even if it’s bad news. If there’s a record that’s not happening even though you may love it and honestly went after it, just tell the truth. You have to be fair and reasonable with radio. Not everyone can give you a shot every week. You just learn what is fair and what is right and work hard for your stations like you work them hard to help you. It’s important that your stations know you are truly going to bat for them when they make requests. Fight for your stations like you fight for your records.

Did you ever contemplate doing a national promotion job?
In the very beginning we had huge territories where I was covering the mid-Atlantic to New England to the Midwest. When I started with Chrysalis there were only four reps covering the entire country, so we were kind of considered nationals, at least by geography alone, and it allowed us to have massive radio coverage across our territories.
However, with national promotion as defined by the modern era, I would have to say no. I discovered a long, long time ago that I’m a better nuts and bolts person than I am the leader. I just always felt I was better suited and can do a better job for my artists and my bosses by being a local.

Your reputation precedes you as the standard by which all other field reps are measured. You’re simply the best. Who have been your major influences over the years and what qualities resonated from those relationships?
I’ll start with Brenda Romano and Chris Lopes who care about their staff very, very much. They are passionate leaders, work as hard as you possibly can, and if you need to go to them as friends, they’re friends too.
One of my very first bosses who really influenced me was Freddie Mancuso. He made it fun, cared about the music immensely and lived the lifestyle. Also early on Bobby Applegate was very special. Radio loved Apple when he came to town. He was a star.
I don’t know that anyone had more passion and desire to win than Al Coury. His enthusiasm and the way he motivated were inspiring and contagious. If I love a record, I want to motivate my stations in a similar fashion.
John Betancourt really took care of his staff and was a caring guy. He also made it fun. Phil Quartararo was such a lovable guy and real smart. If you told radio Phil Q was coming to town, they made sure they had time on their calendar.
I loved working with David Leach. He gave very inspiring conference calls, was a tireless worker and such a good person, which is really the common thread through many of these people. The bottom line is they were always good people beneath it all.
John Boulos was the best combination of all these qualities. Radio loved to see him, he was fun and the artists adored him. He taught me the value of having great relationships with your artists. He worked as hard as anybody and he still makes me laugh every time I’m with him.
And of course Fred Deane…I tell everybody when I need the best advice from anyone in the business who I know is looking out for my best interest, is smart and is a friend, I call Fred Deane. Nobody else! I know the respect you have in the industry and you’ve earned it. You’re a good person and have always been a straight shooter with me. It’s always been refreshing because this business has a way of being superficial, and you’ve always been the real deal.

Programmers say they set their days and clocks around your visits and music calls. How important is it to maintain consistency and a good balance between the two?
It’s always been my M.O. It’s what people have come to expect from me. It works two ways. They know when I’ll be calling and it also helps me to get through very easily to everybody. They know I go through things quickly, but thoroughly and they also know that in the end I’ll always ask if they need anything from me. They know I’m very timely and orderly in trying to get things done for them. It’s being able to count on somebody and I want to be that one person they can count on 100% of the time. I always tell people if I’m late for a lunch or dinner to call the cops, I must’ve got into an accident.
I feel it’s essential to visit radio. There’s nothing like being there in person. I don’t think you have to overdo it but I’ve had a rotation system that has always worked for me and I try to visit everybody once a month. I feel it enhances everything else I do and it strengthens our bond in many ways, plus it’s genuinely nice to see everybody. There’s nothing like sitting down and playing music face to face.

What have you found to be the best method to manage multiple priorities with your stations?
If you ask every one of my programmers they will tell you that I kindly remind them that there used to be three reps doing what I do today! I make a speech to them quite often that I’m not going to sacrifice one artist for another. It’s just the way it is. If I have no hits, I have no hits. If I have seven, I have seven, and I’m not trying to be a pig and get more than anyone else, it’s what right. That’s the bottom line. If these are legitimate hits, it’s only going to help their radio station so I just tell it like it is. I’m not trying to be anything but a good rep to them. I’ve never tried to be somebody who would panic about getting an add “just to get it.” It’s not about that. I have to keep my credibility intact with my stations or else the things I ask for won’t get done. I also have to be a loyal advocate for my artists so I want to make sure I represent all the artists we’re working at any given time. I owe that to the artists and my label. I don’t want to ever cheat any of my artists.

What are the major differences in field promotion today versus the “good old days?”
The good old days really were just that. You’d play the music for somebody and if it was a good song you would get the add on the spot. No one started the conversation with, “I don’t have a lot of room. I have to wait and see what comes off. I have to look at the research.” It was strictly about the music. There weren’t big corporations owning every station and layers of programmers that would scrutinize adds and playlists. Every little research detail didn’t interfere with the pure passion of wanting to play good, hit music.
It really came down to belief and passion for a record. Today, sometimes that passion is mistaken for hype. But it’s really what’s missing today in the label/radio relationship. There’s not enough of it. The industry has gotten so research driven that the passion takes a back seat. The passion you could take to radio in those early days was received well by equally passionate Program Directors.
Today you have to jump through a lot of hoops to get a record played. Back then if I really believed in an artist and had a good relationship, that was enough for the programmer to give me a shot, right then and there. Given today’s big corporate ownership and all that it entails, there’s a different set of rules that make it so much more restrictive.

But you’ve adapted to the changes and the last time I checked, you’re getting quite a few records played at radio these days. Is it all about adapting to and playing by the new rules?
You have to talk the modern language of what record promotion is today and understand how radio operates at each company. So yes, you do adapt. But with all the science and stats that are driven into programmers these days, it couldn’t hurt to throw in a little more passion, emotion and gut. You still get that from time to time with some programmers, but sooner or later it falls under the scrutiny of research, stats and space. All records don’t develop at the same pace, so it can hinder the progress of records if the stats are read too early in the game.
I will always believe that it starts with the music. Hits are made in the studio and that’s the bottom line. I believe we’re victimized by the system to a degree. With the new rules come a lot fewer slots available for a lot more records. It’s a matter of managing the records from the top down at each label and I feel we do a great job at Interscope in this area in getting our hits on the radio and bringing to fruition the real records, regardless of how long it may take. Every once and a while I feel bad when we lose something that I love, but all in all I think our batting average is pretty good.

How has technology affected the profession of promotion?
It definitely makes the job a lot easier based on accessibility and the ability to get info out on a mass level quickly. Sometimes there’s so much info coming down all the time and you can’t call somebody twenty times a day. I know I send a lot of emails but there’s just that much info, and of course I’m not going to call somebody as many times as I email them. Where it hurts is if that’s the only way, or the primary way you promote a record. You need the human element. There’s just too much you have to express and talk about that doesn’t come across in an email. You can’t allow the technology to lessen the personal relationships, because it will.

Who were some of your favorite artists to work with and what made them so special?
I’ve always loved that part of the job. I have the world of respect for artists. I’ve always been in awe of the talent they possess. Their hard work and dedication is inspiring and they deserve 200% of my effort. They are truly gifted people. When you’re with them for a few days and go on the road for a bunch of shows, it gets me motivated, because they really are special and so talented and they deserve to have their records on the radio.
I’ve had great experiences with artists throughout my career. Starting with today, I love Lady Gaga. She does everything, she’s great, and when you meet her she’s just the coolest person in the world. I always loved working with Adam Duritz from Counting Crows. He was always so good to me. Beck was the kindest, coolest guy. I had endless conversations with him as we would drive from station to station. I loved talking with him. Sting was the consummate professional; always on time, charming, just a wonderful person to work with. Cher radiated total star power! It was always great walking in a room with her. She was just awesome. Fergie is always real sweet and very kind to me. She always gives you a big hello and never forgets from where she came.
From my early days working with Rodney Dangerfield was a blast. He was the hippest, coolest guy. He was this old cat from the fifties and he was just great. And everybody recognizes Rodney. I remember going to Pat’s Steaks with him and you could just imagine the scene! We spent a lot of time together, and I’ll never ever forget how cool and funny he was.
It was really cool working with Andy Gibb because it was interesting to be with someone exactly during the perfect storm of his breakout success. Everywhere we went was pure mania of screaming fans.
I truly enjoyed my time with Chris Cornell as he told me how much he appreciated my efforts and thanked me for the airplay. He was also truly smart and extremely interesting to have conversations with.
Recently I thought Nicole Sherzinger was one of the greatest artists ever that did a station event. We did a Q102 show and after her unbelievable performance which ended at 12:30 a.m., she danced with Maxwell until 3:30 in the morning. She got behind the bar and tended bar. She went out with everybody to get cheesesteaks. She just got into it had a great time, it was a real magical moment.

What has been the most exciting part of your gig that just never got old?
Right now as you and I are talking, I just got an add! All of a sudden, I feel great. I have a sinus headache today, I didn’t sleep well last night, but right now I feel great! It’s the greatest thing about this job, followed real closely by spending quality time with artists. Especially when you see an artist from the start of their recording career with your label and see it all come together over time and you’ve been a part of that success. Lady Gaga is the biggest star right now and during her recent tour in Atlantic City we were backstage and she couldn’t have given me a nicer greeting. She remembered when she was in the back of my car and we were trying to get the first record played and we were laughing and going from station to station. She’s still that great person. Those kinds of experiences are priceless, but number one is getting the add!

What has disappointed you the most in the business?
Hit records that don’t make it. It’s that simple. Artists that I feel are real special but just don’t make it. It’s that common theme, it’s about the music and it’s most disappointing when great music doesn’t get played and that great artist behind that song who’s born with this gift will not be heard.

What’s been the most memorable concert event of your career and what it made it so?
One that stands out, and I had the time of my life, was when I was standing on stage watching the Yeah Yeah Yeahs play outdoors in Philadelphia for a Y100 show. It’s was one of the most fun and amazing shows and Karen O was awe inspiring! I absolutely loved that performance. She is such a free soul on stage, I’m a big fan of their music and it all just connected for me that day.

What one project immediately comes to mind when you really stop and think about your promotion career?
After nine months of getting started, it was great to see Lady Gaga turn into the biggest star in the music business.

Your famous holiday cards are always the first ones to arrive signifying the start of the holiday season, and each with a thoughtful, personalized message. When did the ritual start, how many do you send out, and what compelled you to make it a tradition?
I’m in the addressing and editing stages right now (editor’s note it’s October 28!) and I’m almost done. I’ll do 400 this year and each one of them has a hand written letter inside them. Sometimes I just forget someone who I really do care about and I feel so bad, so if that happens I apologize. I’ve been doing this for at least twenty years.
It’s just in my DNA. It must stem back to the way I was raised. I had the best childhood. My parents were loving, hard working people. I’m not even quite sure why it continued. Maybe it was because I was succeeding in the business and felt very fortunate to be in such a great business. You have to work hard for things in life but you can’t accomplish much without great relationships. I’ve always been thankful for the support I’ve received from people in the business who truly mean something to me. It was the way I was brought up. It’s my appreciation for having worked successfully in this business and for the people who respect me and allow me to do my job.

Are today’s programmers a tougher add than PD’s you worked with in your earlier days?
If a programmer’s a tough add it’s only because that programmer has as much passion and care about what they do for their station as what I have in promoting my records. I have the world of respect for those people that take their jobs as serious as I take mine.
A lot of the PD’s back then weren’t tough adds at all. Not that they were all easy, but quite frankly if I showed them respect and spent enough time with them, and the record was good, you’d get the add. I worked some legendary programmers like Jay Cook, Dean Tyler, Jerry Stevens, Alex DeMers, Gerry DeFrancesco, Charlie Kendall, and Joe Bonadonna, and they were all very fair, but they were also tough in their own way. Nothing was ever a gift, you had to earn it back then as well, and you also had to earn their respect, which for some reps was the toughest thing of all. Although, I used to love the way Dean Tyler would dump your record in the trash if he didn’t like it. That was truly classic. You always knew where you stood with those guys from that era.

What do you admire most about programmers over the years ?
Their job’s pretty hard too and they are also very dedicated. To make it on either side, whether it’s radio or records, you have to be real good at your game. I’ve worked with and continue to work with some really bright and creative programmers. Radio produces a lot of cool things on the air and creates some great events that give our artists opportunities to shine at what they do. I really respect today’s PD’s. They’re putting in long hours, doing much more than that position has ever asked of them to do in the past and they don’t complain about it. There were times when programming departments were six people deep. Now, in many cases, it’s down to the PD, who’s on-air, doing digital, going to remotes and sitting in meetings with market managers.

What have you learned most from good programmers?
That programming is truly an art form. It is an art to schedule the music a certain way and keep it flowing and the importance of balance within the music flow. It’s also an art to assemble all the production and promotion elements that surround the music. You can really tell the difference between radio stations by the way all the components flow on the air with great personalities and the interesting opportunities listeners get through promotions and special station events. It’s all part of the package and when you factor in the digital areas, it becomes even more of a task to make sure that the station is represented and connected with the audience in as many ways as possible. That’s a lot of work and the good PD’s do a very thorough job of ensuring that all of these elements mesh together forming a goal of listener engagement.

Is there anything you haven’t done in the industry that you would like to have done?
I wouldn’t have like to have done sales. I don’t have the talent for A&R, although I was always fascinated by that department. Publicity? Nah! I really feel I found my niche as a local promo rep and as my career progressed I never wanted to do national and get on a plane every two seconds covering the country. I’m very content that I did the right thing and didn’t miss out on something else I always wished for.

Are there any Programmers you would have liked to have work but never did get the opportunity to do so?
Based on respect factor and reputation alone, I would have loved to have worked programmers like John Ivey, Tom Poleman,Kevin Weatherly and Alex Tear. Basically many of the high profile programmers you have interviewed in the past in FMQB. I’ve always been intrigued by what they say and their approach to the business. They are legendary guys, very smart and talented people and there are several more major names, but those are the ones that come to me instantly. I’m sure it would have been great to work with those guys but that being said, I’ve worked with some great programmers and I’ve enjoyed the relationships over the years with so many of them.

What’s the best advice you could pass on to all current and future promotion reps to maintain success in the ever changing business of promotion?
Be a person of your word, work hard and follow through, follow through, follow through, and really be sincerely passionate about your music for all the right records. Make radio believe like you believe and most of your work will be done.

What are your TOP TEN best reasons to retire?
My age. The pursuit of peaceful sleep. Road trips during winter snowstorms. I want to actually work the programmer who’s doing his own adds. Mscore on new records. First batch of callout research with minimal spins on a record. Midnight shows in Scranton-Wilkes Barre. Five shows in five cities in five days. A dozen priorities that all have to get played in a single week. And my #1 reason…so I can stay up and watch Monday Night Football in its entirety without the fear of blowing my 5 a.m. wake-up call!

[eQB Content by Fred Deane]