-
10 Questions with ... Kelly 'K3' Doherty
October 31, 2016
Have an opinion? Add your comment below. Stop forgetting about (talent). With so many 'all-in-one' production services out there, we're forgetting to groom our own talent. We're giving them shells instead of teaching them how to produce them. Writing is sometimes being done by program directors. If your producer can't write, teach them or have them in the room when you're writing. Brainstorm with them. You might have a creative genius under your roof and not even know it!
-
BRIEF CAREER SYNOPSIS:
I grew up in Southern California listening to KIIS, KROQ, KGGI, etc. My dad worked for General Dynamics and was transferred to Tucson, AZ where I joined my parents the day after I graduated high school. As I drove though Tucson I saw ‘KRQ’ on the side of a building and thought, “They have a KROQ, here, too!”
I interned for KRQ and was finally hired to do overnights and commercial production for the Prism Radio Partners Tucson cluster, where I also fell in love with imaging.
From there I went to KDWB in Minneapolis as Imaging Director, which included middays at sister station KTCZ. Six years later I moved to Miami to image their six station cluster. John Ivey called two years later and I headed home to the ultimate Imaging dream job at KIIS in Los Angeles. I started working with Tom Poleman on national events and was named ‘Director of Creative Services’ for Clear Channel’s national programming team. After eight years at KIIS, I headed to NYC as Vice President of Imaging. I moved back to Los Angeles in 2014 to continue as VP closer to home. It’s the dream job of dream jobs!
1. When did you first realize that you wanted to specialize in production?
Doing overnights at KRQ. I’d prop open the door to the studio and production room and spend most of my time in the production room. (shhh!) I was obsessed with the equipment lights! I pressed every button and figured out every piece of equipment. As soon as I knew what buttons NOT to push- I messed with everything and fell in love with Imaging.
2. What advice would you give to programmers seeking to get the most out of their production/imaging talent?
We all have so many jobs to do in an extremely fast paced industry. Taking two seconds to give your producer an “atta boy/girl” goes a LONG way. Producers work on passion, creativity and inspiration. A simple out-of-the-blue “hey - imaging is sounding great on the station!” will make their day/week. I’ve had Program Directors reply to my promo with “fine.” It’s not their fault with so much going on, but it does kill the adrenaline just a bit. When you compliment or simply recognize the work your imaging talent is doing, you’ll find that you’re inspiring them to become better producers.
3. How many stations are you handling?
I oversee the national imaging of over 850 iHeartMedia stations with the help of our National Programming Group Imaging Team. Each producer on the team heads up a format in which they specialize. And they are the best in the world! Their comradery, creativity and willingness to step up in cases of emergencies are unparalleled. As far as VO, I’m heard on national Top 40 elements, and about 600 stations throughout the world. Most of those are Seacrest affiliates but I also have my own clients.
4. What’s the most unusual request you’ve ever received?
I was asked to have ‘less of an American accent’ for a voice audition outside the US. LOL! The request came from one of my favorite stations in the world. I tried. It was comical. And I hope the file was erased! LOL! But it was really fun!
5. What is your favorite part of the job?
I/we (my team) have the ability to make an impact on the entire imaging world. My guys are the hardest working producers on the planet. They’re not only heading up their own format/s for national, they also have local responsibilities which include more than one station and multiple program directors. Some also have air shifts, DJ gigs, APD duties, etc. National imaging is only a small part of their plate- but watching them also succeed locally by balancing everything is one of most humbling and proudest perks of my job.
6. What is the most challenging part of the job?
Being a liaison between the corporate and creative worlds. They are two different amazing animals trying to achieve the same goal. Taking a message from corporate to creative requires a different approach. And vice-versa. Sometimes it’s a translation process! But it all comes down to keeping everyone on the same track regardless of their point of view.
7. These days, imagers have full plates with multiple stations and responsibilities. What’s the best way to get everything done on time?
Ask.
Most creative types want to please everyone, which means they take on everything. Communicate with your boss/es. If they’re piling on too much, ask for help or ask them to prioritize what they need first. If you have multiple bosses, put them all on the same email and let them figure out what is priority.
8. Where do you find new production and voiceover talent?
Whenever possible, I send out a script to every producer in the company. One great big mass email with everyone bcc’d. Whether it’s for an actual VO job or just to see who’s out there. I am 110% convinced that there are up and coming voice and production talents throughout the company who just don’t know the next step. Sometimes they’re afraid to reach out or ‘don’t want to bother.’ So you’ve gotta give ‘em a line. This is how we found Steve Taylor, the deep VO you hear on KIIS, in Miami and on some national promos. I sent out an audition to find our ‘hidden diamonds’ and heard Steve’s demo. John Ivey signed him shortly after.
9. How can we do a better job of grooming up-and-coming talent?
Stop forgetting about them. With so many ‘all-in-one’ production services out there, we’re forgetting to groom our own talent. We’re giving them shells instead of teaching them how to produce them. Writing is sometimes being done by program directors. If your producer can’t write, teach them or have them in the room when you’re writing. Brainstorm with them. You might have a creative genius under your roof and not even know it!
10. What would you say is “the other side” of a creative producer?
The most important thing to a producer or VO talent is their ears. Not just to produce/voice great imaging, but to listen…to YOU. Communicate with us. Tell us the good and help us improve the bad. I’ve learned that imaging can be very personal to creative types. It’s definitely not “just business.” That’s not how our minds work. It takes passion to build a great promo. Passion is personal. (We’ll listen to a :30 promo on repeat for an hour!) We are our own worst critic. Nothing you say can be worse than what we already say to ourselves. But we’ll remember your words for a lot longer. Encouragement goes a long way!
BONUS: What was your last non-industry job?
1. Favorite Bible Verse....life verse?
I was a reporter and photographer for the city newspaper in high school. I learned so much about writing and basic editing rules: Never say ‘located at,’ Say either ‘PM’ or ‘night’ - never both, etc. My favorite mistake was abbreviating a Women’s Association headline: “Chino Hills Women’s Ass Benefit.” Luckily my editor caught it before it went to print. :-)
-
-