The Dan Le Batard Show has experienced a slew of changes over the past year, including yesterday where Billy Gil announced his departure effective today. The Miami-based program has seen co-host Jon “Stugotz” Weiner step down from his post to take on a much-reduced role while he builds his own programming. Producers Jessica Smetana and Lucy Rohden are no longer regulars on the program, as they’ve also taken on new responsibilities and ventures.
While the foundation at Meadowlark Media remains stable—thanks to the company’s new distribution deal with DraftKings. The pieces of the program continue to depart. On Wednesday, it was revealed that executive producer and co-host Billy Gil would be leaving the program for a management role at Spotify, as the platform begins its partnership with Netflix.
What stood out most was Le Batard’s salute to Gil as he opened the show on Thursday. The former ESPN Radio host and Miami Herald scribe has never been one to hide his emotions from his audience. That vulnerability is what made him who he is and reinforced the connection he has with those who consume his work. The appreciation Le Batard showed for a man who spent 15 years by his side—through every phase of the show’s history, from ESPN to Meadowlark—is something every talent-producer relationship should strive for if given the chance. It also serves as a wake-up call to broadcasters across the industry.
Sports media is a relationship business. Through every twist and turn, members of the sports media fraternity meet, greet, and network with one another, building community from within. In sports radio, however, talent and producers are often assigned. Chemistry isn’t guaranteed, and egos frequently clash.
I’ve worked with talent as a producer that I got along with. There have been instances where we never saw eye to eye.
A Producer’s Role
What’s rare—especially in sports media today—is the kind of bond between talent and producer that Le Batard had with his “shipping container” of producers and co-hosts. They’re family to him. You can tell from the playful jabs they exchange to the moments of raw emotion that bleed through the screen.
Gil was part of the team that guided the show from a local Miami radio program to an influential national presence on ESPN Radio, before evolving into a flagship example of how sports media can thrive independently through Meadowlark Media. He spread his wings as Stugotz broke off into his own venture, assisting his teammate along the way.
In most cases, when a talent breaks away from a show and a producer helps with the new venture instead of focusing solely on the main program, it can create tension. Many talents over the years might see that as disloyal. In truth, though, it’s the mark of a genuine team player.
When shows come to an end or talent move on, the goodbyes almost always begin with those “behind the glass.” The role of a producer is half content creator, half therapist. Talent are fragile people who put themselves in the spotlight for the public to take shots at daily. The producer is the ear that listens. A coach that motivates, and the pilot that guides the flight—all in one.
A Solid Producer Is Invaluable
It’s not an easy job, and very few producers last as long as Billy Gil did with one talent or program. The hours off-air—crafting ideas, booking guests, feeding lines, taking notes, conducting airchecks, and sitting through manager meetings and think tanks—are all in a day’s work for the producers of sports radio.
The position once carried prestige, but unfortunately, the way many broadcasting companies treat it today is disheartening. No talent succeeds without the steady hand of a solid producer.
It’s a marriage—arranged in most cases—but true to the concept. As the saying goes, behind every successful man is a strong spouse. For every successful sports talk talent, there’s an underpaid and underappreciated producer.
Le Batard’s words reminded me of my final days as a producer at 670 The Score. The hours, the sacrifice, the success—all worth it, because I still have the respect of my peers, former management, and friends from that time. Was I underpaid? You bet. But the work was the cost, and the end result was priceless with every show we built.
Le Batard said of Gil’s departure:
“This thing is an unholy beast to produce every day. The sloppiness of a feature, not a bug. The hosts more bulls than butterflies. Billy’s gentle grace behind the scenes and creative color in the scenes are not things that can ever be replicated—ever. Never mind replaced. All of this will be harder without him. Obviously, our soul won’t be the same. I’m not even going to try and pretend it will be.”
He waxed poetic about the journey—the highs and lows—and yet, through it all, Gil stuck it out and remained as positive as ever. He more than filled the role of half content, half therapist. Le Batard wept over his departure.
Every new beginning comes from some other beginning’s end. There are lessons in the journey and teachings in the scene. What Le Batard’s words showed is that broadcasters should begin re-educating themselves on the importance of the producer’s role. Because without strong producing, what—if anything—is the content worth?
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John Mamola is Barrett Media’s sports editor and daily sports columnist. He brings over two decades of experience (Chicago, Tampa/St Petersburg) in the broadcast industry with expertise in brand management, sales, promotions, producing, imaging, hosting, talent coaching, talent development, web development, social media strategy and design, video production, creative writing, partnership building, communication/networking with a long track record of growth and success. He is a five-time recognized top 20 program director in a major market via Barrett Medi’s Top 20 series and has been honored internally multiple times as station/brand of the year (Tampa, FL) and employee of the month (Tampa, FL) by iHeartMedia. Connect with John by email at John@BarrettMedia.com.
