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WRNN 99.5 PD/Host Dave Priest Exits As Dick Broadcasting Cuts 8% of Staff

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WRNN 99.5 Program Director and morning show host Dave Priest has departed the Myrtle Beach news/talk station amid larger cuts at Dick Broadcasting.

Priest hosted mornings alongside Joe Cattenacci for The Hot Talk Morning Show in the South Carolina city. Originally a rock radio DJ in the market, Dave Priest shifted to news/talk at WRNN in 1997 and interviewed candidates like Barack Obama and Donald Trump during his tenure with the station.

“I know I had a lot of ideas, a lot of thoughts, and a lot of beliefs that run contrary to the average South Carolina man or the average person here on the Grand Strand,” Priest told The Post and Courier. “But even though I wasn’t a red hat-wearing kind of person, I still had a lot of people that were in my corner and supported me and what I had to say.”

Priest had been in the market for more than 35 years. He added that listeners have been vocal in their support of him and their opposition to his removal.

“It kind of makes you feel like what you’ve been doing all these years matters, that people actually like what you had to say,” he said. “So, it’s good to get that feedback and support.”

According to the newspaper, Dick Broadcasting cut 8% of its total full-time staffers across its markets. Joe Cattenacci remains in the morning daypart for the station.

KOSF Is Now Classic Hits 103.7

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iHeartMedia has rebranded Classic Hits KOSF/San Francisco to Classic Hits 103.7.

Previously known as Classic Hits 103.7 80s Plus, the shift is designed to broaden the stations from an 80s core.

The new position is The Bay’s Greatest Hits Of The 70s, 80s & 90s

Ricci Filiar, KOSF PD, said, “Classic Hits really reflects what the station is all about. The music is timeless and the soundtrack of so many people’s lives.”

Don Parker, SVP of iHeartMedia San Francisco, added, “KOSF has broadened in era depth over the years, and Classic Hits truly defines our music recipe. We’re confident ‘Classic Hits 103.7’ will resonate with an even wider audience throughout the Bay Area and position the station for future growth.

The on-air lineup remains unchanged: Christie James in the mornings, Martha Quinn middays, Ron ‘Big Rig’ Michaels afternoons, and Clarence Barnes at night.

Ron ‘Crash Kissell,’ Dave Priest, and Scott Mann among Dick Broadcasting layoffs

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Dick Broadcasting layoffs have impacted stations in Greensboro, NC, and Myrtle Beach, SC. New Bern, NC, and Savannah, GA.

Ron “Crash” Kissell has exited as PD of Alternative WKZL. Kissell joined WKZL in 2008.

Scott Mann, who joined the station in 2002, will depart as PD/PM Driver at WYAV (Wave 104.1)/Myrtle Beach.

Tony “Intern Squidward” leaves the “Jared & Katie” morning show on Top 40s WKZL/Greensboro, WMYB (Energy 92.1)/Myrtle Beach and WGCO (Hot 98.3)/Savannah.

Overall, the cuts included off-air staff and four on-air in Myrtle Beach.

Barrett Media previously reported on the exit of “Weather Dave” Aiken’s exit from WKRR (Rock 92)/Greensboro, NC.

Joe Tessitore to Work With Corey Graves on WWE RAW

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As WWE was getting set for their SummerSlam show this weekend, they welcomed in a new talent to their broadcast team. Back on July 9 it was announced ESPN’s Joe Tessitore would be moonlighting with WWE and we now know when that will begin, and which show he will be working on.

Tessitore made an appearance on the Countdown to SummerSlam show, introduced by Michael Cole. The two talked about Tessitore’s fandom and love of professional wrestling. Tessitore said he was “blessed and honored to be a part of this.” 

Cole said, “But listen, I want to make an announcement tonight. Joe is actually going to start on Monday Night RAW. Monday September 2nd, Denver Colorado will be Joe’s first show. I’ll be shifting over to Friday Night SmackDown on USA, it’s gonna be exciting.”

With Pat McAfee headed back to College GameDay, the WWE announcing pairings for the fall will feature Tessitore working with Corey Graves. This means Cole will work with Wade Barrett on SmackDown when it goes back to USA starting September 13.

“We’re excited for Joe to join legendary WWE broadcaster Michael Cole and our esteemed announce team, bringing his signature energy and meticulous preparation to our WWE telecasts each week,” said WWE Chief Content Officer Paul ‘Triple H’ Levesque when the move was announced in July.

Chris Berry, Michael Spacciapolli, Martha Maurer & Steven Portnoy Join the BNM Summit Lineup

The full schedule for the 2024 BNM Summit gets released next week, so it’s getting real now. Final speaker arrangements are being resolved this week to make sure we deliver a homerun next month. Thirty days stand between now and September 4th so if you’re not set with your plans to attend the conference, don’t waste time and risk missing out. Tickets are on-sale all this week for just $224.99. Discounted hotel rooms are available today only. Normal rates apply starting Tuesday. For tickets and rooms, visit BNMSummit.com.

Our 2024 show is bringing a lot of firepower to the Jack Morton Auditorium at George Washington University. Programmers, market managers, talent, business analysts, researchers, and others will be in the room. It truly is the place to be at if you work in the news media industry.

I’m thrilled today to add four more accomplished professionals to our lineup. Thirty nine talented people are now part of our show. I promised more than forty, so keep an eye out this week for additional announcements.

Returning to the Summit for her second appearance is KTAR 92.3 program director Martha Maurer. I’m glad to have Martha back in the building. Our three other individuals are all making first time appearances at the show, starting with iHeartMedia’s EVP of News/Talk and Sports programming Chris Berry. I’ve known Chris for years, and am excited to have him making the trip.

Also joining us are ABC Audio National Correspondent Steven Portnoy, and my friend Michael Spacciapoli, Audacy Pittsburgh’s market manager, which operates the legendary KDKA. Having Steven and Mike on board further strengthens our already stellar lineup.

Take advantage of this week’s sale on tickets if you plan to join us. Also, we are running a special FREE tickets contest for college students in the DMV area. Submissions will be received until August 23rd. We’ll announce student winners the week of August 26-30. Hope to see you in the nation’s capital.

Danny Parkins Would Be a Great Hire For Fox Sports 1, and Another Reminder of Sports Radio Losing Its Best Talent

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Skip Bayless signed off of Undisputed on Friday, ending an 8-year run at the network. Whether you love him or hate him, you can’t deny that Skip generated awareness and interest. It’s hard to picture another network spending millions on another debate show fronted by Bayless, especially at 72 years old, but that doesn’t mean Bayless won’t resurface somewhere. X did just strike a deal with Jim Rome. It just won’t likely be First Take. Stephen A. Smith has already said he’s moved on.

The part of the story that I’m more fascinated by is the report that followed after Skip exited. Michael McCarthy reported Friday that Fox Sports 1 is interested in hiring 670 The Score afternoon host Danny Parkins. I asked a few sources this weekend and it’s legit. A seven figure deal has reportedly been offered to Parkins. My immediate reaction was I couldn’t be happier for Danny. He’s super talented, a great guy, and ready for the national stage. I’ve been a fan since he worked with Carrington Harrison in Kansas City, and did an overnight audition at The Score under a fake name.

My second thought was to give credit to Eric Shanks and Charlie Dixon for being bold. They read the room. Skip did a lot for FS1 but Undisputed lost steam when Shannon Sharpe left. The rebuilt version of the show couldn’t compete with First Take. It also cost a ton. At some point, FS1 had to look to the future. They’ve made strong hires over the years with Colin Cowherd, Nick Wright, Joy Taylor, Craig Carton, Emmanuel Acho, and others. Parkins would be another strong addition to their roster, and most of their hosts are just entering their prime.

I’ve expected FS1 and Parkins to unite at some point for a few reasons. First, one of Danny’s best friends, Nick Wright, works there and is a key part of the network’s future. Second, when Parkins, Wright, and Andrew Filliponi appeared together at the BSM Summit, Parkins and Poni both joined Wright in studio on FS1. That gave FS1 bosses a chance to see them in action. Third, Danny has long had an advocate in Colin Cowherd. When he filled in for Colin in July, I didn’t think it was just a friend helping out a friend. These things are often done to ‘take a closer look’.

Just as important though, Danny has shown he’s at the top of his game at The Score. Ratings are often high for his program with Matt Spiegel. He had an opportunity a few years ago to do a podcast for The Volume. He wanted to do it. Colin wanted to bring him on board. Local management was OK with it. Audacy though was not. They nixed it.

That was their right per the contract, and Parkins moved forward like a pro, but stars don’t forget those things. It’s one of radio’s biggest mistakes, thinking they’re going to control top talent. You work with your best assets, not against them. ESPN has worked with Stephen A. Smith, Pat McAfee, and Kirk Herbstreit, allowing all three flexibility to pursue additional projects. In return, they’ve remained loyal and committed to the network. Radio needs to do the same. TV and digital can pay more, and if radio tries to handcuff its top stars, they’ll eventually lose them. Talent want flexibility, and the opportunity to grow their brand, exposure, and earnings.

I asked Bomani Jones, Paul Finebaum, Peter Rosenberg, and Brandon Tierney at the 2020 BSM Summit if they thought radio would invest top dollars to retain its best talent. No one could confidently say yes. Here we are nearly 5 years later and the same issue arises, radio potentially losing one of it’s best voices. Craig Carton, Nick Wright, and Joy Taylor all worked in local sports radio before moving to sports television. Finebaum, and Joe Fortenbaugh did too. At some point, radio has to step up, especially Audacy, which owns many of the top local sports stations. Guys like Mike Valenti, Mike Felger, Brandon Tierney, Peter Rosenberg, and Andrew Filliponi will be next if they’re not valued properly.

If you saw the movie ‘Moneyball’ there’s a scene where the Oakland A’s scouts are in a room talking about replacing a number of key players. The message is crafted for baseball but it should have been for radio. Waiting until TV and digital get involved to tackle these issues is what leads to losing key people. It has to start prior to that.

The big question now is whether Nick Wright and Danny Parkins, the full cast of First Things First, Emmanuel Acho and Joy Taylor, or a different combination goes between Carton and Cowherd on FS1. Would FOX break up FTF when Wright, Broussard and Wildes are clicking? Nick and Danny are great friends with strong chemistry, but they’re also capable of leading shows. Do they extend Carton to 10am, and go 10a-12p until Cowherd? The network has options.

Michael McCarthy felt it’d be a mistake to put Wright opposite First Take since nobody has beaten Stephen A. Smith in over a decade. That makes sense. Why waste your best talent where the odds of winning are less? Competitors though usually want to do what most think is impossible. FS1 can’t just waive a white flag because Stephen A. is on the competitor’s airwaves. They’ve got to deliver a strong show too and compete.

However it unfolds, FS1 instantly becomes more interesting with Parkins on board. That’d be good for sports television. I wish I could say the same for Chicago sports radio, but if Parkins exits, replacing him won’t be easy. I wish Mitch Rosen and Ryan Porth the best navigating that situation. If anyone can solve the problem, it’s Rosen. For his sake, I just hope Audacy gives him the tools to invest in the next guy.

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2 Seconds to Vent and Apologize

If you visited BarrettMedia.com last Thursday, my apologies. Unfortunately, we were a technical mess. I don’t need to bore you with details about web hosting companies because all that matters when you come here is being able to read the content. If we can’t provide it for you, you’re going to exit. Just know, I’m aware of the issues, and we’re working on solutions to improve the experience.

BNM Summit Update

News. Notes, and Reactions

  • Charese Fruge has joined Barrett Media as a Rock/Alternative features writer. She has an extensive background in programming, worked as an editor for All Access, and will post her first piece with us this Friday August 9th.
  • Congrats to Omar Raja at ESPN on his new multiyear deal with the company. Omar’s social work with the network has been stellar.
  • Mike Missanelli also deserves a welcome back. He’s taking over middays at 97.5 The Fanatic in Philadelphia.
  • It’s great to see Paul Finebaum and ESPN find a way to continue their relationship. Paul has said before he’s not sure how much longer he’ll do this. He’s still got his fastball and is an asset to the network, even if Lane Kiffin disagrees 🙂
  • My thanks to Oliver Darcy of CNN for sharing Derek Futterman’s interview with CNBC’s Alex Sherman to his Reliable Sources readers. It’s always appreciated when professionals I enjoy reading take note of the quality work done by our team. Thank you!
  • Radio One made a great choice elevating Jeff Rickard to Sports Format Captain. Jeff didn’t get a fair shake at WEEI, but bounced back in Charlotte, leading WFNZ to #1. I’m sure he’ll make The Fan in Indianapolis better as well. His arrival also makes David Wood‘s life a lot easier.
  • The Mightier 1090 shut down, and the station’s exit created some chatter but I never bought into the brand. It was a far cry from what Jay Meyers, Mike Glickenhaus, and the former on-air team created in San Diego.
  • 1010XL prides itself on staying a step ahead. Its latest initiative is creating video testimonials to showcase the brand’s ability to deliver results for partners. It’s had a positive effect in the local market. It might be an idea worth stealing in other cities.
  • A five year run at Magellan AI is strong. John Goforth‘s time there may be ending, but I’m sure something big is on the horizon. Can’t wait to hear what’s next.
  • 2 billion impressions is an outstanding number. That’s what Point to Point Marketing have produced for clients over the past decade. Heck of an accomplishment. Cheers to the next 10 guys!
  • Papa Roach is a band I’ve loved for two decades. Their single ‘Leave a Light On‘ recently added Carrie Underwood‘s incredible vocals to the song. The duet was done to raise awareness for suicide prevention and mental health awareness. Take a listen when time allows.

Coming Soon

Music readers have a new series to look forward to. Behind the Voices debuts next week (8/12-8/16), and will provide insight into the careers and daily processes of some of the industry’s top voice talent. Jeff Lynn will be your guide for the series. Stay tuned!

One More Thing

WWE Summerslam was off the charts, a tip of the cap to KDKA in Pittsburgh, which celebrates its 103 year anniversary since first airing Pittsburgh Pirates baseball on the radio station, and if you didn’t know by now, SiriusXM Octane is a damn good radio station.

Until next week!

Does Radio Need Weather and Traffic Reports Anymore?

A hurricane is heading towards Florida’s Gulf Coast and southeastern U.S. again, and it’s time for radio to do what radio does in emergencies like this, which is broadcasting information to all the hand-cranked radios in areas without power. That’s unquestionably valuable, even if it’s also what the radio industry tends to tout as the reason the medium must be protected at any cost. It’ll also be a time when several stations in the path of the storm ignore it and stick with music or syndicated programming, and others just simulcasting the audio from a local TV station, but let’s not trouble ourselves with that issue for now. The radio industry used emergency information as its justification for the ill-fated campaign to require functioning FM tuner chips in all cell phones, and it comes up again and again at conventions and other events as radio’s crowning achievement.

It is. At least, it’s been an important part of emergency responses to hurricanes and tornadoes and wildfires. Minot notwithstanding, as long as there’s a station in town with a news department or a staff that can immediately get information on the air, radio is still an indispensable resource, even in a time when weather warnings show up on your phone. Radio works when the cell phone infrastructure fails, and we can recall the Superstorm Sandy debacle for an example of that. There’s still a need for radio when the wind and rain slam into your home.

But does radio still need all of the service elements it’s traditionally provided, when phone apps that do the same thing are ubiquitous? Traffic reports on the radio pale against Waze, though I will admit that radio traffic reports never tell you to turn left at an intersection where the cross street is six lanes of packed traffic, and a left turn is either impossible or intensely dangerous.

Weather? I have at least a dozen weather-related apps on my phone, several of which send out every statement, watch, and warning for our area and even for some other areas (nothing like getting a tornado warning, only to find out that it’s for an area a two-hour drive away).

Sports? There are other stations for that, and websites, and social media accounts; you can easily follow a game through the search function of X/Twitter alone. Right now, in hurricane season, I don’t feel the need to turn to radio to find out what’s going on. If and when a storm bears down on us, however, the radio goes on; the last direct-hit hurricane I had to ride out (Katrina, when it was a Category 1 drenching Fort Lauderdale), radio coverage, spotty though it was, turned out to be invaluable.

So, there’s that. And there’s the value of having the image of being the reliable source of information when the listeners need it most. There’s nothing in the rule book preventing radio stations from having their own branded news, weather, sports, or traffic apps, either. That’s what TV stations do; a couple of TV stations in South Florida have dedicated weather apps with video reports, something the local news-talk stations COULD do but don’t, so when I need weather information as tropical storms bear down on us, I don’t think of the radio stations, I think of the TV stations whose logos adorn the weather apps. TV stations compete for the weather crown, while radio…. I don’t think I’ve seen a single ad or billboard for any of the spoken word radio stations down here for years.

As for on the air, I don’t know what the minute-by-minute PPM numbers show for “traffic and weather together” or “traffic on the twos” or any other service segment, but a) beware relying on data from a tiny sample, and b) really, could a quick weather report hurt THAT much? Absent proof that a weather report will immediately send listeners to the Scan button, it’s something people at worst don’t mind, and, yeah, you can sell a sponsor tag. Even if the information isn’t entirely necessary to be delivered by radio anymore, having it isn’t likely to hurt you, as long as the station’s forward momentum isn’t affected. Just keep it short.

And with that, I’m going to go back to watching the storm coverage. This one is apparently not going to affect our corner of Florida (other than some thunderstorms) as it potentially wallops points west and north, but we watch every storm’s progress, because you really never know which way those things are gonna turn. And we know that our turn will come soon enough.

Is There A Lesson For Radio From CBS News

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When CBS announced Norah O’Donnell would step down from the anchor duties of CBS Evening News after the November elections, most media analysts and skeptics thought, “More cost-cutting,” or, “Here comes the seventh anchor change since Dan Rather’s departure in 2005.” 

Both are good guesses as the parent company Paramount Global, moving toward an expected merger with Skydance Media, is rumored to be considering budget cuts. Plus, the continual third-place ranking behind ABC and NBC in the network news category makes these decisions seem like another chapter in the highly compensated news anchor saga.

“I’m glad she got to write the narrative and continue in a special assignment role. I’m sure her exit deal is sweet,” was my internal response. This story and dozens of others vaporized from the media news cycle portion of my brain within 24 hours. I needed to make room for more radio downsizing and record label rightsizing stories.

Within 48 hours, the story repositioned itself in my curiosity tab when CBS announced O’Donnell’s replacement. The Tiffany Network will program an ensemble cast from New York led by CBS News veterans John Dickerson and Maurice DuBois, with a prominent role from Washington, D.C., by Face the Nation anchor Margaret Brennan. The executive producer of 60 Minutes, Bill Owens, will add supervisor duties to the new Evening News format with the challenge from his boss to tap into the “DNA of ’60 Minutes.”

The continuing fragmentation of audio media creates opportunities like the evolution of streaming and podcasting. However, the same opportunistic fractures create what most radio management has faced in the last few decades: dissolution and downsizing.

Local stations knew the format and talent change ritual long before debt-burdened radio companies started the annual downsizing and rightsizing dance. It resulted from the strategy not working, the talent not connecting, or the station missing double-digit revenue growth in consecutive years. Yeah, double-digit. It used to be a thing. Upheaval and renewal continue in today’s fragmented audio media landscape, but CBS Evening News’ upcoming ensemble cast approach made me remember when talent replacement or fill-in duties happened within the current staff.

How many jocks/presenters/hosts had “guest host” responsibilities for the morning show? There was a depth-chart of talent to cover sick and vacation leave. It gave the other dayparts a chance to experience a different routine and a new audience. Plus, it gave the audience a different experience with the brand. Maybe they would start listening to the Midday jock because they heard him/her on the morning show this week. Or, because of that listening experience, they would enjoy the morning show more when the host or team returned.

If this sounds like another era, it was. Technological inventions through the decades have presented the opportunity to keep everyone in place through voice tracking and digital recording. Morning Shows started airing best-of or “evergreen” material during time off. Programmers didn’t have to pull out their baseball manager depth charts to move people around during vacations and sick days. Plus, the audience had their favorite familiar show every day of the year, even when the humans weren’t in the studio.

As technology improved, rightsizing created split-shift opportunities where the Midday host could voice track 10P-2A or the whole overnight shift. Weekend listeners started hearing their favorite weekday hosts more often because the technology improvement allowed those jocks to pre-record a weekend shift before leaving the studio Friday. Prime talent on Saturdays and Sundays, and savings for the front office by reducing the part-time or contracted talent base.

When we reached the COVID years, radio hardware manufacturers jumped in with equipment to create radio studios in people’s closets or kitchen tables. Many stations, especially music formats, took advantage of the pandemic shutdown and had talent do their shows remotely. It was one more example of removing a human from the studio.

CBS, ABC, NBC, and all the other network nightly news outlets can’t repeat their content like music radio stations. The nightly news is an in-the-moment presentation. Radio is used differently. A DJ talking over the intro of a Blake Shelton song can be generic and reused multiple times in the voice track era.

It’s a “which came first” question. Did radio music formats ignore the in-the-moment feeling because the smartphone outperformed radio in the immediacy category? Or did radio start losing this perception because the industry took advantage of the expenditure benefits provided by technology? That’s another topic for another post.

CBS’s latest Evening News strategy is a thought-starter for radio stations with humans in the studio. Suppose your morning show decided to walk after your renewal offer embarrassed them. Would you have someone on staff who could step in, or would you go on the marketplace of voice trackers and syndicated talent to replace that show with a financially cheaper option? 

The post-Norah O’Donnell ensemble cast of hosts will focus more on reporters and in-depth stories. We’ll find out soon if it’s a watermark moment for news programming. However, I’m intrigued by the strategy. What opportunities does it offer music-formatted radio stations to think differently about presentation options for the audience? Our industry adapts quickly, but we follow the others rapidly, too.

Who is thinking about rotating talent schedules on a music-intensive format so the audience gets a fresher approach daily? “Well,” we’re saying, “You can’t ask talent to rotate their schedules every three or four weeks,” True, but the voice-tracking world allows us to create whatever we want whenever we want it. You may find your next morning or afternoon show by shuffling the lineup.

But maybe you find a different way to entertain your audience because you’re taking risks and not doing it like every other station. Audience benefit: Isn’t that what we should think about every day?

Nielsen Should Change or Remove Its Exempt Stations Policy

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When considering what to discuss in this column, I’m inclined to occasionally pontificate. You may not agree with my thoughts and that’s fine, but sometimes, we should consider issues that aren’t often discussed. There are “hidden corners” of the audience measurement world, and Nielsen, that most people don’t know (and perhaps don’t care), but I find them interesting.

Last June, I wrote a column taking Nielsen corporate to task for some of their pronouncements on LinkedIn (and perhaps elsewhere) with respect to whether certain identity groups were properly represented in media. My purpose wasn’t to take a stand for or against the viewpoint, but rather to point out that Nielsen is the impartial arbiter of audience size and composition and the “inclusion role” should belong to others. I don’t know if anyone at Nielsen cares about my views, but recent Nielsen pieces in LinkedIn focus on the company’s areas of expertise (who’s watching, streaming use, etc.).

Within Nielsen Audio, there is a policy with a similar bend that bothers me and seems unfair. Back in the “old days” (sorry, but we must start somewhere), Arbitron used to list all commercial radio stations that made MRS (Minimum Reporting Standards) regardless of their subscriber status. Non-commercial stations were not reported “in the book” but could be found in Maximi$er (remember that software?) and third-party software packages. 

When PPM debuted, non-commercial stations were added to “the book” and this extended to the diary service as well over time. All well and good.

Like any company, Arbitron/Nielsen was always looking for more revenue and there was a reasonable perception that non-subscribing stations were getting a “free ride”. Their estimates appeared everywhere, agencies could easily buy them, but you could take the position that their success was being subsidized by subscribing companies. Of course, if any of the non-subscribing stations tried to use the data and were caught, the penalties for “piracy” (copyright infringement in this case) were and continue to be severe.

In late 2020, Nielsen Audio announced that effective with the January 2021 reports, stations owned by Black, Hispanic, female-owned, etc. and non-profit stations would be listed if they have at least one mention (PPM or diary). Here’s the actual policy taken from the Spring 2024 Nielsen Audio Description of Methodology:

‘Exempt’ Stations

An AM or FM radio station that is a minority-owned small business may request ‘exempt’ station status. Exempt stations are also eligible to be reported in the Summary Data set. To qualify for an exemption, the broadcaster must:

• Attest to African-American, Asian-American, Hispanic, or Native-American on the station’s FCC biennial ownership report (i.e., FCC Form 323); and

• On that same form, attest that the station’s minority owner has a voting / equity stake of at least 50.1%; and

• The total gross revenue for all stations owned by the broadcaster making the request is no more than 10 million USD from all sources (according to BIA for the most recent available reporting year).

An AM or FM radio station that is a female-owned small business may request ‘exempt’ station status. Exempt stations are also eligible to be reported in the Summary Data set. To qualify for an exemption:

• The total gross revenue for all stations owned by the broadcaster making the request is no more than 10 million USD from all sources (according to BIA for the most recent available reporting year).

• Attest to 51% Female ownership on the station’s FCC biennial ownership report (i.e., FCC Form 323), and

• Be at least 51% controlled by women and have women manage day-to-day operations who also make long-term decisions.

o Broadcasters may satisfy the third eligibility criteria by either: (i) obtaining certification (free) as a WOSB under the SBA program; or (ii) submitting a written statement to Nielsen certifying that such station is “at least 51% controlled by women with women managing the day-to-day operations who also make long-term decisions” signed by the broadcaster’s Chief Legal Officer or Chief Financial Officer. If the latter option is chosen, Nielsen may publish such station’s ratings with a notation that such station has self-certified that it meets the WOSB’ requirements that women control and manage such station.

o Nielsen reserves the right to deny or revoke a reporting exemption in any instance where the broadcaster has violated our rating distortion guidelines, falsely represented itself in self-certification, or has otherwise not acted in good faith in matters relating to this policy.

Non-profit 501(c)(3) tax exempt radio stations are also eligible to be classified as exempt.

The reporting policy exemption is not available to any station with a foreign ownership stake greater than 49.0% as declared on FCC Form 323. In this context, ‘Foreign’ indicates a person that is not a US Citizen, Permanent Resident, or DACA recipient. The final decision on whether to grant a particular broadcaster a reporting exemption lies solely with Nielsen.

A reporting policy exemption is void should the broadcaster sell, transfer, or otherwise divest the station or if the status of the station’s ownership or Nielsen policy changes so that the station no longer qualifies for the exemption.

Did you fully comprehend that policy? Did it make any sense to you? Further, does it feel “right?”

Unlike the policy, my take is simple. Why discriminate by identity groups? Radio in 2024, especially for small operators whatever their race, gender, ethnicity, or other background, is a tough business. The big companies pay for and can (more or less) afford Nielsen’s charges. Nielsen should devise a simple formula that says small owners or those with just a few stations that have revenue below a specific threshold will be included in the summary data set, assuming they have any listening occasions. Any large or medium sized broadcaster that wants to avoid paying for Nielsen services will still face exclusion but will do so by choice. 

The policy’s “exempt status” doesn’t mean that you get data access. Stations that meet the current policy threshold or my proposed revision still have the option to work out a deal with Nielsen for access if they see value in the data. Regardless, while the current policy doesn’t change how Nielsen measures the radio/audio audience, it has the patina of putting a “thumb on the scale” in terms of which ownerships Nielsen favors. As the neutral reporter, Nielsen should change or scrap this policy now.

Let’s meet again next week.

20 Brands In 20 Days: Reggie Rouse, V-103, Atlanta

To support the launch of the new Barrett Media, we’ve created a special series titled “20 Brands In 20 Days.” Highlighting successful stations across the country in various formats by conducting conversations with their brand leaders. Up next is Audacy’s Reggie Rouse. Reggie is the PD of Urban WVEE (V103), Atlanta. The station we are highlighting today.

Jeff Lynn: Can we start with you describing V103 in your words?

Reggie Rouse: V103 is the people’s station. That’s part of our slogan. I’m going to go old school, as my general manager, Rick Caffey, would say for a second.

Before the Internet, we were the Internet for the African American community. We were music. We were gospel for inspiration. We were the newspaper, and we still are that world. We’re actually a rarity at this point, a full-service urban FM like there was back in the day.

So, yes, we play hip-hop, R&B, and Throwbacks. Atlanta has a rich history with artists, everyone from OutKast to Usher, T.I., but the current music as well.

But the community is extremely important, and that’s where “The People’s Station” comes in. Part of our mission is to inspire and inform our audience, and we are very active in the community. That’s why we call ourselves “The People’s Station”

We have a sweet spot just like every other radio station. But the incredible thing about the history of V103, we’re able to get an 18-year-old, a 24-year-old, a 34-year-old, and a 44-year-old to listen to the same radio station. Not many stations can say that at this point.

JL: You have a big morning show, in name and in stature. Talk a little bit about that.

RR: “The Big Tigger Morning Show With Jazzy McBee,” Tigger’s a big brand. Years on BET as the host of “Rap City.” He worked at other radio stations before we brought him here to Atlanta. We worked together at WPGC in D.C. Tigger had started at night, and then he did the afternoons, so that’s where we met. When we had a morning show opening here in Atlanta, we brought Tigger down. He started in the afternoons, and then he’s been in the mornings since pre-COVID, so that’s at least four years already.

Another big name that I think a lot of people in Urban Radio know for V103 is Greg Street. Greg has been here probably 28 years.

Everyone in hip-hop knows the name Greg Street. It doesn’t matter if you’re on the East Coast, the West Coast, or the South. Everyone in hip-hop knows Greg Street, and Greg knows everybody.

He was big with OutKast and big with breaking a lot of acts here in Atlanta. His jingle says Greg Street is Atlanta history.

We have a really good staff.

You round it out with Jazzy McBee, who works in the mornings for Tigger. Danie B is new to the team. She started in December.

We have a gospel host named Larry Tinsley, who is a market veteran. We do early morning gospel from 5 to 6 am, and then Larry’s on the air on Sunday for six hours, 6 am to noon. His gospel shows, and his gospel ratings are amazing.

JL: What outreach do you do to support “The People’s Station.”

RR: We do everything. Our latest initiative is voting. We’re not going to tell people who to vote for, but voting in this election is critical.

It’s just not the presidential election. Local elections are important.

A few years ago, Atlanta held an election for Governor and a mayoral election. But local elections, whether for school board or secretary of state, are important.

A few years ago, when the Governor’s race was going on, all the urban stations came together again for “Black Radio United for the Vote.” All the urban stations in Atlanta were working together just to educate our audience on voting, run voter PSAs, and get information about rides to the polls. So, we’re all working together to share that information, and it worked successfully before in helping increase the turnout.

 We’re in back-to-school season.

So, we’ve been doing a lot of back-to-school events with PSAs for Atlanta Public Schools, Clayton County, and Fulton County, where we team up with the school systems. They’re giving away backpacks, even food or medical attention, or medical help for people who need it or families that need it.

High school football is big here.

We are heavily involved with the Atlanta Falcons, Atlanta United, and Atlanta Hawks, and we just started a relationship with the Atlanta Dream.

JL: How do you tie social media into all this, and which platforms are most relevant to you?

RR: I think multiple platforms are relevant because we have such a broad demographic reach a broad demographic. You have to be active on TikTok, IG, and Facebook. Facebook is probably more appealing to our older demographic, and TikTok is also more appealing to our younger demographic.

IG is probably somewhere in the middle. Our midday jock, Danie B, is also our digital coordinator, and she gets us going. Our morning show producers, our afternoon producers, everyone posts every single day.

I ask all our team to do a show rundown every day just to give us an idea of what you’re planning for your show. But part of that show rundown is a digital rundown. What are you posting today on social media?

JL: Anything that I haven’t asked that you want me to know about you or the radio station?

RR: V103 is more about the station and the people. I would say that professionally and personally, I’m lucky and blessed to be in Atlanta. Atlanta is a city of opportunities.

The one thing that makes V103 successful is that we have a great team. We have veterans, and we have newer salespeople, but we have veterans like a person like Bob Jackson. Bob was here, I believe, before V103 was V103.

Bob is a Caucasian male, and everyone knows Bobby J. Bob can tell you more about V103 than maybe I can.

When you have people like Bobby J., Barbara Williams, who’s been here for a long time, Eric Freeman, and the leadership under our sales manager, Eric Baker, our sales team is on point, our digital team is on point, but really, I think the credit also goes to Rick Caffey, our market manager. Rick is a great market manager. My Rick Caffey story is, I was at PGC, which was the same company, and I was at a sister station, and going for the job at V103, Rick is like, do you want to come down? He was getting ready to get married, do you want to come down before my wedding or after my wedding? I’m like, well, I’ll wait till Rick gets married, because he might be in a good mood to give me a better shot at getting the job.

So, I waited, so we got married to his lovely wife Jackie, and eventually I got the job. As I was looking over some notes for this meeting or this interview, I pulled up an old bio, and I’m like, wow, I actually have been here in Atlanta since 2005, and when you think about it, but I’ve been with Audacy, previously it was Entercom, and before that it was CBS, since 1997, and I never really stop and think about those things, but when you have Rick Caffey, who’s been here way longer than me, Greg Street, who’s been here 28, 29 years, Larry Tinsley, same thing, Bobby J, that says a lot. Okay, we’re technically a mainstream station; sometimes we’re urban AC, sometimes we’re hip-hop, but we’re in the middle of, I think, there are nine urban FM’s in the market, and V103 still does well, and we’re still kicking ass, and doing what we have to do to win think we have a great cluster and a good variety of formats, so it’s a good place to be.

Listen to V103 here.  Find them on Facebook and Instagram. Connect with Reggie here.