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Boomer Esiason Exits Monday Night Football Radio Booth

Jason Barrett
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0

Boomer Esiason spent 14 years playing in the NFL, playing in four Pro-Bowls, winning an MVP  award, and leading the Cincinnati Bengals to the Super Bowl in 1989. Little did he know though, that his broadcasting career would extend further than his playing career.

Over the past two decades, Boomer has established himself not only as a gifted sports radio personality, but also as a television and radio football analyst. Esiason has been a mainstay on CBS and Westwood One, but when the 2018 NFL season begins, it’ll be the first time in 18 years he’s not behind a microphone serving as analyst for Westwood One’s Monday Night Football broadcasts.

Boomer has decided to step aside. His tenure with the network included working alongside three superior play by play announcers, Kevin Harlan, Marv Albert and Howard David. Esiason was part of the past 18 Super Bowl broadcasts on Westwood One, and also worked a 19th Super Bowl broadcast for ABC. That’s a feat no other broadcaster has accomplished in NFL history.

“It has been an honor to be a member of the Westwood One NFL broadcast team for the last 18 years,” said Esiason. “I am proud to have delivered the calls for some of the most iconic Monday Night and Super Bowl moments in the history of the NFL. With my continuing busy schedule during the NFL season, including my daily NYC-based morning drive radio show, ‘The NFL Today’ and ‘Inside the NFL’, I thought the timing was right for me to step away. I would like to thank my broadcast partners in the booth who have made the job enjoyable and fulfilling.  Also, I would like to thank Westwood One’s senior management and sales force, who, over the years, were instrumental in providing on-air support for the Boomer Esiason Foundation.”

Esiason will continue to serve as the lead studio analyst for CBS television’s pregame, halftime and post-game program, “The NFL Today,” and co-host WFAN’s popular weekday morning show, “The Morning Show with Boomer and Gio”. Boomer also will remain a member of Showtime’s “Inside the NFL” team.

“Boomer has been the constant for a generation of Monday Night Football listeners, and we can’t thank him enough for his nearly two decades of service to Westwood One,” said Howard Deneroff, EVP/Executive Producer, Westwood One Sports. “He has been the ultimate professional, a terrific broadcaster, and a great teammate to all of us who have had the good fortune of working with him.”

Stealing a Page from Weezer’s Social Media Playbook

Jason Barrett
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0

At times, social media can make you feel like you’re swimming in a sewer. But when the space is used properly, it can make an incredible impact for a brand and its followers.

Some of you may be familiar with Mary Klym, but I’m guessing most of you aren’t. Mary is a teenage girl from Ohio who like most kids loves music and social media. Her favorite band is Weezer. Her favorite song is “Africa” by the 1980’s band Toto.

In late 2017, Mary took to Twitter to ask Weezer to consider covering her favorite song. She created a twitter account, @WeezerAfrica, and started using the hashtag #WeezerCoverAfrica. Each day she’d tweet promoting the idea, thinking there’s no way the band would ever respond.

Her persistence eventually caught the attention of Weezer frontman and guitarist Rivers Cuomo, who played along, liking a number of her tweets and responses from other fans. But there’s a big difference between being nice on social media and actually recording a song and releasing it.

Media outlets then became aware of Mary’s social media push, further highlighting it. When VICE published a story about the teenager’s determination to have the band cover her favorite song, it reached Toto keyboardist David Paich. He then took to Facebook, and posted the article, tagging Cuomo in his post.

Then in the ultimate troll move, Weezer released a Toto cover on May 24th except it wasn’t “Africa” but the band’s other big hit “Rosanna.”

The song showed that Weezer had received Mary’s message but wanted to have some fun and create a little more noise. Articles were written about the band’s response, music stations aired the Rosanna cover, and fans flocked to social media upset that the group hadn’t recorded “Africa”.

Finally, five days later, social media exploded when Weezer rewarded Mary’s efforts by posting the link to their new cover song “Africa.” The video on YouTube, has since amassed over 6 million views, and contains one image, Mary’s original tweet.

Media outlets once again jumped all over the story. Fans invaded Twitter praising the group for covering the song, earning likes and retweets from Weezer in the process. Toto also shared the news and song with their fans too.

As Mary enjoyed her fifteen minutes of fame, Weezer were right there every step of the way. They shared her story thru their social media accounts to let fans and new followers know that they can make an impact by connecting with their favorite artists.

Because of Weezer’s willingness to acknowledge and reward the efforts of a passionate fan who just wanted to hear them cover the classic Toto hit, they’ve reaped the ultimate benefit. Their rendition of “Africa” shot up to #1 in US sales on iTunes, #8 on Billboard’s Hot Rock chart, and #8 on YouTube’s US Trending chart. It was the band’s biggest hit sing 2009.

As I brushed up on my knowledge of this campaign it reminded me of how valuable and powerful social media can be for sports radio brands and their personalities. Whether it’s something as simple as following back a fan, rewarding a listener with a prize for sending in a good tweet or making a call, or connecting them to a once in a lifetime experience, social media helps you build lasting relationships with your audience.

I’ve suggested before to program directors to takeover their brand’s twitter accounts once per quarter to do a public Q&A with fans. You’ll learn what your audience likes/dislikes, it becomes on-air and online content for your hosts, but most importantly, it tells your listeners you’re accessible and open to feedback. Fans want to feel empowered and like they have an influence in the radio station. This gives them a little bit of access and it requires minimal effort.

If you’re a talent, how about putting the power of one segment of content in the listener’s hands? MTV used to allow fans to vote up one of two videos and whichever received better response became the next song played. I piggybacked off that idea in San Francisco with a featured called “The Switch” where John Lund and Greg Papa gave listeners a choice of three things they could hear discussed at 1pm each day. Whichever option received the most votes, became the subject we talked about.

This is also something teams and musical acts can take further advantage of.

Imagine if a band was coming to your city and gave you a chance to vote on social media which song they started or closed the show with. Or maybe they put up a poll question with four choices asking which cover song you’d like to hear them play at the show that they’ve never performed live before? It’d make the audience feel they were receiving something special.

Teams can do it too. Wouldn’t you be more likely to get to the stadium or arena earlier if the team utilized social media to give a select number of fans who arrived early an opportunity to meet a player before the game? Or if they rewarded a fan with a chance to gain entry to the field for batting practice or taken to the broadcast booth and a pre-game tour of the locker room?

These may not be revolutionary concepts but they make fans feel closer to the brands they love. Most of these things are in your possession and part of your daily plan. Leveraging your access, and people, to put the power in the hands of the audience is smart business.

A few other ways I’ve seen social media utilized in smart ways include Matt Nahigian’s creation at his former spot 97.5 The Fanatic when his promotion “Celebrity Week” led to notable figures calling into The Fanatic on behalf of listeners who had sought them out on Twitter. Listeners would ask the celebrities to call into the station to try and help them win Eagles and Phillies season tickets. The list of names who dialed in was impressive.

Spike Eskin shared in a recent conversation with BSM’s Brandon Contes how WIP’s audience was given a chance to name Joe Giglio’s podcast. Once they were asked to get involved, listeners showcased their creativity by coming up with the incredible title “Me and Giglio Down by the Schoolyard.”

Among musicians, Taylor Swift has become one of the best at using social platforms to increase connections with her loyal fans. In the NFL, J.J Watt reminded us how powerful the social space can be when Hurricane Harvey impacted Houston. Thanks to Watt’s efforts over 37 million dollars was raised to affect those in need.

When Mike and Mike signed off at ESPN and ESPN Radio, the hashtag #MMSayThanks was used to give fans a chance to submit their comments and favorite memories of the show. Many of those audience submissions were personally addressed by the Mike’s and their production team thru video on Twitter.

The point of this is to remind you that in the eyes of the audience, your brand and its hosts are viewed the same way that Weezer are by their fans. People love what you do, and invest a large amount of time each day listening and responding to what you create. When you take the time to acknowledge them and treat them to special moments, they become fans for life.

Sometimes when you go above and beyond, as Weezer did covering Toto’s classic hit ‘Africa’, it’ll help you enjoy a surge in buzz, ratings, and revenue. Anytime you can hit the trifecta with one simple decision, that’s the ultimate payoff which every brand strives for.

A Cold Dose of Radio Reality: Sales Remix

Dave Greene
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0

This week, I’m going to attempt to be the first person, I think, to ever write a column-in-a-column (this has probably been done thousands of times).  Earlier in the day, Jason Barrett penned a column on the site called “The Cold Dose of Radio Reality” which is a good piece on the business side of radio, especially for younger people in the business to read.  To make it a little more related to sales, I thought I would go through and make some notes on Jason’s column:

It’s hard sometimes not to become jaded if you work in the radio business. The more time you spend time in it, the more you discover that it’s not just about watching and talking about sports. The newspapers and industry trades at times paint a gloomy picture of what’s happening, leaving you to wonder about the stability of your career. Then as you improve at your craft and command more respect and warrant higher compensation, you learn why the word ‘business’ is included in your industry’s profile description.

Radio is, most definitely, a business.  For the larger companies it is BIG business and there are BIG expectations.  Yes, it’s radio, it’s the entertainment industry, but like any other business it all ultimately comes down to dollars and cents (or is it sense?).  And, while we all know the real story, the reality is two of our largest companies in the industry did file for bankruptcy, so it was easy for that to become the story. 

Now, we all have to do our part to change the narrative and focus on all of the positives…one client, one agency at a time.  The good news for us, is that when we improve our craft, the higher compensation comes with it!

One of the most common mistakes people make in radio is believing that their contributions to a company entitles them to something greater. Managers believe the brands they run are ‘their radio stations’ and the hosts, producers and contributing members all feel their presence and value to a brand is vital and difficult to replace. Their contributions certainly do matter, especially to those they work with, but in the grand scheme of everything, we’re all still replaceable parts. Some may have greater value, but none of us are irreplaceable.

How many times have you heard someone who’s young and on the way up in their career complain about the money, long hours, and lack of attention they receive from their employer? There’s this belief that their hard work should be recognized, radio should reward its people better, and more TLC should be provided by bosses.

It might be a wise thing to do if you want to retain good employees, but does an employer owe you that? They do not. A company’s primary responsibility is to make sure your check clears every two weeks, and provide you with access to the building to showcase your talent either on-air or behind the scenes during the hours you’re assigned to work.

If you’re smart, you’ll appreciate and take advantage of every single rep because experience benefits you no matter where you go in the future. As we all know, the only thing guaranteed in radio is that something will eventually change. Many people desire to work in this industry, so there’s always going to be someone standing behind you wanting what you have and willing to accept the position at a fraction of the cost.

The key words here from Jason are “none of us are irreplaceable.”  Like the programming side, we have our superstars, too.  There are sellers who are the best at what they do and while you would absolutely hate to lose them, the fact of the matter is you’d recover.  The best possible thing you can do to protect yourself in this business, no matter which side of the building you are on, is to have those air tight relationships – be the person who brings the money (or the audience) along with them, however, while that makes your position very strong, it’s not irreplaceably strong.

Too often I hear complaints about the way companies operate. A host may not like what they’re being asked to focus on from a content standpoint or they may feel restricted from using specific words or tackling certain stories. Producers bitch about the pay, demands of the job, and hours involved to tackle each task. Programmers become frustrated when companies push self-serving initiatives on them, market managers meddle with their product, and corporate folks limit their ability to hire or retain good people.

In many cases I’ve agreed with their concerns, but whether I think they’re right or not, it’s still about convincing those above you to reevaluate a situation because they ultimately have the final say. There is no Mr. Cumulus, Mr. Entercom or Mr. iHeart standing in your way. There are people tasked with representing each company and looking out for its business interests, even if it means halting your plans and complicating your situation.

Stop it.  All of us, just stop it.  When you go to work for a company, you play by their rules.  Now, if you disagree with something happening or have suggestions on how to improve certain aspects of the job, prepare a “case” and make yourself heard.  You have to go in, though, knowing that you might get turned down and have to continue doing something you disagree with.  That is just part of life and happens at companies each and every day.  Too much time is spent complaining about things that are out of our control and putting an end to that would save an incredible amount of time.  

I’ve been fortunate in my career to work with some really great people but I’ve also dealt with some shady characters too. Over the past ten years I’m not sure our industry has improved the way it treats its own people. I see too many instances where people perform higher than expected and still lose their jobs over money.

There have also been instances that I’ve experienced firsthand as an entrepreneur which leave a sour taste in my mouth. I’ve done favors for market managers and executives only to have emails ignored afterwards. I’ve witnessed programmers act in cowardly fashion, threatening employees over contributing a piece of content to the BSM website. I’ve had hosts reveal serious issues, only to ignore the advice, and not address it with their employers, and then complain again months later when the same issue pops up.

What you need to remember if you’re working as a host or behind the scenes employee is that your employer is paying you to harness your talent, connect with an audience, sell their advertiser’s products, and extend your resume. By doing so, they’re giving you the chance to increase the viability of your personal brand, and place yourself in position to benefit from the experience you’ve accrued. Maybe it will be with the same radio company. Maybe it won’t.

I, too, have worked with some great people over the last twenty-plus years and plenty of shady characters as well (oh, the book I could write!).  For the sellers, the company is giving you the chance to build a book of business using their well-known brands, their talent and their programming – so take advantage of it! Your job is to go out and close business, (all/some/most) of the tools are provided to you to do that and you get to piggy-back off of, in some cases, a heritage radio station that has spent millions on talent, marketing and branding and built great standing in the community.  Pretty good deal if you ask me.  Additionally, as mentioned earlier, you have the chance to build such a strong relationship with your clients, they go wherever you go.  

For those involved on the managing end, there’s a different message that needs to be understood. The station you manage may be part of your identity, and you may love it dearly, but it is not your property. The company owns the brand, you simply operate it. The day you leave, the show goes on. You may not like the direction of where the ship sails next, but it’s no longer your ship to steer when you take your hands off the wheel.

Executives sometimes get caught up in the moves a station makes after they’ve left, and they forget that the choices they made while in control aren’t guaranteed to remain permanent. I’ve gone thru it myself a few times. You can feel differently about the way an operation is being run, and want to rescue what you perceive as ‘your brand’, but all that matters in the end are the results, and how the people involved respond to the new path forward.

If there’s one thing I’ve learned over time it’s that there are many different paths and styles to enjoy success. You may have to change a few parts to fit a new vision, but a good brand with good people serving a good audience will always find a way to remain relevant and successful.

I’ve been there. Sometimes you are incredibly invested in things you’ve been a part of, but when you leave, it’s not done the same and you don’t think anyone will care about it as much as you did.  That should be expected.  I suppose I would worry more about the person who spends a lot of time with a company, then departed for whatever reason, and did not feel connected when they left.  Most of us are putting in obnoxious amounts of hours either doing the job or thinking about the job, it would be a shame to have it not really mean much to you.  

Because so many people involved in the radio business have passion and love for the work they do, they struggle to cut the cord. The station and staff become part of your heart and soul, and although you may care more about what happens to them than a CEO sitting in a boardroom examining the brand’s profitability, it’s not your choice to make. They made the financial investment in the station, you didn’t. That gives them the right to run it however they see fit.

The point behind this column isn’t to cast a black cloud over the industry, it’s to provide you with a cold dose of reality. Radio is a business, but the line of work you do is special. The people around you share a similar enthusiasm for sports, and it’s a common bond which brings us all together to distract us from the pressures we face each day in life. Yes it’s a job, but it’s a rewarding one whether you’re making $8 an hour or seven figures.

I used to know a gentleman in the business, who every time he talked about what we did, said “This beats a real job any day of the week!”  It is special, the business we are in.  Even the little people, like us, get the envious look when you tell someone what industry you’re in, followed by the “What’s (so-and-so) really like?”  

The fact of the matter is, the younger you are when you learn that radio is a business, the better off you will be.  The business of radio consists of revenue and ratings, so make sure you are bringing one or the other and there will always be a place for you, unless you are simply a nightmare to work with.

Work hard.  Do your job to the best of your abilities.  Not much else is in your control, so don’t waste time with it.  I have written this before, but it’s one of my favorites from Dave Gifford: “There isn’t a sales problem in the world that can’t be cured by more presentations!” That’s what you can focus on and control and that’s what the key to making more money is, so as the saying goes “You do you.”

We all have opinions about the pros and cons of this business. The industry will never satisfy 100% of us. Some operators will do things to make employees feel essential to their success. Others may not. You can waste a lot of energy worrying about everything under the sun or ask yourself two questions: “Do I feel a connection to the job in my heart, mind and soul?” and “Is it a career worth investing myself in for the long haul?”

If the answer is yes, then that should be plenty enough reason to continue doing it. If you’re still unfulfilled and feel you need more control, then there’s a solution – buy a radio station. Then, and only then, is the station and each decision truly yours.

As sellers, doing what we do each day, we don’t have a lot of extra energy to waste on worrying, so the only choice is to decide if you are someone who loves being in this business and is willing to grind it out.  For most of us, that answer is yes, and if it isn’t then I’m going to STRONGLY disagree with Jason and suggest you not buy a radio station!

Lomas Brown Named New Lions Radio Analyst

Jason Barrett
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0

Former Detroit Lions offensive tackle Lomas Brown is joining the Detroit Lions game day broadcast team on WJR. Brown spent 18 seasons in the NFL, 11 of them with the Lions. He was the 6th player selected in the 1985 draft, a seven time Pro-Bowler, and won a Super Bowl championship in 2002 while playing for the Tampa Bay Buccaneers.

Upon retiring from the NFL, Brown moved into the sports media industry. He previously served as an analyst on the NFL Network and ESPN. He takes over for Jim Brandstatter who spent 31 seasons on Lions radio.

“Jim Brandstatter did an excellent job for the past two years on WJR and for many years prior, and we’re proud of the work we did together,” said VP/GM Tom O’Brien. “The addition of Lomas Brown, a former All Pro Lion, will bring a unique perspective to the game day broadcast.”

The Cold Dose of Radio Reality

Jason Barrett
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0
The Cold Dose of Radio Reality

It’s hard sometimes not to become jaded if you work in the radio business. The more time you spend time in it, the more you discover that it’s not just about watching and talking about sports. The newspapers and industry trades at times paint a gloomy picture of what’s happening, leaving you to wonder about the stability of your career. Then as you improve at your craft and command more respect and warrant higher compensation, you learn why the word ‘business’ is included in your industry’s profile description.

One of the most common mistakes people make in radio is believing that their contributions to a company entitles them to something greater. Managers believe the brands they run are ‘their radio stations’ and the hosts, producers and contributing members all feel their presence and value to a brand is vital and difficult to replace. Their contributions certainly do matter, especially to those they work with, but in the grand scheme of everything, we’re all still replaceable parts. Some may have greater value, but none of us are irreplaceable.

How many times have you heard someone who’s young and on the way up in their career complain about the money, long hours, and lack of attention they receive from their employer? There’s this belief that their hard work should be recognized, radio should reward its people better, and more TLC should be provided by bosses.

It might be a wise thing to do if you want to retain good employees, but does an employer owe you that? They do not. A company’s primary responsibility is to make sure your check clears every two weeks, and provide you with access to the building to showcase your talent either on-air or behind the scenes during the hours you’re assigned to work.

If you’re smart, you’ll appreciate and take advantage of every single rep because experience benefits you no matter where you go in the future. As we all know, the only thing guaranteed in radio is that something will eventually change. Many people desire to work in this industry, so there’s always going to be someone standing behind you wanting what you have and willing to accept the position at a fraction of the cost.

Too often I hear complaints about the way companies operate. A host may not like what they’re being asked to focus on from a content standpoint or they may feel restricted from using specific words or tackling certain stories. Producers bitch about the pay, demands of the job, and hours involved to tackle each task. Programmers become frustrated when companies push self-serving initiatives on them, market managers meddle with their product, and corporate folks limit their ability to hire or retain good people.

In many cases I’ve agreed with their concerns, but whether I think they’re right or not, it’s still about convincing those above you to reevaluate a situation because they ultimately have the final say. There is no Mr. Cumulus, Mr. Entercom or Mr. iHeart standing in your way. There are people tasked with representing each company and looking out for its business interests, even if it means halting your plans and complicating your situation.

I’ve been fortunate in my career to work with some really great people but I’ve also dealt with some shady characters too. Over the past ten years I’m not sure our industry has improved the way it treats its own people. I see too many instances where people perform higher than expected and still lose their jobs over money.

There have also been instances that I’ve experienced firsthand as an entrepreneur which leave a sour taste in my mouth. I’ve done favors for market managers and executives only to have emails ignored afterwards. I’ve witnessed programmers act in cowardly fashion, threatening employees over contributing a piece of content to the BSM website. I’ve had hosts reveal serious issues, only to ignore the advice, and not address it with their employers, and then complain again months later when the same issue pops up.

What you need to remember if you’re working as a host or behind the scenes employee is that your employer is paying you to harness your talent, connect with an audience, sell their advertiser’s products, and extend your resume. By doing so, they’re giving you the chance to increase the viability of your personal brand, and place yourself in position to benefit from the experience you’ve accrued. Maybe it will be with the same radio company. Maybe it won’t.

For those involved on the managing end, there’s a different message that needs to be understood. The station you manage may be part of your identity, and you may love it dearly, but it is not your property. The company owns the brand, you simply operate it. The day you leave, the show goes on. You may not like the direction of where the ship sails next, but it’s no longer your ship to steer when you take your hands off the wheel.

Executives sometimes get caught up in the moves a station makes after they’ve left, and they forget that the choices they made while in control aren’t guaranteed to remain permanent. I’ve gone thru it myself a few times. You can feel differently about the way an operation is being run, and want to rescue what you perceive as ‘your brand’, but all that matters in the end are the results, and how the people involved respond to the new path forward.

If there’s one thing I’ve learned over time it’s that there are many different paths and styles to enjoy success. You may have to change a few parts to fit a new vision, but a good brand with good people serving a good audience will always find a way to remain relevant and successful.

Because so many involved in the radio business have passion and love for the work they do, they struggle to cut the cord. The station and staff becomes part of their heart and soul, and although they may care more about what happens to the brand than the executive sitting in a boardroom examining the brand’s profitability, it’s not their choice to make. The CEO made the financial investment in the station, you didn’t. That gives them the right to run it however they see fit.

The point behind this column isn’t to cast a black cloud over the industry, it’s to provide you with a cold dose of reality. Radio is a business, but the line of work you do is special. The people around you share a similar enthusiasm for sports, and it’s a common bond which brings us all together to distract us from the pressures we face each day in life. Yes it’s a job, but it’s a rewarding one whether you’re making $10 an hour or seven figures.

We all have opinions about the pros and cons of this business. The industry will never satisfy 100% of us. Some operators will do things to make employees feel essential to their success. Others may not. You can waste a lot of energy worrying about everything under the sun or ask yourself two questions: “Do I feel a connection to the job in my heart, mind and soul?” and “Is it a career worth investing myself in for the long haul?”

If the answer is yes, then that should be plenty enough reason to continue doing it. If you’re still unfulfilled and feel you need more control, then there’s a solution – buy a radio station. Then, and only then, is the station and each decision truly yours.

ABC: Always Be ‘Crootin

Dave Greene
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0

If you aren’t helping recruit and train new people, then you’re part of the problem.

I just wanted to throw it out there and make it simple.  While executives and managers are ultimately responsible for bringing in new talent, it’s something that has to be done by everybody in the building if you’re ultimately going to be successful.

When I’ve taken new roles with new stations or clusters, one of the first things I like to do is to welcome everyone to the sales, promotions and recruitment teams.  If people didn’t think these things were their responsibility before, I make it clear right from the beginning, that all of us are responsible for those very important things.   

After all, who else is going to do a better job of selling the value of our properties and opportunities?  Who else will know more about our events and promotions and be able to talk about them with enthusiasm and get people excited?  And who else knows more about the type of people we are often looking for and can help talk up the company from an employment standpoint?

The obvious answer to all of these are the people in the building.  Not just certain people, but all of the people, contributing where they can for the benefit of everyone.

The recruitment front is the one often forgotten about.  And that is across the board in the various departments.  To most people, recruitment is something you do when you have an opening to fill.  Good managers will realize that it’s even more important to do when you don’t have a specific role to fill, and if you’re recruiting between hires, your life will be so much easier when, inevitably, a change needs to be made. 

The whole point of this column, however, is that it should not just be the managers who are working on recruitment.  Help can and should be coming from anyone and everyone that has a connection to someone they think could help make the company or product better.  To go a step further, others (non-managers) should actively participate in the training of new staff.

Whoa, first he askes us to help find people and now he’s going to ask us to help train them, too?  Yep, I sure am, and for very good reason – people like to be trained by their peers more than by their managers.  This in no way takes the responsibility off the manager as they’ll still handle a majority of the training, but sometimes the shadowing of other people doing the exact same thing the trainee will be doing, is much more impactful.  

So, while it’s our nature in sales to be very competitive (which can also make for a wee bit of insecurity here and there), this is a big-picture thing where you have to want better people representing your brand and see how that will, eventually, help you.  People who are not good at our jobs going out and representing the same things we do is not a good thing, and if you see someone struggling, you need to either say something to your manager or step in and help.

People always want to be part of the solution, so for all of our sakes, help recruit and train so everyone is better off in the end.

104.5 The Zone Adds ‘The Big 6’ with Jason Martin

Jason Barrett
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0

Nashville’s top rated sports station, 104.5 The Zone/WGFX-FM is expanding its local sports coverage with a new evening show that kicks off Monday, July 2, 2018. The Big 6 with Jason Martin will air Monday-Friday at 6pm on 104.5 The Zone.

Martin joins The Zone from Fox Sports Radio, where he served as producer and sidekick of the Outkick The Coverage morning show with Clay Travis. In addition to hosting the 6pm hour on 104.5 The Zone, Martin will serve as the lead writer on 1045TheZone.com, bringing a mix of sports analysis, pop culture, and opinion to the Zone website.

Brad Willis, Program Director, 104.5 The Zone, commented: “As part of our commitment to deliver the most sports talk in Nashville, we are thrilled to add Jason to our team. Many of our listeners are already familiar with his work, and we’re excited to offer him his own platform every night at 6.”

Martin added: “From the beginning of my career, I always sought to be with this station and this outstanding collection of talent. I wanted to earn a regular chance to talk into a Zone microphone every day. I wanted the opportunity to write about things I cared about. I wanted a platform. I wanted The Zone to be a place I could call home. I feel like today I’ve arrived at my front door. I’m beyond blessed and excited, and 6pm just became appointment listening again in the Music City. I can’t wait to get started, and I thank The Zone for their faith and enthusiasm in me and how they’ve helped me grow over the past six years.”

Martin joins 104.5 The Zone’s current lineup of The Wake Up Zone with Mark Howard, Blaine Bishop, and Kevin Ingram (6a-10a), The Midday 180 with Jonathan Hutton, Chad Withrow, and Paul Kuharsky (10a-2p), and 3HL with Brent Dougherty, Mickey Ryan, and Dawn Davenport (2p-6p).

Live Events Present Sales Options

Dave Greene
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0

I love this time of year.  Summertime and sunshine make people happier and when people are happier, they’re more willing to spend money on advertising!

I also love this time of year because many of us are gearing up for a fall event that will be here before you know it.  Fifty-two days, to be exact (at the time of writing) in my case.

Most of us are working to fill three buckets of revenue – spot sales, digital sales and event sales, and while there is growth potential in all of them, with digital leading the way, the event side is very important, and if done right, can be the easiest bucket to fill.

To me, events are about two things – passion and the ability for your advertisers to get up close and personal with your audience.  

The passion should start way back when the event was simply an idea.  Ideally, sales, promotions and programming worked together on the concept and the people in each department were able to weigh in on what they thought.  I’ve always had much greater success with events and ideas when I involve as many people as I can in the beginning.  This way, people feel ownership of the event and not as if “management” went and created something and now told the sales team they need to sell it and the programming team they need to promote it.  Lots of opinions were heard and ideas given, then out on the other side came a collaborative event.

Now you have something that will be promoted and sold with passion.  This is where I believe events can be an easier sell.  People tend to get incredibly excited about something they were a part of creating and that will come out when they appear before prospects and clients.  If it’s a new event, you have nothing else to go off besides everyone’s enthusiasm for it.  If the event is around three years later and beyond, it’s obviously been successful and therefore will have a track record that will help create that buzz.

But, if you can deliver a quality audience that has a great time with your advertisers right there to see it happen, that is gold (only made better if the attendees paid to get in).  In the end, that is why clients have invested in our products, to deliver the audience and make sure they’re aware of the sponsors business as a supporter of the station.

Generally, your most engaged listeners are the ones who attend events and they’re also the ones who are most likely to be influenced by your sponsors.  They want to “support their own,” and feel like they are doing business with friends when they buy from a main sponsor.  And, at your events, they’re very likely to talk with those sponsors and mention being a customer.  So, now your clients are seeing all kinds of potential new clients and hearing from several current clients at once – usually a recipe for a very happy client!

Events aren’t easy and often take way more time and manpower than you expect them to, but the payoff can be huge.  Many who have ticketed events talk about the ticket sales being the fastest way to bring in a lot of revenue that is (at times) significantly easier than bringing in the equivalent in a traditional advertising package.

So, yes, this time of year can be critical to a lot of sports stations.   It’s like gearing up for the stretch run in the baseball season. The trade deadline has passed, and this is what you’re going with to get in the playoffs (the equivalent, in our cases, of hitting budget).  Sometimes an event that hits a home run can be the difference maker in your championship run.

Eric Spitz Leaving CBS Sports Radio to Join SiriusXM

Jason Barrett
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Veteran sports radio executive Eric Spitz is joining SiriusXM as their new Vice President of Sports Programming. Spitz will report directly to Steve Cohen, SiriusXM’s SVP of Sports Programming.

Spitz will be based in New York and start in his new role on July 16th. His duties will include being involved in the daily operation of SiriusXM’s sports channels, including the hiring of talent, programming development and live sports scheduling. Altogether he’s spent more than three decades in sports radio, becoming a highly respected executive.

Prior to joining SiriusXM, Spitz held the title of program director of CBS Sports Radio. He oversaw the network’s programming department since 2012 when it first launched.

Before taking the plunge into the national space Spitz held numerous roles for CBS Radio including serving as a desk assistant at WFAN in New York in 1987, when the station first signed on the air. He then ascended up the producer ranks to be become The Fan’s assistant program director before earning the position of Vice President, Operations and Programming for Westwood One’s Shadow/Metro Traffic in 2002. After three years in that position, Spitz returned to WFAN as the station’s program director. During his career he’s also produced live coverage of five Olympic Games for Westwood One.

No word yet on what CBS Sports Radio plans to do to fill Spitz’ void.

The Risks and Rewards of Playing to Win

Jason Barrett
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It’s been said many times that you don’t win in sports radio without great talent. It helps that our subject matter is important to people and offers a mental escape from the harsh realities of life. For a few hours each day fans can watch a game, process the information and final result, and listen to what sports talk media personalities think about the same event they just consumed. It’s a necessary distraction that brings us joy and makes the daily pressures worth battling.

In many ways it creates a bond between a talk show host and listener. Sports is the unifying content, and when presented in a way that keeps the audience learning, laughing and debating with the radio, it can become unbreakable.

But at the core of it all is having a masterful talent occupy the airwaves. The content might be the hook to get them there, but the host is what keeps them there.

As I watched the NBA Draft last week it dawned on me how General Managers are in the same exact situation as a Sports Radio Program Director. Identifying game changing talent is difficult because so many players are skilled. What separates the best are the smallest of details but those minor things can be the difference in adding players who lead you to titles or keep you in the swamp of mediocrity.

For instance, a GM could choose a player who plays 8 years in the league, makes an all-star team or two and averages 15 points per game. Most would see that as a solid choice. However, if the next player taken plays the same exact position and goes on to spend 12 years in the league averaging 25 points per game, being a 9 time all-star and winning multiple titles, the perception of that GM immediately changes.

We’ve seen this numerous times. Darko Milicic going before Carmelo Anthony, Chris Bosh and Dwyane Wade. Sam Bowie being chosen ahead of Michael Jordan. Kevin Durant being passed over for Greg Oden. Kobe Bryant and Donovan Mitchell being selected 13th in their respective drafts, and Giannis Antetokounmpo falling to 15.

Picking talent is a crapshoot and not every program director is good at it. Yet the brands that win most are those which feature talent that can’t be matched by competitors.

One glaring weakness in our business is that there isn’t a lot of training involved when it comes to becoming a programmer. Many market managers and executives place a brand’s fate in the hands of someone who’s proven themselves as a strong producer or talent, but that doesn’t necessarily mean the individual is ready to run the whole show. To relate it to sports, Norv Turner and Josh McDaniels have proven in the NFL that they can be great offensive coordinators but both have yet to show they can be difference makers as head coaches.

Some PD’s might be excellent at writing imaging, creating work schedules, participating in sales and promotions meetings, and helping producers land guests on a show. But can they identify and coach great talent and position them strategically against a competitor? I don’t care how good a programmer is at those other jobs, their brands won’t win if their talent evaluation skills aren’t superior.

Equally problematic is that some market managers want to shop for the groceries but task the PD with cooking the meal. The problem is, some deliver chocolate pudding and spaghetti and wonder why the mean doesn’t taste good. They also don’t want to do the legwork necessary to locate great talent. Instead they gravitate towards people they know who may have some talent but have yet to prove they can deliver results despite being given multiple opportunities to do so.

Having made hiring decisions in multiple markets, some of which I reaped the rewards from, and others which I felt the sting from, I learned that it’s vital to do your homework, think big and keep rolling the dice. If you operate safe, your brand plays safe. That ultimately leads to average results. I’d much rather put my own ass on the line trying to be great than sit comfortably on it knowing that my brand was nothing special.

I used to have one market manager ask me “would you put your job on the line over this decision?” I loved that. It was his way of saying “if you believe in this, let’s go all in. But if you’re not sure or have one ounce of doubt, you better keep searching.”

Being familiar with talent evaluating, I know that the process must be ongoing. Even if your station is strong today, one unexpected change tomorrow could instantly stall your progress. This is why you never stop looking. There are times when your best hosts have vacation time or get sick. Someone has to work those shifts. Are you plugging holes on those days or using those hours to get a read on someone who might help the brand somewhere down the line?

When it comes to locating talent, the first step is easy. Every PD begins by examining the local market options. This includes getting a read on the the local sports/talk radio hosts, TV personalities and writers. You might strike gold this way but I often find you only get half of your process completed by pursuing this path. Filling out a dynamic lineup usually involves more.

You’ve also got to study which former local athletes have an ability to speak in an entertaining way and possess interests beyond one sport. You scout the nation to see which media professionals have ties to your city. You look to your surrounding areas to learn who’s on the rise and hungry to make your market their final destination. You scour YouTube, iTunes, comedy clubs, listen to people calling your station, and hold contests to find future gems. And last but not least, you identify every single great personality who’s only issue is not having a local market connection.

Some PD’s will be scared off by that. I’m not one of them. Great talent adjust. If the worst thing that can be said about someone is that they’re not from the market, I’ll take it. Usually those complaints stop after a few months. Don’t get me wrong, there are some cities where this doesn’t work due to the sound and style of a particular host and the way the audience lives, thinks and talks, but I see many cases where programmers eliminate outside the market options despite broadcasting in markets comprised of transplants.

Why does that happen? Because it’s easier to play it safe than to risk it all.

But in this fragile business that we operate in, can you really blame someone for not wanting to put their feet in the fire without the fear of them being burned? Look around at the headlines over the past couple of years. Cumulus and iHeart dealt with bankruptcy issues. Townsquare and Alpha have gone thru adjustments. Entercom-CBS merged, leaving many to question how it’d affect their job status. These type of situations cause people to be timid. Why stand out during unsettling times when you can just hide in the background and make sure the check continues to clear?

Maybe it’s a case of stupidity on my part, but I could never work that way. I wish I could sometimes, but it’s not how I’m built. I’ve always believed that a programmer’s job is to hire and coach great talent, and create brands, events and content that mattered to people. If it means gambling on someone with a few question marks and higher talent, I’m going to play to win and take that chance.

To bring it full circle, I flash back to Round 1 of the NBA Draft last week and a decision which I thought spoke to this very issue. When the New York Knicks selected Kevin Knox instead of Michael Porter Jr. I felt it was the safe choice. As a lifelong Knicks fan, I hope Knox becomes the next LeBron James and makes everyone forget about Porter Jr.. I really do. But on draft night, his selection screamed of taking the easy route, instead of the bumpier road with greater promise. For an organization that was choosing 9th and hasn’t won a title since 1973, I don’t think you can operate that way and expect to win.

When comparisons were made between Porter and Knox by Chauncey Billups, he likened Porter to Kevin Durant, and Knox to Tobias Harris. That doesn’t mean either player will turn out that way but it tells you what the perception of each player’s talent level was. If you looked back a few months ago there was legitimate discussion of Porter being one of the top players in the entire draft. That wasn’t being said about Knox.

The reason Porter slipped is because of medical concerns over his back. Many in the media began to declare that he wasn’t worth gambling on, yet neither they nor I are doctors with any real insight on his future health concerns. We all speculate and take our cues from stories spun by teams and agents who are trying to create buzz to benefit themselves. The real answers come over time once we have results to analyze. It’s during times like these where we learn which organizations and executives are taking steps forward, and which ones will continue searching for solutions.

If Michael Porter Jr.’s back becomes an issue and limits his potential, then those who passed on him will look smart and the Denver Nuggets will look foolish. If he becomes a player who changes the outcome of games, then every team that passed on him will be wishing they hadn’t and the Nuggets will reap the rewards. At just 19 years old (turning 20 this week) and possessing world class talent, I felt the risk was worth it, even if he missed next season. Especially for franchises like the Knicks, Clippers and Hornets who haven’t won, are in desperate need of elite talent and were picking outside of the Top 5.

And this is exactly what executives and companies in radio face too.

Do you take the safe path and pick up the performer who’s seen as a good talent simply because they’re familiar to you, your audience and have existing relationships with members in your building or do you go outside your comfort zone to take a chance on someone with greater skill, a higher ceiling but less familiarity and more question marks?

If you play to win, you will fail a few times. But you’ll also knock down a bunch of game winning shots. You’ve just got to decide if you’d rather be on the floor and pass up the shot or take the risk to try and win the game, knowing that you might miss. The great ones welcome pressure. It’s why we remember each of their successes and failures. The question you’ve got to answer for yourself is “are you willing to fail in your attempt to chase greatness or are you content with just playing the game?”

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