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The First 100 Days of a New Brand Leader

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Sports and politics don’t often mix well. But in this instance, there are some similarities between the job that awaits the new President of the United States, Donald Trump, and the challenge that awaits any programmer, market manager or corporate executive.

When an individual lands a new leadership opportunity, they often feel a pressure to immediately make their presence felt. During the first 100 days of employment, all eyes in the building turn to the new boss, and whispers gain volume in every corner office and lunchroom, as many try to speculate and search for clues to the new head honcho’s master plan.

As tempting as it may be to try and change the world during your first week in power, there’s something valuable to gain from reading the room and processing the information you gather. Most executives don’t have their livelihood or the fate of their brand determined by their first quarterly performance. If you do, you may want to reconsider who you’re working for.

The challenge for a new boss is to slowly weave themselves into the fabric of the brand, and that’s accomplished by forming relationships with the staff, and discovering what each person’s strengths and weaknesses are. Your instincts may be to bring in people who you’ve enjoyed working with previously or install a different clock or content strategy, but it’s not always a good idea to interrupt success in progress.

It’s similar to an NFL defensive coordinator joining a new team and looking to change the entire defensive scheme when the players on the roster don’t fit what they wish to do. In that case you have two choices, get rid of all the players, or make adjustments to your personnel. Once you know who’s got the ability to shoulder a heavier load, then you can introduce new plays and coverage’s and begin to add your own touch. If you eliminate all of the talent and it doesn’t work, you’ll soon be joining them on the unemployment line.

I recognize that this isn’t as simple in politics where republicans and democrats seek to reverse what the previous party installed in order to assert themselves and deliver on the promises they made to voters while on the campaign trail. Fortunately in radio, you’re not performing a task with the eyes of an entire nation upon you, and half of them determined to reject your ideas and beliefs.

There are a few exceptions to this rule. For example, if a crisis happens or if a difficult employee is dimming the spirits and affecting the performance of other essential staff members, then you’ll have to make a judgment on the best way to move forward. However, in most cases, you gain a lot of insight, and make your best long-term decisions by being patient, quiet, listening, and observing. 

For those of you who are currently in leadership positions, in pursuit of taking the next step in your career, or if you’re an employee with a new boss and wondering why he or she is taking so long to let you know what they’re up to, here are seven simple things that good leaders do in new situations. Hopefully this gives you a few things to consider, and some information to process, as you adapt to changes in your professional life.

Get To Know Your People – The number one asset to any sports radio or television brand is its people. Without their talent, creativity, passion, and dedication, your brand is meaningless. They live their lives constantly thinking about ways to present a better show, and they crave knowing how their boss’ view their performance. No matter how big of a profile a performer has, they still love to be challenged and validated by people in corner offices, and staff members who they respect.

Before you decide what someone is or isn’t capable of, and what their character is or isn’t inside the workplace, spend time with them. Hold a scheduled show meeting, drop in unexpectedly to chat, take them out to lunch or dinner, socialize at a game or company event, and figure out what makes them tick. More times than not, they’ll let you in, and help you get a better idea of what makes them valuable or dispensable to your company.

Observe Without Reacting – Barring an inexcusable act or company violation, let your people get comfortable and operate without fear. If they feel you’re going to over analyze their execution and harp on each mistake or missed detail, they’re going to get tight, and it’ll show up in their performance. Nobody performs well when they feel they’re operating under a microscope, especially when it’s in front of a new boss who they’ve yet to form a connection with.

Instead, watch how they prepare. Learn how they attack segments. Listen to the way they execute the basic formatics of their talk show. Gauge how they’re received by the audience. Track their show to see if its flexible or predictable. And take some notes on how often they challenge themselves to present a unique experience for listeners, and be prepared to discuss it further with them in future meetings.

As an added bonus for those who are working with new on-air personalities, I’d recommend studying their involvement or lack thereof in being a brand asset for advertisers. Do they meet with clients? Are they familiar with the sales staff? Would they need a GPS to find the business side of your brand’s operation? How well do they understand their responsibility in helping the company retain and generate revenue? Do they take it seriously or consider it an afterthought?

All of these things will come into play at some point. If you want to make improvements and gain a person’s respect, you’ve got to have specific examples to support your feedback. This is why it’s critical to pay attention and allow some short-term sloppiness. It’ll make a big difference on how you operate and nurture your staff over the long-term.

Articulate Your Vision To Your Entire Team – Once you know your people, and have processed the way they operate, then it’s time to gather your group and express your vision for the brand, and the strategy you plan to use to help lead the team to its final destination. You must be confident, focused, and very clear and concise. Nobody on your team should leave the room without knowing where the brand is, where it’s heading, and what the final goal is. Your message needs to be delivered and understood by everyone from the on-air talent to the producers to the anchors and board operators, to anyone playing a role in the daily success or failure of the brand’s programming.

In sports, players play a game expecting that if they invest their time and energy, and train properly, that it will produce results. They don’t just play the game to have fun. That’s what kids do. Professionals play to win.

In radio, people have similar motivations. They’ll follow your lead and run through a wall for you, if you can show them how their sacrifices and hard work will personally benefit them, and the company. If you fail to provide direction and expectations, that’s when confusion and uncertainty takes over, and people become frustrated.

Prior to meeting with your team to share your thoughts on the future, I’d encourage either writing a script, jotting down a few notes, or presenting a visual presentation (whatever you feel most comfortable with) to help keep your message on point. All future decisions and conversations will revert back to this meeting, so make sure you leave no stone unturned in getting the rooms attention and support.

Hold People Accountable – After you’ve established your expectations, goals, and standards of operation with your staff, the next step is to hold them accountable. That’s often easier said than done. Everyone is quick to promise an immediate fix when you identify something they’re doing incorrectly, but check back two weeks later, and you’ll often hear the same bad habits continuing.

These get corrected through consistent feedback, listening, and measurable systems. Sometimes you can even introduce hokey methods and motivational tactics to help an employee get better. I’ve been known along the way to use a green pillow for a host who sits on the fence with their opinion and place a jar on the console and demand a dollar from talent whenever they were late heading to break. You’ll have different ideas or maybe this approach won’t suit your personality. If it doesn’t, don’t do it. It’s important to be yourself, because people will sniff it out when you’re not.

The ultimate goal is to find out how to reach people in order to get them to patch up the holes in their presentation. Many times in our industry, people who come up short do so because of a lack of discipline and failure to make adjustments. They create mental excuses for their inconsistencies or shrug off their mistakes as not being a big deal, rather than putting down their guard to figure out why certain problems keep happening. In sports, if a player keeps committing penalties to hurt the team, he either gets benched, fined or cut. In radio, not so much.

I’m not advocating you should part ways with someone because they’re bad at breaking on time, teasing or using audio clips to enhance their content, but if the difference between 1st and 2nd or 3rd and 4th is small, those minor details that they assume aren’t that critical, can actually make a world of difference.

Each leader has to figure out what is and isn’t acceptable to them, but accountability only works when people feel there’s a consequence for continued shortcomings. Don’t be afraid to expect more from people. The great ones will accept your challenge. Your role is to provide positive reinforcement, and acknowledge them when they do things right, but also point out opportunities for improvement when they mess up. Be sure to have evidence to support your opinions, and suggestions on how to help them get better.

Weed Out The Brand Destroyers – It’s inevitable that someone on your team is not going to drink the kool-aid and may even attempt to poison it. The sooner you weed these people out of your operation, the better. There’s no benefit keeping someone around who’s not going to buy in and is potentially going to infect others on your staff. 

One of my favorite quotes by Henry S. Haskins is “Some people are like wheelbarrows; useful only when pushed, and very easily upset“, and this often applies to the members of your team who aren’t on board with your message.

In every building, the workplace is a sacred locker room. What happens in the locker room is a family matter, and the family works together to solve its problems without allowing noise from the outside to creep in and affect it. The strongest families have fights and disagreements, and that’s going to happen from time to time when you gather a bunch of alpha males and/or females in the same place and challenge them to be their best.

What isn’t healthy though is when team members violate trust and begin sharing information with competitors, newspapers or online sites, and other industry people. If an employee underperforms or makes a mistake, you can live with that. Those become teaching moments. But when trust is shattered, there’s no turning back. You stand to lose a lot more than you’ll gain by keeping someone around who has negative intentions.

If you haven’t read this piece on Mark Zuckerberg and his level of transparency with Facebook employees, I highly recommend it. Rarely do leaks happen at Facebook, and it’s because people in the company value their jobs and each other, and they fear being embarrassed and terminated for committing an act of betrayal. Every broadcast company seeks that too, which is why it’s vital to toss away those bad apples when they appear, no matter how talented they may be.

Add Reinforcements Along The Way – There will come a time when your brand’s performance isn’t in line with the expectations either you or your bosses have set for it. You may also be presented with an opportunity to add someone to the team who instantly makes you better, even if it creates an internal disruption. During these times you’ll take a deep look at your team, evaluate the feedback of your audience, and wrestle with decisions on whether to change course or stand pat. And the reality is, every great team and leader goes through change at some point, whether they plan to or not.

If you think back to the 2016 Chicago Cubs World Series team, they were in great shape in July, but that didn’t stop Theo Epstein from pulling the trigger at the trade deadline to acquire Aroldis Chapman. Maybe the Cubs could’ve held onto a few prospects and won the title without him, but why pass up an opportunity to get better when it’s available?

Feelings are going to get hurt from time to time, and change can cause you to have future problems with members of your team that may be executing well or who you have a good personal and professional relationship with. The bottom line, you’re in a competitive industry, and this is a performance based business. The higher you perform, the more money the company makes, and the longer leash everyone is given to retain the jobs they love.

It may be uncomfortable. It may be difficult. And at times it may be unfair. But when companies are faced with decisions on whether or not to make a move to enhance their performance, the good ones often take the plunge. The complacent ones find themselves later on wishing they had taken the risk.

Celebrate Success But Don’t Get Comfortable – You’ve laid the foundation, established the system, identified the right people, eliminated the bad ones, and have earned the group’s trust and respect, and now success is starting to find you. Rather than high fiving each other once and forgetting about it the next day, think about how you’re going to celebrate the special moments with your team. They will have a lasting impact on your people and organization.

Too often we focus on the challenge, and when we accomplish our goal, we’re on to the next one. But if you don’t stop along the way to enjoy the journey and appreciate those who have made it possible, then it leaves many unfulfilled. In sports, after a team wins a title they may pour champagne on one another, hit the town to party, or gather as a group and fly off somewhere to make it a truly memorable experience.

I’m not suggesting to send your entire team on vacation, but a simple happy hour, dinner, conference room celebration, house party or personal gesture goes a long way in telling people you value them, are happy for their success, and are excited to be on the same side with them.

Conclusion:

Each individual has to decide their own strategy, and operate in ways they feel are most effective. Some do it thru aggressive action and a brash personality, others use a methodical style and reserved demeanor. Each way works. There is no one size fits all. Both Bill Parcells and Tony Dungy are Super Bowl Champions despite being very different people.

My only suggestion is to think before you act, and be sure in every decision you make. The ideas above are there to guide you should you need help along the way. Best of luck in setting the tone and developing a winning organization!

A Sneak Preview of The 2016 BSM Top 20

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I discovered last year that there’s high interest in learning how radio executives view the sports radio format’s best shows. It was a project I wasn’t sure I wanted to tackle at first because it requires a lot of time and networking, and regardless of the results, there’s no right answer. Everyone has different tastes and opinions, not to mention company allegiances, and markets are very different, but despite all of those reasons to not explore this dangerous territory, I dove headfirst into it because I felt the format deserved to be measured by those who play a part in shaping it.

Thankfully I did because the feedback and web traffic were exceptional, but what I appreciated most is that it gave everyone in the radio business a better idea of the way the format’s top thinkers view sports radio’s top shows, stations, and people.

Since then, I’ve seen more programmers and personalities take an interest in sharing news, success stories, and cool ideas they develop. That’s what really matters most. If we don’t share our stories and explain why the format is special to listeners and advertisers, then nobody else will do it for us.

That brings me to today, and I’m thrilled to announce that starting next Monday January 30th, the 2016 BSM Top 20 in Sports Radio will be revealed. We will start with local morning shows, then midday shows, and finish out the week with afternoon shows, national shows, and the format’s top programmers. The six day series concludes on Monday February 6th, the day after the Super Bowl, when we announce the format’s top stations.

There are a few things I want to point out that are part of this process, including a couple of changes.

Last year it became clear that the industry will reward major markets and ignore smaller ones when determining the best 20 in most categories. In sorting thru all of the results, markets 21 and up, were consistently left behind, no matter how strong they performed.

I understand that New York, Boston, Dallas, Chicago, San Francisco and Philadelphia are going to generate a lot of interest. They deserve to. But, if you’re a brand in one of those markets outside the top 20, and you deliver a 20 share month after month for an entire year, I struggle with explaining how that’s not worthy of industry attention, simply because of the size of your location.

To try and fix that issue, I’ve expanded this year’s results, and the voting panel. I’ve been fortunate to assemble 52 industry executives, and there are a strong mix of contributors who are voting on the top 20 programs for Major Markets (1-20) and another excellent group who have evaluated the top 20 programs for what I’m referring to as “Mid-Markets” (Markets 21 and up). The one category both groups have provided input on are the national shows.

This means that next week when the results are released, stations, shows and programmers from the smaller cities will be recognized in their own categories. We will feature the top 20 shows, stations and programmers for Major Markets, AND for Mid-Markets. Add it all up and you’ll get a look at the top 40 in each category.

Similar to last year, I have included people in the voting process from a large number of companies. CBS, iHeart, Entercom, Cumulus, Bonneville, Beasley Broadcasting, ESPN Radio, Premiere/FOX Sports Radio, and SiriusXM all have high ranking officials contributing to these results. There are also a few people from smaller broadcast companies, plus one independent member. In order to eliminate any confusion, I do not vote in this process. My role is to simply gather and provide the collective analysis of 52 sports radio executives.

When you analyze next week’s results, there are a few things I want you to take into account.

#1 – Our goal is to recognize the Top 20 programs that performed best in 2016, not which hosts or shows we’d hire tomorrow if we were launching a new sports station. Most voters take this into account when making their selections, but it’s impossible to be inside the mind of every person who participates, and know the true value they place on it.

#2 – If a show or host did not finish 2016 employed with the station they were working for, or if a program didn’t exist on a station’s airwaves for a minimum of six months, that show and/or host was not eligible.

For example, Michael Barkann and Ike Reese occupied middays on WIP for the majority of 2016, but the show was cancelled in late October. Therefore they were not considered for this list, nor were their replacements Joe DeCamara and Jon Ritchie, who only performed in the timeslot for two months. Other programs such as Josh Innes’ show on 790AM in Houston, Jorge Sedano, LZ Granderson and Keyshawn Johnson’s show in Los Angeles, and Chris Vernon’s midday show in Memphis were not eligible for consideration due to these rules.

The only category where we make an exception to this rule is for national shows since they are measured differently, and go thru more change. That category also includes a larger number of nominees.

#3 – If a show was cancelled or switched radio stations or companies in January 2017, that had zero to do with 2016. Therefore they ARE eligible. An example of this would be Stephen A. Smith leaving Mad Dog Sports Radio for ESPN Radio in January, Danny Parkins moving from 610 Sports in Kansas City to The Score in Chicago, and Terry Boers retiring from The Score in 2017. Since the results are based on 2016’s performance, all three would be eligible with their previous stations/shows.

#4 – If a show kept its foundation in place, but experienced some change in 2016, they ARE eligible. A few examples would be Tom Tolbert’s show on KNBR, which added John Lund  in July, Kirk and Callahan on WEEI, which saw John Dennis exit in August, and Marcellus Wiley’s afternoon show on ESPN LA 710, Ethan Skolnick’s show on The Ticket in Miami, and Mike Stone’s morning show on The Ticket in Detroit which added or subtracted cast members.

Capturing the collective feedback of an entire format is nearly impossible, but I’ve found that by using a points system for votes 1-20, and involving a healthy mix of individuals from all companies, it’s the closest thing we can get to determining who’s worthy of praise for a job well done. I appreciate the support of the industry, and everyone who participated in the voting, and look forward to sharing the results with you next week. To see the full list of shows and categories up for consideration this year, click here.

On a side note, I will be releasing the results of the top performers in sports television/digital on Tuesday February 7th. There are 16 questions, and the public decides the winners. If you’d like to participate, click here to vote.

Also, if you’re going to be on radio row in Houston, let me know either via email or Twitter. I’ll be making the rounds Wednesday-Friday, including taping a few conversations for the new BSM Podcast which launches on Wednesday February 8.

  • Monday January 30 = The 2016 Top 20 Major Market and Mid-Market Local Sports Radio Morning Shows
  • Tuesday January 31 = The 2016 Top 20 Major Market and Mid-Market Local Sports Radio Midday Shows
  • Wednesday February 1 = The 2016 Top 20 Major Market and Mid-Market Local Sports Radio Afternoon Shows
  • Thursday February 2 = The 2016 Top 20 National Sports Radio Shows
  • Friday February 3 = The 2016 Top 20 Major Market and Mid-Market Local Sports Radio Program Directors
  • Monday February 6 = The 2016 Top 20 Major Market and Mid-Market Local Sports Radio Stations
  • Tuesday February 7 = The 2016 BSM Awards, featuring the best in sports television, digital, etc.

Andy Pollin’s 25-Year Run Ends at ESPN 980

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What a ride it’s been for Andy Pollin. The longtime Washington D.C. sports personality has occupied the airwaves of ESPN 980 in the nation’s capital for close to twenty five years, but on Thursday, he learned that the journey had come to an end.

Pollin, who had been teaming with Steve Czaban in afternoon drive since last May, was notified that he had done his final show on the station. His contract was set to expire in February, and the company had not displayed an interest in retaining his services.

Czaban and Pollin had previously hosted together for 13 years, before Chris Cooley replaced Pollin in the summer of 2013. That change led Pollin into morning drive, a slot now occupied by Cooley with Kevin Sheehan.

After being told of the decision to part ways, and not granted a final opportunity to talk to the audience, it would have been understood if Pollin was bitter. However, he took the high road when talking to the Washington Post about the situation.

“I’m not in any way bitter about this,” Pollin said. “I’m disappointed that it wouldn’t continue. I thought Czabe and I were humming along there in our second run, but it didn’t happen. That’s life.”

Czaban on the other hand said he was gutted by the decision, and credited the success of his career to Pollin.

“I have no doubt Andy has more chapters to write in his broadcasting and journalism career here in D.C.,” Czaban wrote on Twitter. “I would hire that guy tomorrow. I’ll miss him tremendously as a sounding board on all things sports, radio — and life.”

Ironically, the afternoon show with Czaban and Pollin had recently experienced some positive news in the ratings. When we last looked at the D.C. numbers in late November, the show had grown from a 2.7 to 4.4 and was involved in a tight race with 106.7 The Fan’s Chad Dukes.

Although Pollin’s name will attract the headlines, he wasn’t the only talented performer to receive grim news from 980 officials. The station also informed two of their promising young personalities, Nick Ashooh and Tim Murray, who had hosted the evening program “DMV Gametime”, that they were casualties of station budget cuts.

Murray has confirmed via Twitter that he will continue being part of the SB Nation Radio morning show, which he works on along with Scott Linn and Steve Solomon. Ashooh is looking for his next opportunity and can be reached here.

Does It Pay To Broadcast Live From Radio Row?

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In ten days, sports radio stations across the nation will invade Houston, Texas to broadcast live from radio row, during the NFL’s annual week long celebration of their biggest game, the Super Bowl. But while the sheer mass of stations may enhance the NFL’s image, and the on-air personalities may gain personal satisfaction from making a road trip to host their programs on location, the question of whether or not it’s a necessary expense creates division among many broadcast executives.

From the programmers point of view, there are a myriad of reasons to be there. It is the biggest event in sports, and the Super Bowl has mass appeal in every local market. Some people subscribe to the theory that a sports station should only make the trip if its local team is playing in the game, but I don’t agree with that point of view.

In most cities, the NFL is king. Ratings for national games are among the most watched programs on television, and they often outperform the performance of a local market’s baseball, basketball, hockey and college teams. Audiences keep tabs on all teams and players, and when you include gambling, fantasy football, and transplants living in each community into the mix, it’s easy to see why interest is high. If a local team is in the big game, it becomes a bigger deal, but it’s a must-watch event regardless of who participates.

While this may be the biggest event of the sports calendar, every station in America is going to talk about it whether they’re live inside of a convention center in the host city, or sitting in the air conditioned studio from which they operate on a daily basis.

So why go?

Many programmers argue that it’s vital to strengthening the brand’s image in the eyes and ears of the audience. Being there reinforces your position of being a major league brand, and if that’s the way your station has been built and sustained, then there shouldn’t be internal debate about whether it’s important or not to make this trip. It’s the same reason why a news/talk station broadcasts live on location from the cities where presidential debates take place.

But if perception isn’t enough of a reason to justify sending your station on the road for Super Bowl week, then what about the ratings? In years past, the brands I managed often saw a minimal bump during the week of radio row broadcasts. The difficult question though was whether or not a minimal ratings increase was worth spending thousands of dollars. It could be argued that the station could generate the same ratings staying in the building and covering the event rather than sending five to ten people on the road for one week.

From a talent’s perspective, they share less concern about the brand’s financial challenges. Their primary interest is to put on the best show possible, and gaining access to high profile athletes and celebrities, and the sites and sounds leading up to the Super Bowl helps them do that. Many on-air people look forward to the week long festivities created by the NFL and its partners, and they value increasing their stature and relationships with others in the media space. Although those relationships may benefit their show in the future, you could once again argue whether or not this is enough of a reason to justify sending a show on location.

What many personalities don’t realize is how costly this week is to the brand they work for. Some talent do appreciate it and recognize the commitment their employer is making, but others just assume it’s part of doing business.

Except it isn’t.

For a Program Director, General Manager, President, and CEO, to sign off on spending ten to twenty thousand dollars to send their people on the road to broadcast for three to five days from a remote location, which won’t provide a huge return on investment from advertisers or the ratings, is a tall order. I’ve heard hosts over the years say, “it’s the Super Bowl, if our sales team can’t sell this then we’re screwed”. That may sound right, but what many talent lack an understanding of is how much value advertisers place on this one to two week promotion.

If you’re a client, the debate becomes whether or not it’s beneficial to spend thousands of dollars on this promotion instead of on a sustained campaign on the same radio station. Many hosts think that by reading the sponsor’s name and five second tag prior to each interview that they’ve fulfilled their obligation, but what they haven’t taken into consideration is whether or not those name mentions and tags help the client grow their business. Giving a client a web banner on your Super Bowl page, a name mention on your social media posts, and on-air plugs prior to interviews may fulfill what was presented, but if the client loses money, they won’t support future promotions.

Ask yourself this question, would you spend thousands of dollars to promote your business during a week of shows from the Super Bowl? If the answer is yes, would you select this opportunity over others available on the same radio station? If your decision had a lasting impact on your company’s bottom line, would you make the call to sponsor this week?

One way hosts and programmers can help themselves is to work with the sales team to gain a better understanding of how a success or failure will be measured by the client who sponsors this week. Have you met with the client to personally thank them for supporting this promotion? Have you brainstormed with them prior to the promotion to gain a sense of what their hot buttons are? Are there other things you’re willing to do beyond the traditional buy to help make the client feel special?

For example, are you sending out a daily tweet and Facebook post to thank the sponsor and encouraging your fans to support them? Have you created an on-site banner with the client’s logo and had every guest who visits the table sign it so you can bring it back to them to display inside their place of business? If the client is also making the trip, have you helped them gain access to a credential to visit your setup or include them on a guest list to attend some of the parties taking place in the host city? Maybe it means making future appearances at the client’s location, speaking on one of their spots, taking the client out to dinner, getting them tickets to a future game or event in your city, or supporting one of their charities to show that you’re equally invested in them.

Certain things can be measured in this business, and some can’t. The value of an on-air mention and web/social sponsorship during this week might not be enough to justify the costs, but when you tug on a client’s heartstrings and give them things that money can’t buy, that has personal value. Don’t discount how important that is.

John Goforth, who previously served as sales manger of 670 The Score in Chicago, and as an account executive for ESPN 1000, 101 ESPN and 590 The Fan, explained how the perception of Super Bowl week was received in multiple sales departments he worked in.

“We always sold it, but it felt like something we were doing to help cover programming costs”, said Goforth.

“In years past we included live video streaming of the shows from radio row, which was cool because it provided other opportunities. For example, if you sold a sponsorship to Dunkin Donuts, and gave the guests who stopped by a coupon for a year’s supply of coffee, it helped extend the brand presence. You could show the client how you were helping put their band in front of notable people. But the extra nonsense added via billboards and bumpers was always overpriced.”

Noel Wax, former VP of sports sales and director of sales for CBS’ Radio brands in New York, Los Angeles and San Francisco, said much of the value depends on the involvement of a local team and unique assets.

“If we were lucky enough to have one of the teams in our markets represent us in the Superbowl, then it was a big deal for revenue” said Wax.

“What it really came down to was how creative the station was in generating great ideas to sell around its coverage. Just selling audio billboards of the station’s coverage was not exciting or lucrative. If the sales team had access to trips or tickets, that made it more attractive. I found that the best successes came from approaching marketers who were also fans.”

Those assets certainly help drive larger revenues for the station, but the programming department can’t be placed on standby waiting for the company to acquire them. Instead they have to make a simple decision, are we invested in being live on location for this event or not?

One side of the argument that warrants further examination is the role that corporate executives and market managers play in it. If a sports station being live from the Super Bowl is going to be contested, then how else are you providing reinforcements to help your brand cement its position in the local listener’s mind? Is the station reinvesting its funding in marketing to help the brand gain more fans? Are you moving the money from the Super Bowl trip to create a bigger impact at spring training? Is the station holding back the funding because it plans to make a bigger play to snag a local team’s radio rights?

In each of those scenarios, most programmers will be flexible. Their end goal is to grow the brand. Whether it’s done through the Super Bowl or spring training, additional radio rights or a heavy marketing campaign, the bottom line is growing the audience and brand perception. It’s when executives frown upon making necessary sacrifices to help the station, and offer no alternatives, that programmers become frustrated and question the company’s commitment.

When I ran stations, I felt there was value in broadcasting live from big events. It may not have always been favorable on the spreadsheet, but it absolutely made an impression. And sometimes you have to make financial sacrifices to grow your company.

Case in point, during my first year in San Francisco, we sent our entire staff at 95.7 The Game to Indianapolis to broadcast from radio row. The crew had only been working together for a few months, and this trip allowed them to form deeper bonds outside of the building. That’s something that you can’t measure. It was expensive, but we knew that our competitor would have a minimal presence at the event, and that would serve us well in strengthened our identity in the market.

We also felt that it would send a message to the local teams that we meant business. We knew it may not provide an immediate financial return, but the long-term goal was to entice those teams to work with us. By utilizing that approach, we became serious contenders for the radio rights to the Oakland Raiders and Golden State Warriors, with the Silver and Black signing on two years later to become the station’s flagship NFL partner. The Warriors didn’t immediately switch over, but a few years later they too followed suit.

The San Francisco Giants and 49ers, and a few notable sports agents also took notice. Over the next year, players who had previously been unavailable or not interested in pursuing weekly call-in deals with the station, started to adjust their line of thinking. When we signed Buster Posey and Matt Cain the following season to an exclusive agreement, it put everyone in the market on notice.

The final piece of this puzzle that I want to shed light on is the value it presents to the NFL, and their role in making it a better experience for radio operators.

In recent years, radio row has become a bigger hassle. The process to being approved for credentials takes a long time, and that impacts stations who are trying to determine what they can or can’t spend to cover the event. If you’re applying in November, you shouldn’t have to wait until the second or third week of January to find out if all of your people and the hotel rooms you’ve requested have been approved. That puts stations in a tough financial position because booking last minute rooms, cars and flights requires additional expense, inconvenience and in some instances, less manpower.

The next issue that creates a problem are the increasing technical costs. Some stations have to absorb two thousand dollars in fees for ISDN lines and internet, and then either send an engineer on the road or hire a local engineer as an independent contractor. That’s a lot of money to spend just to get on the air. The alternative is accepting lower broadcast quality which would defeat the purpose of broadcasting there.

Then there’s the lack of information of who’s going to be available on radio row. Most hosts and producers have no idea who’s available to be booked for their shows until the day of, and then it becomes a mad scramble to chase down PR people, and team officials. This makes it chaotic for hosts, producers, guests, and handlers, who are trying to foster relationships with one another yet have a limited time to do so.

Lastly, there doesn’t seem to be a lot of TLC displayed by NFL officials towards radio stations and their employees. These brands offering up countless hours of their programming time to help the NFL sell its biggest game of the season, and spending thousands of dollars to do so. Many also invest additional millions of dollars on the radio rights of the NFL’s local teams. You’d think that would provide for better treatment, but I’ve run stations that did and didn’t have NFL play by play relationships, and neither was treated any differently.

Whether the league offered better placement inside the venue, access to guests who other brands couldn’t get, priority access inside the building, or something as simple as a few more hotel rooms and advanced approval, every little bit sends a message that the NFL values its radio partners.

Let me remind you, these stations broadcast from a place called RADIO Row. If the costs and challenges become more hassle than they’re worth, it could make brands reconsider attending. A lack of on-site support and reduced air time for the league’s biggest game could have an affect on viewing. Given the current climate of television, and the growing economic challenges for broadcast companies, it wouldn’t be wise for the league to continue making their loyal partners feel neglected during the week of their biggest annual event.

I was curious how a number of programmers across the country felt about the importance of broadcasting live on radio row. Each of these guys work for different companies, and are sending their stations to broadcast in Houston this year. Here are their perspective on the pros and cons of Super Bowl week.

  • Mike Sheppard – Mighty 1090, San Diego, CA
  • Rich Moore – Sports Radio 950 KJR, Seattle, WA
  • Dan Zampillo – ESPN LA 710, Los Angeles, CA
  • Chris Kinard – 106.7 The Fan, Washington D.C.
  • Joe Zarbano – WEEI, Boston, MA

Why do you believe it’s necessary for your station to broadcast from radio row during the week of the Super Bowl?
Moore: It’s the payoff week to the biggest draw in our format on the biggest media stage. Super Bowl week is an overdose of sports talk content gold. When the format was growing and earning credibility, being at the biggest events was vital. The key now is not just being there, but maximizing the content.

Super Bowl week also used to be about getting big names on that you couldn’t usually get on any other time. That’s still there but now it’s also about the news and content, and being there gives you an advantage. It probably is more necessary nowadays to the stations in markets where the NFL is present and strong.

Zampillo: Two things come into play for us at ESPN LA 710. One, we just got the Rams this year, and given the attention around the NFL returning to LA, and now with the Chargers coming, I think it helps us cement ourselves as the football station in town. Plus, we launched a new morning show with Keyshawn Johnson involved, and given his status and ability to draw big guests, it makes sense to have our morning show there.

Sheppard: It’s a strategic brand decision. Part of our content and event filter is whether or not a listener would expect a particular element from “San Diego’s Sports Leader”. In our opinion, a Super Bowl week broadcast is in sync with the audience expectations of the Mighty 1090 brand. More importantly (and based on audience research we have done), NOT having a presence there would erode our leadership position in the mind of the audience.

Kinard: If done right, it can make your station sound big and create an impression that you own the most important sporting event of the year. But I think whether you make the decision to send a show depends on several factors, including your market’s competitive situation, budget, strengths and weaknesses of your hosts and producers, and what kind of market you are in. In our case, we have a midday show with 2 talented interviewers and some great connections, and I am confident they will produce content worthy of the expense we are incurring to send them.

Zarbano: It’s necessary because our audience is captivated by the Patriots and the NFL. This is the biggest event of the year, and our listeners want to feel like they’re there even if they can’t be. When the Patriots are in the Super Bowl, New Englanders are obsessed with Patriots related content. Broadcasting live from radio row affords us the opportunity to deliver the very best possible radio.

How much of an impact does it have on your station’s ratings?

Moore: It’s a pretty strong week for us. We gain strong AQH. With a natural bigger audience available that week, booking the week on radio row allows us to set good appointments and create great social media and digital content as well.

Zampillo: I think it will have a small impact on ratings if done right. If we get the right guests and handle the show in the spirit of the way it was meant to be executed it will give us a bump.

Sheppard: Minimal. That’s not why we do this. It’s a strategic brand decision rather than a topical or tactical ratings play.

Kinard: These shows can create some must-listen to moments, which has the potential to move the ratings needle. But I think it’s more of an overall branding benefit than anything.

Zarbano: We see quite a noticeable increase, particularly in cume, when the Patriots are in the Super Bowl and we’re broadcasting live from radio row. The interest level in our market is huge.

Why do you think this week of programming matters to the audience?
Moore: It’s the biggest topic, and the hype of the Super Bowl coverage attacks the majority of the cume. If your team is in it, it’s a can’t miss event. If not, it’s a newsy week that helps listeners at the water cooler.

Zampillo: The Super Bowl is the biggest event in sports. And even casual sports fans are interested in the game.

Sheppard: Based on our content and topic matrix, coverage of the NFL is far and away the # 1 audience need. Given that the Super Bowl is the NFL’s most important event each year, it would be foolish of us not to capitalize on the buzz and content of this week.

Kinard: The Super Bowl is not just the biggest sporting event of the year, it’s a spectacle. The game is huge, but the commercials and the halftime show are highly anticipated as well. The stars come out, and it’s a great opportunity to hear from the legends of sports, but it also provides your station with an opportunity to crossover into the worlds of entertainment and pop culture.

Zarbano: WEEI’s audience is very emotionally invested in the Patriots and football content. If the Pats are playing in the Super Bowl, the interest level rises. These rabid fans want to be at the game and taking in the week’s events, but since they can’t, they rely on our presence and ability to deliver to make them feel closer to the action.

If you weren’t there, what type of affect do you think it would have on your brand?
Moore: It’s not the end of the world anymore, but the KJR brand has been built with the expectation that we will be live from the big events and deliver those experiences to our audience. With our station located in a great football market like Seattle, and KJR a proud partner of Westwood One, we try to make sure we are there.

Zampillo: I don’t think it would hurt us. If we were not going and still hitting the hottest topics that matter to our audience, we would be in good shape.

Sheppard: It would negatively impact our leadership branding.

Kinard: I think you can certainly cover the game from afar just as you would any of the other major sporting events. As long as the shows continue to spend a majority of their time talking about the game and doing the blocking and tackling of PPM strategy, this should be a great week regardless.

Zarbano: It’s a perception battle. Many of our P1’s also listen to our competitor. If the competition broadcasts from radio row and your station is not there, it can make your brand look second rate. Our audience is going to be more interested in listening to the shows that are on the ground with the team in Houston (Super Bowl City) rather than the show which is sitting inside of a studio back in Boston during the week of the biggest game in sports.

Some industry folks feel that it’s not worth the expense to broadcast from there. How do you respond to that?
Moore: It’s certainly going that way. It is really hard to commit to it each year in advance, but if you work with your sales team, and can justify great value and frequency to see your coverage, it can be done. It’s RADIO row, and yet the NFL is pricing radio stations out of being there. $2000 for ISDN and internet is almost impossible to justify.

Zampillo: I understand that point of view. The problem is, Radio Row used to be special. Now, everyone has the same guests on, and most of those guests are low quality guests who are pushing products that do not connect with our audience. If you can do the best version of your show while working in important aspects of being on Radio Row like BIG name guests, it makes sense. If you can’t do that, then I understand staying home.

Sheppard: It’s not cheap, but we send all of our shows, and make it a priority to not only cover our expenses, but actually make money with our Super Bowl week sponsorships. Many of our hosts will ad-lib sponsors who are more than willing to support these broadcasts financially.

Kinard: For some stations, it may not be worth the cost. It depends on your competitive situation, and what else you would spend that money on.

Zarbano: We are blessed to have a great sales staff. The revenue they bring in always greatly outweighs our expenses.

Since the majority of the week consists of interviews with big named athletes and celebrities, what does your brand do differently to standout from the rest of the crowd?
Moore: We form relationships with NFL guests and contributors all season long, and use this week to extend them and have longer conversations in person that pay off our audience. We also have regular contributors who have established relationships with players, coaches, etc. and we send them too because it helps increase our access to other high profile guests, plus their continued presence assures that our programming will remain top notch.

Zampillo: We are only going to talk to guests who the audience is excited to hear from. We are not putting on a guest to just put on a guest. It has to be someone where the audience says Wow! This is cool or interesting!

Sheppard: First, we want our broadcasters to have good shows. Although I see stations still doing it, pimping non-relevant athletes, celebrities or products is not what we do. Content is the # 1 primary objective with an emphasis on Super Bowl content or guests that really deliver.

The second thing we reinforce is that we are a multi-platform media company, and as such, we are sending two content contributors and videographers to file photographic, video and written content from the festivities.

Kinard: We try be very selective about the guests we book, and make sure the show doesn’t sit around waiting for guests to arrive. The content should still be about the game, and we try to make sure our shows continue to break down the game, talk to listeners, etc.

Zarbano: We are very picky about who we put on the air and what we promote. We will only put on guests that we feel can move the needle.

What is one thing the NFL could do better during the week of radio row shows to keep stations wanting to return and support their biggest game of the year?
Moore: They could help radio stations by managing the inflating technical costs for sure.

Zampillo: It would be nice if it was better organized. Too often it feels like a free for all. I understand it is on each station to book guests, but it would be great if you had a better idea of who will be there and when.

Sheppard: The hotel process could be improved. The longer we have to wait for accommodations, the more expensive air travel becomes. For example, this year we requested seven rooms but were only granted two. That makes it more challenging.

Kinard: I think they generally do a great job with the event. More availability of guests from the league and the NFL Network would be beneficial.

Zarbano: The credential process can be confusing and time consuming. It’d be helpful if there was a clearer process when requesting conditional and regular Super Bowl credentials.

Simple Ways To Measure Self-Improvement

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Now that 2016 has passed us by, and you’ve returned from a winter break and began to settle back into your normal routine, I have one simple question for you – how do you plan to get better in 2017?

Each year we make resolutions and set goals for ourselves, but the truth is that we don’t always hold ourselves accountable to them.

Speaking for myself, it’s a question I don’t have all the answers to. I’m proud of what I accomplished in my first year in business in 2016, and was fortunate to meet some great people and enjoy some amazing experiences. Would I like to do the same in 2017? Absolutely, but I also hope to grow.

To do that, it will require helping my current clients improve their brands, plus more traveling, networking, and expanding relationships. I feel confident that I’ve developed a solid brand, good reputation, and resourceful website that produces timely and interesting content, and the only thing to do is be more consistent and further promote the product.

This is now where I insert my obligatory cheap plug. If you’re running a station and feel it needs an objective outside the building evaluation, or if you’re experiencing difficulties and need guidance to get your brand on track, I’m ready to roll up my sleeves and dive in. Interested parties can reach me here to discuss.

Aside from that, I plan to continue speaking at conferences, hosting a podcast, publishing the annual Top 20, and sharing news and success stories on the format. If I’m able to grace the airwaves of a few more sports radio stations for discussions on the sports media business or contribute additional pieces about the industry with select trades and media sites, then that’s an added bonus.

But enough about my aspirations, this is about you. How will you be able to tell in twelve months that you grew as a professional?

Rather than trying to fix every small issue that keeps you awake at night, or ignoring the noise when a co-worker tells you you’re not executing the way you’re supposed to, let me suggest something simple – pick one thing per month to work on.

For example, if you’re a host and your crutch is getting to break on time, sit down with your PD and your supporting cast to evaluate where you are currently, and commit yourself to making it better. I’ve told this to numerous talents along the way, you can’t control what the meters do but you can control your own self-growth. A boss is more likely to continue supporting you if they see you dedicating yourself to improve at your craft.

In order to do that, you need to examine your performance over the next 30 days. Trust your producer and board operator when they tell you it’s time to wrap up, but allow yourself some wiggle room for those times where you miss the mark due to a special radio moment. It’s ok to have the occasional setback but make sure it’s truly worth it. Not every moment you create is special, and not every late break is worth it.

Ask your producer or PD to track the show and monitor when you went to break during your 12-16 breaks and compare it to how they line up with your clock. Do that every day for 30 days and see where you are. If you understand your clock, and are working on shortening your commentaries to fit inside the window of what you’ve been given to operate, then progress should happen. All it takes is self-discipline, focus and a desire to want to be better.

It’s unrealistic to think that you’re going to go thru your next twenty shows and never be late to break. If you can trim your losses though by 25-50% or even greater, it’ll make you feel better about your own performance, and it’ll hopefully benefit you with the meters. Then the next challenge becomes doing it again the following month and throughout the remainder of the year.

But this isn’t a column about the importance of navigating a clock so let’s use another example. Except this time I want to focus on the person behind the glass – the producer.

If you’re in charge of booking guests and you’re struggling to land good people for your show, how is that going to change tomorrow? You know the audience enjoys hearing from popular coaches, players, analysts and personalities, and your host either perks up or becomes frustrated depending on who you’ve booked for each day’s show. There’s also an internal pressure you place upon yourself to perform, and it can be intense and make you doubt whether you’re capable of handling the responsibility.

My suggestion is to start by analyzing the time you’re investing in the process and the strategy you’re using to deliver results.

Do you have a large enough rolodex? Are you networking regularly with people, teams, agents, and PR groups to grow your contacts and learn about upcoming opportunities? Are you booking guests in advance or flying by the seat of your pants on a daily basis? How many layers do you sort through to try and land a guest before you give up?

Even the decision of whether to send emails or make calls comes into play. Are you hiding behind the computer because you fear being rejected on the phone? What days/times are you reaching out to arrange guest appearances and is it producing results? Are you spending thirty minutes of your day on the task at hand or three hours? How many calls or emails are you delivering per guest booked?

Most on-air talent are going to show up each day with an idea of the key topics and what they want to say about them. If you’re spending two hours writing a one-sheet worth of talking points on the day’s top stories, that might be information that provides little value to your host. If it’s not important to them, think of how you could better use those two hours to create a stronger show.

Instead, maybe you’re better off using that time to send out more guest requests to help the next day’s show. Maybe it gives you a chance to locate better audio to help your host with their discussion on the day’s top stories. Maybe it becomes the time you need to create a kick ass rejoin or production piece that leaves the on-air talent and audience laughing or emotionally moved. Or maybe it’s just free time that you use to think of creative new ideas to enhance the show.

The goal is to maximize your time, identify the areas of your game that require improvement, and develop a system to be more efficient.

But before you can improve at something, you need to first acknowledge the problem, examine your process, understand what a win and loss looks like, and create a gameplan to assure future improvement. Then it’s up to you to stick to the plan, and track your development. If you’re laying out a good strategy, and holding yourself accountable to it, there’s no reason you shouldn’t get better.

How many times do you engage in conversation with a colleague, and when they cite a specific example about a weakness in the show, you agree with their assessment? But then two days later, you’re back on the air making the same mistake. Anyone can point out a problem, but unless you prioritize the importance of making adjustments it becomes a useless conversation.

When these types of subjects are explored, it’s easier to focus on the on-air staff. But this can also apply to a Program Director.

I understand better than most that there are never enough hours in the day for a programmer to get everything done. They’re going to be asked to wear twenty different hats and solve every department’s problems, but remember this, and never forget it – the area which you will always be judged hardest on is what comes through the speakers and how it registers with your audience.

There is nothing more important than your product, the people you’ve hired to present it, and the connection the brand makes with its local audience.

Are you allowing yourself enough time to create new ideas? Are you meeting and talking with your talent regularly and creating ways to help them get better? Which methods are you pursuing to improve your own personal relationship with your listeners and keep them invested in your brand?

Each year when I operated stations, I challenged myself to do one thing the next year that I didn’t previously. One year it might have been to send shows on the road to an event we hadn’t covered and develop a big promotion around it. The next year it might have involved creating a lengthy promo campaign to introduce new branding or reducing the stations benchmarks. The year after I might have focused on connecting better with the audience on social media and in person or expanding the brand’s reach through additional local media partnerships.

The bottom line, you must always continue exploring new territory.

If you’re asked by your bosses at the end of 2017 to name one innovation you brought to the radio station’s airwaves over the past twelve months could you do it? If not, why not?

The reason why programmers are tasked with running brands is because they’re supposed to have vision, passion, work ethic, and a constant desire to win. They’re supposed to be great motivators, teachers, strategists, cheerleaders, and they’re expected to lead by example. The only thing that can get in the way of your creativity and leadership are distractions, and they only come into play when you allow them to do so.

Rather than making excuses and complaining about the laundry list of problems you have before you, take a deeper look at your daily plan, prioritize what’s important, create reachable short-term and long-term goals, and make sure you’re allowing time to develop new ideas and work with your staff. It’s ok to say no every once in awhile or ask for a raincheck.

You may not be able to schedule time to be creative, but when the ideas start flowing and you’re on the verge of developing the next big one hundred thousand dollar idea, you’ve got to have the ability to clear your head and the room. Paperwork can wait, and so can people. Your bosses will have your back, especially if you can give them one hundred thousand reasons to do so.

Radio Industry Reaction To Mike and Mike Splitting Up

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The media world has been buzzing since Richard Deitsch broke the news that Mike Greenberg would be leaving his radio program on ESPN Radio in the foreseeable future. Although a date and replacement show haven’t been announced, industry sources say they expect the situation to be resolved sooner rather than later.

There are changes that will take place on the television side due to Greenberg gaining a new show and prominent role, but for the sake of this conversation I want to keep the focus on the radio side of things.

Mike and Mike have been the face of ESPN Radio in morning drive for a little more than 18 years. Losing a program that possesses ability, consistency, credibility, and longevity is difficult for any radio operator. Especially when it could lead to a loss of revenue, ratings and affiliates. Couple that with ESPN losing a few high profile personalities in recent years, and it magnifies the situation even more.

You learn early on in the radio industry that change is constant. When it occurs, others will smell blood in the water and look to seize the moment. That’s just the simple nature of operating in a competitive industry.

I don’t need to be a fly on the wall inside of the offices of FOX Sports Radio, CBS Sports Radio, Westwood One/NBC Sports Radio, and SB Nation Radio to know that they’re strategizing how to approach ESPN affiliates to try and crack open the door to gain clearance for their programming. Whether they can get inside the room though and stay awhile will be based on the way ESPN handles their relationships with their radio partners, and what quality programming they make available in place of Mike and Mike.

Other excellent personalities still exist on the ESPN radio network, but the brand will take an instant hit by losing Greenberg. Keeping Golic may help ease the pain in the short-term but regardless of his involvement in the next program, he will always be identified as one half of Mike and Mike. His daily presence will serve as a reminder of what once was, just as ACDC and Van Halen discovered how different they were received after Brian Johnson and David Lee Roth were no longer singing their songs.

That’s not to say that ESPN radio won’t thrive in the next year or two without Mike and Mike, but retaining partnerships and convincing listeners that the network is heading in a better direction is difficult when you break up a show with 18+ years of staying power.

What will be interesting to keep an eye on in the future is how ESPN radio adjusts its focus towards radio. Is the network better served being a content provider for markets outside of the top 20 which operate with smaller budgets? Is it going to continue to insist on clearance of its top shows in major markets? Will they allow their own local stations to pass on network programming in favor of local shows which have a stronger ability to generate higher ratings and revenue? Does it evolve into a brand with a heavier focus in the digital space? And how do those changes appeal to national radio talent and affect future negotiations?

One huge positive going forward for the network is that they’ll soon have the influence and guidance of Justin Craig who has done a fabulous job running the company’s brands in Chicago and New York. Craig, cut his teeth at the network and gained respect for the way he produced Mike and Mike, and has spent the past decade programming ESPN 1000 and 98.7 ESPN NY, and helping each brand enjoy success. The decision to have him return to Bristol to oversee the network’s radio operations is a smart one. Dave Roberts will remain involved as well, but his responsibilities with First Take and other TV programs take precedence.

I was curious how the news of Mike and Mike’s eventual farewell was being received by programmers and market managers, so I decided to involve 6 individuals who have a history of working with ESPN radio on a local level. Their identities have been protected in order to gain the most candid insight available. Here are their responses.

What was your immediate reaction to the news of Mike and Mike coming to an end?

Executive 1: It confirmed that TV is the primary focus at ESPN.

Executive 2: I was extremely surprised. In an age where sports syndication is a fight to gain affiliates, this show has had amazing tenure in multiple markets.

Executive 3: It was a hell of run. Not many shows these days can last a year let alone 19 so they definitely deserve a ton of credit. But like a long marriage can sometimes get stale, this happened with this show. No matter what guests or third host’s were added, the program never seemed to evolve. It played well for medium sized markets. Not so much for most large markets. So I’m not shocked that it’s run is over.

Executive 4: I’m shocked and seriously disappointed. An iconic show with two strong personalities, wrapped around by the biggest and best stars in both sports and entertainment.

Executive 5: I’m not surprised. I’ve felt like the show had become stale in recent years. The guys were so comfortable with one another that I think their evolution was stunted a bit by both their success over many years, and the possibility that there was/is a lack of someone at the mothership who’d challenge them in ways they might not particularly like.

Executive 6: I was not surprised. I had heard the rumors. After the “we’re moving the show to New York” blew up and Greeny dropped his agent over it, ESPN was going to appease Greenie. I feel with Golic staying that keeps substance and relatability to the show.

How does the loss of the Mike and Mike brand affect your perception of ESPN Radio?

Executive 1: This show has been the foundation of the network for a long time. I am curious to see what they do now. How do they reinvent the morning show and make sure it plays to the largest audience possible?

Executive 2: I don’t think it does. It’s been a great brand and a tremendous marriage.

Executive 3: Mike and Mike were ESPN Radio. Really the only ESPN program left that had some familiarity and traction nationally. In the last couple years the programming has gone significantly backwards which I think has taken a toll on its perception and this will initially only make it worse.

Executive 4: It takes a hit. Mike & Mike set the day and tone for the rest of ESPN Radio.

Executive 5: It depends on how they replace Greeny. It’s a given that theirs is the signature show on the network, but I think they need to be very careful about who they put in that lead chair and what they want it to say about the direction moving forward.

Executive 6: Of course it affects it. Any change and especially one in AM drive will have a huge impact. Now, how does ESPN handle it is the question. The audience will decide, but there is a comfortability to having Golic stay. He provides the personality and tone of the show. The driver is important, but in my opinion, it would be a bigger deal if Golic was leaving and Greeny was staying.

If you are/were running a station with Mike and Mike in the morning, how would you proceed going forward? (EX: clear the next ESPN Radio show in mornings, switch radio affiliations, move a local daypart on your station into morning drive and clear a different ESPN Radio program, etc.)

Executive 1: The key is to wait and see what their plans are for the future. ESPN is the #1 brand in sports. Everywhere you go today there are challenges in terms of branding and perception because there are more and more options available for consumers. While waiting to see what happens, I would at the same time be exploring all possible options. What gives my station the best opportunity to drive quarter-hours and revenue is what it is all about.

Executive 2: I would wait to see how the new show does since one of the hosts are remaining. Many forget that while it wasn’t as successful, there were hosts before Mike Greenberg. Greenberg and Golic are a terrific pair who have taken the show to amazing levels. Let’s see if a new host can maintain it.

Executive 3: Be open to what they propose as the replacement but definitely look at other options immediately. What one does next entirely depends on the market/budget etc. If you have strong local talent available to you that is always the best approach to succeed in this format.

Executive 4: I would go local and not look back. ESPN Radio might as well scrap the whole “Mike” thing because even a different variation, with one “Mike” or some other form will always look like a weak imitation.

Executive 5: I think it’s going to depend on what the next show is. I certainly have to think about possibly doing my own morning program and then clearing LeBatard live, instead of what we do now (run M&M in morning drive and then go local until 7p).

Executive 6: We’ve talked about it and can’t afford to “wait and see”. This is the most important ESPN radio show. It’s what starts the day and sets the tone. If they don’t get it right, it could alter ESPN radio’s dominance. I do feel confident they’ll get it right but you can’t experiment.

If you were to drop ESPN Radio from your station, which other sports radio network do you believe provides the best lineup, product and value?

Executive 1: I am not sure if just one network can truly get the job done. Every market is different, and thus the programming strategy needs to be different. It also depends on how much local programming my budget can afford, and what other network shows would be available. Maybe I go live in one day part and syndicated in another with a show that is different from what I’ve carried in the past. Each operator has to do what will be best for their individual station.

Executive 2: CBS Sports Radio. It’s the most consistent lineup with brand names.

Executive 3: If you can’t go local I would consider Fox Sports Radio’s Outkick the Coverage show with Clay Travis. At least he’s willing to provide strong opinions, doesn’t take himself too seriously, and understands how to play the digital game.

Executive 4: I’d stay with ESPN Radio. The rest of the lineup is still better and their play-by-play assets are second to none. Go local though, in morning drive.

Executive 5: FOX Sports Radio, but ONLY because of Dan Patrick.

Executive 6: We won’t drop them. We’re connected at the hip in branding and have enough live/local programming that I’m not too concerned if Trey Wingo is the guy. However, they are going to be impacted audience wise, and so will others. The balance of your station’s brand will make the difference, along with the performance of the new show. It’s the best network show in the AM when compared to other network choices and local options cost a lot more. If you can afford that though, that’s certainly an option to consider.

If you were in charge of operating ESPN Radio and putting in a replacement for Mike and Mike, and millions of dollars were at stake, what would you do? (EX: accept whatever show the network provides next, pair two or three other ESPN personalities together, bring in someone from the outside, shift another show from the network into mornings, etc.)

Executive 1: The show that has been the staple of the network will never be the same again. Still having Golic on the show is good as he is a link to the past success of the show. Lots of deep discussion needs to take place both internally and externally. I would certainly want to get a sense from key affiliates what they are thinking and what they feel can move the needle in the future.

Executive 2: Put one host with Golic. Trey Wingo is an excellent choice if that’s the case. Golic is a major radio personality so you should continue to build around him.

Executive 3: I expect ESPN Radio to go the safe route to attempt to preserve as much of the revenue as possible. That means staying in-house and building around Golic. If they truly wanted to produce the best “sports radio” morning product possible they would go outside and bring in an entertaining opinionated “radio” lead host or complete new team. That was done in the past but with a different management team.  The end result of that move resulted in…Colin Cowherd.

Executive 4: Do something different in morning drive on ESPN Radio. There’s a reason why they’re breaking up the Mike’s. If the reason is so strong to put at risk millions of dollars, some other off shoot currently being suggested isn’t the answer. It might be a stop gap, a band-aid of sorts, but even that will eventually fail. It will look like a weak imitation, which is exactly what it will be.

Executive 5: I’ve always felt the show lacked both a certain amount of spontaneity and edge. Trey certainly helps in those areas. But I think a big female personality could help (Beadle?), though it would depend on chemistry and fit. Booger McFarland is also a star in the making. The show needs some diversity!

Executive 6: I’d keep Golic, and if Wingo isn’t an option, then Ian Fitzsimmons would make the most sense. I’ve always love Stink too!

Mike Greenberg To Host New TV Show and Leave Mike & Mike

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It’s been one of the worst kept secrets in the media industry, and now the cat is finally out of the bag. Mike Greenberg is leaving his ESPN radio program alongside Mike Golic after 18 years.

We had alluded to this possibility in previous posts, and Richard Deitsch of Sports Illustrated has nailed down the confirmation. ESPN executives want to move Greenberg into a new role as the lead host of a television show that would air in the morning on ESPN. The new show will be a blend of a traditional morning show and some of the regular features which sports fans have come to expect from SportsCenter. The show is expected to originate out of New York City.

In making the move, there is certainly a sudden impact to the ESPN Radio network which will now have lost Greenberg, Colin Cowherd, and Scott Van Pelt all within a span of three years. The loss of those key personalities has led many programmers to become frustrated with the programming choices from the network, which makes it even more important that the network delivers big when replacing Greenberg. A false move could lead affiliates to terminate relationships in favor of local programming or other partnerships with FOX Sports Radio, CBS Sports Radio, NBC Sports Radio or SB Nation Radio.

Mike and Mike were inducted into the NAB radio hall of fame in 2016, which seemed to signal the beginning of the end for the pair. Greenberg also switched agents, and was signed to a new contract at ESPN for a reported 6.5 million dollars, which indicated that other plans were in the works for him. The network doesn’t offer those type of deals to talent with a primary focus on radio.

With Greenberg moving on, many feel a brand new morning show with fresh blood would energize the brand. But according to Deitsch’s report, Trey Wingo has emerged as the leading candidate to replace Greenberg, and Mike Golic Jr. is expected to be part of the final mix. Sources I spoke with also said that Mike Golic Sr. was likely to remain as the network generates a lot of revenue from the Mike and Mike brand and Golic’s stability could help retain some of the show’s key advertisers.

There has always been mixed feelings towards Mike and Mike. Those who love the show often point to the duo’s chemistry, commitment to sports, fast pace, and content selection. Those who reject it often cite a lack of bold opinions and a too-safe approach. I conducted a study in October on the possibility of breaking up the show, and the 7 radio executives I polled were split down the middle on whether to stay the course or move on.

So now the elephant in the room has been addressed and the only remaining questions are, when will Mike and Mike permanently sign off? Who takes over mornings on ESPN Radio and ESPN2? And will the new show meet the approval of the radio industry or cause companies across the country to start pursuing other options?

670 The Score Announces New Weekday Lineup

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Life after Terry Boers is about to begin for 670 The Score in Chicago. The CBS Chicago radio station has announced its new lineup which will include many familiar faces, and a few new ones.

Starting Tuesday January 17th, Jason Goff will move to afternoons to join Dan Bernstein as the co-host of The Score’s newly renamed drive show, “The Bernstein and Goff Show”. The program will air weekdays from 1p-6p CT.

With Goff moving up from the midday show, The Score is adding Danny Parkins as Matt Spiegel’s new on-air partner. Parkins, a Chicago native, spent the past six years in Kansas City enjoying success with 610 Sports. The new duo will form “The Spiegel and Parkins Show,” and occupy weekdays from 9a-1p CT.

“The retirement of beloved ‘Score original’ Terry Boers after 25 years, coupled with the exciting achievements of the station over the last year, led us straight to Jason as the perfect match with Dan in afternoons,” said Mitch Rosen, WSCR Program Director. “As a hometown native, Danny brings passion to middays, and I couldn’t be more thrilled to hear what he and Matt create together for our loyal listeners.”

Senior Vice President and Market Manager, CBS Radio Chicago, Tim Pohlman added, “Following the success The Score has seen in the past year sharing the historic Cubs Championship with all of Chicago, and celebrating 25 years of delivering the city’s best sports coverage, I’m thrilled to see the pairing of Jason Goff and Dan Bernstein and to welcome the talented Danny Parkins to our already stellar lineup of Score hosts.”

On the upcoming change, Jason Goff remarked “I’ve had a fantastic time reuniting with the audience the last couple of years with a terrific talent in Matt Spiegel. The reunion now continues with a time slot and a host in Dan with whom I’ve experienced some of the finest moments of my career.”

 “When I left Chicago in 2010 for my first radio job I had a personal goal to be back home with my own show by the time I turned 30,” said Parkins. “The fact that’s going to be a reality on The Score, a station that has always been a Chicago institution, is a dream come true. I can’t wait to get started and begin building the best sports radio show in the city.”

Here is how the new station lineup will look moving forward:

  • 5a-9a – The Mully and Hanley Show (Mike Mulligan and Brian Hanley)
  • 9a-1p – The Spiegel and Parkins Show (Matt Spiegel and Danny Parkins)
  • 1p-6p – The Bernstein and Goff Show (Dan Bernstein and Jason Goff)
  • 6p-10p – Laurence Holmes

Swimming In Digital Waters

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In most buildings, talent are conditioned to think about the here and now. They’re consumed with creating content, watching and reading about sports and other topical events, and forming emotional connections with their listening audience. Few are spending their time studying industry trends and changes or creating Plan B strategies to assure their brand remains relevant across multiple media platforms in the event of a catastrophic shift in audio consumption.

The same can be said of many programmers, sales managers, and account executives. Today’s tasks are what matter most and winning the next month or quarter helps determine if the boss remains satisfied and a future raise awaits.

But while we’re all caught up in our day to day responsibilities, it’s too important to stay informed on the way our business is changing. You may think that radio is bulletproof but one piercing of the skin could require much more than a band aid. I’m not talking about a competitor’s decision to adjust their lineup or the station’s largest client switching its ad agency and reevaluating how much business they want to do with your brand. I’m talking about change that can affect every single person and brand and the way our entire industry thinks and operates.

Now before you sound the alarm and start emailing copies of your resume to the real world, relax. Radio isn’t going anywhere tomorrow nor the day after. But if we’re not smart and strategic in the future, we could be in deep trouble because technology is moving at the speed of sound and it’s not going to wait around for anyone.

If you weren’t aware, last week the country of Norway announced that it was eliminating FM radio. The Norwegian government said the country’s high mountains and scattered population make it expensive to operate the Norwegian FM networks compared with other countries, and a growing confidence in digital audio was behind their reason to change course.

As a result of the change, the government estimates that radio stations will save 23.5 million dollars per year. They also feel that broadcasters will have access to more channels and better audio quality by operating in the digital space.

“Radio digitization will open the door to a far greater range of radio channels, benefiting listeners across the country,” former Minister of Culture Thorhild Widvey said in a statement in 2015. “Listeners will have access to more diverse and pluralistic radio content, and enjoy better sound quality and new functionality.”

Although Norway is the first to execute this strategy, other countries such as Denmark and the United Kingdom are said to be considering following suit. Switzerland has also pledged to shut down FM broadcasting by 2020.

There will certainly be some bumps in the road when making such a drastic change, but the digital audio space is seen as an open road full of possibilities. The surplus of content is enormous, listening and downloading of programming is available on each individual’s time, and broadcasters are treated to more reliable measurement. It also happens to be where the majority of advertising dollars are moving.

When Napster and other file sharing software became available in the 1990’s, the record industry didn’t take the threat seriously. That lack of concern resulted in the music industry experiencing years of agony and a whole lot of financial pain. Fast forward to today and the majority of music is downloaded and purchased online, and companies like Spotify, Pandora, YouTube and Apple have become very lucrative.

Here’s something to ponder that you may not have ever considered before, what would your brand identity be if your product was removed from the AM and/or FM dial? Many stations tie the name of their brand to their dial position and the frequency they broadcast on, but if those two things were eliminated tomorrow, how would you be identified?

The answer is many of you would be pushing the panic button because your entire brand history would be permanently altered.

Why does that matter? Because technology is changing the game. Many of us may accept the status quo with the dashboards inside of our vehicles, but the auto industry believes it can make the experience inside of your car better and more attractive. In doing so, they believe it will result in more sales and higher customer satisfaction.

If you didn’t notice, two of the hottest selling products on the market this holiday season were Alexa by Amazon and Google Home. Each have been a big hit with consumers and the auto industry has taken notice.

Case in point, Ford has formed a partnership with Amazon to make Alexa available inside of its cars, and voice activation is an attractive feature to automakers. Once the inside of your vehicle begins to offer this service, and the dashboard is no longer controlled by an FM and AM tuner, the only way you’ll stand out is through audience recall.

In order to do that, you must create a powerful brand. There are hundreds of thousands of digital audio options to enjoy, but if the consumer can’t remember you or isn’t familiar with what you offer, then you’re as useful as a white crayon.

Are these products good for radio’s future? I believe they can be. Except radio may have to rethink and expand its content and distribution strategy and pursue other areas of the entertainment business. iHeart and Townsquare have already done this by becoming event creators and marketers, and Hubbard and E.W Scripps have too through significant investments in podcasting.

In recent years, many in the industry have been skeptical of the growth potential of digital audio. Inventory counts are drastically lower, and consumers have been unwilling to foot the bill to enjoy consuming content, which means it’s financially unattractive when compared to radio’s current business model. But, if it’s where the audience is shifting, and distributors begin to introduce newer technology at the expense of the previous models which had been reliable and successful for previous decades, then the industry has two choices – adapt or risk permanent damage.

Our industry has done a great job building and sustaining its local awareness, community connection, and visibility. That approach has enabled stations to build bonds with the audience, making it easier for them to be remembered. Those type of relationships help a brand remain important to a consumer who has access to voice recognition software or a digital dashboard.

It’s true that innovation is happening lighting quick and what seems groundbreaking today could be old news tomorrow, but one thing we can’t take for granted is radio’s position in the car through FM and AM distribution. All it takes is one monumental change in the way audio is distributed, and the business as we know it would not exist.

I can’t see the United States of America abandoning FM and AM radio the way other countries have, but to think that in the next ten years there won’t be massive changes and a heavier focus on digital distribution is simply naive.

Throughout my career I’ve tried to prepare myself for the “what if” scenarios. What if my best talent retired tomorrow? What if my legendary play by play announcer had to step aside as the voice of the local team which my brand held the rights for? What if a new social media platform launched and the audience shifted away from Facebook and Twitter? What if the identity of my brand was changed?

Fortunately, I was able to avoid these situations, but I’m a believer that when chaos ensues, it’s the ones who are prepared beforehand who navigate the rough roads best.

I’ll share one small example with you about preparing for change.

When we were building what is now known to sports radio folks as 101 ESPN in St. Louis, we launched with the rights to the St. Louis Rams, St. Louis Billikens, and a partnership with ESPN. The ESPN relationship in particular provided us with an opportunity to align our on-air and online branding.

During our first two years, we gained strong traction in the marketplace using the name 101 ESPN and 101ESPN.com. But as many great brands and leaders do when they’re having success, we held open dialogue about some of the potential dangers that could face us down the road.

We heard whispers about the Rams potentially relocating. We realized there was a chance that a key personality or two could elect to leave in the future to pursue a different opportunity when their contracts expired. And there was this one longshot possibility that we didn’t give much thought to but could never be discounted, what if we lost ESPN?

We had zero control over the Rams future, confidence in ourselves to retain valuable people inside the organization, and a great relationship with ESPN, but we were also not privy to their future plans or opportunities in St. Louis. Although the likelihood of the relationship changing seemed farfetched, in the world of business, you can’t rule anything out.

As we analyzed our future, we determined that it’d be a wise move to change the website branding of the radio station and align it with something we had future control over – the 101 FM frequency. We continued to position the on-air brand as 101 ESPN, while getting the audience more familiar with the new name of our website 101Sports.com.

In taking that approach, we were able to keep the station on track and built around a powerful brand like ESPN, yet prepare ourselves for the future by positioning the website with a name that would become a logical and easy transition should the on-air identity be compromised. Having pounded that branding into the audience’s mind for the past five years, the station is now in good shape should it ever need to adjust.

You may work for a station which is identified by its call letters, dial position, or affiliation with a sports radio network. There is a reason why hundreds of stations following this strategy, it works under the current set of broadcasting conditions. But if tomorrow those conditions were to take an unexpected turn, how would you be defined? What would you do?

I’m not suggesting that you should freak out over Norway eliminating FM radio or other countries considering the same possibilities. I realize that we operate in a different part of the world with a different government and very different economic realities. But as we all know too well in business, change is inevitable, and if you’re not careful and aware of future possibilities, it can send you into a downward spiral that you may never recover from.

My advice is to stay up on the trends, prepare for “what if” scenarios, continue creating memorable brands and content, and make sure your digital strategy is strong and sustainable. It’s easy in 2017 to treat your digital presentation as the second most important part of your brand, but before you know it, it could be the very thing that defines your relevance and success.

Danny Parkins Is Leaving 610 Sports

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Danny Parkins is on the move. But where he’s going has yet to be announced.

On Monday, the talented drive time host on 610 Sports in Kansas City revealed that he’d be leaving the radio station. His final show alongside drive time partner Carrington “CDot” Harrison will be this Friday.

Since arriving on the scene in KC nearly six years ago, Parkins has climbed the ladder and continued to make an impact. His afternoon show “The Drive”, which he hosts with Harrison weekdays from 2p-6p CT, has enjoyed success opposite WHB’s Kevin Kietzman, and holds the honor as being 610 Sports’ highest rated program.

Due to contractual obligations with his new employer, Parkins isn’t able to say where he’s heading yet but is hopeful that details will be available prior to his final show.

“It was tough in the sense that Kansas City has been great to me, but I think once people see where I’m going and what I’m doing, they’ll understand why I had to do it,” Parkins told the Kansas City Star.

“It was actually not that tough of an actual decision, because the opportunity is so perfect. But everything else about it was very difficult, because I love this city, the people and who I work with.”

Harrison and producer Ben Heisler will remain in afternoons after Parkins departs. Who 610 puts in Parkin’s spot remains to be seen. Once further details are available we’ll pass them along.