Home Blog Page 347

Colin Cowherd Reflects On His Journey To The Radio Hall Of Fame

John Mamola
-
0
Colin Cowherd Reflects On His Journey To The Radio Hall Of Fame

Being inducted into the Radio Hall of Fame is the pinnacle of a lasting career. Honoring the impact a talent or professional has made while serving their time in the industry. While many have graced the doors of the hall, after over a quarter-century, Colin Cowherd will be welcomed to the broadcasting fraternity this evening in Chicago, IL.

“I look at every part of my career back in Vegas, my first job to now. It’s just chapters of my career,” said Cowherd. “I’ll be honest. I feel very grateful for people saying, ‘Yeah. There’s something there, we’re going to support him.’ Not everybody gets that. There are lots of people with talent who don’t get support systems.”

The 61-year-old Cowherd first began his broadcasting career as the play-by-play voice for the San Diego Padres’ Triple-A affiliate, the Las Vegas Stars, before being named the sports director at NBC affiliate KVBC in Las Vegas.

Following moves to Tampa and Portland, he joined ESPN Radio in 2004 when his daily radio show, The Herd, took over the network’s late-morning timeslot, previously occupied by Tony Kornheiser.

“There are a lot of people who have been along for the ride. I’ve had a lot of really good bosses and smart people I’ve been surrounded with,” noted Cowherd. “There’s a line in The Office: it’s too bad you don’t recognize the good old days till you leave them. I wish I was better at enjoying the moment because I feel like the last eight or nine years with iHeartRadio and FOX Sports Radio have just been unbelievably great.”

A Decade With Fox Sports

A decade ago, Cowherd said goodbye to ESPN Radio and signed on with FOX Sports Radio, based out of Los Angeles. After spending over ten years with the syndicated radio hub in Bristol, CT, Cowherd felt that he needed something more—something more from a company that values the radio format as much as he always has.

“When I left ESPN, I had really great relationships. I just didn’t think I had the support system I thought was necessary to build it into a bigger brand,” said Cowherd. “Bristol did a good job. They just didn’t care as much about radio as I did. iHeartRadio is an audio company. I don’t blame ESPN. I was treated very well at ESPN. They’ve circled back a couple of times; that’s a great company. I have no animosity toward anybody there. They just didn’t value the radio. I just went to a better radio operation.”

For the past decade, Cowherd has morphed his radio program into a signature nationally syndicated television property in the industry. His daily The Herd w/Colin Cowherd airs live on FS1 and has now achieved over 400 radio affiliates throughout the country via FOX Sports Radio.

Cowherd just signed a new multi-year agreement to stay with his current employer, all while continuing to build his personal podcast platform, The Volume, which launched in 2021 with a portfolio of sports podcasts. Since then, the platform has continued to expand into sports and other categories such as music and culture.

“Right now, between The Volume, FOX, and iHeartRadio, I have easily the biggest and best staff I’ve ever had,” noted Cowherd. “I’m treated so unbelievably well. A lot of our business is, ‘Can you get there?’ It’s hard to line up all the right people from management to producers. Right now, I feel like I’m part of an all-star cast.”

The Face of The Volume

The Radio Hall of Fame broadcaster is a student of simplifying his life and the work that goes along with it. He explained that he separates his day between The Herd, serving his audience, and his role with The Volume. With staff numbering over 60 people, Cowherd understands the importance of continuing to find avenues for growth to achieve success in the sports content space.

“I don’t do anything with The Volume till I’m off the air,” explained Cowherd. “My company takes precedence because I’m responsible for people and families. But I don’t want to cheat FOX Sports and iHeartRadio because they’ve been amazing. So, I don’t think about anything outside of those two companies till I’m off the air.”

The Volume has grown to over twenty shows, generating 1.5 billion monthly impressions across platforms and near $60 million in revenue by year’s end. They also just signed a new multimillion-dollar partnership deal with Hard Rock Bet, which includes sponsorships within segments across all shows and live tapings at Hard Rock casinos.

With the continued growth and investment in the company, Cowherd noted he and his staff are always on the lookout to add to the roster with The Volume, scouring and attempting to secure engaging talent to expand possibilities to cut through.

“We’re just seeking really good content at a reasonable price that we can sell and distribute,” said Cowherd. “There is no finish line with The Volume. I’m going to have it the rest of my life. There’s no finish line. I’m not working in a lugnut factory. It’s almost like being an entrepreneur, athlete, or a musician. If you could keep playing basketball and could play forever, why would you stop?”

Cowherd noted, however, that it took time for some at FOX Sports to become “comfortable” with the concept of The Volume. He said he has always remained transparent with anyone he was employed with and has always been upfront with people in his working relationships.

“I own The Volume, but I have a really good revenue split deal with iHeartRadio and The Volume. FOX Sports and I have a growing relationship with The Volume. I think they are more comfortable now than maybe when it started,” said Cowherd. “I’m not a bullsh***er, and not hiding anything from anybody. I’m probably sometimes too blunt. In my working relationships, I’ve always kind of faulted on the line of being upfront with people. Tell them what you want, and it works.”

Sweet Home Chicago

With his success at both FOX Sports and The Volume, Cowherd continues to live the life that he chooses. Earlier this year, he moved from Los Angeles to Chicago, shifting the dynamic of his daily program while staff and producers remained in California. Cowherd noted the transition to The Windy City has gone great so far, and he has fallen in love with the city since calling it home.

“Chicago is closer to everything. My wife loves the Caribbean; it’s a three-hour flight. We have a house in Rhode Island. That’s a ninety-minute flight away,” noted Cowherd. “When you live in Los Angeles, I still love LA. But it’s really far from everything. Chicago is smack dab in the middle of the country, and I love it.”

Tonight, at the Swissotel off the Chicago River, Cowherd will be inducted into the Radio Hall of Fame. He stated earlier this year that achieving the honor has been a lifelong goal, growing up from a young age to love the format that radio provides. While the recognition for some may be considered a pinnacle. Cowherd doesn’t see himself stopping anytime soon.

“FOX Sports and iHeartRadio really understand broadcasting and just don’t get in the way unless I ask for support. That’s very rare in my opinion,” says Cowherd. “It’s a mistake to seek validation. Just kick ass and be happy that you’re given opportunities to kick ass. There are a lot of good people out there who don’t get that. I just love what I do still. When I don’t love it, I won’t do it. But I wake up every morning, and I couldn’t wait to get to work this morning.”

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

Meet The Leaders: Tom Poleman, Chief Programming Officer & President, National Programming Group, iHeartMedia

John Mamola
-
0
Meet The Leaders: Tom Poleman, Chief Programming Officer & President, National Programming Group, iHeartMedia

Meet The Leaders is a special 8-week series created in partnership with Point to Point Marketing. Our fourth feature is on the Chief Programming Officer & President, National Programming Group for iHeartMedia, Tom Poleman. Follow along with the series and revisit former conversations by checking out the entire category. 

Tom Poleman is a near four-decade veteran of the radio industry. He has been with iHeartMedia since 1996, starting at Z100 in New York City and now oversees programming and music strategy, talent development and artist relations for iHeartMedia’s 851 radio stations nationwide. 

As the President of National Programming Platforms for iHeartMedia, Tom is responsible for curating the most culturally relevant and iconic songs for the 850+ stations belonging to the iHeart family. In addition to ensuring people like what is coming out of their speakers, Tom is also to thank for activating the radio experience through in-person events such as the iHeartRadio Music Festival, iHeartRadio Jingle Ball Tour, iHeartRadio Fiesta Latina, iHeartRadio Summer Pool Party, and the iHeartRadio Country Festival. 

In this edition of “Meet The Leaders,” we dive into what the day-to-day is like for Poleman guiding iHeart’s brands. We also discuss how he works with his teams managing brands, engaging in artist relations, and what he believes are the keys to successful music selection strategy.  

Poleman spoke with Barrett Media from his office in New York City.  

*Editor’s Note: Answers have been edited for clarity and length.*

John Mamola: You just wrapped up Fiesta Latina in Miami. How did the event go this past weekend?

Tom Poleman: It was really good. It’s interesting. People buy tickets up until the last minute. On the day of the show, we sold 1,000 tickets. It ultimately sells out. Every market is different in the speed that it sells out. It was a party, and it was great.

John Mamola: You’ve been in this business for a long time, almost three decades with iHeartMedia. Is radio as fun as it used to be, or is radio more fun today for you?

Tom Poleman: Radio has always been fun for me, and it’s just as fun. I started in 1983 at my college radio station, so I can’t even count how many years I’ve been doing this. It’s been a fantastic journey.

I would say it is as fun as it’s always been, but it’s different challenges today versus what it was like when I started in 1983. I’ve seen so many different ebbs and flows of the business. Technology is obviously the biggest change that’s occurred since then, and also radio consolidation.

I started as a program director of a single station when I joined iHeartMedia in 1996 at Z100. We were just a bunch of kids at the time, just trying to put on the most compelling radio station we could. Since then, iHeartMedia has over 880 stations that I work with.

We have also scaled events since I arrived. I started Jingle Ball in 1996 here in New York, and now it’s a 10-market tour across the country. A lot of the principles that we always have used at a single radio station are now scaling to over 880 stations and reaching 278 million consumers monthly. It remains a lot of fun, just the way we deliver the product has evolved over the years.

John Mamola: You’re responsible for overseeing a lot of different brands across the country. What’s a typical day-to-day in your world?

Tom Poleman: It starts with a great team. We have a team of executive vice presidents of programming that ultimately are responsible for the stations in that region. We have a team of brand managers that are divided by the different formats, plus a fantastic research team with Critical Mass Media.

We’re constantly studying the consumers to make sure that we’re delivering the products that we need for the market. It’s working with that team on a daily basis, and depending on which station needs the most attention on any given day, I’ll go and focus on them with each of the teams.

It’s staying very close with Bob Pittman (Chairman and Chief Executive Officer, iHeartMedia) and Rich Bressler (President, Chief Operating Officer and Chief Financial Officer; CEO, Multiplatform Group, iHeartMedia), our sales team as well on the overall strategy for the company, Conal Byrne (CEO, Digital Audio Group iHeartMedia), and Will Pearson (President, iHeartPodcasts) in podcasting.

We have a fantastic executive team, as well as the program directors in the field.

I’m responsible, if we take a broad step back, for the products—the radio stations, but also the events that we produce. My partner John Sykes (President, Entertainment Enterprises, iHeartMedia) and I are in the middle of the Jingle Ball season now that we’re working on. We produce the iHeartRadio Music Awards. We do a festival in Vegas, the iHeartCountry Festival each year.

It’s the events, the programming of the radio stations, and the marketing of the stations. Anything involving the product really is what I focus on.

The thing that I love about it is it’s a little different from day to day. Artist relations are also part of my purview. Working with all the new music that’s coming out, how to best partner with artists and managers and use our platform to develop careers, supporting the music ecosystem.

So, there’s a lot.

John Mamola: When it comes to strategy with music—selecting the right tracks to mix with the correct brands with iHeartMedia—do you pay attention to other streaming platforms or social media? Also, what’s the balance of investigating what’s working nationally versus what may be working in individual markets?

Tom Poleman: It’s a blend of art and science. We do a tremendous amount of research studying every data point available to us. Certainly, streaming is the new record store. We monitor what consumers are listening to, just like we always would pay attention to what songs or albums are selling in the stores. We’ll watch it very closely and look for trends.

We do a lot of additional research the same way that we did back in the 80s. The principles are still the same; it’s just the metrics that you use, and the technology used to analyze the data has evolved.

When people talk about artificial intelligence, I think AI helps you consume more data and analyze data faster. That’s certainly a part of what we do. At the same time, the art part is still very important.

Research can’t always predict what the next wave is going to be for the consumer. We like to get together with artists long before their music comes out and hear about their strategy, then help them develop marketing campaigns to bring it to life.

The thing about radio that’s different from streaming services is that we have that human element. We’re not an algorithm. That comes from personalities setting up the music and telling a story behind the music—the interviews that artists do with our talent. That really helps the artists develop their brand to the consumer.

Taylor Swift, arguably the most successful person in music, still comes to radio first to brainstorm how to roll out a project and how radio can be part of it.

She did interviews with Elvis Duran and Ryan Seacrest that first day that her latest album dropped. We did a lot of different stunts, but she’s always been so savvy. One of the things that makes her so savvy is she recognizes the importance of radio and how that’s a part of her overall mix.

A big part of it is working with the artists on how to use our platform to best bring their music to the market.

John Mamola: How do you sell to an artist that traditional radio is still a platform that’s important to get their messaging out, especially when artists have streaming services, social media, and TikTok trends all marketing music as well?

It seems sometimes radio is a little bit behind trends because songs blow up online before hitting radio. Today, there are other ways to find instant success. When you have over 800 radio stations across the country, that’s a massive megaphone to amplify that messaging.

Tom Poleman: The thing to remember is radio can do what no other medium can do—reach and frequency. No other medium, even the streaming services, reach nearly the audience that we do in radio.

There is always going to be a passionate core for any artist, but it’s a small and passionate core. They’re early to discover music. To expand beyond that core, you need the reach of radio. The timeline of the masses becoming familiar with a project versus the avid streamers is completely different.

You can have an artist that goes up and down in streaming over the span of four weeks, while the masses are just beginning to get familiar with their music on weeks five, six, seven, and beyond.

What we remind the music community of all the time is the ultimate win is to make your songs hits with the masses. You do that by reaching far beyond the TikTok, social media, or the streaming audience to really hit that point. You hit them with repetition as well.

That’s something we’ve always done well with radio. You play the songs with high frequency. It’s more important today than it’s ever been to have radio develop songs that can be consensus hits.

If people just stay in their niche getting fed similar sounds in algorithms all day, they never really break out and discover other songs. That’s what we do well. We do it not only with the reach and frequency, but the trusted relationship that a consumer has with an Elvis Duran, Ryan Seacrest, or a Woody.

Whatever genre we’re talking about, introducing their next artist or the next song that they’re going to be into, it’s that phenomenon—the reach to the masses that radio provides, and it’s the context for the music.

It also is an understanding that all of these things need to work together. We’re in a music ecosystem where you need the social for your artist’s profile. You need the streaming and need songs to be hot on TikTok. But you also need the radio too.

The savvy music executive knows that they all work together. It’s not just one that is the most important part.

John Mamola: We mentioned Fiesta Latina, but you also have the iHeartRadio Music Awards and iHeartPodcast Awards, signature iHeart events. How important is it to build events like that which have staying power, not just for the brand, but for the overall importance that those events have in the music industry itself?

Tom Poleman: It’s incredibly important. It makes the artist more 360. It’s not just the song and the radio, but instead something you can experience in person.

Talking about iHeartRadio awards specifically, we’re not trying to be the Grammys. Everybody wants to win a Grammy, but that’s the competition show.

The iHeartRadio Awards, that’s the celebration show—the music community coming together to have a fun event together.

If you notice the way we do our iHeartRadio awards show, we don’t have a nominee package where the nominees are so and so, then you have a camera on each of the nominees. Then it’s that awkward moment when you announce the one winner’s name and everybody else is bummed out.

Our package is we just come out and announce the winner of an award. We tell the story of how they got there throughout the year. We’ll show the artist at the radio station, and on tour showing the work that they put into it. Then it’s a big celebration at that moment when they go up on stage.

You see everybody in the audience applauding each other. It’s fun.

John Mamola: Speaking of award shows. This year, the Golden Globes have introduced a best podcast award to their ceremony next year.

Sort of playing off what iHeartRadio has really stuck its flag into when it comes to awarding the best podcasts at the iHeartPodcast Awards?

Tom Poleman: Podcasting is an incredibly important part of what we do at iHeartRadio. It’s something that our listeners are engaged with.

We think it’s fantastic, and we’re the largest podcast producer and podcast publisher. We want to award those podcasters that are doing great in that space and have since 2019.

John Mamola: You brought up AI and utilizing AI to help analyze data faster. AI is becoming a little bit more a part of our everyday lives.

Bob Pittman talks a lot about companionship with the radio. I used to work for iHeartMedia and remember that messaging time and again.

Looking at how people are adapting to artificial intelligence, people are becoming more accustomed to it every day. Do you ever see a day where AI isn’t fully replacing talent on terrestrial, but could add more personalities into the individual brands themselves utilizing AI?

Tom Poleman: AI is fantastic, but you have to understand the limitations of AI. At the heart of what we do at iHeartMedia, pun intended, is we are human.

We are really 100% human and don’t have AI personalities. We know through our research that you can tell the difference between a human like Elvis Duran, Ryan Seacrest, Bobby Bones, or Charlamagne tha God.

There’s a special human connection that you can feel coming across the airwaves.

We’re not getting into AI personalities. We’re not getting into AI music. We’ve all seen bands that emerge on Spotify that pretend to be humans. Then later the consumer finds out that they’re not. They may look and sound great, but when you find out that they’re not real, you get mad.

Consumers react really poorly to AI. We know that consumers are aware of AI and they have a place for AI.

Again, it’s about understanding the limitations of it. The vast majority of our listeners will tell us that they understand that AI is an important factor. But it’s important for them to know that their entertainment is coming from a human.

As long as we are humans, we’re going to crave other humans. We’re going to crave our entertainment to come from humans. You can get stats and things. There’s convenience to certain types of information.

In a world where you feel like you’re in constant contact with other people, the more you scroll on social media, the more lonely you feel afterwards. You crave that human connection, and that is our secret sauce at iHeartRadio.

Our secret sauce on radio is that people are still craving that human connection and that companionship.

John Mamola: What’s left for Tom Poleman at iHeartRadio?

Tom Poleman: It’s an exciting time in radio. It’s how we take advantage of new technology and new capabilities while still keeping human connection at the forefront.

I think that there’s much to be done, and there’s much more fun to be had.

To learn more about Point-To-Point Marketing’s Podcast and Broadcast Audience Development Marketing strategies, contact Tim Bronsil at tim@ptpmarketing.com or 513-702-5072. 

Accountability in Voicetracking: What Radio PDs Still Don’t Get

BMM Staff
-
0
Accountability in Voicetracking: What Radio PDs Still Don’t Get

The following column on accountability in voicetracking is a special guest submission courtesy of @ShittyRadioJock on Instagram. To share your insights with the media industry through Barrett Media, email your ideas to Jason@BarrettMedia.com. We can’t promise it will be published but we review all content sent our way.

Programmers love to talk about innovation at conferences, but here’s the truth, a lot of PDs still don’t fully get it. With CRS a few months away, now feels like the right time to bring up something that never makes the agenda at these events: Accountability in voicetracking.

Who’s being held responsible for poor tracking? It’s a question that should come up every year but never does. Maybe it’s time we finally talk about it and start holding PDs accountable for letting this epidemic of bad tracking spread across markets and formats.

Every week I hear voicetracked shows that sound empty, disconnected, and lifeless. I keep wondering why are so many PDs allowing this? Anyone can record breaks but it takes a personality with drive and a PD who actually gives two shits to take the time to coach talent into creating content that feels alive and interactive. If a tracked show sounds hollow, it’s not just the jock’s fault, it’s a leadership problem. The blame sits with the PDs, format captains, and GMs who allow this garbage to hit the air.

Are there jocks who are killing it? Absolutely. But for every one that gets it right, there’s a pile who don’t, and some who just don’t care. The bigger problem is leadership keeps letting it slide. If the person running the brand accepts subpar tracking, that’s a reflection of them. Too many jocks are missing what makes voicetracking work in the first place – connection. Some aren’t even trying to connect at all. They sound more focused on pretending they’re local when everyone knows they’re not.

So my question is, why? Why are so many voicetrackers obsessed with hiding the truth instead of focusing on creating something worth listening to? Is that coming from PDs? Corporate? Consultants?

Everyone knows bad tracking sounds awful but somehow the same people keep defending it. When they get called out, middle managers always reach for the same tired excuse – budget cuts or staffing issues. So what? Everyone’s dealing with that. It doesn’t excuse subpar radio. The jocks who make their shows sound alive and are actually entertaining are working with the same restraints. They just refuse to let the limitations they’re facing dictate the sound of their show or their personal brand.

It’s easy to blame corporate for killing radio. God knows they’ve earned plenty of it. But you can’t blame corporate when a PD in Little Rock or Rockford lets subpar/lazy tracking hit the air. That’s not a corporate problem, that’s leadership failure. You’re letting jocks turn in weak content and then acting surprised when your numbers fall apart. Stop blaming corporate. This one’s on you. Middle management. The ones who look the other way, protect their titles, and forget the product. Every time a PD or format captain ignores bad, boring voicetracks, the brand takes the hit, and the jock wears it publicly.

Over the years, on my Instagram page @ShittyRadioJock, I’ve asked quite a few jocks who voicetrack shows why they’re pretending to be local. Almost every time I hear the same thing “That’s what my PD wants.” That’s your advice to your jock? Jesus Christ. The goal is connection but what you’re creating with that directive is meaningless fluff listeners don’t give a shit about and won’t remember ten seconds later. You’re not just hurting your station’s brand, you’re burning your jocks’ credibility too.

Not long ago I heard a voicetracked show where every single break was recorded too hot and distorted. This was in a top 30 market.  The PD never pulled any of the tracks, just let them all play. Then they went live afterwards, meaning he was in the building the whole time. Tell me again how that helps your brand or your jock’s brand. Go ahead. I’ll wait.

If you hear distorted breaks or there’s an issue, take them out and just play music. No one‘s NOT coming back because you were playing the hits. They don’t come back when you let hours of distorted voicetracks play. Then you’ve got jocks mispronouncing little cities in the DMA they clearly just Googled or are shouting out “the west side” in a market where locals just call it “the West.” But hey, their picture’s on the website, so I’m sure it’s fine, right?

If the PD doesn’t care, why should the listener? A couple weeks ago I heard a jock back sell Garth Brooks’ “Friends in Low Places.” What a waste. Why? Everyone already knows who it is and the name of the song. They used an entire break to back sell a song that’s over 20 years old. Why? So they didn’t have to find content and do a real break. Why are PDs allowing this shit? Where is the accountability for the poor management of the jock? Either fill the break with content or insert a sweeper and move on.

And before anyone says “Well, that’s probably just small market radio,” let me stop you. I’ve heard some small market jocks who sound more alive, connected, and creative than some of the bigger national voicetrackers. They care about how their show sounds, and they’re not just doing it to get the paycheck. Sure they don’t have consultants or big budgets, but they’ve got pride. That’s what’s missing in a lot of markets I hear with poor tracking. When you have jocks who are front selling and back selling golds and re-currents to avoid creating breaks with content in them, or jocks who brag about knocking out tracking multiple stations in “less than an hour” that’s who you want on your station representing your brand? That’s who your going to rely on to hit your bonuses?

Look at Tino Cochino Radio. Sure, it’s a syndicated show, but the premise is the same as voicetracking. They build content in advance, produce segments, edit calls, and deliver connection through tight execution. Why is the show successful? Because they’ve got the blueprint down. It sounds connected, it’s engaging, and it’s fun to listen to. They include calls, content, and real teases that aren’t just ripped from TMZ headlines your listener saw yesterday. They’re not pretending to be local. Local isn’t what wins, content is.

It’s the same thing with Elvis Duran and The Morning Show. It runs on the same foundation as any other voicetracked or syndicated show, it’s just done with honesty and consistency. Elvis isn’t pretending he’s in Little Rock, he owns where he’s at. The connection’s in the chemistry, not the ZIP code.

One final example is The Bobby Bones Show. Bobby’s not trying to fool anyone into thinking he’s down the street. He leans into who he is and where he is. That honesty is what makes it work. These shows prove it’s not the process that’s broken, it’s the people using it wrong.

They all have the same secret, they’re real. They’ve got the blueprint down. They create content worth believing in. Real. Entertaining. Interactive. Listeners can forgive distance but they won’t forgive fake. And they definitely won’t come back for boring voicetracked shows day after day.

The fix is simple, even if it’s not easy. PDs, format captains, and consultants have to teach jocks who don’t have the blueprint down yet how to make content worth believing in. How to make content that makes listeners want to come back every day. Front selling and back selling songs ain’t gonna do that.

PDs need to set time aside for real coaching. Take responsibility for the tracking on your station. If you can make time for a dinner with a rep, you can make time to help your jocks sound alive. We make time in our life for what we value. If your product matters, act like it. Set the bar. Give feedback that’s specific and actionable. Require proof of life in every shift. 

It starts with middle management taking ownership of the brands they run instead of hiding behind excuses and blaming jocks and corporate cutbacks for their failures. If your voicetracking doesn’t sound live and it’s not entertaining or interactive, then it’s not being done right. PERIOD.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

How The Sean Spicer Show Is Carving Its Own Political Niche

Krystina Alarcon Carroll
-
0
How The Sean Spicer Show Is Carving Its Own Political Niche

Sean Spicer has been everywhere, he knows everyone, and he’s got the inside scoop.

“People come to the show because I understand the [political] process probably better than anybody,” Spicer told Barrett Media.

“Between [my experience in] the military, the White House, the RNC, Capitol Hill, and the executive branch, I can look at a situation from almost every angle.”

His podcast, The Sean Spicer Show, streams across multiple audio platforms as well as YouTube, and he assures his listeners they are going to receive “an insight that they’re not gonna see anywhere else.”

You’ll catch Spicer keeping connected with his audience before (and after) his show. “Social media is critical to the success and growth of any independent show,” Spicer, who was recently promoted to Naval Captain by Secretary of War Pete Hegseth, affirmed. “That’s where you have a conversation with people who are loyal listeners or watchers of the show. I think it’s absolutely critical.”

“Social media is our marketing,” the podcast host said. “Whether it’s X, Rumble, [or other social media], we’re everywhere trying to bring in an audience. I mean, and that’s… that is our marketing campaign.”

According to the former White House Communications Director, marketing his show is “not that dissimilar” from marketing a political campaign.

“I’ve always said that politics and campaigns are marketing 101. Instead of selling a product, you’re selling a person, or a policy, or an idea,” Spicer remarked. “You’re trying to get people to vote, to volunteer, to donate, to activate in some way.”

He later added, “With a show, you’re trying to get them to tune in, to watch, to listen. It’s the same principle, but you want to get them invested in the show.”

“Die-hard superfans” are in Spicer’s show chat at 6 PM. The interaction for the podcaster is a lot of fun, “because you get to engage with them on a very personal level about issues, how they think a certain guest is doing, what they think of a certain topic, etc.”

This interaction has allowed Spicer and his team to get a better idea of what his superfans want. “We had a huge success with the Road to 270 series,” Spicer noted.

“Where we went through every state in the lead-up to the election, what the polling showed, what insiders were saying about where the race was. We used a lot of public and private data. People loved it!” Spicer exclaimed.

Viewers aren’t the only ones who love the interaction. Spicer himself claims to love “the feedback and the impact that people have with the show,” as it can help with decisions his team makes tomorrow.

While the audio-only side of the podcast is extremely important, Spicer has seen tremendous growth on the YouTube side as well. He believes the video element of his podcast is “where the future is.”

“I think we might have one more election where legacy TV is still sort of the 800-pound gorilla, but more and more, podcasts are going to become the dominant force, because people want a sense of familiarity with their host,” Spicer effused.

It is this familiarity that Spicer gives his audience daily. “What I try to give them every day is having a conversation with them in the chat and online, through email—that’s where people are going.” He then underscored his goal for the coming elections: “to become the place to be for politics and analysis as we head into the 2028 election cycle.”

Naval Captain, Press Secretary, communications director of the Republican National Committee, sixth-place winner on Dancing with the Stars, talk-show host, and so much more — Spicer has lived life to the fullest every day, connecting with so many Americans in the process. Despite the fancy titles, there is one he does not want his name associated with: journalist.

“I’m not a journalist. I am in the media, but I’m opinion [news]. I’m a proud social conservative [and] fiscal conservative who supports Donald Trump,” Spicer affirmed. “I’m not and don’t ever want to purport to be a journalist, because I think that’s important to distinguish.”

If your goal is to be in media, politics, or both, Spicer’s advice is simple: “Get into the game.”

“When I first went to DC, I volunteered for everything,” Spicer recalled. “I helped at fundraising dinners, I did Bob Dole’s clips in the morning. (For people who don’t remember that there used to be newspapers, you would clip them.)”

After getting into the game, Spicer says it is imperative to “be authentic and grow an audience. It’s not going to happen overnight. Like, it’s a grind to grow an audience, especially now.” He added, “So you’ve got to figure out who you are, what’s unique about what you’re saying or doing, and then grind away at it.”

Today, Captain Spicer is still grinding away. While he has yet to sit in the White House’s new media seat, he hopes to be back in the Press Briefing Room on the other side of the very familiar Press Secretary podium.

“It would be kind of fun to be part of it, and I hope someday that the stars do align,” the former White House Press Secretary said. “But in the interim, the relationships that I have allow me to get information to share with my audience that I think sometimes is exclusive and really goes to why my show is different from everything else out there.”

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

The More Important Question For News/Talk Radio Leaders Searching For Tomorrow’s Stars

Garrett Searight
-
0
The More Important Question For News/Talk Radio Leaders Searching For Tomorrow’s Stars

At nearly every industry conference, it’s the same question. It’s asked in some form on every panel, from programmers to executives to talent coaches: Where are we going to find the next crop of news/talk radio hosts?

The question hangs in the air, asked with the right amount of concern and a tone that suggests everyone knows the answer isn’t simple.

But there’s a bigger, more important question that doesn’t get asked nearly enough. Instead of wondering where the next hosts are coming from, the industry should be asking: Where is news/talk radio going to find the next crop of listeners?

Because if you look at the recent data, it’s hard not to feel uneasy about the future.

According to figures from Nielsen and Edison Research, news/talk radio remains a powerhouse with older audiences. Among those aged 35 and older, the format dominates with a 12 share. The next closest format sits at a 7. That’s a massive gap — one that shows just how loyal and engaged the older news/talk audience is.

But that’s where the good news stops. For listeners 18 to 34, the only format with a lower share than news/talk is all-news. Not great. And in the all-important 25-54 demographic, news/talk pulls only a 6 share. That means the overwhelming majority of news/talk radio’s audience is significantly older than the advertisers — and stations — would like them to be.

That’s a problem no matter how you look at it.

The reality is that listeners aren’t just going to stumble into the format one day because they got older. There’s a common myth in the business that as people age, they’ll naturally “graduate” into listening to news/talk. The thinking goes: they’ll start paying taxes, caring about politics, and suddenly find comfort in a smart, opinion-driven AM show.

That’s wishful thinking.

If you think a 27-year-old who listens to podcasts, gets their news on TikTok, and streams YouTube commentary for hours a day is magically going to become a news/talk radio listener when they turn 35, you’re sadly mistaken. It doesn’t work that way.

There has to be programming that appeals to them. They have to know it exists. And there has to be an investment from companies and stations to reach those listeners where they are.

That means creating shows that sound different. It means experimenting in ways that reflect the way younger audiences consume audio. It means focusing on content that speaks their language — without dumbing it down. And it means doing the hard work to promote those shows where the next generation of listeners actually spend time.

The path forward isn’t complicated, but it’s uncomfortable. News/talk radio has long been built around a stable of voices who have done it well for decades. But that familiarity, while comforting to long-time listeners, can also be a barrier to growth. You can’t just keep the same sound, the same pacing, the same clock, and the same topics and expect younger audiences to flock in.

Younger listeners want authenticity. They want personality and storytelling. They want to feel like the person behind the mic understands what life looks like right now — not 20 years ago. And they’re used to hearing that kind of connection in podcasts, YouTube shows, and streaming platforms.

The good news is that there’s still an opportunity for news/talk to evolve. The storytelling, the immediacy, the emotion — all of that still matters. But it has to be presented in a way that meets modern expectations. Stations that recognize this now can build a foundation for the future. Stations that don’t may find themselves with a loyal audience that simply doesn’t exist ten years from now.

So yes, finding the next generation of hosts is important. Insanely important, and is still a gigantic problem that needs a solution going forward. The format needs new voices, new perspectives, and new ways to tell stories.

But if the next generation of listeners doesn’t exist, it won’t matter who’s behind the microphone.

It’s clear that news/talk radio has some work to do to make up ground with younger audiences. The best time to do it was yesterday. The second-best time to do it is today.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

How JT Springer Connects Dallas Radio, Community, and Compassion

Charese Fruge
-
0
How JT Springer Connects Dallas Radio, Community, and Compassion

JT Springer’s radio journey is deeply rooted in Dallas. He was born and built his career there, and continues to champion both on and off the air. He’s currently the Morning Show Host and Brand Manager for Audacy’s 100.3 Jack FM there. His path started right after college when he joined CBS Radio in promotions, quickly finding his stride in leadership. “I became the Marketing/Promotions Director for 105.3 The Fan (KRLD-FM) in 2013,” he says. “Then I transitioned over to the music side in 2015 with KJKK, KVIL, and KLUV/KSPF.”

For Springer, working in Dallas is more than a career, it’s a calling. “Dallas has a glitzy reputation, but the broader market has a very working-class ethos,” he explains. “What’s unique about North Texas for me is that I’ve lived here my whole life, and I lean into that. In fact, I lean into it so much we run sweepers making fun of how often I mention it.”

That local authenticity has become a hallmark of Springer’s brand. His connection to the community extends far beyond the airwaves. “I’m very open about my sobriety, 14 years in December. I’m an advocate too for mental health,” he shares. His commitment has led to partnerships with organizations like the local AFSP chapter for suicide prevention and CARE-Dallas, where he serves on the Associate Board. “Our Christmas concert this year will benefit CARE, which works to educate local high schools and colleges about overdose prevention.”

In addition to community initiatives, Springer’s passion projects reflect a deep appreciation for his listeners. “I throw a ‘Listeners Party’ every year specifically for the regular listeners of my show,” says JT. “Families listen together, and parents share this music with their young kids. These people have given me the career and life I dreamed of back when I was a kid listening to my boombox and watching MTV.”

When it comes to cultivating great talent, Springer keeps it simple but focused: “A big personality. This isn’t rocket science. We can teach technical skills and formatics. I can’t teach you to be the star of your own movie. I don’t care if you’ve ever done radio before. Come in with a big personality, have a strong opinion, and the drive and humility to learn.”

He’s also passionate about the industry’s future and the importance of creating opportunities. “We have to find a way to add some headcount for entry-level and early growth positions,” he says. “I meet college students still passionate about radio, but how do they get in the door? If you build it, they will come.”

On the digital front, Springer has a clear strategy for engaging audiences. “Promoting and recapping daily on-air features is key,” he says. “We also challenge ourselves to post a minimum of three local DFW news stories that match our brand identity every weekday. Streaming national pop culture stories can boost clicks, but do they help the brand?”

Looking to the future, Springer believes the next generation of listeners will come from the homes of today’s loyal audience. “25-54-year-old adults are passing down their passion for Adult Hits songs to their children,” he says. “If we do it right, we also pass down the passion for local radio.”

As 2025 approaches, Springer and his team are closing out the year with one of their signature events, the “Never Ending 90s Christmas Concert,” happening December 12th in Grand Prairie. “It’s a fantastic way to connect with our listeners and raise money for CARE-Dallas,” he says.

Follow JT Springer and his team at @JACKFMDFW and @Jteespeak on Facebook and Instagram.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

How ESPN’s ‘Frozen Frenzy’ Expands on What ESPN Can Do With a ‘Redzone’ Model

John Molori
-
0
How ESPN’s ‘Frozen Frenzy’ Expands on What ESPN Can Do With a ‘Redzone’ Model

NHL hockey nirvana took place on Tuesday night with the 2025 edition of ESPN’s Frozen Frenzy. Beginning at 6:00 p.m. with a live whip-around show. The evening featured coverage of all 32 NHL teams in 16 matchups.

The Frozen Frenzy studio program was hosted by John Buccigross and Kevin Weekes from 6-7:30 p.m. on ESPN2, ESPN+, and Disney+, and then 7:30-11 p.m. exclusively on ESPN+ and Disney+, for a combined five hours of non-stop NHL coverage.

The hockey extravaganza also included an ESPN tripleheader of action with the Pittsburgh Penguins at Philadelphia Flyers, Washington Capitals at Dallas Stars, and Los Angeles Kings at San Jose Sharks.

The additional 13 Frozen Frenzy games were available on NHL Power Play on ESPN+ in the ESPN App (available to all DTC subscribers).

The jewel of this one-night rink revival was the Frozen Frenzy studio show with Buccigross and Weekes. The program combined live look-ins to games, interviews, social media chat, and commentary. I caught the show on ESPN2, and it truly was a feeding frenzy for NHL fans.

A RedZone Model for Hockey Fans

The live look-ins to games made the show special. With quick cuts from one game to another, it was much like NFL RedZone on ice. As the action moved from one game to another, Buccigross and Weekes provided excellent insight and commentary on the players, plays, and teams.

Coming back from a break, Frozen Frenzy featured tweets from fans watching the program. An excellent way to get the rabid NHL fan base personally involved in the show. With the live games narrated by Buccigross and Weekes, viewers got the best of both worlds. We saw the action and got a chance to listen to two hockey savants discussing what was happening on the ice.

This particular program and night also marked the 29th anniversary of Buccigross joining ESPN.

He remains one of the most entertaining and unsung talents at the network. Buccigross is one of ESPN’s most versatile stars. This was on display on Frozen Frenzy as Chicago Blackhawks center Frank Nazar joined the show for a live pregame interview.

Buccigross put the young star in a relaxed mode with a conversational-style chat. His easy-going manner has always been fun to watch, and Buccigross is a true hockey fan for sure. Weekes has developed into an excellent broadcaster over the years. His analysis of the game is exciting and spot on, and he is a solid interviewer as well. Weekes taps into his ex-player knowledge as well as anyone in hockey media.

In the interview, Buccigross asked Nazar a great question about the advantages of having speed as part of his game. It is easy to see that Buccigross and Weekes don’t just show up and don nice suits. They both do their homework and are ultra-prepared for the cavalcade of hockey that is Frozen Frenzy.

As a viewer, it’s awesome to watch two talents who know and understand the game. Moreover, respect and love the game. Weekes and Buccigross not only make a living from the sport; they live and breathe it.

The Companion-Cast

As Buccigross and Weekes talked over the live look-ins, they morphed into play-by-play announcer and color analyst, showing their respective ranges as broadcasters. The whole presentation and style of the show were very welcoming to viewers. Nothing is forced with Buccigross and Weekes. They talk hockey with a sense of calm and depth while oozing personality plus.

Coming out of highlights of the Penguins versus Flyers game. The hosting duo got out of their chairs and physically demonstrated how a player with reach has an advantage in the NHL. Buccigross actually got into a goaltender stance as Weekes grabbed a hockey stick to show exactly what he meant.

They both discussed Hall of Famer Dave Andreychuk as a player who had the gift of reach, showing their vast knowledge of NHL history. Weekes is not just an ex-goalie, and Buccigross is much more than a dude with an excellent dress sock game.

As Frozen Frenzy moved on, Dougie Hamilton of the New Jersey Devils joined the pair for an interview previewing the matchup between New Jersey and Colorado. Buccigross enthusiastically asked an opening question to Hamilton about the reasons for the Devils’ fast start to the season. Informational graphics are a big part of Frozen Frenzy.

While Hamilton was speaking, graphics showed that he had three goals and one assist in his nine games so far this season. In addition, the lower-third graphic highlighted upcoming NHL contests. At one point in the program, ESPN2 went to a three-box display showing Pittsburgh versus Philadelphia, Calgary versus Toronto, and Vegas versus Carolina. Talk about giving fans all the hockey they can watch.

Buccigross and his happy personality have been a staple on ESPN. His enthusiasm rises to an even higher decibel level when a goal is scored during the live look-ins. His excitement gave the feel that we were watching the game alongside him.

The show also featured a great spot on the ongoing NHL and NHLPA collaboration with the V Foundation for Hockey Fights Cancer. It included a look inside the Carolina locker room as a cancer survivor and Hurricanes fan got to read the team lineup card.

Headlines as They Happen

Following the clip, ESPN’s excellent NHL insider/reporter Emily Kaplan joined Buccigross and Weekes in studio. No surprise, Kaplan immediately provided breaking news that Thomas Harley of the Dallas Stars was nearing a contract extension with the team. This type of immediacy is the hallmark of the Frozen Frenzy initiative at ESPN. Viewers get live action, live commentary, live interviews, live locker room clips, and live breaking news as it happens.

Kaplan then joined Buccigross and Weekes in narrating action from the Vegas versus Carolina game. Action then moved to the very beginning of the Columbus versus Buffalo game. Frozen Frenzy truly serves as one-stop shopping for NHL fans. Kaplan added some deep insight in her stint on the program. She talked about some upcoming contracts on the agenda for the Colorado Avalanche. Commentary then moved to the defending Stanley Cup champion Florida Panthers. As the puck dropped on their game against the Mighty Ducks of Anaheim.

Following this, another member of ESPN’s hockey broadcast team, Arda Ocal, joined the show and ran down some of the stats from the first hour of Frozen Frenzy. Later on X, he posted that Frozen Frenzy finished with 109 goals scored, the third-most total goals in one day of NHL games in history. Ocal also called attention to several selfie tweets from fans watching the program, with one of them saying that Buccigross was a “national treasure.”

In another informative interview, NHL Senior Vice President of Hockey Operations Kris King joined the show from the NHL situation room with a backdrop of multiple screens showing games. King talked about how technology has increased the coverage and scope of the NHL.

Frozen Frenzy loudly signaled the start of another rip-roaring NHL season on ESPN’s multimedia platforms. Buccigross and Weekes took viewers onto the ice, into the locker room, and behind the scenes of everything pro hockey. With interviews, insight, and information, Frozen Frenzy is a joyful and jovial Zamboni ride around the NHL.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

Apps Are The Most Underrated Asset in Radio

Ken Johnson
-
0
Apps Are The Most Underrated Asset in Radio

One of the most enjoyable things about this new age of radio is the inclusion of digital. I’ve spoken before about podcasting and what a great extension of your brand it can be. But beyond podcasts, there’s another tool that may be even more important — your station’s app. The opportunity to create specific content, market it effectively, and connect directly with your audience is both challenging and fun.

As I prepare for an upgrade for our podcast network’s app, I’ve been meeting with the developer, reviewing colors, layouts, and design elements. It takes me back to my first time sitting down with a digital team to discuss app features and options. I’ve also had recent conversations with radio folks in Boston about what things might have been like back in the day — if our AM daytime station had an app.

The Black community was welcoming and appreciative of what we did back then. They were also hungry for a 24-hour urban station. If we’d had an app in those days, I honestly don’t think Elroy Smith would have left Boston. And Stephen Hill and I? We might not be where we are today.

In the daily grind of radio, I know your station’s app probably isn’t at the top of the priority list — especially with staffing levels being what they are today. Keeping a high standard of music scheduling in this environment is a feat in itself. So, it might seem easier to hand off app management to the digital department (if you still have one) or maybe a part-timer.

But I’d caution you not to completely hand it over — and here’s why.

First, your digital department, if you’re lucky enough to have one, probably manages several station apps. That means they might take a one-size-fits-all approach to features, imaging, and messaging. No disrespect — they’re doing their job — but they may not be tailoring your app to reflect the unique voice and flavor of your brand.

Having a part-timer assist you isn’t a bad idea either. Chances are though, they don’t have your depth of understanding about the brand, the audience, or the industry. Certain calls about maintenance, content, and presentation need a seasoned hand — your hand.

Your app isn’t just an extension of your on-air presence. For some demographics — especially younger listeners — it may be the only way they engage with your station. It’s your digital front door, your 24-hour access point, and a reflection of your station’s relevance in today’s media landscape. Don’t take it for granted.

Owning this piece of your brand in the digital space elevates your personal brand, sharpens your digital skills, and future-proofs your career. Artificial intelligence is pushing our industry forward at warp speed. We need to evolve along with it — or risk getting left behind.

I’d love to hear your thoughts. Connect with me on LinkedIn or email me at ken@kenjohnsonmedia.com.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

WGN Radio News Anchor Steve Bertrand Announces Upcoming Retirement

BNM Staff
-
1
WGN Radio News Anchor Steve Bertrand Announces Upcoming Retirement

After 40 years at WGN Radio, the station’s afternoon news anchor, Steve Bertrand, has announced his intention to retire next month.

On Wednesday, Bertrand announced that his final day with the station will be Thursday, November 13th. The announcement from Bertrand comes just a few months after he celebrated his 40th anniversary with the Chicago news/talk station.

He originally began working at the station as an intern before being hired full-time in 1985. In 1992, he began working as a news anchor and has held the job ever since.

“I feel like I’m the luckiest guy in the history of radio,” said Bertrand. “As a kid, I dreamed of one day living in Chicago. I never imagined I’d be part of her daily conversation. I will forever be grateful to the legends I worked with and, most especially, the listeners who made it all happen. I’ve had the privilege of being part of a pretty amazing family for 40 years.”

“From joining  WGN Radio in 1985 during the Wally Phillips era to anchoring news on the Lisa Dent Show today, throughout his 40 eventful years here Steve has faithfully maintained the highest standards of journalistic integrity, combined with his own unique gift for playful on air banter which is sure to be missed by colleagues and listeners alike,” said WGN Radio Vice President and General Manager Mary Sandberg Boyle.

In addition to his time at WGN Radio, Steve Bertrand also spent six years as the producer and pre/postgame host of the Chicago Bears Radio Network.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

93.3 WMMR Legend Pierre Robert Dies

BMM Staff
-
0
93.3 WMMR Legend Pierre Robert Dies

Longtime 93.3 WMMR midday host Pierre Robert has died at the age of 70, according to Beasley Media Group.

Robert was found dead at his home on Wednesday morning, the company revealed.

Pierre Robert joined the station in 1981 and had long been viewed as the rock format’s voice of record in Philadelphia. His longstanding features like Noontime Workforce Blocks, Pierre’s Vinyl Cut, On This Day music history segments, and high-profile artist interviews were benchmarks to area listeners.

A philanthropist by nature, Pierre Robert was inducted into the Philadelphia Music Alliance Walk of Fame in 2019 for his work in helping countless local charities, as well as championing community events like the AIDS Walk.

“Pierre’s unwavering love for music and his deep connection with listeners made him one of radio’s most enduring and beloved voices,” Beasley Media Group CEO Caroline Beasley said in a statement. “He will be greatly missed.”

Other Philadelphia media personalities took to social media to share their admiration and surprise that Robert was now gone.

To learn a little more about Robert and his connection in Philadelphia, check out the video below. You can also hear a prior conversation he had with the band Papa Roach here.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

1...346347348...2,603Page 347 of 2,603