Coming off its most-watched season in show history, ESPN College GameDay is on the road throughout the 12-team College Football Playoff providing on-site coverage ahead of pivotal matchups. Over the weekend, the show broadcast two episodes, including a Friday edition of the program from South Bend, Ind. before the first-round game between Notre Dame and Indiana. The crew then traveled to Columbus ahead of the Ohio State game against Tennessee for a three-hour show, during which analyst and former Alabama head coach Nick Saban ostensibly chastised the Buckeyes fanbase for not supporting the team.
On the Monday edition of the 97.1 The Fan weekday show Morning Juice, producer Mark Howell played audio of Saban seeming confounded about why the players on Ohio State would care about feedback from those on social media. There has been vocal disdain for head coach Ryan Day and his coaching staff, who has lost to rival Michigan for the past four seasons despite finishing the 2024 regular-season campaign with an 11-2 overall record. Saban is in the midst of his first season as an analyst for College GameDay and has received positive reviews from viewers as overall consumption of the program continues to proliferate.
Within his discourse, Saban articulated that if Ohio State wants to beat Michigan, it will require fans being positive about the coach and the players. On top of that, he said that Ohio State has an opportunity to win the National Championship and that everyone should be “supporting the hell out of them so they have the best opportunity to do it and quit all this negative bull****.” Saban was donning a fedora on the show, leading guest picker Shane Gillis to call him “Alabama Jones” on the show.
“Nick is great, and then the Alabama Jones comment,” Bobby Carpenter, co-host of Morning Juice on 97.1 The Fan, said on Monday. “GameDay is fun – it is fun again.”
“Yeah, it was fun, and Desmond [Howard] picked Ohio State to win on Saturday,” added co-host Brandon Beam. “Did you guys see that?”
Beam articulated that he did not expect Howard to pick Ohio State, but he ended up being correct as the team cruised to a first-round victory. ESPN College GameDay continues its playoff slate of shows from the Rose Bowl when Ohio State faces Oregon in the quarterfinals on Wednesday, Jan. 1. Following this three-hour show, the program will travel to the Capital One Orange Bowl, Goodyear Cotton Bowl Classic and CFP National Championship Game. For the regular season, College GameDay averaged 2.2 million viewers per show, indicative of a 6% year-over-year increase, and also secured three of its six most-watched episodes since 2013.
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DAZN is expanding its global reach by acquiring Australian pay-TV and streaming company Foxtel for $2.1 billion. According to Front Office Sports, Rupert Murdoch’s News Corp. will sell Foxtel to DAZN but will also own around 6 percent of DAZN and have a seat on its board. According to Bloomberg, minority Foxtel shareholder Telstra Group Ltd. will also sell and own about 3 percent of DAZN — but will not be offered a board position.
This latest international move from DAZN tracks with its former chairman’s thoughts that the company should be global-focused, rather than trying to leave a footprint in the United States. “The center of gravity of DAZN is better served by being in Europe and in some parts of Asia…” said Kevin Mayer at last year’s SportsPro OTT Summit in New York. “Trying to come to the US and compete against ESPN and TNT, and Apple and Amazon, and all those guys, that seemed like a very difficult thing to do.”
However, that might be exactly what they’re trying to do. DAZN recently acquired global rights to the 2025 FIFA Club World Cup and could sublet those rights to cable news networks in the United States and abroad. DAZN also now owns Foxtel’s existing Australian broadcasting rights to the Australian Football League until the end of 2031 and the National Rugby League until the end of 2027
While sports like Australian Rules Football and rugby aren’t that popular stateside, they do attract an audience abroad. DAZN could be making a big power play for the Eastern Hemisphere in order to prevent American media standouts like Amazon and Apple from securing a greater foothold overseas.
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Townsquare Media has announced that News/Talk station 890 KDXU in St. George, Utah has added expanded coverage. The station will now be simulcast on what used to be 106.1 KXFF in Colorado City, Utah, but will now be KDXU-FM.
The company says the addition of 106.1 now gives the station coverage of the entire southwestern corner of Utah. The station had previously been in the sports format and went by FOX Sports Utah. The programming will still be heard in the market on 101.9 FM and KDXU’s HD-3 station.
KDXU runs mostly syndicated news talk programming with Clay Travis and Buck Sexton on along with Sean Hannity, Ben Shapiro, Mark Levin and Dave Ramsey. Andy Griffin hosts a local program which airs at 9 a.m. following a morning news program. The Matt Walsh Show airs starting at 5 p.m.
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iHeartMedia’s Rhythmic AC Movin 107.7 WMOV-FM in Norfolk, VA, is gearing up for changes expected after Christmas. As part of this transition, the station will introduce a new morning show that will debut on Monday, January 6.
WMOV-FM is set to launch Premiere Networks’ “The Fred Show,” becoming the second affiliate to air the morning program from “103.5 Kiss-FM” WKSC-FM in Chicago, following “G105” WDCG in Raleigh, NC.
Chris ‘Fred’ Frederick hosts the show and includes contributions from cast members Kaelin, Rufio, Paulina, Showbiz Shelly, Jason Brown, and Keke.
Frederick, formerly known as ‘Brotha Fred,’ joined WKSC in early 2011. Before this, he hosted the morning show for “96.1 The Beat” WIBT in Charlotte and “Fox News Edge” on WCCB-TV. Additionally, he gained experience as an afternoon host at “96.7 Kiss-FM” KHFI in Austin.
WMOV-FM has been broadcasting the “Valentine in the Morning” program, which originates from KBIG-FM in Los Angeles.
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The Dallas Mavericks organization announced that it is launching a new streaming platform for fans in the local area to watch all games that are not exclusively televised nationally. Launched to the marketplace in collaboration with Endeavor Streaming and the NBA, this platform grants expanded access to Mavericks basketball through MavsTV, which is available for users to subscribe and stream content on mobile devices, tablets, computers and connected television devices. The platform will provide the ability to watch local games, view original on-demand content and highlights across a variety of platforms.
“We are thrilled to work with Endeavor Streaming and Softek to deliver a streaming experience of MavsTV for all of our fans,” Cynt Marshall, chief executive officer of the Dallas Mavericks, said in a statement. “Our comprehensive content platform provides a one-stop shop for all things Mavs, allowing fans to connect with our team both on and off the court.”
“At Endeavor Streaming, we’re honored to work with the Dallas Mavericks across their streaming technology and direct-to-consumer operations,” Matt Starker, chief business officer at Endeavor Streaming, said in a statement. “As experts in helping properties and direct-to-consumer services acquire, engage and grow their audiences we see huge potential for the Mavericks and can’t wait to help them realize it.”
The new streaming platform is powered through the NBA Next Gen integrated digital platform and the Vesper Platform from Endeavor Streaming. In addition to its work on the streaming vertical, Endeavor Streaming is also providing services for business growth and advisory services to help the Mavericks fulfill ambitions of attracting new fans and proliferating its audience. This new platform, which is presented by Softek, is available for fans through both a monthly subscription option for $14.99 or a season-long pass for $99.99.
As the regional sports network model of game distribution risks becoming imperiled due to cord cutting and altered revenue streams, more teams are developing their own platforms to present regional broadcasts. Over the last several years, the Los Angeles Clippers, New Orleans Pelicans, Phoenix Suns, Portland Trail Blazers and Utah Jazz have all introduced streaming platforms that pair with either team-owned regional sports networks or over-the-air broadcast television outlets. MavsTV will soon be available on Roku, Samsung and LG televisions, but is currently available through tvOS, Android TV, Fire TV and other digital platforms.
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As FOX Sports prepares to broadcast Super Bowl LIX from New Orleans, the network will air a one-hour special featuring eight-time Super Bowl champion and new University of North Carolina head football coach Bill Belichick. Within the special, Belichick will travel in the iconic “Madden Cruiser” bus belonging to Hall of Fame coach John Madden through the Louisiana football country heading towards the city.
The show will feature several cameos, including Pro Football Hall of Fame members Ed Reed and Ty Law, FOX NFL Sunday host Curt Menefee and studio analyst Michael Strahan and local legends Archie Manning and Tryann Mathieu. Furthermore, legendary NFL quarterback and lead FOX NFL analyst Tom Brady will be part of the episode as well, along with Emmy Award-winning media personality Rocsi Diaz.
This special, which is being produced in partnership with NFL Films, SMAC Entertainment and BZ Entertainment, is going to celebrate the culture of the area through history, culture, entertainment, food and football. Moreover, the presentation will reflect on the 20th anniversary of Hurricane Katrina, a devastating natural disaster that impacted the region and how it inspired the community to meet the challenge and rebuild stronger than ever before.
“FOX Sports is excited to partner with SMAC Entertainment, BZ Entertainment and NFL Films to take football fans on an epic journey celebrating the vibrant Louisiana culture while also honoring John Madden’s legacy,” Barry Nugent, vice president of development and original programming at FOX Sports, said in a statement. “To be able to bring these incredible legends and sports personalities together for this special sets the perfect stage for our presentation of Super Bowl LIX.”
This program, which is titled The Madden Cruiser: A Bayou Adventure with Bill Belichick, is executive produced by Michael Strahan, Constance Schwartz-Morini and FredAnthony Smith of SMAC Entertainment. Additionally, Bryan Zuriff at BZ Entertainment is an executive producer on the project through the creative partnership with Ian Orefice. Mike Antinoro and Jon Adler serve in the roles from EverWonder Studio, along with Jessica Boddy, Keith Cossrow, Ross Ketover and Ken Rodgers from NFL Films. FOX Sports executives Eric Shanks, Mark Silverman, Charlie Dixon and Barry Nugent are executive producers on the project as well, which will premiere on Sunday, Feb. 9 at 12 p.m. EST on FOX before its Super Bowl LIX pregame show.
“One of the country’s most iconic and historic cities, New Orleans has been the stage for countless memorable Super Bowl moments,” Constance Schwartz-Morini, co-founder and chief executive officer of SMAC Entertainment, said in a statement. “Players, coaches and celebrities who have defined New Orleans football and culture lead this iconic tour, which will be the perfect kick off for Super Bowl LIX in New Orleans.”
FOX Sports is currently in the second season of its media rights deal with the NFL worth a reported $2.25 billion per season. The company will broadcast the Super Bowl at the conclusion of the 2024 and 2028 seasons, along with serving as the home of the NFC Championship Game. The FOX Sports lead NFL broadcast team of play-by-play announcer Kevin Burkhardt, analyst Tom Brady and sideline reporters Erin Andrews and Tom Rinaldi are expected to be on the call for the Super Bowl matchup.
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At the end of each year media companies go through evaluations that determine the path forward for the next year. If revenues aren’t as high as expected or expenses are soaring, staff reductions are considered. Most people who work in the media business know that this is an unstable industry, and we’re all one call away from being on the outside looking in. Whether we love connecting with the audience and the staff we work with or not, we’re all still part of a business. If that business isn’t profitable, things eventually change.
Having been the bearer of bad news a few times in my career, there’s no perfect way to handle it. I’ve handled it with class, and also in ways that I wish I could do over. Letting people go affects their livelihood. It sucks. However, it’s a responsibility you accept when you become a manager. If it leaves you questioning whether you want to manage or not, that’s understandable. But if you don’t deal with it someone else will. Knowing that it’s a possibility, how you handle it, and when you handle it is important.
Being familiar with the ins and outs of this business, I recognize things need to be done before year’s end. I also understand that some groups try to move things around to avoid last minute situations but sometimes they’re difficult to avoid. That said, regardless of who’s as the fault, a company and its leadership team have failed if layoffs are being delivered to employees a week before Christmas.
That happened last week when ALLCITY informed sixteen members that they were being let go. Brandon Spano, ALLCITY’s CEO has always been a straight shooter with Barrett Media, so I appreciated him being accountable, and acknowledging that the public optics for the moves don’t make the company look good. HR and legal issues put the company in position to look bad. Executives know that HR and legal folks are in place to help them prevent future messes, but if layoffs are being discussed internally, they usually don’t come up as an option a week before happening. They’re usually discussed a month or two ahead of time.
If a company wants to maintain consumer and advertiser confidence, letting 7% of the workforce go the week before the holidays sends the wrong message. Not only does it sting those being let go, but it hurts those staying too. If it can happen to them, it can happen to me is what people usually think. Morale takes a hit, all because of terrible timing. Advertisers meanwhile are given the impression that the people they do business with lack heart or are poor planners.
I’ve called out iHeartmedia many times before for situations like this. They’ve consistently handled layoffs poorly. The verbiage you use when parting ways with people speaks volumes about how you view and treat people. For instance, I disliked iHeart referring to employees as being ‘dislocated’ and Bob Pittman remarking ‘we’re not getting rid of air talent’ right after eliminating a bunch of air talent. It was tone deaf, and easily avoidable if just showing common decency while providing a reminder that a business is being run, and difficult decisions have to be made. Someone as skilled and smart as Bob Pittman shouldn’t allow that type of mistake to happen at his company.
Brandon Spano of ALLCITY said in his interview with Derek Futterman that he expects the company to invest in new markets, and the layoffs are about reallocating capital into areas that generate positive cash flow. Though that may be necessary, and a better move for the company’s long-term growth, it doesn’t excuse the timing of the layoffs. It’s also not what employees or recently laid off staffers want to hear when jobs are being eliminated. It’s OK to say ‘today is about those affected, tomorrow we’ll discuss our path forward.’
Entering 2025, questions will increase if ALLCITY endures future layoffs. With overall funding for the company above $25 million, months after a Series B funding round led by TEGNA raised $12 million, and markets according to Spano being cash-flow positive for months this year, the layoffs are the first sign of negative press for a group that has mostly received favorable attention. Just last month, ALLCITY announced a new partnership with Samsung TV Plus, The Roku Channel and Xfinity, and in August, the company expanded into Dallas. If things are going well as Spano says they are, laying off sixteen people a week before the holidays shouldn’t happen.
Considering that this is their first experience laying off staffers in nine years of operating, it’s understandable if they don’t have this down to an exact science. Let’s hope they never do. It’s not something a company should want to excel at. I’m hoping ALLCITY and other media operators who have to make layoffs, help themselves by avoiding unnecessary mistakes. If moves like this have to be made, address them sooner, don’t be in a rush to talk about the future when revealing that members of your team were let go, and make sure HR and legal folks have their ducks in a row well before the holidays.
Nobody being cut will like the news, but if they worked hard for you, afford them the decency of knowing before the holidays hit so they have time to heal. There’s no reason to hurt people worse who you’ve relied on to help your company or your brand’s reputation with future employees, existing employees, and potential advertisers, if you don’t have to. It simply comes down to planning, and taking action sooner rather than later. The realities of business are often unavoidable but when you choose to address it is not.
Quick Hits:
If what I’m hearing is accurate, changes are expected for ESPN Radio in 2025. The network had an excellent 2024, but sources I’ve spoken to have shared details that have some internally scratching their heads. Knowing how these things work, conversations are just that until plans are finalized. Let’s see how things play out before passing judgment.
Barstool Sports founder Dave Portnoy deserves credit. The hiring of Jon Gruden was not only outside the box like the Deion Sanders addition but it’s been an even bigger hit. Gruden’s videos teaching football, sharing stories, and just mixing it up with the staff have been awesome and must watch. I’ve said this many times, Portnoy’s ability to identify talent and create compelling content is as good as anyone out there. The addition of Gruden just reinforces it once again.
I hope ESPN’s 30 for 30 division or MLB Network’s documentary team is hard at work on a Rickey Henderson film. ‘The Man of Steal’ is a title that doesn’t require much brainstorming. I’ve long felt a highly promoted documentary on Henderson was overdue, and it makes even more sense now following his passing. Rickey was the greatest leadoff hitter and base stealer of all-time, and a colorful character that captured the public’s attention. There have been a few good MLB docs in recent years (Pete Rose, Derek Jeter, Reggie Jackson) but overall it’s an area MLB can get much stronger in. Start with Rickey and then follow up by highlighting the greats of the recent past to educate the next generation of fans. It’ll bring them closer to the history of the game, one of baseball’s best qualities.
Some will complain about Nick Saban swearing on television. Not me. I love Nick’s candor, passion, and honesty on College Gameday, and if folks hate hearing a four letter word on sports television, they may want to avoid everything else on television besides the local channels. Saban doesn’t sugarcoat anything, and it’s made an already great program even greater.
The Athletic‘s piece on Lee Fitting was troubling for a few reasons. Fitting exited ESPN over a year ago, and was hired by the WWE in January 2024. He’s done great work for the company since coming on board, and ESPN has continued thriving without him. If the allegations are true, and Fitting acted improper at ESPN, it raises questions for WWE’s leadership team, and whether or not they take sexual harassment seriously, especially following the Vince McMahon mess. However, the timing of the news is also peculiar. Why is this story coming out at the end of the college football season instead of right after Fitting left?
The Men in Blazers are doing something really cool. They’re giving fans a chance to vote on America’s Top Ten Soccer Bars. Place your vote here. Bars have been selected from Chicago, St. Louis, St. Paul, New York, San Diego, Portland, Atlanta, Washington D.C., Doylestown, PA and Addison, TX. The bar voted #1 will earn bragging rights as the “Best Soccer Bar” in the U.S., and receive a special visit from the Men in Blazers with CEO Roger Bennett watching a game with fans.
If you love learning about business, you should be following Savannah Banana‘s owner Jesse Cole on LinkedIn. His advice, lessons, and views on brand building are exceptional. Watch this one, and I’m sure you’ll want to watch others.
Young broadcasters coming up in the business, take a minute and watch the clip below of Stephen A. Smith. Being at the top of the media industry doesn’t happen without sacrifice. Smith knows that all too well. There are many different paths to the top but the one thing the greats of this industry have in common besides talent is a relentless drive and a willingness to sacrifice to be great.
Stephen A. Smith says he works 330 days out of the year, which is why he has never been married.
When I heard that Snoop Dogg and Dr. Dre were working together on a new record, I was curious to see if they still had the magic touch. The video below confirmed they absolutely do. If you enjoy their style and songs, and haven’t heard ‘Thank You‘, search it on YouTube. It’s a banger.
It’s VERY rare for Dr. Dre to share unfinished music but…
After the election, when the pundits and consultants debated why things went the way they did, one of the more frequent arguments is that “the left needs its own Joe Rogan.” If only the Democrats had podcasting talent to appeal to the young male audience, the reasoning goes, they could have pulled some of that support and maybe won the election.
This argument misreads the room in several ways: first, there are already plenty of left-leaning podcasts out there, and if none have the same-sized audience and impact (at least until Kylie Kelce showed up), the cumulative effect is still substantial. Second, it assumes that guys who have absorbed 4Chan and incel culture would even listen, let alone politically convert. Third, and most importantly, it discounts talent, ignoring why Rogan (and Theo Von, and several others) reaches that audience: it’s Rogan himself and his interactions with guests. Guys listen to Rogan for Rogan; they like his “just asking questions” persona, the meatheaded “I don’t know anything, but that seems reasonable” approach. They’re not listening specifically for the politics, they’re listening because they like Rogan and they’re entertained. You can’t just invent a personality, add in partisan politics, and instantly be successful. It has to be organic.
There are podcast hosts across the political spectrum who have strong followings. They didn’t get there by deciding that what the country needs now is another Rogan. They got there because of the appeal of the talent as well as the content of the shows. Call Her Daddy figured in the election runup, too, as did All the Smoke and Club Shay Shay and Drink Champs and The Breakfast Club (and Charlamagne da God individually), along with several others. The election wasn’t won or lost through podcast appearances, and inventing a “Joe Rogan Experience” for the left wouldn’t have changed things.
This is nothing new. Talk radio has had this illusion forever. Howard Stern’s a hit? Hire guys who tell risque jokes and bring strippers into the studio, stat. Rush Limbaugh is dominating? Find us more angry conservative white guys to fill out the schedule. The attitude of the decision-makers has always been that the hosts are interchangeable and the content can be boiled down to simple formulas.
They can’t. The best radio and podcasts, the breakouts, are the ones where the talent – hosts and producers – are unique and entertaining, tuned into what the audience seeks while being themselves. This is a very, very hard thing to find, and while you can develop a host into a star, you need the raw material with which to work. That means recognizing a unique perspective and ability when you hear it, no matter where or how, whether it’s a small market radio host or the barista where you grab your morning sustenance or someone with whom you struck up a conversation at the supermarket.
And it means placing the proper value on that talent. Too many pundits and programmers and executives don’t want to admit that good hosts and producers deserve the credit for their success. Personalities don’t grow on trees. You can’t just invent an influential and successful show by deciding to invent an influential and successful show. If it were that easy… but it isn’t. Start by focusing on the talent and being more patient. It’s not going to happen because you “need” it to happen.
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Tis the season to be right-sized, fa la la la la, la la la la! Sing along with me. But what if it were the other way around? What if radio and audio talent were making the decisions about their future? What if talent had the option to enter…wait for it…The Portal?
The NCAA college football transfer portal opened a few weeks ago. As of this writing, more than 3,300 athletes have entered their names into the database to be considered as transfers to another college football program. After you finish reading this column, you can track the portal via this link to see how the numbers have increased.
It’s Christmas week, so let’s keep the fun fantasy stories going. There’s a new presidential administration coming to town next month. Government jobs and appointments will change. One of those jobs is the chairman of the Federal Communications Commission (FCC). President-elect Donald Trump’s pick for the leadership of this regulatory board is current FCC Commissioner Brendan Carr, replacing Chairwoman Jessica Rosenworsel.
THERE’S A NEW LEADER, AND HE LIKES RAP
Carr has an agenda and is working through the holidays to ensure his vision for the FCC is ready to execute starting January 21st. Here’s what you don’t know. The commission is creating a radio/audio portal. RAP is the acronym.
Like the NCAA, talent will notify their current employer of their intention to enter the portal to transfer their skills to another radio station or content provider. The employer will have 48 hours to enter the talent into the database. Once in the portal, other employers (those who pay into the system, of course) can contact the talent to discuss options for transferring their skills and employment to another company.
Technological advances have reduced the need for talent to move to another market, so moving costs are never involved in the decision. Oh, along with the RAP, the FCC will reduce syndication to one show per station. This will create more of a need for on-air shifts at individual stations. The owners will respond by extending the shifts to twice the standard time. Anticipating that move, the FCC will require the Nielsen daypart designation (6A-10A, 10A-3P, 3P-7P, 7P-12M, 12M-6A) for the on-air shifts occupied daily by different talents. I told you this was fantasy…mixed with some heresy.
Under this new portal system, talent can quickly move their craft to a different brand and market. They’ll have a better chance of moving from Overnights in Paducah to Afternoon Drive in Omaha because the Omaha talent got picked up in the portal by Los Angeles.
However, it doesn’t favor only the talent. Owners can find someone in this fantasy portal much faster than the current system of job applications and interviews. Oh, one other point. A talent can continue a career in this beloved field of entertainment and human connection and companionship. But, like college sports, there’s a period of eligibility: four years, with exceptions. Each on-air shift at the radio station or audio outlet has a four-year eligibility. A talent could cycle through all five dayparts and make a 20-year career at one station.
Back to reality. Cheering for a college sports program as a fan has always been about your connection to the program because of proximity, family tradition, experience at a game, or education at the school. We’re fans of a team first, then the players and the coaches. Your team may have one of the best QBs in the school’s history, but if the team is 2-10 on the season, you’ll remember the disappointing season more than the star player.
In the radio portal system, brand strength would be more important than ever. A station could lose its star player after a year of service. I know what you’re thinking. That happens now. Yes, but it would happen more often in the RAP system.
QUESTIONS TO CONSIDER WITH OR WITHOUT “RAP”:
Is your brand strong enough to withstand the rapid changes of talent moves? Is the music and on-air presentation so good that you’ll continue to win with different players every few years?
Is your coaching staff executing the strategy and vision so the players understand “our” system and what it means for “our” season?
Is your marketing and promotion focused on the benefits to the audience? As a football fan, if I go to a game in Tuscaloosa or Ann Arbor, I expect to be entertained by the home team winning.
When you lose a good player in the RAP system (and you will), can you replace that talent with someone who isn’t as good as the one you lost but will improve because of your brand strength and coaching system?
With or without a talent portal system, brand strength and vision are the keys to allowing amazing talent to make your brand even stronger season after season.
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Lee Abrams has decades of experience in radio, TV news, and print media. He has consulted over 1,000 radio stations and designed XM satellite radio. He developed Album Oriented Rock (AOR) and is a member of the Rock Radio Hall of Fame, along with awards too numerous to list.
He is this week’s featured consultant.
Jeff Lynn: What is the current state of the radio industry?
Lee Abrams: I’m amazed that at this time of unprecedented competition in audio, terrestrial radio has its eye off the creative ball, opting for autopilot presentations and creative paralysis. There are, of course, stations that are successful, but the era of where radio as the great American soundtrack is fading/faded, you would think radio would be on creative steroids. Imagination is about brainpower, not money power — new angles and ideas, even for traditional formats, has never been more important, and the best ideas often cost nothing or aren’t particularly labor intensive.
It was a completely different ecosystem in the earlier pre-consolidation days, but we had people blowing up playbooks, making magic, and introducing often radical new approaches, and often with spectacular success.
SOMEBODY must have new ideas and the moxie to develop a plan.
There are plenty of offshoot formats that skew in a modified direction, but I haven’t heard any that are rewriting the playbook at a time when those who can rewrite it and execute it have a chance to do some damage.
Again, it’s a new world out there with new rules but radio programming is addicted to the 80s playbook in 2025! I’m just thinking it’s time for some serious action to breathe life into a medium that requires innovation and shakes itself up in most areas. It’s happening in operations, tech, and finance but not in programming. It’s about ideas more than spending money.
There are new format opportunities, too, beyond another rebranding of AC. Many targeting 55+ which is radio’s sweet spot of radio-centric listenership.
Personally, I listen to News Radio, which I find refreshing for its directness in a world of political skew, misinformation, and cliches in traditional news.
A few years ago, I wrote this in “State of Radio,” which is a deep dive that still applies:
JL: As the founder of the AOR format, how do you see it currently, and how has it changed since you started it?
LA: Well, the biggest changes include:
-less depth by core artists.
-little new music compared to then.
-an addiction to cheesy Star Wars sound effect promos.
-Little interaction with core artists.
-fewer features and special programming.
-Lack of eccentricity.
-Fewer anchor personalities outside of morning.
On the plus side, there are some great long-term success stories where stations have morphed into fuller service stations, including carrying the NFL, having a strong morning presence, big local visibility, and bulletproof playlists. Classic Rock is the new MOR—not a bad thing.
JL: Have a lot of stations that were once AOR slid into Classic Rock?
LA: Yes, it’s a natural evolution. The music people like between 16-20 is what you like for life—the musically formative years. There’s a gigantic group (and underserved) called baby boomers where the 60s and 70s music is the soundtrack of their lives. Classic Rock evolved out of AOR as the original listeners have grown.
It’s funny because in the late 70s, there was the great 25-34 scare, and census data would illustrate a decline in 18-24. Therefore, many 18-24 driven stations panicked and figured that a rocker on his/her 25th birthday would throw out their Hendrix records and suddenly like Neil Diamond since they’re now 25-34 “adults.” Didn’t happen. The relationship with ‘their’ artists became stronger until these artists reached the untouchable stage of superstardom.
JL: I remember AOR as free-form and deep tracks that people would step out on. With PPM and programmers reluctant to take music chances, is it possible to have this type of presentation?
LA: They often resist taking music risks because they may be subject to corporate playlists and/or lack the understanding of their audience, not knowing what will click to 2025 ears. Music selection is more than scheduling. It’s immersion into the genre. Understanding the music parameters, but within that parameter, there may be opportunities for exciting new tracks. Perhaps new research techniques are necessary to account for the modern listening scenario, which requires new ways to examine real-time music trends.
JL: Personalities are being consolidated into national shows spread across several markets; how does this bode for the future of radio?
LA: I’ve always been a fan of national radio. It can be big and badass. The key is if it’s national, SAY SO. Being national and pretending it’s local is more trickery than radio seems to like. Live and local is great, but economically, it is not always feasible. I’d rather hear great national talent than generic card readers. Hats off to the stations that are able to afford local personalities, but I see National Radio growing. An extreme example- but I don’t think Howard Stern fans care where he is. For the stations that are locally originated I don’t hear a lot of local references in the way it used to be. When I was a kid, we’d drive from Chicago to Miami on holidays through Indy, Louisville, Nashville, Atlanta, and Jacksonville. Every station sounded unique to its community. Make that same trip today; it sounds like one station. The sameness is astounding. If you’re going local, do it. Engage as the great MOR stations did in the past. Completely absorbed in their city. Simply saying local won’t cut it. At ZRock, we were national and proud of it. We had branches of our national army in 50 cities. It was a National family.
JL: You pioneered researching Psychographics. Can you expound a bit on that?
LA: Age/Sex demographics were designed for sales. We needed new categories designed for programmers. Back when we first started focusing on psychographics, you could take a 30-year-old. Traditionally, they were male or female. Psychographics allowed us to look at types of people within those age ranges. For example, that 30-year-old male might think Springsteen is the greatest, another could care less and prefer Country music, another might be into R&B, and another into eclectic music. The point is there are so many types of people within any age/sex demographic.
Here’s a recent psychographic breakdown:
Along those lines, we also did some very eclectic research, including hitchhiking studies, to learn about in-car listening habits. And call back cards to talk with people who bought records. This kept us ahead of the pack in understanding our target and delivering the goods. One hitchhiking example was a DJ talking up a record— jocks loved it; that guy driving a Ford would pound the dashboard and scream, “Shut the f up and play the song.”
JL: As the co-founder of SiriusXM, you have seen both sides of the equation. What are the biggest threats and, conversely, the biggest opportunities for terrestrial radio?
LA: The two biggest threats are economic instability (and the resulting ad loads among other things ) and lazy imaginations. We all know about the economic strain— much out of the control of the rank and file. But imagination laziness creates very average stations at a time when average sucks. Programmers are unfortunately saddled with overbearing workloads, but there’s an imagination gene that needs to be fired up.
AFDI ( actually f—-ing) doing it is critical to imagination execution.
AFDI—— ACTUALLY F- – – – – G DOING IT
AFDI is a slogan I came up with many years ago. The scenario was a radio station that was once on top with a 7 share. In recent years, they had declined to a 3, and we were called in.
On my first visit, I met with the GM and said, “Let’s get you, me, the program director, the production director, the sales manager, and other voices and bury ourselves in a hotel suite with a lot of radios so we can do a complete audit of ourselves and competitors.” The idea being tearing apart ourselves and the market and generating new ideas that’ll bring back the glory. No distractions. A total deep dive. Media surgery.
At 3 am, eight of us emerged from the trade-out suite. A ton of legal pads (old-school before devices ) loaded with ideas and angles. Everyone was charged up and ready to reinvent themselves and the station. As a road-driven consultant, I left the next day armed with plans to rebuild this station, which still had good circulation, good signal, and the tools to succeed, allowing them to execute.
A month later, I returned. Notes in tow. The initial conversation went like this:
Q: Did we do this?
A: No, we thought we’d analyze it further ( paralysis by analysis )
Q: Did we do this?
A: The home office would never approve.
Q: Did we do this?
A: Oh…forgot about that one.
Q: Did we do this?
A: No, we had a meeting and decided against it.
Q: Did we do this?
A: Too risky.
Q: Did we do this?
A: We are going to maybe test it at 4 am.
The point is: THEY DID NOTHING and reverted back to their 3 share.
Maybe it was fear of change, laziness, or an extreme lack of imagination or motivation. Not a good idea when the old way was tanking them.
That’s where AFDI emerged. Actually F- – – – -G Doing it
It was a battle cry at XM and other projects. Come up with ideas that are legal, cost-effective, and growth-generating. And AFDI!
That’s the problem with mission statements. Often, they’re BS. I was at a TV station once where the statement included things like:
We are on the cutting edge of programming.
We have a personal relationship with our viewers.
We put the community first.
Etc.
I asked the Sales Manager if he believed that. His response “Hell no, if we did half of those things, we’d be #1.
It’s easy to roll along “hoping” things will improve. Chances are they won’t unless you go through the exercise and AFDI.
This applies to literally all businesses. The great ones AFDI when they’re already on top.
AFDI’s cousin is “the creative batting average.” Come up with 100 ideas, and if 70 of them stink, you’re an all-star because that means 30 worked. Gotta get off the bench and take swings. If the 30 are good, no one will remember the 70 that weren’t so hot. Like in baseball, the greatest hitters also struck out a lot. But you remember the homers. Get off the bench and AFDI.
JL: With all you have done and accomplished, can you identify a couple of highlights?
LA: The launch of XM was an amazing time. We started with a clean canvas and created some wonderful channels and developed a new playbook. Reinventing radio. A lot of great programmers all together in one oasis of creativity. Along with people like Dave Logan and a fantastic staff, we charted a new course for radio. It’s changed quite a bit. Prior to that, launching Burkhart/Abrams with Kent Burkhart back around ‘73. Another era of unprecedented growth…and fun. We later brought on guys like Dwight Douglas, Lee Michaels (RIP), Jon Sinton, and others. The level of work we put into it might put some people in the hospital, but we had a blast pioneering many new ideas and working with some great stations. Along with Denny Somach, I had a label deal through Capitol. Cinema Records. They had a huge hit with Eric Johnson, “Ah Via Musicom.” I also worked with several major artists as a career advisor.
Back in 2002, we launched a 24/7 digital TV news channel called TOUCHVISION. It was only on in Chicago. It was WAY ahead of its time. I learned a lot, and it got me totally engaged in the future of video news. You haven’t heard the last of that concept! The time is right. Stay tuned.
There are really too many amazing experiences, but those are four that stand out. We’d need a lot of time to go through all of the stories. They’re endless and range from amusing to insane.
JL: What advice would you give radio programmers to stand out with all the competition for ears?
LA: Balance science and emotion. The science is the playlist construction, format mechanics, etc. The emotion is creating the culture to invent. To imagine. To be a media artist painting an amazing picture with your station. Re-examine the playbook. Update to 2025. Lead with new ideas even within a structured format. Colorize the station sound. Study the great airchecks of the past to see how you can capture that magic on 2025 terms and realities. Be a student of programming. Think like a listener. Learn the history of modern radio. Drake, Storz, and McLendon are on the short list of people you should learn about. Study the great battles—the originators. Dive in and know you need to understand the past to design the future.
JL: What is the best piece of advice you were ever given?
I have received great advice from many people, but what stands out is the advice I didn’t listen to. Such as (1969) “rock music on FM will never work” or (1998) ‘no one will ever pay for radio.’ The point being that any adventurous thinker needs thick skin for all the naysayers to new ideas.
