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10 Tips For Getting Hired In Radio

Jason Barrett

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Every Program Director has a different approach when it comes to hiring people so take that into account as you read through this column. I can only speak to my own philosophy and experiences but for what they’re worth, I’m happy to share how I do things. As you pursue future opportunities in the industry, don’t assume that my way is going to work for you in other markets because chances are it won’t. None the less here’s a few things I consider important in the hiring process.

1. Build Relationships First: If you’re looking to be considered for a position at any radio station, don’t wait until you see a job posting for an open position. This is a business that is very much built on who you know and what you’ve done. You can go into Walmart and apply for a job and they’ll call you if they have an opening, Radio works differently. Chances are, I’ve got a number of people in mind for an opportunity before I even post the position for my radio station. Why? Because any solid PD is thinking about the change in his or her building before anyone else is. During the posting process I’ll receive a few applications which stand out and catch my eye but usually I’ve already got an idea for a few different roads to pursue before I turn to the unknown. All the more reason why getting to know the PD prior to a job posting can be important.

2. Follow Instructions: If a job is posted and gives specific instructions of how to proceed and you don’t have a relationship already with the PD, follow them precisely. For example, if it says “no calls please” don’t be the one person who thinks they’re going to stand out because they did what the posting said not to do. While you may think that type of aggressiveness is going to stand out, it will but in a very negative way. If I’ve taken the time to tell you how to approach me and the company for a possible opportunity, following instructions is important. If your first move is to show me that you can’t follow instructions then how can I trust you if I were to hire you? In the past I’ve had people follow me into elevators, approach me in the urinals at ballgames, show up at radio station events when I was with my family and even track me down at a train stop after I posted that I was heading home on Twitter and in every situation, the candidate was not hired. I recognize you’re hungry for an opportunity but so are others who follow instructions and trust in their body of work being good enough to generate attention and a response.

3. Are You Qualified For The Opening: If you’re applying for an on-air position and have never done a radio show, why exactly are you applying? I realize it’s a cool job and we all think we can do it but just because you make your friends laugh or you know every sports stat known to mankind doesn’t mean you’re qualified to entertain an audience for 45 minutes an hour. I may think I can do a better job than the president but that doesn’t make me qualified to run the country and occupy the white house.

4. Are You a Proven Difference Maker: If you’re an on-air talent and haven’t had ratings success, PD’s will find out. If you’re in a weekend or night-time position and looking to take the next step, PD’s will ask you why those in your own building don’t think you’re good enough to crack their daytime lineup yet you expect someone else to see you differently who hasn’t even worked with you. I’m not saying that to be a hard ass or to crush your dreams, I’m sharing it because when you’re hired as a weekday talk show host in a prime daypart, there’s an expectation that comes with it. The PD is saying to his/her bosses that you’re good enough to generate ratings, experienced enough to deliver results for advertisers and the type of individual who will be a great teammate, a strong representative for the brand in the community and someone who will foster relationships with teams and local players which will be beneficial to the product. I’m not saying you can’t go from weekends/evenings in a market to prime time in another because it has happened but I’m telling you that it’s not easy and doing it in a top 5 market or on a national network is going to be extremely tough.

5. Show Your Unedited Work: When you submit a demo, don’t send something that makes you look good for 2-3 minutes but can’t be duplicated when you get in front of a microphone. Numerous times I’ve received a good MP3 or CD and I’ll follow up with a candidate and when I have them come to the studio to hear how they sound, I find out that they had 2 good minutes courtesy of a good Adobe Audition editing job. The reality is this, unedited tape doesn’t lie. Chances are you’ll send me an hour of tape and I won’t listen to all of it. That said, something interesting or funny right away will get my attention and keep me intrigued. It’s no different than what I tell my on-air hosts and what other PD’s tell theirs. If you don’t grab a listener’s attention quickly, they’ll tune you out. Come to the table with something that showcases your style, originality and unfiltered opinion and you have a shot at keeping my ear. If you can do that, I’m likely to at least touch base to have a discussion. Also understand that if a PD doesn’t like your work right now, that doesn’t mean they won’t in the future. If they tell you to work on some things, apply the feedback and make sure the next time you submit something that it reflects progress. That attention to detail tells a PD you’ll accept coaching and that’s something PD’s seek out of the people they hire.

6. Network, Network, Network: Between the radio station’s website where you can obtain the email to the PD and social media sites like LinkedIn, Facebook, Twitter and Instagram where many of these same PD’s have accounts, are you connected to them on any platform? Furthermore, have you gotten to know others who work inside the radio station? The more people you know and the more relationships you build, the more likely you are to attract people’s attention. I remember being at 590 The Fan in St. Louis and a guy came in the door wanting to pick the brains of some of our personalities just to find out how they approach their jobs. His research stood out and he was a young guy looking to break into the business. About 2 years later I was launching 101 ESPN in St. Louis and the same guy applied for a Board Operator job just to get his foot in the door and I wound up hiring him. It was that initial visit to my previous building and a few notes in between that caught my attention and impressed me. His name was Aaron Goldsmith and he was the first board operator to put 101 ESPN on the air and now he’s the play-by-play announcer for the Seattle Mariners. He understood the value of networking and so should you.

7. Set Realistic Goals: PD’s talk to one another much like NFL Head Coaches talk to each other. We may not discuss strategies or company secrets but we do provide feedback when asked for it. If you’re an individual sending resumes and airchecks to 20 PD’s in 20 different markets, chances are everyone knows you as the “I’ll work anywhere” candidate. If you’re applying for the board operator, producer and on-air host position then you’re the “jack of all trades, master of none” candidate. I mention these two specifically because any dynamic and entertaining on-air personality who can move the needle for a radio station would never apply for a Board Operator or Producer position. Be smart when you apply and remember, PD’s have long memories. We know when you’ve applied 6 months earlier, 2 years earlier and in some cases even 5-10 years earlier. Know what it is you want to pursue, give good evidence to support why you believe you’re qualified and then follow up when appropriate. If you’ve got the talent to attract a PD’s attention, trust me they’ll be in touch. If they’re not then either you’re not a fit for that specific PD or market or your talent for the position may not be as strong as you may think it is. I will also tell you that if two people are equally qualified for a position and one is local and one isn’t, almost 99% of the time the call is going to go to the person who is already in the market and knows the local scene. If you want to work in a specific market and you’re not there, you may want to think abut relocating first and then continuing to chase opportunities at the radio station.

8. Understand The Job Description: Too many times candidates interview for a specific job and then proceed to explain why the radio station should adapt to fit them as opposed to the individual explaining how they can help fit the position. You may eventually land a bigger opportunity in the company if you’re good but it’s not going to come without doing the current job in front of you first. If a baseball team needs a lead-off hitter who can take pitches, draw walks, get on base and steal bases, do you think they’re going to put someone in that spot who hits for low average and swings at every pitch they see? It’s no different here. If I need a producer who can book guests, produce promos and rejoins, screen calls and make quality cuts, that’s what I expect to be done. If your true ambition is to be on the air that’s fine but you’re not going to get that opportunity at the expense of a prime time talk show. Do the job you were hired to do, request to earn more opportunities and be truthful about your goals and if you’ve built a good relationship with your PD, they’ll give you a chance to go into a production room and put some material on tape, critique it and if it’s good enough, throw you a weekend or overnight shift to see how you do. It’s all about going through the process and having the talent to do the job but you’ve got to touch first base before you proceed to second.

9. The Actual Interview: When you get called to come in for an interview, be on time. You should also show up looking professional. You don’t need to be in a 3-piece suit but you may want to save the running pants and short sleeve t-shirt for another day. Andre Agassi once said “image is everything” and whether it’s fair or not, PD’s want to know that they’re bringing in people who understand that they’re working in a place of business and can present themselves well. In addition to being punctual and presenting yourself well, let the PD guide the conversation. You’re walking in and trying to sell yourself and why you can help the brand but for the PD they can only find out about you by asking questions and seeing how you respond. If you’re confident in yourself they’ll see it and those who can adapt and stay loose, conversational and engaged in discussion will stand out. If you’re shy, quiet, nervous or breaking out in a sweat, chances are the PD’s made mental notes and they’re not going to be favorable.

10. Follow Up: If you interview for an opportunity and don’t get the nod, your career isn’t over. The right thing to do, is follow up and thank the PD for their consideration and let them know you’d like to be kept in consideration for future opportunities. In many situations there are a lot of qualified candidates for an opening and only 1 person gets hired. Those who act professionally when they don’t get the call stand a better chance of being thought of favorably in the future, especially if they remain employed in the business and continue working at their craft. I have a number of people in this business who I keep on a short-list and if situations pop up and I need help, I’m very likely to call on them. What doesn’t work is when someone follows up and proceeds to blast the candidate I hired or fires personal insults my way because they weren’t hired (it’s happened before). Before I got my opportunity with ESPN in 2004, I had reached out a year earlier to Bruce Gilbert and what I was pitching wasn’t needed by the network at that time. I thanked him for considering me, asked him to hold on to my materials and reminded him that if a need came up in the future, I was ready, willing and able to get to work. As luck would have it, one year later he had an opening and because I connected well during the previous process, I was given a chance to interview and ultimately landed the job. While the call may not always come the first time, it certainly won’t come a second time if you don’t conduct yourself the right way.

As I finalize this column, I’d like to share a personal story that applies to this subject. When I entered this business, I hoped to one day be good enough to work at WFAN in NY. For years I reached out to Mark Chernoff seeking his feedback and because I didn’t bombard him regularly, he’d provide me with some of it. I gained a solid understanding of what I’d need to do in the future to earn consideration for a job there, and I’d keep working on the things he told me needed improvement.

After 8 years, I finally received an offer to work for WFAN as a FT Producer and as crazy as it sounds, I rejected it. ESPN presented a great opportunity at the same time, and I couldn’t say no. If I had given up after my first or second attempt, I’d never have been in that position. Because I had a little bit of talent, was accepting of feedback, and didn’t overwhelm Mark with my approach, it allowed me to stay on the radar of one of the industry’s best PD’s.

Many times in this industry, being hired for a position comes down to relationships, fit, financials and subjective opinions. If you don’t get the call today, don’t be discouraged. It’s amazing how a perceived setback on your end can actually be a blessing in disguise and an opening into something even more amazing. Sometimes a great NFL or MLB player has to wait a few turns to get a call to the Hall of Fame and the same type of things happen in radio. If you have talent and want it bad enough, people will eventually find you. You’ll just never know who, when or why they’re watching so always present yourself well, don’t be overbearing and let your body of work do the talking.

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Barrett Blogs

Is Sports Journalism Still Worth Paying For?

“I know many like to declare print being dead. I’m sorry I’m not one of them. Adults still enjoy reading.”

Jason Barrett

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Courtesy: Don Nguyen

I’ve been thinking about this column all week because it’s a topic I’m passionate about and curious to hear the responses to. For starters, let me pose a few questions to you. Does quality journalism still matter? Is it worth paying for? Do advertisers see enough return on their investments with print outlets through associations with influential writers, publications and branded content? Are consumers hungry to read the full details of a story or are they satisfied with the cliff notes version and absorbing messages that fit inside of 140-280 characters?

The world we’re in is saturated with content. Attention spans are rapidly shrinking. Social media is both to blame and bless for that. The positive is that we’re exposed to more content than ever before. This means more opportunity to reach people and grow businesses. The challenge of course is standing out.

People listen, read and watch less of one thing now, opting for variety during the time they have available. The issue with that is that it often leads to being less informed. I know many like to declare print being dead. I’m sorry I’m not one of them. Adults still enjoy reading. I see nearly three million people do it on this website alone and we’re small potatoes compared to mainstream brands. Clearly people like to learn.

I raise this topic because last week, Peter King announced his retirement although he left open the door for side projects. After forty plus years of writing the gold standard of NFL columns, King revealed he wanted to slow down and invest his time in other areas of life. Among his considerations for the future after taking a breather are teaching.

In a podcast interview with Richard Deitsch, King said “We may love this column but I doubt that it made enough money for NBC to pay what they were paying me. I don’t think words are very profitable anymore. It’s a sad thing but it’s what’s happened to our business.”

Later in the conversation, King discussed the difficulty he might face if speaking to students about whether or not to pursue working in the media industry. He acknowledged that the business is bad right now. However, he pointed out that if you can write and read, and be an intelligent thinking contributing member of society, there are a lot of jobs you can do beyond being a writer for a paper covering the NFL. You can teach English, work in PR or for a team or league website. But journalism is different now, and though it’s not impossible to do, having flexibility is important.

I agreed with most of King’s remarks and thought about the two different ways people might respond to them.

If you’re in agreement with Peter, you’ll point to the reduction in industry jobs, the changes in salaries, the lack of trust in media outlets, the economic uncertainty facing traditional operators, the shrinking ability to uncover truth, and the data that frequently supports video being hot, and print not so much.

Those who disagree will list the New York Times and The Athletic as examples of print brands that still matter. They’ll also mention the surge in newsletters, the arrival of new online outlets, and the daily communication between millions of people each day on social media, much of it revolving around conversations created or supported by text.

Where I sit is somewhere in between.

First, the notion that it’s harder now than before is one I’ll challenge. When I entered the business, I had to mail letters, send cassette tapes, and wait months for a response. There was no internet or opportunity to create a podcast, Substack, website or video to build an audience. I had to be selected by someone to have a chance to work. There were thousands like me who wanted a way in and were at the mercy of decision makers preferring my resume over someone else’s. I did exactly what King said on the podcast when he mentioned having to do other jobs to support yourself while pursing a dream.

Where I agree with King is when he mentioned words not being as profitable anymore. Are print reporters and columnists going to make what they once did? Probably not. There will always be exceptions just as there are in television and radio, but if you think you’re going to do one specific job and making a financial killing on it, prepare to be disappointed. Today, you better be able to wear different hats and create a lot of content in multiple places. Earning a lot for doing a little is a way of the past.

The one area where I’ll differ is when it comes to advertising. I believe there’s untapped value for brands in print. Recall with the written word remains strong. There’s also less advertising clutter in written stories than audio and video programming blocks. Advertisers may not seek out traditional print advertising anymore but branded content, newsletter associations, and social media placements remain valued.

What I admire greatly about King is that he evolved over the years. His written work on SI was must-read but that didn’t stop him from leaping into the online space and launching MMQB. The arrival of that microsite was done at the right point in time, and when SI began to change, King didn’t hang on, choosing to make the bold move and jump to NBC. Upon his arrival, he started contributing on television, podcasts, and expanding his profile on social media.

What you should take away from Peter is that you’ve got to constantly examine the business, and understand when it’s time to pivot, even if it means leaving your comfort zone. You also have to recognize that things are going to change and your job description will likely be one of them. If you stay married to what you once did, you’ll be in a tough spot. If you roll with the punches and embrace what’s new, you’ll survive and thrive.

You also have to understand that you’re going to be tied further to what you produce. Does your presence and performance grow advertising revenue? Are you speaking on behalf of brands and helping them move product? Do you grow subscriptions or readership to levels that make it easy for a company to invest significantly in you? Talent is subjective. Results aren’t. Those who create quality while boosting the bottom line will remain in demand.

Remember this in a few years when artificial intelligence becomes a bigger part of content creation and discovery. Those who adapt to it and work with it will be just fine. Those who reject it will be searching for new career paths. Not that there’s anything wrong with that. There’s better stability in other industries. But there’s nothing like creating content around the world of sports and media. It just requires adaptability and being comfortable with being uncomfortable.

BSM Summit Update:

In ten days we unite the sports media business in New York City for the 2024 BSM Summit. All of the sessions are now complete. I’m excited to add Natalie Marsh, General Manager of Lotus Communications in Las Vegas, Cody Welling, Station Manager of 97.1 The Fan in Columbus, and Stephanie Prince, Vice President and Market Manager of Good Karma Brands West Palm Beach to our schedule. The full agenda for both days is posted on BSMSummit.com.

In addition, I’m thrilled to share that we’ll have a few special appearances at the ESPN Radio After Party on Wednesday March 13th. Joining us on-site will be Evan Cohen, Chris Canty and Michelle Smallmon of UnSportsmanLike, Freddie Coleman and Harry Douglas of Freddie & Harry, and Chris Carlin from Carlin vs. Joe.

Thumbs Up:

Chris Mortensen: Rarely does the sports media industry collectively agree on anything but you won’t find much disagreement on Chris Mortensen. He was a special talent and human being. I was fortunate to see it firsthand as a producer at ESPN Radio. I then enjoyed many interactions with Mort as a program director lining up calls on the radio stations I ran. It didn’t matter what job you did or where you worked, Chris treated you well. His work was hall of fame worthy but it was the manner in which he interacted with people that truly made him a legend. Rest in peace, Mort. I’m sure the next wave of conversations with John Clayton are going to be amazing.

Mike Felger: It would’ve been easy to pile on and publicly root for a competitor to fail and fold. Instead, Felger took the high road, acknowledging that he’s rooting for WEEI to come out of bankruptcy in good shape. That’s what smart business people. Mike is comfortable in his own skin. He has the highest rated show in Boston and having a competitor to compete against as well as a potential landing spot when contracts come up is never a bad thing. Besides, why would anyone want to see friends and respected professionals lose an opportunity to work or listeners given less choice for sports talk entertainment? Nice job, Mike.

iHeartmedia: The company’s fourth quarter results were down year-to-year but they were above prior projections. iHeart also gained 16.6% growth in podcasting revenues during Q4, and just got stronger by luring Stephen A. Smith’s podcast away from Audacy. A pretty good week for Bob Pittman and his lieutenants.

Sportico: Jason Clinkscales is an easy guy to root for. He’s written quality content for Awful Announcing, is a sharp guy who enjoys the industry, and after a year full of personal tragedies, he deserved a break. That came last week when Sportico hired him as a reporter and editor on their breaking news team. Well done Sportico. Looking forward to reading the first piece.

National Association of Broadcasters: Creating buzz for conferences isn’t easy but the NAB’s recent announcement of having Daniel Anstandig of Futuri Media present a first-of-its-kind presentation at its April show alongside Ameca, an autonomously AI-powered humanoid robot has certainly increased conversation and intrigue. I’ll be in attendance for the event and am curious like many. I’m just hoping Joe Rogan isn’t right when he suggested this week that robots will jump out of an aircraft carrier with machine guns and do damage.

Thumbs Down:

Kroenke Sports and Entertainment: This isn’t a shot at the company. It’s more about losing a talented media executive. Matt Hutchings, the company’s former COO and EVP was a key part of developing Altitude Sports. Under his watch, the Nuggets and Avalanche won titles, and the company cemented its position in the local sports radio space.

The dispute with Comcast over airing Nuggets and Avs games is well documented, and Hutchings will get some of the blame for the teams not being broadcast on local TV but I tend to believe decisions of that magnitude land at ownership’s doorstep. Regardless, KSE is weaker today than yesterday due to losing Hutchings.

New York Jets: I get it. 98.7 ESPN New York moving away from the FM dial provides a concern for the franchise, and in other cities, football does perform well on classic rock stations. I just see the fit with Q104.3 as an odd one. If Aaron Rodgers returns and the Jets finally take off the way their fans hoped they would last year, it’s going to feel strange hearing their games locally on a channel that has little content time dedicated to the team beyond game days.

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Erika Ayers and Spike Eskin Led Barstool Sports and WFAN to Success But Their Exits Raise Questions

“Rod and Spike understand the business. They know people are going to ask these questions.”

Jason Barrett

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There were two big management moves last week that have sports media folks talking. First was Erika Ayers Badan announcing her exit from Barstool Sports as the brand’s CEO. Second was the news of Spike Eskin returning to Sportsradio WIP and exiting his role as the VP of Programming for WFAN and CBS Sports Radio.

Let’s start with Erika. What she did for Barstool was spectacular. In 2016, I thought Barstool had a strong understanding of social media, unique talent and voices, podcasts that were cutting through, and a connection with younger fans that traditional outlets couldn’t deliver. They also produced events that drew a lot of public attention. But I didn’t view Barstool as a buttoned up business capable of generating hundreds of millions of dollars. Erika Nardini aka Erika Ayers Badan and Dave Portnoy deserve credit for making it one.

Erika told me at our 2020 BSM Summit that Barstool didn’t have a P&L sheet when she joined. She had to build systems, hire staff, grow the sales arm of Barstool, and help Dave Portnoy find investors. What followed were marketing deals with major brands, content partnerships with different media outlets, a massive investment from Penn National, and a changed perception of Barstool as a mainstream player. They were no longer just the cool, rebellious brand on social media and the internet that gave no f’s and generated attention. They became game changers in the sports content space.

So why leave?

If Barstool is now clear of restrictions and able to operate without investor influence, that should be enticing, right? In her farewell video Erika said that she felt she accomplished what she set out to do. I understand and appreciate that. But I can’t help but wonder if less structure and investor involvement made it less appealing to stay. She did join the brand after The Chernin Group got involved not before it.

I have no inside knowledge on this, and I’m not suggesting Barstool won’t continue growing and dominating. They likely will. It just raises questions about how the brand will manage sales, PR, critical internal and external issues, and battles with suitors when they try to lure away Barstool’s on-air and sales talent.

The business end of Barstool appears weaker today than it did a week ago. That’s more of a testament to what Erika did than a knock on anyone still there. To grow revenue the way she did the past 8 years speaks volumes about her skill as an executive. Wherever she lands next, it’s likely she’ll make a difference.

Will it be easier to do business with Barstool moving forward? Time will tell. I don’t expect they’ll make it easier for media outlets like ours to cover them. But if I’ve learned anything in eight years of following them it’s don’t ever bet against Dave Portnoy. Too often people have. Each time he’s proven them wrong. Portnoy has built a powerhouse brand, and grown the business by zigging when others zagged. But how Barstool moves forward without Erika will be of great interest to many in 2024.

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Spike Eskin will be leaving WFAN and his position as the VP of Programming for Audacy to return to WIP and co-host the afternoon show. On paper this is a great move for WIP. Spike understands Philadelphia and WIP’s audience, he lives and breathes Philly sports, and has a great rapport with the entire lineup. He’s maintained an on-air presence through his Rights to Ricky Sanchez podcast, and I believe that moving into a host role alongside Ike Reese and Jack Fritz will be a seamless transition for all involved. Being in his mid to late 40’s, he’s also got plenty years ahead of him to cement his spot as an on-air talent. I expect Spike, Ike and Jack to do well together.

But to exit WFAN and the top programming role at Audacy in less than three years, raises a few questions. Why is this opportunity better for Spike than the programming role he just held? Was he happy at WFAN? Were folks happy with him at WFAN? Many have opinions about WFAN’s changes the past few years. Some love the fresher approach. Others don’t. That’s what makes sports radio in New York fun, people care.

As a follower of WFAN for over thirty years, it’s a different brand than the one I grew up on. That’s not a bad thing by the way. I’m almost 50. If Spike and Chris Oliviero programmed to please the Mike and the Mad Dog crowd that’d be a mistake. Attention spans are shorter, content options are larger, digital is more important and the days of a city flocking to the radio at 1pm to hear a host’s first words are gone. Judging from the ratings, revenue, and turnout for Boomer and Gio’s last live event, the station is doing well. They’ve got a lot of talent, a stronger digital game, and they’ll continue thriving. Spike deserves credit for the brand’s progress.

But why is a hosting role and less influence over a brand better for Eskin? Spike has been a part of WIP’s afternoon show before. Though leading the show vs. being the third mic is a different animal. He also programmed the station really well. In fact, Spike did such a good job at WIP that it landed him the top programming position in sports radio. Is there a personal part to this given that his father made afternoons in Philly must-listen for 25 years? Or is it about the personal relationship he has with Ike and Jack?

And how does this work from a financial standpoint? It’s likely that Spike was paid more to lead Audacy New York than Jon Marks was to host WIP’s afternoon show. If that’s the case, and nothing changes for Eskin, and WIP just adds payroll, does it affect what Chris Oliviero can spend on Audacy New York’s next brand leader? I can’t see that happening at all. Chris is going to make sure he has what he needs to land the right leader in New York.

Finances only come up because it’s known that Audacy is going through a bankruptcy process. Adding expenses right now seems unlikely. However, to add someone with Eskin’s skill and track record at a station where he previously shined is smart business, especially when you consider that he can win as a host and programmer if needed. That’s going to naturally lead to folks asking ‘will Spike eventually host PM drive and program WIP? If so, what does that mean for current PD Rod Lakin?’ ‘What happens when talent at WIP that Spike had a hand in hiring don’t like what Lakin suggests or if WIP’s ratings decline?’

Spike told Joe DeCamara and Jon Ritchie that’s not on his radar and the idea of joining the afternoon show was raised by PD Rod Lakin. Some of you may read that and be surprised that Lakin would suggest it. But Rod stepped into the role that Eskin previously held. I’m sure they’ve talked plenty the past few years. If their relationship is strong that should help. I don’t know it well enough to say if it is or isn’t. This move suggests Lakin’s more concerned with strengthening WIP than worrying about himself or industry chatter.

If anyone can navigate the situation and make it work, it’s Rod Lakin. He’s calm, cool, collected, smart and doesn’t get flustered by noise and pressure. I know this because we’ve known each other for over a decade, and I introduced him to folks years ago, which led to him landing the Philly role. If you read Derek Futterman’s piece on Angelo Cataldi last month, the Philly icon shared a small example of what makes Rod a great leader.

But Rod and Spike understand the business. They know people are going to ask these questions. The flurry of texts and emails I received about this last week was insane. I’m sure it was even louder on the local level. Many will suggest that Audacy will use this as an opportunity to eventually reduce expenses and stay strong by having Eskin handle two roles. Only those involved know the answers but one thing I know is that Rod Lakin knows how to program. If he’s not supported there, he’ll have plenty of interest elsewhere.

In a perfect world, Spike excels in afternoons, Rod leads WIP to greater success, and WFAN finds a great leader to move the brand forward. But until the smoke clears, noise will fill the air in the big apple and city of brotherly love.

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Thumbs Up:

Colin Dunlap, 93.7 The Fan: While on the air last week, Dunlap received a call from a 65-year old woman named Colette. She told the Pittsburgh host that she and her husband were disabled and after undergoing 28 surgeries, she was physically struggling to clear her walkway of snow. Hearing her story moved Dunlap to react. He then called on the audience to step up and help. Shortly thereafter, one of 93.7 The Fan’s listeners, a gentleman named Tom, phoned in, and made the drive over to help out a fellow listener. That’s the power of live radio at its best, all possible by Dunlap reading and reacting to the situation perfectly.

Clay Travis, Outkick: Whether you love him or hate him, Clay delivers strong opinions and commands your attention. A perfect example was his Friday night reaction video to the demise of Sports Illustrated. If you haven’t watched it, it’s worth checking out. It’s nearing one million views at the time of my writing this.

VSiN: The sports betting network based out of Las Vegas recently redesigned its website and the new look and feel of it is excellent. Clean throughout, easy to navigate, and rich of content. Nice work by Bill Adee all involved.

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Thumbs Down:

Sports Illustrated: Laying off the majority of its staff was bad enough, but to notify people by email or have them find out on social media shows a lack of class and a disgusting approach to running a business. All of those traits by the way are the exact opposite of what SI once stood for – RESPECT.

During SI’s glory days, the content was must read. But in recent years, the outlet landed in the hands of operators who valued clicks over quality. Many predicted and expected this once storied brand to crumble. Unfortunately, the naysayers were proven right.

To those affected, I’m sorry for the crummy news. Some will rebound and help other established brands. Some will launch their own platforms or exit the industry. Anyone looking to do future freelancing work is invited to email [email protected].

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BSM Summit Update:

I’m happy to share that Good Karma Brands president Steve Politziner, Edison Research co-founder and president Larry Rosin and ESPN Chicago program director Danny Zederman have been added to our lineup. We’ve also finalized two of our four awards recipients and are working on a third. I’m hoping to share those details soon along with a few other high profile additions to this year’s show. I’ll be heading to Las Vegas during Super Bowl week, which is when we reveal our BSM Top 20 of 2023, and after that I’m hoping to finalize our schedule so it can be released by the end of February.

I know everyone likes waiting until the last minute to buy tickets and reserve hotel rooms. If you want to avoid being left out though, the time to act is now. Everything you need is posted on BSMSummit.com. Our deadline for hotel room reservations is February 13th. We’ve also sent out free ticket contests by email to the advertising community and tri-state area colleges. We’ll have two more this week for executives and programmers. Be sure to check your spam folder just in case it doesn’t arrive in your inbox.

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2-Seconds to Vent:

Jimmy Pitaro, Eric Shanks, John Skipper, Nick Khan, Colin Cowherd, Paul Finebaum, Clay Travis, Craig Carton, Adam Schein, Michael Kay, and Fred Toucher all have something in common with many others across the industry. They’re accomplished professionals with plenty on their plate yet when contacted, they always respond. Most of the time, they do so quickly. That’s greatly appreciated.

If those tasked with running the largest media companies in America, and hosting shows with content, advertising, and audience commitments can find time to respond, why is it so hard for other professionals to do the same? If you don’t want to be featured on BSM, speak at a Summit, market with us or answer a question, just say ‘not interested‘. It takes two seconds. The best in the business understand the value of relationships and promotion. Unfortunately, many do not. I don’t use this platform to draw attention to these issues but sometimes I wonder, should I?

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Original Projects:

On BNM this week we’re doing five days of features on NPR professionals as part of ‘Public Radio Week‘. It’s not easy pulling it off but we’re trying some different stuff. Next week we launch ‘Where Are They Now‘ on BSM. Peter Schwartz will have the first feature next Tuesday. Coming up in February, we drop the BSM Top 20, Derek Futterman’s ‘Day Spent With‘ series which includes spending a day with professionals across different areas of the industry, and we’ll profile a number of black voices on BNM as part of the brand’s focus on Black History month. I hope you’ll check them out whenever time allows.

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Recommended Viewing:

If you’re looking for a movie to watch during the week, check out Blackberry if you haven’t already done so. The film is about the rise and fall of the Blackberry phone, and I thought it was excellent. It had a similar feel to the movie Jobs, and the series Super Pumped: The Battle For Uber. Worth your time if you’ve got two hours available to watch something different than live games or sports programming.

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If you have a question or comment you’d like addressed in a future column, please send it to [email protected]. That same email address can be used to pass along press releases, interview requests or news tips. Thanks for reading!

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Justin Craig, Chris Kinard, Mary Menna Added to 2024 BSM Summit Lineup

“What I’ve always enjoyed about the BSM Summit is that it showcases speakers from many different areas of the industry.”

Jason Barrett

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To kick off 2024, we’re announcing the additions of three more talented broadcasters to our 2024 BSM Summit. More on that shortly. The Summit takes place March 13-14 at the Ailey Theater in New York City. For tickets, hotel rooms, and additional details, visit BSMSummit.com. Those interested in sponsorship opportunities, contact Stephanie Eads. A number of items are already claimed but she can tell you what’s left. Reach her by email at [email protected] or by phone at 415-312-5553.

What I’ve always enjoyed about the Summit is that it showcases speakers from different areas of the industry. We’ve featured top talent, researchers, agents, digital leaders, podcasting experts, ratings analysts, tech builders, play by play voices, and of course, program directors and market managers. There’s many ways to succeed, and no better way to learn than to hear from folks who consistently win.

In the sports audio world, 98.5 The Sports Hub, 106.7 The Fan, and ESPN Radio are highly respected brands. The Hub and The Fan are dominant in Boston and Washington D.C.. ESPN Radio meanwhile maintains a strong position as one of the top national audio brands. All feature strong leaders, and we’re fortunate to have all of them represented in NYC.

It’s a pleasure to welcome Beasley Boston Market Manager Mary Menna to the Summit. This is her first appearance at the conference. Mary is responsible for managing The Hub’s business, currently the top revenue generating brand in all of sports radio. I’m excited to have her offer her insights on a panel with Chris Oliviero and Scott Sutherland. More details on the session, date/time closer to the show.

On the programming side, it’s great to welcome back Chris Kinard of 106.7 The Fan, and Justin Craig of ESPN Radio. Both will be involved in programming panels at the show.

CK has helped lead The Fan and Team 980 to consistent growth in the nation’s capital. He’s a forward thinking type of leader with a great feel for the current and future challenges facing the business. I’m looking forward to having him share a few lessons he’s learned with the rest of the room.

For my friend JC, he’s seen ESPN Radio evolve for the better part of two decades. Liked and respected by most, he’s valued and trusted to guide ESPN Radio’s day-to-day operations. Given the network’s change in focus, talent, and structure, he’ll have great insights to share on where national sports audio is moving.

Our speaker list now sits at twenty. It will grow much more over the next two months as we reveal other additions to the show. We’ll also be announcing our award winners, and a few other surprises. This is a fun and informative two-day event for sports media professionals. If you haven’t joined us before, I hope you’ll do so this time. Everything you need to know prior to the event will be available at BSMSummit.com.

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