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What Makes Radio and Podcasting Different?

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Over the past two years, a rapid interest has developed in podcasting. While it’s actually been available for years, and personalities such as Bill Simmons and Adam Carolla have enjoyed great success in the space, the commitment from advertisers, broadcast companies, and personalities has grown significantly.

serialOne program which influenced a change in perception of podcasting was the show “Serial“. The program focused on an investigation into the 1999 murder of Hae Min Lee, an 18-year-old student in Baltimore, Maryland. Lee’s ex-boyfriend, Adnan Masud Syed was arrested and charged with first-degree murder, but his first trial ended in a mistrial. After a six-week second trial, Syed was found guilty of Lee’s murder and given a life sentence, despite pleading his innocence.

In February 2015, three weeks after the end of Serial’s first season, the Maryland Court of Special Appeals filed a decision allowing Syed to appeal his conviction. The Court also announced that another three-judge panel would address the question of whether new evidence from an alibi of Syed’s, would be admitted.

The interest in the case, and the information learned on the program, pushed Serial’s season one downloads to over sixty eight million. With the rise in popularity came a large amount of mainstream media coverage, which helped the show gain an extension for two more seasons.

Although Serial made a major splash, it isn’t the only program to experience massive success in the podcasting world. Other popular personalities like Joe Rogan, the Sklar Brothers, Shaquille O’Neal, and pro wrestlers “Stone Cold” Steve Austin and Chris Jericho, have taken their talents to the podcasting arena too, and gained strong followings.

Comedian Marc Maron is another personality who delivers a strong audience. To date, his podcast has been downloaded more than one hundred million times. It was also the first podcast to welcome the President of the United States Barack Obama as a guest.

p1Recently, CBS Money Watch said advertising on podcasts had grown to the tune of thirty four million dollars annually. PodcastOne Chairman Norm Pattiz (who’s company sells ad time for Carolla’s show), believes its closer to fifty million. He said “If it were $34 million, we’d be way over 50 percent of the business, and I don’t believe that we are“.

With advertiser interest growing, more personalities wanting in, and audiences displaying a heavier appetite for the content, is there a stark difference between podcasting and radio? Sometimes in our industry we latch on to new things, or reimage old ones to become excited again, but in this case, I do believe there are some big differences.

In the past week alone, I consumed fourteen different podcasts to gain a sense of what each program’s recipe was for serving their audience. What I found was that each program was different, and that alone fueled my desire to learn more about the platform’s approach.

The programs I listened to were:

  • The Big Podcast with Shaq and John Kincade
  • The Adam Carolla Show
  • The Stinkin Truth with Mark Schlereth
  • Talk Is Jericho
  • The Tony Bruno Show
  • The Ross Report
  • The Bill Simmons Podcast
  • The SI Media Podcast with Richard Deitsch
  • Sklarboro Country
  • Bernie and Randy
  • Franco and Kags
  • Dennis and Callahan’s Breaking Balls Podcast
  • Radio Stuff with Larry Gifford
  • The Podcast About Sports Radio with Zach McCrite

In comparison to radio, there were a number of similarities, but there also were some major differences. I put a chart together to outline some of those items.

SUBJECT SPORTS RADIO SPORTS PODCASTS
CONTENT & FORMULA Follows a Clock & Format Free Flowing & No Rules
SHOW LENGTHS 2-4 Hours 30-90 Minutes
DISTRIBUTION Everyday 1-2x per week
ORIGINAL PROGRAMS Set Lineups M-F Tons of Variety
SPORTS UPDATES 2-3X Per Hour Rarely any
COMMERCIAL BREAKS 3-4 Per Hour Rarely any
COMMERCIAL TIME 12-20 Minutes Per Hour Rarely any
LIVE READS/MENTIONS Avg. of 2-3X Per Hour Avg. of 2-3X per episode
REVENUE UPSIDE High/Lots of opportunities Low/Limited opportunities
SUCCESS MEASURED Nielsen Ratings Total downloads/Time Spent Per Episode

If you’re an audio listener, and you spend two hours, one with a radio program, and the other with a podcast, you’ll receive much more content from a podcast. Commercials are not part of the strategy, and because they don’t consistently interrupt the flow of the shows, it’s a major benefit for the audience.

Some other positives include the show lengths which are usually 30-60 minutes. Most commuters can consume an entire show during a drive to or from work. There’s no feeling of “I’m going to miss out“. It’s more in line with television’s approach to programming. Those who listen to a podcast, are likely to listen to others too.

carolla2The opportunity to listen to long segments, unfiltered discussions, and gain a peek behind the curtain are other reasons to listen. This allows the talent to be comfortable and authentic. For example, when I listened to Adam Carolla, he got into some very explicit discussions on sex. If the same show had aired on terrestrial radio, Adam either would’ve avoided the subject or presented a PG/R rated version. If he said what he did on his podcast, he would have been suspended or fired, and his employer would’ve been subject to an FCC fine.

What I really enjoyed hearing was how loose most of the personalities were, and how unscripted the programming was. In certain cases I heard shows welcome guests who I’m positive would’ve been declined on local radio stations because they didn’t play into the strategy of delivering ratings. Certain interviews also provided interesting nuggets of information because the discussions were allowed to materialize, and weren’t trying to fit inside an allotted amount of segment time.

There were three great examples of this that jumped out to me.

jkshaqFirst, John Kincade and Shaq had a conversation with Kobe Bryant that was as good as gold. If you haven’t heard it, do yourself a favor and check it out. It was fascinating because Shaq and Kobe were able to relax, and reminisce without it feeling like they were under the microscope, and John had a great sense of when to get involved and when to sit out.

Because the environment was soothing for Shaq and Kobe, the interview entered areas that I don’t believe it would’ve had it taken place on a local radio station. If you have the time to listen, it’s worth it. Make sure also to listen after the interview to the conversation between John and Shaq about “Deez Nuts“. It’s very entertaining.

The second piece to produce a similar result was Richard Deitsch’s podcast with WWE personality Paul Heyman. There was no time limit on the discussion which kept it from feeling rushed, and because Richard does his homework, he’s able to get into certain areas with his guests, and pull things out of them that a listener can appreciate. Hearing Paul discuss how he prepares for his next promo on Raw, why he connects with eloquent people, and how he feels about professional wrestling gaining more mainstream media coverage was very insightful.

The last example I want to highlight was from Larry Gifford’s Radio Stuff podcast. His subject was the rise and fall of Cumulus Media, and he utilized a lot of audio clips in it to help him tell an interesting story. What jumped out the most though was his conversation with Tom Leykis. When I heard Tom say “Cumulus is one of the prime murderers of the broadcasting business” I was intrigued.

Tom then shared his personal account of how Cumulus treated him during negotiations, and how their approach pushed him away from returning to the radio business. While I wasn’t privy to his situation, and am sure there’s another side to it, I felt like I was in the room because of the way he presented it. It was a riveting piece of audio, and one that I don’t believe I’d hear on a local radio show.

While each of those examples above highlights the many benefits being provided by podcasts, I also discovered some negatives.

First, nothing is more aggravating as a content consumer than clicking on a button to hear a show, and then having to wait two minutes for the personality to start the program. This happens because the hosts are reading ads right out of the gate. While I understand the challenge of generating revenue on these programs, this will become a bigger issue for advertisers in the future.

dvrThe biggest reason is because every time a program starts with a talent reading a sponsor message, I fast forward past it. One of the great tools of digital listening, is that you have more control over the way you consume it. When you’re in the car, you either endure commercials, and sponsor mentions, or you change the channel, and hope to return to the station, and not miss anything important. When you’re at your computer or listening on your phone, you can skip to the good stuff, and eliminate the bad.

It’s very similar in my opinion to the DVR. If you record a television show and watch it back, you’re more likely to skip past the commercials than sit through them. The same holds true when listening to a podcast. I’m sure advertisers would rather not hear that.

Sticking with business, I did find my recall of advertisers was higher with podcasting than with radio. On podcasts, sponsors are woven into the programming during select times, and because the interruptions are fewer, and shorter, I sat through them, and remembered them.

There’s also a positive vibe you feel towards the client because they’ve invested in a unique show that you listen to. You want to reward them for that association. I also heard many hosts supporting their clients, and providing good strong personalized reads, rather than breezing past them as we often hear on radio shows.

If I can keep my critical cap on for a moment, I’ll add that because the programming is often recorded, and not touching on LIVE events, there is less of a feeling of urgency to consume it. If listeners don’t check back often, and traffic decreases, that could hurt revenue.

Another challenge that can’t be ignored is that podcasts offer less programming than local radio shows. Top flight personalities on radio provide fifteen to twenty hours of content per week, while podcasts deliver one to two hours. If you’re in the advertising world, that means less opportunity on podcasts, and more opportunity on radio.

pod1There was one one other tidbit I picked up on that I felt was worth a mention. It applies to the difference in the way the podcasts are presented. Certain talents like Deitsch, the Sklar Brothers, Jericho, Austin, and Simmons, present their shows differently than Bruno, Gifford, McCrite, and Bernie and Randy.

This stems from some podcasters being radio personalities who are used to delivering content a certain way, and others more focused on talking, and less worried about structure and presentation. I can list the pros and cons for each approach, but the one you’ll gravitate towards is the one that appeals to your personal tastes.

For those personalities I listened to who are working for local radio stations, I appreciate them providing something different on their podcasts than what they treat listeners to over the airwaves. That’s very important.

For example, in the case of Bernie and Randy, they don’t do a daily radio show together. Both men are popular to St. Louis sports fans, and occupy drive time slots on 101 ESPN, and by creating the podcast, it brings them together once per week. This helps the station offer a unique program on its digital platform, which gives listeners an extra incentive to visit.

If there’s one piece of advice I can pass along to those who partake in creating podcasts, make sure you’re providing a different experience online than the one you present on-air. Taking your radio program, posting it online, and calling it a podcast is not accurate. Promoting that the show is available on-demand on the website is fine, but podcasts are different. Based on these numbers from Triton, you can see why it’s important to be in this space, and offer original programming.

triton

Earlier in this column I asked if there was a big difference between podcasting and radio, and in my opinion it’s a complicated answer. From the content standpoint, there’s little difference. It’s still programming built around people sharing opinions, stories, and parts of their lives that make them interesting. The format may be different, but it’s still an audio broadcast.

Where things change is when you analyze the business, and content creation strategies. Are personalities providing too much content on radio by broadcasting fifteen to twenty hours per week? If the average listener in a top 5 market consumes thirty to forty minutes per day, does the additional time matter?

How much of that programming time is spent on creating memorable content versus filling air time with calls, and serviceable material? With attention spans shrinking daily, I wonder if we’ll see a shift towards short-focused programming, and a reduction in long-form content.

As far as business is concerned, if commercials aren’t included, and sponsor reads are limited, then how much more money can the platform generate? Downloads, and time spent listening may increase, and that will help the narrative when requesting higher premiums, but there’s still a lack of inventory, and not enough regular programming. Unless that changes, or listeners start paying to consume the content, I struggle to see how the revenue gains will be significant.

If you’re a listener, that’s not your issue. You should love what’s happening with podcasting. You get to enjoy a lot of great talent, content without disruptions, and insight into situations that don’t have a chance to materialize often on local radio. You can also consume it faster which leaves you time for other things that are important in your daily life, and because the programming is offered weekly or bi-weekly, you typically are treated to something good.

podcastcharts

As you can see on the image above, younger audiences are growing up listening this way. If this becomes the future of audio delivery, then media companies better start figuring out how to monetize it better.

From where I sit, I believe podcasting provides enormous opportunity. CBS and Hubbard Radio have already entered the fray by making sizeable investments, and I expect other groups to follow suit in the future.

The only thing debatable in my mind is whether or not the platform can tip the scale for broadcast companies, and become the additional revenue stream they need to pull themselves out of the abyss they’ve been stuck in for the past decade.

Is this a fifty million dollar business that will experience slight economic growth? Or is it a model that’s representative of the future, and will deliver ten to fifteen times it’s current number? That’s radio’s problem to solve, not the audience’s. They’re doing their part by showing up and supporting it.

Barrett Blogs

Where Are The Sports Radio Programmers of Tomorrow?

“As someone who’s helped many aspiring programmers over the years, I’ve seen less new people seeking out advice the past few years than they did from 2011-2019.”

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Photo Credit: Roman Gorielov

I don’t get the opportunity to write as often as I’d like to. Consulting projects make that harder these days but I do miss it. Fortunately I’ve been able to assemble a quality team to deliver news and industry opinions to your inbox and social media platforms each day. If you receive our emails, then you should notice one of those improvements today with our BSM 8@8 Newsletter. If you aren’t receiving our emails and would like to, click here to sign up.

The reason I chose to write today is because there’s one specific area of our industry that I’m concerned about and need to draw attention to. That’s the emergence of tomorrow’s sports radio program directors.

If you work in or follow this business, can you recall a year during the past decade where we saw more programming changes in sports radio than this one? I can’t. WFAN in New York, WEEI in Boston, KNBR in San Francisco, WIP in Philadelphia, Arizona Sports 98.7 in Phoenix, ESPN 97.5 in Houston, 93.7 The Fan in Pittsburgh, 750 The Game in Portland, ESPN 94.5 in Milwaukee, The Fan in Indianapolis, 107.5 The Game in Columbia, ESPN Las Vegas, 1620 The Zone in Omaha, and 98.1 The Sports Animal in Oklahoma City have or are soon to undergo PD changes. This follows a year where 101 ESPN in St. Louis, 104.5 The Zone in Nashville, WFNZ in Charlotte, and 680 The Fan and 92.9 The Game in Atlanta changed programming leaders. 98.5 The Sports Hub in Boston, ESPN 1000 in Chicago, 710 ESPN in Seattle, and ESPN LA 710 went thru changes too in the fall of 2019.

Twenty three brands undergoing change at the top of a station’s programming department in that short period of a time is an eye opener. But what really stands out are the lack of new faces to arrive on the PD scene let alone even come up during the interviewing process.

For every Rick Radzik, Amanda Brown, Kyle Brown and Qiant Myers who were elevated to PD positions over the past two years, there are proven leaders like Kevin Graham, Jeff Rickard, Tommy Mattern, and Terry Foxx who’ve landed in new situations. Those folks absolutely deserve those positions, so let me be clear, proven PD’s should always be valued. As I’ve told many decision makers before, a great PD is a difference maker. The film industry pays big money for Steven Spielberg, Martin Scorcese and Quintin Tarrantino because their track record highlights their abilities to deliver box office hits. Proven PD’s who can do the same for a radio station deserve similar respect.

But if you’re a younger person looking to advance your career into a programming role today, how do you take that next step let alone earn the nod when more experienced people want the same gig? Who’s advocating on your behalf? How would a corporate executive or market manager know that a producer, board op, promotions director or part-time host is capable of becoming the next great programmer?

Better yet, how does any corporate executive or market manager running a local brand know anything about your management style, vision, multi-platform skills, ability to lead people and work with multiple departments, and create exciting content, events and promotions if you’re working for another company in a different city? Here’s the answer, most times, they don’t. You apply for the job, your resume and email arrives in their inbox, which leads to them asking others about you. If someone you’ve crossed paths with says something good about you, you might get a call. If not, your materials go on file should the station have future needs.

Having led PD searches for a number of brands the past few years, I think the first step is finding out who’s interested in growing. Does anyone know of your desire to one day lead a brand besides the host you work with and the programmer you work for? Who have you sought out to gain knowledge and mentorship from outside of your building? Are you counting on an internal promotion to become a leader or assuming your PD will hype you up to potential employers? What are you doing to make sure the right people know you’re hungry to take the next step and you’re ready to go wherever an opportunity exists?

As someone who’s helped many aspiring programmers over the years, I’ve seen less new people seeking out advice the past few years than they did from 2011-2019. Maybe folks don’t think to come my way as much. Maybe they assume the company they’re working for will take care of them when the time comes. Maybe they don’t have the motivation to relocate or upset their current situation. Maybe the pandemic forced folks to press pause on pursuing advancement. Or maybe the role of a program director isn’t as appealing as it was to leaders from my era.

Some assume that because they’ve been successful at producing, and have done it for a long enough time, it means they’re ready for the next step. But programming is much more than managing a show. Not everyone is built to handle a verbal lashing from a market manager, balance a budget, negotiate deals, coach high profile talent, understand and examine PPM ratings, and unify departments. Let’s not forget interactions with corporate, being multi-platform skilled, knowing how to study and attack the competition, dealing with negative PR, and being the brand leader who keeps play by play partnerships in a healthy state.

If you’re behind the scenes in the sports radio industry, your path will most likely lead to becoming either a host, PD, moving into sales/marketing/imaging/digital/corporate or leaving the business. Top 10 markets and national networks are an exception as there are some very talented producers who’ve continued to work with top shows/stations for a long time. Both invest more in off-air positions. In many other cases, the financial upside for behind the scenes help is limited so eventually you reach a fork in the road when you have to decide the best path forward to make a decent living.

But those looking to take the next step don’t often think about positioning themselves to land the next big opportunity. They don’t take time to build relationships with key executives who they’ll one day interview with for a top job. Instead they think about that day’s show and the immediate tasks at hand. You can be the most creative, multiplatform savvy, best guest booker and strongest talent coach in America as a producer but if nobody else knows it outside your building, it’s going to be hard to take the next step. Which is why you have to make time to help yourself. You can start by emailing me. That can’t hurt.

Program directors have a responsibility here too. They should be making time to teach and push their behind the scenes people to want to advance their careers. They should also be telling anyone who will listen why one of their own is ready for the next step. Not enough do that. I can count on one hand the number of PD’s who’ve come to me championing one of their own for a top programming job over the past six years since I began helping stations find PD’s. Just going thru the interview process can be huge for an off-air professional who dreams one day of leading a brand. It helps them learn what to expect, how to present themselves, which areas they need to improve on in order to make the jump and most importantly, it shows them you care about them and their professional development.

I know that the job is busier today than ever for a PD and finding time is a pain in the ass. But coaching people is one of your biggest strengths. It’s why why you’ve been trusted to lead your brand. When twenty three positions open up and more than half require hiring elsewhere in the country and turning to folks inside different companies, that should raise eyebrows. Have you told others to consider someone on your staff? Did you push for them to be interviewed, even if they weren’t the right fit because you knew it’d serve them well later? Did you invest time in them to to make sure they were ready for the next step? And that doesn’t mean just giving them the crap you hate like filling out affidavits, building clocks, and corresponding with the traffic department.

Have you conducted 1 on 1’s with all of your off-air crew and learned who aspires to one day do what you do? Have you taught them how to analyze ratings and content? Sit in on show meetings? Critique talent? Recruit future staff? Participate in creative brainstorms or sales meetings? Have you told your GM or other high ranking executives or PD’s in your company about their passion to lead?

It should go without saying that if you’re in a position to lead and develop people, that it applies to more than just on-air talent. It should include grooming future programmers too. Any executive with oversight of your brand should be asking “who on your staff is ready to take a step?” If the answer is no one, they should be asking what your plan is to change that so the answer is different the next time they ask. If you’re skilled enough to lead a brand for years or even decades, those above you should want to protect the future by having you develop the next crop of programmers too. Your report card as a PD isn’t complete if all you can point to are good quarterly ratings. There are plenty of brands who’ve won in spite of their PD and others who have lost despite having an elite program director.

By the way, shouldn’t a PD want to see people inside their operations get called upon to take the next step? As hard as I pushed my crew to perform in St. Louis and San Francisco, when one got an opportunity to become a PD, APD or EP I was proud as hell. There’s nothing more fulfilling than seeing someone you have mentored, challenged and cared about take their career to a higher level. If you spend years in the position and have producers and assistant programmers not landing opportunities, let alone receiving calls to be interviewed for openings, you should be asking yourself ‘what haven’t I done to get them to that next level’ and ‘do I have the right people here who want to grow?’.

Lastly, I recognize everyone is under pressure to add good help. A station operating without a leader in the programming department creates a lot of problems, especially when it lingers for months. But you also need to find the right people or you end up with bigger problems later, most notably, others questioning your ability to hire the right people. If there’s one thing I’ve learned going thru these processes with different companies is that often times, decision makers want to move fast and find people who are referred by others they know and respect. If they hear a few good things said in conversation by a candidate that match what they value, they’re ready to move forward. Some get caught up in resumes or similar experiences/interests but not all ask the right questions and research people well. It’s amazing what you’ll learn if you investigate properly and ask questions that make folks uncomfortable. If you’re going to trust someone to lead your brand and staff, and set the tone for your operation, spending the extra time to be sure about those you hire is absolutely necessary.

Taking a chance on the APD or smaller market PD isn’t as safe as hiring a veteran leader. If you have a proven winner interested in your opening and feel confident that they fit your needs, I’m all for them being hired. But don’t make the mistake of assuming someone with less experience can’t make a greater difference. Imagine if we were back in 2004 and you passed on Jack Dorsey or Mark Zuckerberg in favor of a proven Newspaper editor to lead your brand’s digital strategy. How would you look today? That could be your radio station in five years if you overlook those with an ability to see the future better than the present when future openings arise.

To grow this format we need a mixture of new blood, new ideas, people who view the audio business differently from those in the present or past, and proven performers who’ve helped turn this format into a very successful one. We have to ask the right questions, fully research candidates, challenge our executives and programmers to take a greater interest in developing the next crop of sports radio executives, and consider new roads rather than the ones we’re most familiar with. We also need to hear from people who haven’t told us of their interest in taking the next step. We need to encourage them to want to grow and show them the path to do so. If we each do those things better, our format is going to spend a lot more time thriving and less time surviving in the years ahead.

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John Skipper To Speak At The 2022 BSM Summit

“In January 2021, Skipper’s plate became even more full when he reunited with Dan Le Batard to create Meadowlark Media. Since joining forces, the group has raised millions of dollars in funding, lured key talent to join the brand, and in April, Meadowlark closed a deal with DraftKings for a reported fifty million dollars over three years. Not too shabby for year #1.

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Putting on a two-day industry conference comes with a fair share of challenges. Months are spent building sessions, selling sponsorships, and talking to so many people that by the time the event rolls around, all I can think about is reaching the finish line and avoiding major issues.

But then the event happens, and there are moments where I’m able to block out the noise for 30-40 minutes and just be present in conversation. It’s what I enjoy most. Being able to sit across from an industry leader who’s been successful in business, and pick their brain on the past, present and future of our industry is both personally and professionally fulfilling. Not only does it provide me with an education, but it helps everyone in attendance too. That’s my motivation for running this conference.

When we return to New York City on March 2-3, 2022, I’m thrilled to share that I’ll have a chance to do that once again with someone I’ve professionally respected and admired for a long time. It is an honor to announce that Meadowlark Media CEO John Skipper will join us for a special on stage conversation at the 2022 BSM Summit.

If you’ve worked in this industry or aspire to, then you’re likely aware of what John has accomplished. He’s seen the business from many different points of view and remains very much involved in helping shape its future. But before we discuss his present involvement, let’s revisit the past.

During his tenure with ESPN, John spent five years serving as company president where he secured a series of long-term, multiplatform agreements with key rightsholders such as the NBA, NFL, MLB, Major College Conferences, US Open Tennis, FIFA, the Masters Tournament and British Open, the College Football Playoff, and the Rose, Sugar and Orange Bowls. He also oversaw the evolution of several brands including The Undefeated, Grantland, five thirty eight, and espnW among others.

Prior to becoming company president, John held the position as EVP of Content, which he earned after helping create and introduce one of the most successful magazine launches of the 1990’s with ESPN The Magazine. His understanding and belief in digital helped ESPN move ESPN. com forward in 2000, adding a paid section, ESPN Insider, and delivering a revamped site approach to generate more advertising. His foresight also spurred the launch of ESPN3, a television network producing more than 4,000 live events on the web and through mobile devices. If that wasn’t enough, John also supported the creation of the Watch ESPN app, played a key role in elevating the careers of many of the industry’s top sports media stars today, and oversaw the growth of ESPN Films, ESPN Radio, and many of ESPN’s key television programs.

After exiting the worldwide leader, John signed on as the Executive Chairman of DAZN. In January 2021, Skipper’s plate became even more full when he reunited with Dan Le Batard to create Meadowlark Media. Since joining forces, the group has raised millions of dollars in funding, lured a number of key talent to become part of the brand, and established a strong presence in podcasting and on YouTube. In April, Meadowlark closed a deal with DraftKings for a reported fifty million dollars over three years. Not too shabby for year #1.

What I’ve appreciated about John is that he’s never been afraid to roll the dice and take risks. Some of his moves have worked out, others haven’t. The wins have been recognized across the industry, but so too have the losses. He’s had to lead a company thru high profile talent controversies, cord cutting challenges, understand the world of video, audio, print, digital, advertising, subscriptions, talent, and rights deals both domestic and internationally, all while keeping his finger on the pulse of the present state of the media business while turning an eye towards the future and knowing which areas the company should make significant investments in.

John has been thru all of it as a media executive, and he’s still doing it while building the Meadowlark brand. A recent story in Bloomberg captured some of his views on growing the Le Batard empire and navigating various parts of the industry. I highly recommend taking time to read it. You can do that by clicking here.

We have five and a half months until we’re inside the Anne Bernstein Theater in New York City, so who knows where the industry will shift during that time. One thing is for certain, John Skipper will be ready for whatever lands on his doorstep. I’m eager to spend time with him in New York treating industry professionals to his insights, opinions and leadership lessons. I’m confident those in attendance will gain value from hearing his perspectives on the industry.

I invite you to join us either in person or virtually for the 2022 BSM Summit. Tickets to the event can be purchased by clicking here. For information on sponsorship opportunities, email JBarrett@sportsradiopd.com.

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2022 BSM Summit Adds Pablo Torre, Joe Fortenbaugh, Kazeem Famuyide & John Jastremski

“By the time March’s conference rolls around, we’ll have somewhere between 50-60 people announced to participate at the two day Summit.”

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The announcements continue for the 2022 BSM Summit. After recently sharing the news that former ESPN Radio executive Traug Keller would join us in the big apple to accept the Jeff Smulyan Award, and previously revealing the first fourteen participants scheduled to appear, it’s time to inform you of a few key talent who will participate in sessions at March’s show.

I’m thrilled to welcome ESPN’s Pablo Torre to the 2022 BSM Summit. Pablo’s been with the worldwide leader since 2012. During that time he’s served as a senior writer for ESPN.com, the host of the ESPN Daily podcast, and has appeared on shows such as Around The Horn, Highly Questionable, and The Dan Le Batard Show. He also previously co-hosted High Noon with Bomani Jones. Prior to joining ESPN he spent five years writing for Sports Illustrated. Having worked with a mixture of talent from various backgrounds, I’m looking forward to having him share his insight and opinions on the value of it at the show.

Pablo isn’t the only ESPN personality joining us in New York for the conference. I’m excited to welcome back a great friend and one of the smartest sports betting analysts on television, Joe Fortenbaugh. Joe is regularly featured on ESPN’s sports betting program Daily Wager. He also appears on other ESPN programs and segments on television, radio and digital platforms. Prior to joining the network he hosted 95.7 The Game’s morning show in San Francisco, and hosted “The Sharp 600″ sports betting podcast. He’ll moderate a conversation with sports betting executives at the show.

Given that this two-day sports media conference is taking place in the heart of New York City, it’d be silly to not include someone who’s passion, energy, sound, and content embody what New York is all about. The Ringer’s John Jastremski will make his BSM Summit debut in 2022. The ‘New York, New York’ host is known to many for his years of contributions on WFAN. It’ll be fun picking JJ’s brain on the differences between performing on a traditional platform and the digital stage.

Jastremski isn’t the only one with a connection to The Ringer who will participate at our 2022 event. My next guest is someone who I’ve followed on YouTube and Twitter for years, has infectious energy and likeability, and has taken his life experiences and sports passions and turned them into opportunities with MSG Network, SNY, The Ringer, Bleacher Report, WWE, The Source and various other outlets. Kazeem Famuyide will join us to shed light on his journey and offer his perspective on the value of traditional vs. non-traditional paths.

By the time March’s conference rolls around, we’ll have somewhere between 50-60 people announced to participate at the two day event. I’ll be announcing the addition of a very special executive in mid-October, as well as a few high profile speakers and awards recipients in the weeks and months ahead. I’m appreciative of so many expressing interest in speaking at the conference, and as much as I’d like to include everyone on stage, I can’t. Keeping the Summit informative, fresh and focused on the right issues is important, and to do that, I’ve got to introduce different people, perspectives and subjects so our attendees gain value to further improve the industry.

A reminder, the 2022 BSM Summit is strictly for members of the sports media industry and college students aspiring to work in the business. It brings together people from more than thirty different media companies and focuses on issues of relevance and importance to media industry professionals. The show takes place March 2-3, 2022 in New York at the Anne Bernstein Theater on West 50th Street. Tickets and hotel rooms can be secured by visiting BSMSummit.com. For those unable to attend in person, the Summit will also be available to view online. Virtual tickets can be purchased by clicking here. Hope you’ll join us!

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