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Respect For WFAN Remains, But John Jastremski Is Sold On The Ringer’s Future

“I wasn’t actively looking to leave, but this came across my desk and my jaw dropped when I received the Twitter message from Bill Simmons. It’s all about The Ringer and what they’re providing me.”

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What would it take for you to leave your dream job?

John Jastremski filled in on every weekday timeslot, and he was a full-time overnight host building his own brand and following with JJ After Dark. He developed a relationship with station icon Mike Francesa and was often compared to another in Christopher “Mad Dog” Russo.

But as a lifelong listener to WFAN who was living out his dream as a radio host for nearly a decade, Jastremski was offered a new venture, one that was too good to pass up.

Few people sound more like New York than Jastremski, so leaving the city’s heritage sports radio station was surprising at first, but joining the ever-growing digital space with Bill Simmons and The Ringer presents a new playground to perform on. Creative freedom, flexibility to turn the mic on at a moment’s notice, reaching a new audience, and still being able to retain a relationship with his old listeners as he remains focused on his hometown city in a new podcast New York, New York were part of the appeal. I took some time to chat with JJ about his past, present, and future.

Brandon Contes: Just as a general starting point, what was it that appealed to you about The Ringer?

John Jastremski: Wow! Loaded question [Laughs]. Bill Simmons is somebody I’ve had a great appreciation for, for a long time. I’ll be honest, when I stepped foot on to Syracuse in 2006, I had no idea who he was, but I was living with some Boston guys who introduced me to him. And even though we rooted for different teams, that ability to be an entrepreneur and connect with fans really resonated with me. When he reached out back in December with this idea, it wasn’t like I was hearing it from a random podcast company or an upstart, I was hearing from a guy who has been incredibly successful in a lot of ventures.

BC: That’s a good measurement of talent, if you’re listening to someone and you’re not emotionally invested in the teams or topic, but you’re still able to be entertained.

JJ: Yeah! And listen, his style is very different from Mike and Chris, Joe Benigno and everyone else I grew up listening to. But he’s done a great job of developing characters and you kind of revel in the fact when his teams lose. I get a kick out of knowing he was going to be miserable on those days [Laughs]. It’s a very different sound from what I grew up with and even what I’ve done for the last nine years, but the idea of bringing a New York style podcast where I can have the same energy, same nuttiness, mix in some gambling and listener interaction on this platform is exciting.

BC: Is this move more about what The Ringer is as a platform today? Or is it about where you see them having the ability to grow?

JJ: If you look at the variety of different podcasts they have, they’re building around young talent, they’re supporting their talent, it’s great to have Spotify backing the platform as well. They’re making a real investment into the digital age and I’ll be honest, if you would have told me four years ago that I’m going to leave radio for a podcast I would have said, ‘dude you’re out of your mind!’ But it’s a different world now! So yeah, I see the company’s success and when you have a guy like Simmons saying he believes in you, it was just super appealing.

BC: This is the first New York specific podcast with The Ringer. In your conversations with Bill and the company, do they want to place a larger emphasis on regional projects?

JJ: I don’t know how they’re going to handle that moving forward. Would it surprise me if in six months they have a Boston show? No. But they may look at this as an exclusive deal to get in the number one media market and have a presence in New York. I can’t tell you what they’re thinking, but I’d be more than happy to inspire offshoots in other markets because that means I’m doing something right!

BC: Was Mike Francesa in anyway the catalyst in jumpstarting the relationship between you and Bill Simmons?

JJ: Great question because that was the first thought I had. And I asked Bill point blank, ‘how the hell did you find me?’ I thought Mike might have played a big role in that. As you know, Mike has always been in my corner, he’s always been a supporter of mine and I look at him as a mentor in many ways. This was not Mike’s doing as far as I know. It was more Bill doing prep work and research, discovering my show and taking it from there.

BC: There were only a few people ever mentioned as possible co-hosts for Francesa once Dog left. Sid Rosenberg, Bill Simmons and yourself. Did you at any point think there was a chance you could be added to Francesa’s WFAN show?

JJ: To work with Mike full-time, no. Would I have been fired up about it? Yeah. But listen, I would have forever, unfortunately, had the Mad Dog comparison because we’re both a little zany, we both have a lot of opinions and energy. Dog’s memory from 50, 60 years ago is hopefully what my memory will be about sports in the ‘90s and 2000s.

But to work with Mike, that would have forever been ‘is it going to be like Mike and Dog?’ There’s never going to be another Mike and the Mad Dog, it’s the best sports radio show in history. End of discussion. I’m grateful I was able to do a bunch of stuff with Mike, I’ll always remember that, it was an absolute thrill. It didn’t end up working out that way, and that’s OK, I’ll never have to worry about matching Dog. Now it’s my career moving forward.

BC: There was the report a while back about you not wanting to work as part of a three-person show on WFAN, was that accurate?

JJ: I never wanted to work on a three-person show. I gave it a try for a week and let me be clear, I liked both people involved, I think they’re terrific, but a three-person show to me is a lot.

But this idea that’s been out there that I wouldn’t want to work with a partner is absolute garbage. If you look at my career, I did shows with Evan Roberts, Kim Jones, Chris Moore, Brian Jones, the list goes on, and I had a blast. I very much enjoy having a partner, but it’s important for me to always have my radio show be as organic as possible. The day after a Yankees game, I know the big talking points. I want to flip the microphone on and have mutual trust with my partner that we can just go. I can’t do a radio show before doing a radio show. I’ll always be prepared, I know what’s going on, but I can’t rehearse before a show.

BC: I remember Boomer and Gio made a big deal about it, because Gregg was more of the mindset to take the opportunity no matter what, and you said if you were offered a show with a co-host that you didn’t believe could be a successful pairing, you’d decline it rather than risk it being a bust.

JJ: And everybody’s entitled to their own opinion. There are so many different avenues for people to get where they want to be. To say it’s cookie-cutter like going to school to be a doctor or lawyer, sports radio and media isn’t like that. That’s where Gregg and I beg to differ.

I love Gregg, I think he’s super talented, we’re just not going to see eye-to-eye on that. You have to believe, going into a show, that it’s going to work. And I know there will be conflict, but you have to believe in the vision. And if you don’t, then I don’t think it’s the right fit for the talent.

BC: When you are paired up with a co-host, do you take a step back to try and build chemistry or are you yourself and it’s more on them to make sure they can keep pace?

JJ: I’ll step back from time to time, depending on who you’re working with. It also depends if they’re a radio person or not. When I worked with Bart Scott, I know the nuts and bolts, so I’ll handle more of the going to calls or the ins and outs of breaks. When I work with Evan Roberts, we’ll probably go back and forth. I’m always going to be me, no matter who I’m working with. That’s how I am, I’m the same guy down the street yelling about games that I am on-air. I’m more than happy to step back when I need to, but I’m still going to yell and get into it. You just have to get a feel for how the show is going.

BC: Callers were a huge part of JJ After Dark, a huge part of overnights at WFAN, I know the new podcast is planning on taking voicemails, but without that back and forth, can voicemails have the same feel?

JJ: I’m going to miss the calls like crazy. It’s been a big part of what I’ve done over the years. I know some radio hosts hate calls, I love it and I’ll miss the back and forth. We’ll have voicemails out of the gate and I can tell you we’re working on some things. For somebody like me, it makes it more important to use a lot of platforms. I can hop on Instagram Live after a game, especially if it’s a day that I’m not doing a podcast. I’ll also utilize apps like Clubhouse, and Spotify just acquired Locker Room, because those are avenues where I can have give and take.

BC: Have you thought about trying live calls? Even though it’s prerecorded, you can tweet out the topic and number while taping to let your following chime in instead of just reacting to a voicemail.

JJ: That’s something we’re absolutely thinking about, 100%. It’s not going to be immediate, but I’ve definitely pushed for it, because I’m not going to take two hours of calls the way I would on an overnight, but for 15 or 20 minutes, I think it would be great. It combines the old school aspects of what I did at WFAN and throws in the new age platform. I’m talking New York sports, but have the backing of Spotify to get some bad ass guests, mix in the interaction and gambling, and away we go.

BC: How much will gambling be an aspect of the new podcast?

JJ: It’s a big part of what I do, but let me be clear, this is not a gambling podcast, this is New York sports, still with my same style, and some gambling mixed in. If I’m doing an hour podcast, I might do seven to ten minutes on gambling.  And if I’m focused on Mets and Yankees for a show, the gambling section actually allows me to get into other topics like the NCAA Tournament. Once the NFL season starts, I’ll probably expand the gambling a bit, but it will be a case by case basis and depend on the season.

BC: With so many sports radio stations, networks, digital platforms all investing heavily in gambling, is that a content bubble you think can ever burst?

JJ: Anytime there’s oversaturation in anything, you’re concerned, but right now, there’s such a great demand for it. You’re seeing more legalization and betting companies are throwing lots of money at radio stations, TV, podcasts and even partnerships with the leagues. Did you ever think we’d be watching games and the ESPN bottom line would have betting lines and sponsors? 

When I started radio in 2011, I was walking on eggshells talking about this stuff, now almost every sports podcast in America has a partnership with some sort of gambling company. I get that it’s not for everybody, but if you’re an aspiring broadcaster, you should be learning about this sphere.

BC: Sports gambling itself is obviously an endless realm of money, but the reason I wonder if the content will reach a max one day is because people listen to talk radio for personality and unique opinions. Is there an endless need for that with gambling? Do I need another gambling show or do I need another list of picks?

JJ: The idea of doing gambling content without personality doesn’t work. You need to combine personality and entertainment in a relatable and charismatic way. I understand not everybody is as zany and off the wall as I am, but you still need to relate to the audience with this stuff. Mention a great win or a bad beat they can relate to, don’t make it so formulaic. If I’m showing personality about a bad beat, even if you didn’t have money on the game, you’re still invested in the fact that I got screwed on the game. It allows the listener or viewer to be connected in that way.

BC: Do you feel that you still had room to grow within WFAN if you stayed?

JJ: I do. Listen, I had a great run there. They allowed me the platform and let me fill in on every timeslot. They gave me five nights a week. I wasn’t actively looking to leave, but this came across my desk and my jaw dropped when I received the Twitter message from Bill Simmons. It’s all about The Ringer and what they’re providing me. Do I think I could have grown at WFAN? Absolutely, but this platform and opportunity just turned out to be the next logical step for me to grow to another level.

BC: Do you mind Gio’s impressions of you?

JJ: No! I absolutely love them! I love them! I think they’re great and I hope and pray that just because I’m leaving the radio station, those impressions won’t come to an end. I learned in this business, don’t take yourself too seriously and I get annoyed when people do take themselves too seriously. You can laugh at one another, you can go back and forth, it’s all in good fun as long as nothing gets personal or vindictive. I know the radio wars get good play, but I think they can be some of the dumbest nonsense known to man. But I think the impressions are great and hope it continues.

BC: Was it you who told the story about Bob Costas giving the advice at Syracuse where he essentially said be yourself, don’t try to change your voice?

JJ: Yes, very good memory! That is absolutely true and accurate. I was super stoked when I went to Syracuse, but I quickly realized how competitive the journalism school was, even just getting on their student radio station was competitive. And I have a very unique sound. 

So freshman or sophomore year I was at a student-seminar, and I asked Bob that question. I said ‘there are a lot of people here who are the buttoned up, polished broadcasters with perfect inflection in their sound and voice, is that something I have to change if I’m going to make it in sports radio?’ Bob said ‘no, if you have a sound and style, just let it roll.’ And when Bob Costas tells you that, you’re not going to do anything else.

BC: I always thought Joe Benigno wouldn’t be successful anywhere other than New York because he sounds so much like New York. Did you ever believe your style might be limited to New York only?

JJ: Interesting. I think I could have worked elsewhere. I had an opportunity about three years ago to work in Boston and I turned it down because it just wasn’t the right fit from a lifestyle standpoint.

BC: You did a few weekday shows at WEEI.

JJ: Yeah, I had a great time doing it too. I know my relationship with the audience and callers would have been drastically different. If you go to a new city, especially one that’s territorial, it’s going to take time to win them over. I probably would have been the bad guy for a while which is OK, it would have been interesting. But for the time being, I like the idea of doing New York content. I think I can work somewhere else, who knows if that opportunity would happen down the road, but at the end of the day, I’m a New Yorker through and through and that’s where I’ll be at my best.

BC: When you view the future of sports media, is talk radio still a major part of that landscape?

JJ: I think talk radio will absolutely still have a platform, but the media landscape is very different with so many avenues to stand out. The ability to listen whenever you want is paramount, and for me, the idea that I don’t have to wait until my shift to turn a microphone on is awesome. We’re scheduled to do three days a week, and if something crazy happens and we’re not planning to tape, you can bet I’m turning the microphone on even if it’s just for 20 minutes.

There’s a place for the new-age media to coexist with talk radio, I’ll always root for WFAN. That’s home and I wish them nothing but the best, but to be looking at the podcast industry as this plucky, spunky upstart, it’s just not that anymore. There’s too much money and media backing with on-demand content, it’s taken off already and I think it will continue to change in the next few years.

BSM Writers

Now Is The Time To Build Your Bench

“There’s a good chance you have a producer, production person, or even a salesperson who has a big enough personality that they can hold your attention.”

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As we crawl towards the Thanksgiving holiday week, many content managers are likely in the middle of figuring out what they’re going to put on the air.

The Power Of Dead Air
Courtesy: Jacobs Media

Since most marquee talent take the entire week off, this can present scheduling headaches.

Some stations (who can) will pick up more syndicated programming. Hey, why not? It’s a cheap, easy solution that’s justified by the fact that business is slow in Q4, and your GM doesn’t want you spending any more money than what you have to.

Other stations will hand the microphones over to whoever happens to be available. This usually ends up being the same array of C and D listers who aren’t that great, but they can cover when needed and usually tend to be affordable.

Both of these decisions, while usually made out of convenience, are terrible mistakes. Quite frankly, it’s one of the many frustrations I have with spoken word media. 

Content Directors should be using the holidays as an excellent opportunity for them to answer a particularly important question: DO I HAVE A BENCH???

One of the most common refrains I hear from other content managers is that they have no talent depth. Everyone constantly is searching for the “next great thing,” yet I find that very few people in management that take the time or the effort to seriously explore that question.

My response to them is always, “Well, how do you know? Have you given anyone in your building a chance yet?”

Often, the answer is sitting in their own backyard, and they don’t even know it.

Years ago, Gregg Giannotti was a producer at WFAN. Then Head of Programming Mark Chernoff gave him a chance to host a show because of how Giannotti sparred off-air with other hosts and producers in the building. Chernoff liked what he heard and gave his producer a shot. Now, he’s hosting mornings on WFAN with Boomer Esiason in what is considered one of the best local sports-talk shows in the country. 

Carrington Harrison was an intern for us at 610 Sports Radio in Kansas City. He worked behind the scenes on Nick Wright’s afternoon show and had a fairly quiet demeanor. It was rare that we ever spoke to each other. On one of his off-days, Nick was talking about Kansas State Football and Carrington called in to talk to him about it. I couldn’t believe what I heard. Not only was his take on the Wildcats enlightening, but he was funny as hell. Soon after, we started working Carrington’s voice into Nick’s show more and eventually made C-Dot a full-time host. He’s been doing afternoons on the station for several years now with different co-hosts and (in my opinion) is one of the best young voices in the format. 

There’s a good chance you have a producer, production person, or even a salesperson who has a big enough personality that they can hold your attention. Why not give them the opportunity to see what they can do? Honestly, what’s the risk of giving someone you think might have potential, a few at-bats to show you what they can do? If your instincts are proven wrong and they aren’t as good as you thought they’d be, all you did is put a bad show on the air during a time when radio listening tends to be down, anyways.

If you go this route, make sure you set them up for success. Take the time to be involved in planning their shows. Don’t leave them out on an island. Give them a producer/sidekick that can keep them from drowning. Be sure to listen and give constructive feedback. Make sure that these people know that you’re not just doing them a favor. Show them that you are just as invested in this opportunity as they are.

Drowning

I understand that most Content Directors are overseeing multiple brands (and in some cases, multiple brands in multiple markets). Honestly though, using the holidays to make a potential investment in your brand’s future is worth the extra time and effort. 

Treat holidays for what they are; a chance to explore your brand’s future. Don’t waste it.

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BSM Writers

Digital Platforms Should Signal The End Of Niche Linear Networks

“Whether it is niche sports or exclusive shows, the streaming platforms have proven to be valuable catch-alls. They haved turned hard-to-sell programming into part of what you get when you are motivated to subscribe by Premier League Soccer or UFC.”

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CBS Sports Network just isn’t built to last. It seems obvious, but it was really hammered home for me on Friday when Jim Rome went off on the network for preempting the simulcast of his radio show for coverage of swimming.

“You idiots are going to preempt this show for swimming?” Rome said. “Stupid.”

You don’t even have to watch the video, right? You can just read the quote and his voice is immediately what you hear in your head.

John Skipper went off on a number of topics during Sports Business Journal’s Media Innovators Conference last week. Some dismissed it as sour grapes. Others said his comments were those of a man that is completely unencumbered by rights deals and corporate interests.

One thing the Meadowlark Media leader said that was dead on was that there are only a few properties in sports television that truly matter.

“Until you can get the NFL, or the SEC, or the NBA on a streaming service, it’s going to be marginal in this country,” Skipper said in a conversation with John Ourand.

He was answering a question about the relevance of streaming services, but the fact is, he could have been talking about any outlet in the world of sports television.

With that being said, it isn’t just CBS Sports Network that isn’t built to last. Comcast got this message last year. That is why NBCSN is about to go dark. Sure, every niche sport has its fan base, but can you build a profitable and powerful brand on swimming, lacrosse and 3-on-3 basketball? You probably can’t.

BSM’s Jeremy Evans recently wrote about life in the metaverse and what it means to sports media. So much happens digitally now. Think about the last time you felt like you HAD to have a physical copy of a movie or album. It always made sense that television networks would get to this place.

Peacock, ESPN+, CBS Sports HQ and Paramount+ all have plenty to offer. Whether it is niche sports or exclusive shows, the streaming platforms have proven to be valuable catch-alls. They haved turned hard-to-sell programming into part of what you get when you are motivated to subscribe by Premier League Soccer or UFC.

CBS Sports Network isn’t the only cable sports network whose existence may be on borrowed time. You know about FS1. Did you know there is an FS2? Did you know beIN Sports still exists? Don’t worry. It seems most major cable operators don’t know it either. The same can be said for networks with names like Eleven Sports, Maverick, and Pursuit.

In fact, when you look at that group of channels, CBS Sports Network is probably in the best shape. It may carry the low end of college football and basketball, but it at least has sports with large, national followings.

Radio simulcasts have always been cheap programming. Once the production costs are recouped, there is a straight-line path to profit. Sports networks on this level will always be interested in carrying radio simulcasts, and that is a good thing. It means better studios and more exposure for the hosts involved. When the suits can have a legitimate debate whether the live sports their network carries will draw as many viewers as the simulcast of a radio show, it may be time to rethink the path forward.

Streaming platforms weren’t built exclusively for niche sports. ESPN+ launched with college football and college basketball at its core. Now that streaming platforms are here to stay though, it should start a conversation and migration.

The cable sports network was never anything more than a prestige play. It was a way to show that a broadcast network was so serious about sports that the few hours it could devote to games would never do. The problem is that ESPN got that memo decades earlier and established a juggernaut.

Even FS1, which has major talent and rights to major college football and basketball and Major League Baseball, is behind the eight ball compared to ESPN. They got a 34 year head start in Bristol! CBS Sports Network is behind FS1 and it has college football, basketball and hockey. It also has the WNBA and the NWSL. Still, it seems like it is on borrowed time. What does that mean for networks that can’t get a league comissioners to take their call?

I like some of the programming on CBS Sports HQ. I think Paramount+ has been a valuable tool this college football season. There would be nothing wrong with CBS shuttering CBS Sports Network. It is just the reality of where we are headed.

CBS aims to grow Sports HQ within its network of streaming channels -  Digiday
Courtesy: CBS

CBS is run by smart people. I have faith they will see the forest thru the trees in sports media and find the right solution before they start losing money. Streaming means consolidation and unfortunately, that means there may not be room for the FS2s, Mavericks, Pursuits, and Eleven Sports of the world. That doesn’t mean the sports those networks carry cannot find a new home. They may even find a home that makes more sense for them and their fans.

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BSM Writers

Can Your Station Create Its Own Holiday?

“Did you see social media on Friday? Did you see any media at all leading up to Friday? Disney created a 24-hour commercial you could not escape.”

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A belated happy Disney+ Day to us all!

Disney+ Day: Kareem Daniel Says “Momentum Building” At Streamer After 2  Years – Deadline

Did you see social media on Friday? Did you see any media at all leading up to Friday? Disney created a 24-hour commercial you could not escape. The best part, from a marketing standpoint, is fans were captivated by it. They either didn’t realize it was a commercial or they just didn’t care.

The execution was masterful. Granted, we Star Wars fans were left wanting a bit, but Disney dropped teasers for series and movies we didn’t know were coming and showed the first footage from one we have been anticipating for more than a year now.

I started thinking how a radio station could do this. How could it go out and create its own holiday? How for one day, can we make our fanbase excited and glued to social media eagerly anticipating announcements about what is coming next?

This is going to take some creativity. Disney+ is a platform full of multiple brands with multiple fanbases buying in. A sports talk station is one brand. It has varying levels of fanbases, but largely, your dedicated audience are the people that not only love sports, but also like your programming enough to be called P1s. Is that enough people to build an event like this around?

Who cares if it is or not! Go for it.

One thing that Disney did masterfully on November 12 is it brought partners into the fold and made them a key part of Disney+ Day. Fortnite announced that Boba Fett was coming to its game. TikTok announced Disney character voice changers would be available on the platform. Disney found the kind of partnerships that could spread its holiday to even the Disney+ Day equivalent of Ebenezer Scrooge.

You can do the same. Surely you have a local brewery as a partner. Can they brew a one day only beer for you? Partner with a restaurant. Can they put your station’s name on the day’s special? Would other partners offer discounts and promotions for celebrating the day? There are a lot of options here.

Now, what are YOU doing on your holiday? Disney has a deep well of franchises. It could squeeze Star Wars, Marvel, Pixar, its own studio and more for content and announcements. Again, you are just one brand, but there is still a lot you can do.

Build the day around announcing your special contributors for the football season. Drop new podcasts and play an extended clip on air. Announce new podcasts, the kind of things that will only be available digitally.

Look at 99.9 The Fan in Raleigh. Joe Ovies and Joe Giglio have created great, multi-episode series that are events for their audience. Like any narrative podcasts, those don’t come together overnight. As long as you have enough audio to build a solid 90 second to 2 minute long preview, you have something worth bringing to the air as part of the celebration.

Do you have a contract you are waiting to expire to make a change in a prime day part? Make your station’s holiday the day that the new talent or show hits the air for the first time. You can do the same for new weekend programs. Whether it is someone new coming to the station or just a new pairing, put them on air for your prime time audience to meet and have your weekday hosts help create some buzz for them.

As for the shows that are on every weekday, you have to make them special that day. Give away a big cash prize. Make the guest list epic – I mean everyone that is on air that day has to be a home run.

The other thing that Disney did so well was work to get all of its divisions involved. Check out this tweet from the Disney Parks account. Every single park around the world lit their iconic building up blue in celebration of the streaming platform’s holiday.

Can you work with other stations in your building? Maybe they won’t give you full on promotion, but between songs, if a DJ brings up a sports topic, would the PD be willing to have them mention that their sister station is celebrating all day? Would a news/talk PD let your talent pop on air to talk sports with their hosts and promote what is happening on your airwaves today?

The answer to these questions could be no. You don’t know if you don’t ask though. Also, if the answer is no, there is nothing wrong with asking for a little backup from your market manager. A station holiday is a major sales initiative after all.

The final piece of this puzzle to take away from Disney is you have to be everywhere. Any local show you air from 6 am until midnight needs to be on location. Fans should have easy access to them. How can they celebrate you if they are not allowed to be where you are?

Use the broadcasts however the sales department sees fit. Take them first to long-established clients to celebrate their loyalty on the station’s holiday. Use them to draw in new clients. Show off what your station can create with its fanbase.

Money has a way of motivating everyone. So, even if your hosts don’t like leaving the studio, these would be remote broadcasts priced at a premium and should have larger-than-usual talent fees attached.

Finally, let’s do something Disney didn’t. I was shocked that a company with this many iconic characters at its disposal and with a CEO that came from the consumer products division, didn’t have a line of merchandise ready to go. Don’t make that same mistake.

Create cool station shirts (not the cheap giveaway crap). Throw the logo on unexpected things like water bottles, bottle openers, facemasks, whatever! Have a merch tent wherever you go. Maybe set up a site to sell it for the day. Make the people come to you to get this stuff.

Twitter is a huge part of promoting what you do. Constantly show off what you are offering and what you have created. That is how Disney sold their event to its most dedicated fans as something not to be missed.

What were we celebrating with Disney+ Day? Nothing. Disney wasn’t even really celebrating anything. It was just a series of commercials wrapped up in fun packaging. Actually, there are a lot of holidays that are just a series of commercials wrapped up in fun packaging.

Valentine Day Digital Ads on Behance

Not every holiday has to celebrate something once in a lifetime. Not every holiday has to even be real. Building your own will take a long lead time, but it is doable. Get sales, promotions and programming in a room and build a plan together. If Disney+ Day taught us anything, it is a valuable way to motivate your fans to spread your message too.

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