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How Radio Influenced the Career of WTOP’s Craig Schwalb

Growing up in the St. Louis area, Schwalb said KMOX had a huge influence on him and his career. 

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When Craig Schwalb told his mother he was going into radio, she asked how much he’d get paid. 

“I told her how much the salary was, and it wasn’t a lot,” Schwalb said. “Then she asked me if I was sure I wanted to work in that business. I did and was very excited about it.” 

Adversity struck the family early. Schwalb’s father passed away when he was just 12 years old. He had to figure out how to move ahead with only his mother as a provider and role model.  

“I think my father’s death sparked something in me,” Schwalb said. “I was so determined to work hard and focus. I also tried to be a good person and live up to his name. I think that would be what he wanted for me. My mom had to raise two boys by herself. I just wanted to do right by her. I always had that in the back of my mind.” 

There was a lot of love in the Schwalb family. They were prepared for his father’s death as he’d been sick for several years. 

“We took care of my father as best we could,” Schwalb said. “We didn’t have the most, but we didn’t want for anything. I don’t ever talk much about that.” 

His parents were both teachers and enjoyed helping people. 

“I think I became the same way,” Schwalb said. “A Midwestern upbringing made me easygoing. I think part of the Midwest culture is listening, learning. Making sure you’re working hard. It’s that kind of spirit and style that shaped me.”

He went to school at Eastern Illinois University in Charleston, Illinois. Growing up in the St. Louis area, Schwalb said KMOX had a huge influence on him and his career. 

“Anne Keefe and Bob Hardy are voices I grew up with. It was a true blend of news and talk. A terrific format, and it’s still a very influential radio station today. Spoken word was a big part of my life. Through high school and college I was always grabbing those signals.”

He also listened to WGN, WLS, and a huge inspiration for him was The Loop. Schwalb says,  “I had the good fortune to meet Steve Dahl briefly when he was dropped by WNEW/NYC years ago. He’s one of the icons in our business, as a young person who wanted to learn about spoken word radio. I thought Dahl did a lot of things that were amazing. Howard Stern hadn’t come out to my area at that point. We had Brandmeier, Don, and Roma.”

Schwalb said he learned much from listening to Kevin Matthews, Steve Dahl, and Garry Meier. 

“It was all about personality, comedy. Those kind of guys are getting harder to find. There’s so much arguing these days. That just wasn’t part of the genre.”

He cited how Dahl was the man behind the ‘disco demolition’ night at Comiskey Park. “I look back fondly on those times and how those stations informed us what FM talk was all about. I had a lot of great experiences with FM talk in the beginning of my career.” 

Eastern Illinois was the right fit for Schwalb, who said he was able to work at the station as a freshman. “It allowed me to scratch the radio itch early. I was able to start managing from the beginning.”

Schwalb started as music director at WEIU, the college radio station. He was immediately dealing with the stuff behind the curtain, picking the music. 

“I always liked bringing young talent in and watching them flourish. That’s why I took the management side. It has been so gratifying.” 

It’s about a four-hour car drive from New York to D.C. You’d think the lifestyles would be dramatically different, but Craig Schwalb, the director of content integration and operation at WTOP, says that’s not really the case. Schwalb did say there is one huge commonality. 

“It’s hot in D.C., and it’s hot in New York,” Schwalb said. “Everybody is kind of sweltering.”

His family is from Illinois, but Schwalb said he’d traveled to D.C with family and friends over the years. “I think there’s a great feeling for this place, what it means nationally. It just has that feeling of being in the center of power, that powerful vibe.”

Schwalb arrived at WTOP in March 2020, just before the Covid curtain came down on the world. He said his timing was lucky in some regards.

“I was interested in how the station would cover Covid,” Schwalb said. “I was interested in how we’d respond to the community, how we could step forward to help the community. It was a wild time. Even working remotely, we kept the quality high and met our journalistic standards.”

He faced incredible challenges from the start. Schwalb said during Covid, WTOP’s most significant focus was keeping everyone safe. But, in spite of the adversity, Schwalb said things rolled with the highest quality.

“I think that’s a testament to our staff’s commitment to journalism,” he says. “We all did whatever we had to do to keep this station going. It was very important to everybody because of their commitment. Good journalism is hard work.” 

Like most businesses, WTOP had a lot of conference calls and Zoom meetings to keep the business going, to ensure people were on track. 

“I think it was a little more challenging to manage people I’d never even met in person,” Schwalb explained. “I think everybody is mostly back in the office, focused on doing what we have to do now.” 

Before taking the job at WTOP, Schwalb met with GM Joel Oxley and Julia Ziegler, director of news and programming. They discussed the opportunity available. Schwab said their discussions made a lot of sense as he’s always found the multiplatform world exciting.

“One of the coolest things they said in our meeting was WTOP was not just a radio station, it’s a news organization, and that’s what made it more appealing. It’s such a great heritage brand with a family-oriented feel.”

Schwalb said he always liked working for Cumulus and never had any problems. He added an opportunity at WTOP doesn’t happen very often. 

“Anybody who cares about radio, news, spoken word, knows WTOP. You just don’t look at it as an ordinary opportunity. So glad I’m here.” 

Schwalb has managed personalities like Don Imus, Curtis Sliwa, and Sid Rosenberg throughout his career. It’s challenging for a PD when navigating those potentially combustible conditions and delicate egos.  

“I think it’s all about authenticity. I know that word gets thrown around a lot,” Schwalb explained. “I wasn’t the first PD Imus had seen, but unfortunately wound up being the last. I sort of know my spot in their vaunted careers.”

At times, Schwalb can be disarmingly authentic. He admits he’s not perfect but will make strides with his talented talkers. He’s a partner in all aspects of what they’re doing on-air. 

“There are times I’ll disagree with my hosts,  but we’ll have a conversation. I make myself very accessible. They’ve seen so many things, experiences I’ve never had. I’m there to do a job. Make sure their shows are as good as they can be. I do what I can to help them see things in a different way when I need to. I want to be a resource. I also like to share a joke, soften beaches.”

Schwalb said he cannot think of an instance in his career where he threw up his hands and said, ‘I’m not communicating.’

“Part of it is how I approach an issue, how the company allowed me to deal with it. If you come in with good support, quality of character, they can sense it. Do what you say you’re going to do.”

Another component of his communication includes never lying to anyone. “The playbook isn’t that hard if you follow a few basic tenets.” 

Schwalb has developed content and special programming for high-profile personalities like Kim Kardashian, Rudy Giuliani, Bobby Flay, and Julian Lennon, among others.

Schwalb said it was rewarding to work with big brand celebrities. To see how they operate in their world. 

“We’d search for a structure for the show, talk about what we’re looking for. Some were segments of existing talk shows. We were all about generating audience and interest. The Kardashian’s were just getting big, and I created some content with them. We developed a working relationship together.” 

Schwalb recalls Julian Lennon coming in to work with the team at WABC. They decided to focus on Lennon’s children’s books he’d written.

“He came to WABC. We did a panel talk about his book, his life. We also helped him spread the word about his book. It was fun to work with him.”

Throughout his career, Schwalb has sent reporters into hazardous and dangerous situations.

“We had a lot of reporters at the Capitol on January 6th,” Schwalb said. “We took a long and hard look about how we were going to approach the story. We had to make sure our staff was safe. Allow our audience to be apprised of what was going on. You’re trying to react when something is escalating rapidly. In hindsight, you may have wanted some different angles and layers to a story. In those situations, the journalists are hungry for that story.” 

When you work on a story of the magnitude of January 6th, you must marshal your resources. Schwalb directed breaking news coverage of the September 11 attacks in NYC, the Boston bombing, and the Hudson River landing, among many others. The lessons learned were simple but essential. 

“With big stories, we have to figure out how we were going to walk into those situations. We must always make sure we have all our ducks in a row.”

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BNM Writers

It’s Time for News Radio to Clean Its Clock

With radio, the top of the hour always begins with a self-aggrandizing, overly-produced introduction to a program I may have been listening to for half an hour already.

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News radio is an interruptive format that swiftly moves listeners from one informative topic to
the next but over the years we’ve gotten bogged down with an insufferable amount of clutter: too many commercials, endless promos and teases, and pointless production pieces. All of it
interrupts the flow and cuts into the interesting information you promise to provide.

Let’s clean the clutter, starting with the anachronistic basis for it all: your hourly format clock.

I’ve never understood why radio stations root themselves to the clock. The show starts at the top of the hour and you bury your boring features at the end. Why? Why should the top of the hour be considered the beginning of anything? It’s not how people live their lives. Radio isn’t like TV where shows start at specific times. Hell, TV isn’t that way anymore.

But with news radio, the top of the hour always begins with a self-aggrandizing, overly-produced introduction to a program I may have been listening to for half an hour already. This is especially true with morning shows, where simple logic would suggest that people trying to get to work by the top of an hour begin listening at various times before then.

Who even owns a clock radio anymore?

The 21st century is nonstop. There is no daily news cycle, no beginning or end to anything but
news radio programmers still think of time in divisions of hours, minutes, and seconds. We still draw empty circles depicting analog clocks to plot hourly radio formats.

On news and talk stations, the top of the hour almost always begins with the hourly network
report. It’s the biggest of big-time radio, steeped in tradition, professionally detached, global. In other words, it sounds nothing like your radio station in your unique market and it contains the least interesting content you have to offer.

We cling to the networks at the top of the hour for their prestige, because that’s just how we’ve always done it. Any national or international stories of real interest to Americans, the latest Trump-Biden court decisions, for example, will be well covered in talk shows and you’ll probably want to drop it into your local programming, too. How about a one-minute segment twice an hour, 60 seconds of just the big national and world stuff, in 10-15-second boil-in-the-bag headline segments? I’m just spitballing here. You’re the programmer.

In my heretical news radio mind, the networks do great journalism but they still sound flat,
stuffy, and old-fashioned. They don’t sound like anything else on my station. I’ll dump the top-of-the-hour five minutes and cherry-pick the network sound bites. We’ll deliver them ourselves.

While I’m carving up your format and trying to get you thinking outside the box, do you need
traffic reports every ten minutes? Or, at all? Heresy, I know. Catch your breath and read on.

When we had real-time airborne local reporters telling us what they were looking at it had a gee-whiz factor and the information mattered because it was live, local first-hand reporting. I could imagine the scene as it was being described. Now we have reporters in booths looking at
computer feeds and doing shotgun-style traffic reports for multiple cities. Words without
pictures.

I knew an L.A.-based traffic reporter who did reports for Salt Lake City though she had never even been there. These so-called “real-time traffic” reports are nearly always recorded and delayed for playback. Does this practice serve any purpose at all except to deceive listeners?

Not incidentally, traffic reports are a prime target for AI exploitation. How difficult can it be to
attach state and local transportation agency traffic data to AI voice-to-speech generators? For all I know this is already being done. You can argue it’s cost-efficient but as a longtime morning news host/anchor/personality, I despise it. One of the greatest assets to any morning news team is the interaction between news and traffic people.

When Amy Chodroff and I started working together at KLIF a dozen years ago we had that human contact with remarkable radio veteran Bill Jackson doing traffic from an adjoining studio. Bill wasn’t just a voice, he was a talented news radio veteran and a valued part of our show. He was so good the company, Cumulus, put two more stations on his plate, ripping a valued team member away from us.

As hosts, Amy and I had to assume Bill wasn’t able to listen to the show anymore because he
was too busy gathering and preparing his reports for the other stations. Then he was shipped out of the building to do his work from home which made his insights and witty exchanges
impossible. We couldn’t talk to each other off the air. We couldn’t exchange glances, smiles, and hand signals or bump into each other in the hall. Our show suffered and our audience became a bit more detached.

Bill Jackson, real name Dale Kuckelburg, was also significantly detached from his career.

But I digress. The biggest problem with traffic reports is the shotgun approach I mentioned,
telling everybody in our listening area driving to their unique destinations how traffic is snarled thirty miles away. Good god, we have apps in our cars that do a much better job in real time.

How about the weather? What the hell, we’re swinging the ax here. Let’s be realistic.

There isn’t a day in my life that I don’t wake up with a fair idea of what weather I should expect. I don’t need someone on the radio telling me to carry an umbrella. If it’s iffy the immediate and highly local details are now available at the touch of an app. When the weather becomes of critical and life-threatening importance it’s a major news story and that’s when local radio news shines, making it the center of our continuous attention, not just a regular feature at scheduled times.

It’s your radio station, do what you think is best. I’m only suggesting that you might want to
reevaluate all the things we’ve all taken for granted for far too long.

News radio has always been an interruptive format. We promise listeners “the news you need” in the time it takes them to drive to work. They understand that they’ll receive useful and
interesting content in exchange for frequent subject switching and sponsorships. The great news stations know how to capitalize on that agreement but too many have sold their souls to
commercial clutter that chokes a news team’s ability to serve the promised meal.

As if 22 minutes of inane and repetitive commercials per hour aren’t bad enough programmers, struggling to do their work in a hurricane of increasing spotloads, add to the clutter with recorded promos that simply beseech listeners to keep listening while offering nothing of substance. Meanwhile, the same programmers tell talent to tease, tease, tease the subjects they’ll talk about six, twelve, and twenty minutes from now.

I know the business reality. Radio — especially news radio — is struggling to meet the profit insistence of corporate boards and the overhead needs of staying afloat locally. But at some point, we must answer the question, who do we have to serve first, our clients or our audience?

Station managers and their corporate masters have to stop issuing profit mandates without
offering programmers the opportunity to do their jobs, to provide more valuable content while
limiting commercial minutes, sponsorship rhetoric, and eliminating distracting bells and
whistles.

Clean your clock. Stop filling empty circles with stuff that made sense 50 years ago but is merely clutter today.

The only way to think outside the box is to get rid of the box.

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BNM Writers

AM 680 WCBM Leapt Into Action As the Francis Scott Key Bridge Collapsed

Our employees live and work here and know what’s important to our listeners.

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As Americans woke up to a cargo ship hitting Baltimore’s Francis Scott Key Bridge Tuesday morning, the crew at AM 680 WCBM was already hard at work gathering the facts.

Just before 1:30 AM, a cargo ship lost power exiting the Baltimore harbor, striking a support beam that toppled the 47-year-old structure. In the wreckage, six people working on the bridge died, while drivers were rescued from the rubble in the chilly waters of the Curtis Bay.

The AM news/talk station — which celebrated its 100th anniversary Thursday — went wall-to-wall breaking coverage, something most outlets now avoid because of budget concerns. 680 WCBM morning host and Program Director Sean Casey told BNM in an email exchange how his crews handled the breaking news.


BNM: When did you guys hit the air with breaking news coverage?

Sean Casey: We first broke in with updates at 3:30 AM, approximately two hours after the bridge collapsed. Breaking news updates continued every half hour until 6 AM.”

BNM: How did you coordinate coverage in those moments?

SC: Full wall-to-wall coverage started at 6 AM and included full newscasts as well as interviews with state and local law enforcement agencies, eyewitness call-ins, and our national news partners. Our producer made call-outs and our news department shifted to full-blown local coverage.

BNM: How much experience did you have in putting together coverage of an event like that on the fly?

SC: Having been on the air during 9/11, I used the same formula that listeners want to know: Who, What, When, and Where? The why will come later.

BNM: How does your coverage show the importance of both local radio and AM radio?

SC: In times of breaking news events that impact our listeners, local AM radio stations are more in tune with the local listening audience. Our employees live and work here and know what’s important to our listeners. We also know the local players and officials and can get immediate reaction.

The talk component of our news/talk format offers listeners a chance to vent, share, and communicate with each other in good and bad times. This is why AM radio is still relevant. In some emergencies you can lose your cell service or have too weak of a signal, AM radio remains viable for in-car listening and at home with battery backup.

The AM 680 WCBM morning host and Program Director concluded his thoughts by noting the importance of a team effort, not only in coverage of breaking news events but also in operating a successful station and business as a whole.

“One of the biggest concerns we have is budgetary. More and more AM stations are abandoning the format because of its expense. Very few can afford a live and local news staff and show hosts,” Casey told Barrett News Media.

“Now more than ever, it’s vital that there be synergy between ownership, sales, and programming to maximize ratings and revenue so that we can continue to deliver vital information to listeners in our market.”

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BNM Writers

News is the Only Thing Missing From Election Coverage

Coverage of the election is, as we’ve discussed, still very horse-race-centric, and there’s been, of course, coverage of the various Trump court cases, but where is the coverage of exactly what the candidates plan to do if elected?

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The first thought I had when I heard NBC had hired Ronna McDaniel as a commentator for $300,000 a year was to wonder how many actual journalists they could have hired for that money. Then, I recalled that NBC had laid off dozens of news staffers just a few months ago. Then, I remembered that I had just recently written a column decrying news organizations throwing pretty much anybody on the air as a “pundit” and this….

This was worse. It’s one thing to grab some rando who happened to be a minor functionary for the Executive Branch. It’s another to hire someone whose job was to promote election denialism and pretend that her opinion is something valuable for viewers. And, yes, it’s just as ridiculous when news organizations hire former presidential press secretaries (that’s you, Jen Psaki and Sean Spicer), their very jobs were to spin everything in their bosses’ favor and now you’re going to pay them big salaries for, um, what? Because they “have a name” or you’re afraid someone else will snap them up? Why them?

The McDaniel deal lasted five days, one completely unilluminating interview, and one unexpected Chuck Todd spine-growing outburst, so it’ll all blow over soon enough. The problem is, though, the part about having fired several news staffers, and what it means in an election year on both the national and local levels. If you have the money to hire an alleged pundit – any alleged pundit – you have the money to hire reporters, and I don’t mean anchors or opinion show hosts.

Coverage of the election is, as we’ve discussed, still very horse-race-centric, and there’s been, of course, coverage of the various Trump court cases, but where is the coverage of exactly what the candidates plan to do if elected? Who’s probing Project 2025 and why isn’t it front-page, first-segment news? Who’s pressing the Biden administration on Gaza? Is anyone reporting on the candidates’ record on climate change?

Beyond prescription drug prices, is anyone digging into the broken healthcare system and demanding answers from the candidates about what they’ll do to fix it (and not letting Trump get away with “I’ll have a better plan, a beautiful plan” without a single specific detail, like they did in 2016)? Why didn’t anyone focus on, for example, the GOP candidate for governor of North Carolina and his incendiary past comments well before the primary?

Pundits are not going to do the legwork on the issues; they’ll just talk about swing states while John King and Steve Kornacki point at their touchscreen maps. We need reporting on the things that matter (and can affect that horse race, even if most people have made up their minds). It shouldn’t just be Pro Publica and scattered independent journalists doing the dirty work.

Honestly, I don’t want to hear the complaints about the quality of the candidates or how this is a rerun or any of that. (We’ll leave that to The New York Times.) We are a horribly underinformed electorate and we got the horse race we deserve. It might just be idealists like me who think that, just maybe, the news media can play a role in educating the public and bursting the bubbles and echo chambers. This country has survived and prospered for a few centuries with the press shining a light on injustice and corruption.

Now, when we need that most, they’re more concerned with what they think will bring them ratings and money (although someone will have to explain to me who thought having Ronna McDaniel as a paid commentator would draw a single viewer to NBC).

Here’s a thought: Don’t lay off reporters, especially in an election year.  Assign them to dig deep on issues that matter to the voters.

Let the pundits talk about that.

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