The first time a media boss asked me to use Twitter, I said, “What kind of noise can anyone make in 140 characters?’’ Obviously, I underestimated the power of microblogging and the enablement of any idiot to self-publish. That includes idiots in sports media, who derive cheap thrills from trying to be funny when, if they truly were funny, they’d be professional comedians and not sports media people.
When Chicago radio caveman Dan McNeil lost his mind and his job — and, most likely, his career — by comparing the outfit of ESPN’s Maria Taylor to that of a porn awards host, it created a moment of reckoning for the industry. Should executives continue encouraging on-air personalities to splash thoughts across social media because of a presumed formula (followers become listeners who feed ratings)? Or should bosses finally apply common sense: Why risk inflammatory tweets that prompt firings or suspensions and bring damaging corporate publicity when hosts could follow the golden rule of opinion-making?
Save it for the show!
That’s what I decided to do. After years of assuming my every thought about sports and life should be shared immediately, via that bird, I realized the daily churn was juvenile, dumb and counterproductive. Why not simply utilize Twitter as a convenient way to post my best daily work — columns, podcasts, appearances on other platforms — and restrict my observations about the world only to those vehicles? If a company is paying handsome or even homely salaries to broadcasters or writers, they should devote every morsel of creativity and brainpower to their gigs, not saving stuff for 9:52 p.m. after a second glass of red wine. Imagine Aaron Rodgers withholding two or three plays during a game, then running them later in his backyard.
I became the Marie Kondo of social media. I follow only one feed, a Los Angeles radio station that used to give away free tickets to music shows. My batch of followers, once ample, shrunk to the current 8,600 — though I still have the blue checkmark that verifies I have “an account of public interest.’’ To read some of the reactions from the Twitter rabbit hole, my strategic numbers decline reflects some sort of deep personal failure and rapid life deterioration that should cause me to “go kill yourself.’’ In truth, it means I’ve graduated from the kids’ sandbox.
If only McNeil and others in the discharged-by-Twitter club had made the same call. Think about it: Possessed by the same urge to insult Taylor on the air, McNeil likely would have been saved, albeit undeservedly, by a producer with a trusty, seven-second-delay dump button.
Social media is a brain suck. You spend too much time consumed with superfluous b.s. and not enough on integral career requisites: outworking, outthinking, outpreparing, outwriting and outbroadcasting the competition. The people who aren’t capable of beating you, honestly and fairly, resort to outsleazing you, such as those who hide behind burner accounts to criticize rivals. I had a “teammate’’ in Chicago who used such an account to smear me in the industry. I’ve sat in press boxes where reporters, paid to watch the game, are cracking wise in group chats. There’s a freelance baseball reporter in the Midwest who has tweeted 275,700 times; maybe if he spent more time breaking news and improving his writing, he’d land a full-time beat job. These people are wasting more energy trying to impress each other instead of the bosses who pay them and the consumers who read, watch and listen to them.
So, why tweet? I thought it was a way to personally engage with an audience, but when you’ve had a high-powered career of voicing strong opinions via a big-city newspaper column, a daily ESPN debate show and numerous radio hosting roles, many folks don’t want to engage. They want to exact revenge for something you’ve said or written, or perhaps threaten to gouge your eyes. Sure, bosses like social-media numbers, but at what point does it become a zero-sum game? As for a host’s contention that he or she should have freedom of speech, an employer should own the right to protect a brand from erosion or, in McNeil’s case, sabotage.
The entire tweeting exercise is phony, pumping a device with furious thumbs and fingers when being social is best experienced via face-to-face or voice-to-voice interaction. Even if you mean well, it often doesn’t end well. Every so often, I’d use Twitter to critique fine sports-media efforts and, occasionally, efforts that reeked. What was I thinking? One day, I wondered why a fledgling site that broke a major story — FanRag Sports — didn’t realize “Rag’’ is a derogatory term in the publishing world; I was attacked by 2,000 Rag-dolls in four hours, which didn’t prevent the site from shutting down two years later. The maulings were nastier when I reminded the Twittersphere that the founder of Barstool Sports launched his career by publishing nude photos of Tom Brady’s then-toddler son; the Stoolies bombed my podcast page with 3,200 poor ratings.
In San Francisco, I hadn’t even started a columnist/editor gig when the editor-in-chief of a rival news outlet, who should have known better, wrote a derogatory (and legally inaccurate) tweet about me. I didn’t respond — and one of her editors expressed regrets to me for her actions. But a year later, when our operation ran out of sufficient resources to continue a competitive sports section and I was heading back to L.A., I decided to tweet what I thought of her general job performance. Naturally, a crap website wrongly assumed I was fired for the posting, but such are the dangers of tweeting; there is no context from even an hour earlier, much less a year earlier. (The editor-in-chief no longer is there.) Later, in the same market, I asked why a grown man would go through life as the “Bay Area Sports Guy’’ when he has a given birth name. So I used Twitter to have him make imaginary tour stops at various towns in the region — such as, “Bay Area Sports Guy spotted in Fremont.’’ Hey, I was bored. These days, he actually goes by his given name at The Athletic, though I can’t recall what it is because I’ll always know him as this Sports Guy.
Then we had Scott Van Pelt Night. I’ve never been a fan of his brown-nosing of sports figures and overgrown-bro-dude act — the man is 54 years old — and during one particular show, he was more into a partying vibe than delivering the news I’d wanted from that day. So I tweeted my dismay, asking why “SportsCenter’’ at the time was missing the sensibilities and gravitas of the “30 For 30’’ documentary series. He Van-pelted me with a low-brow, ignorant tweet, I fired back with a meaty shot or two, and goodness gracious, I was in a Twitter war!
I’d like to think that episode was partially responsible for the improved, sharper-focused and more professional “SportsCenter’’ we see today. Which leads to my point. Why take to Twitter when the more effective and dignified vehicle would be a site such as, well, Barrett Sports Media, where I mix sports media criticism with sports columns every week?
Since 2018, my Twitter account has consisted primarily of columns, podcasts and show appearances. When I have something to say, my thoughts are confined to those platforms. Under my Twitter avatar, where I’m allowed to briefly describe who I am and what I’ve done, I conclude the word block thusly:
Best Life. Real.
Those descriptions were made possible only by getting out of the Twitter gutter, leaving the ants to march on without me.
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.”
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.
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.
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.
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.”
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 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.
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.”
A belated happy Disney+ Day to us all!
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.
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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