The BSM Top 20s are generators. They generate clicks, comments, and conversation in our industry. Every year, JB reaches out to dozens of PDs and executives to generate those lists.
I thought it might be fun this year to add a new twist and let talent get in on the conversation. Everyday a new Top 20 is released, I will turn to a few talents in those same categories with a simple question: If you had a vote, who would be #1 on your ballot?
The state of Pennsylvania dominated the PD lists this year, with Spike Eskin of 94 WIP in Philadelphia taking home the top honor for major markets and Jim Graci of 93.7 the Fan in Pittsburgh placing first amongst his peers in mid markets. That was what the executives chose. Now it is time to ask the talent what they think.
JORGE SEDANO – ESPN LOS ANGELES
I have worked (and currently work) with a lot of great programmers over my two decades in sports radio. Most days, being a programmer is a thankless position. There are a lot of different personalities to manage on a staff. You need to get buy in from the talent, producers, other managers and the support staff. Few have connected and garnered the respect of the talent and staffs they manage like ESPN Radio’s Amanda Gifford.
When she managed me directly (circa 2013-16), the staff was loaded with a list of talent that is too long to list here. The common thread was she was widely respected by everyone, from the part time board op to the biggest stars on the network.
There is a reason she has climbed to the heights she’s reached in the industry. Obviously, Amanda has strong convictions and opinions on what makes an individual or a show better. However, she is a great listener and is willing to collaborate with the talent on how to get the best out of their respective shows. People value being heard and having input on the products they touch on a daily basis. She gets that and it’s part of what makes her the best at what she does.
JOSH INNES – ESPN 97.5 (HOUSTON)
I’ve had the great fortune of working for some of the most amazing Program Directors in this format. I worked for legendary programmer Andy Bloom at WIP in Philly. Andy is currently doing other things, but he would no doubt be one of your top 3 programmers on this list. I currently work for a great young programmer in AJ Hoffman who is building something great in Houston.
That said, the guy who gave me my major market break is the guy who should sit at the top of your list of top current programmers in sports radio. That person is Gavin Spittle.
In 2009, Gavin was faced with a situation that many would have viewed as a demotion. He was sent from 105.3 in Dallas, a 100,000 watt blowtorch, home of the Dallas Cowboys, to a 5,000 watt AM Station in Houston. Over the next 4 years, he took Sports Radio 610, a terribly rated radio station and elevated it to a consistent Top 10 finisher in the market. He and his staff flattened the competition. Houston sports radio has never recovered from his exit.
In 2014, Gavin got the call to go back to Dallas to resurrect the very station that sent him off 4 years earlier. His job was to challenge the legendary Ticket for ratings supremacy. He has done just that. The amazing part is he has done this with many of the pieces that were in place when he took over.
Gavin’s guidance has certainly elongated the careers of many personalities.
Gavin listens to talent. He respects talent. He is willing to be the butt of the joke. He makes you better. He’s a friend. He is the best Sports Radio PD in America.
MARK ZINNO – FORMERLY 92.9 THE GAME & XTRA 106.3 (ATLANTA), 105.7 THE FAN (BALTIMORE)
Chris Kinard has been a top programmer for over a decade now in one of the most challenging and diverse markets in the country. Consistently battling the news/political/talk format(s), especially over the last four years, and managing to keep the station’s ratings top 10 across the board speaks volumes to his ability to understand a changing landscape as well grow the audience of The Fan. Sometimes it’s easy to overlook DC as a sports talk city due to its politics-centric persona, but any four-sport town has the challenge of grabbing a wide array of listeners/fans and the balancing act managing the talent to “play the hits” is something that not every programmer in three/two-sport markets has to deal with. Chris strikes a great balance of managing his talent to ensure maximum reach to as many fans as possible and really develops the station brand on many fronts.
Speaking of which, Chris’s ability as a brand manager can’t be underscored. He has grown the station profile through many successful events and promotions over the years, surpassing his sports talk competition at every level. Chris continues to be one the most talented and unique programmers in the country. He welcomes challenges and continually exceeds expectations with original and distinctive ideas.
SETH HARP – ESPN 98.1 (GAINESVILLE, FL)
It’s Andy Roth at The Fan in Cleveland. The station is the sports heartbeat for the city and her fans. The imaging, the shows, the hosts, the topics and the social media are all woven together. You can tell there is a plan and it’s being executed on a daily basis. Attention to detail that is Top 10 and even Top 5 market quality. Andy is sports radio’s version of a franchise Quarterback.
NICK KAYAL – 104.5 THE ZONE (NASHVILLE), 92.9 THE GAME (ATLANTA)
Terry Foxx is a winning Program Director. Terry was involved in giving me an opportunity in Atlanta at 92.9 The Game and hired me on my birthday in 2020. Terry started The Fan in Pittsburgh as well as The Game in Atlanta and now has inherited WFNZ in Charlotte.
Terry is a no non-sense kind of guy. Come in, do your job, keep your head down and work hard. I believe he’s one of the better programmers in the business today.
As the week rolls on, we will dive into every single list that JB puts out. That means next up is stations. Stay tuned!
By the way, just because I didn’t reach out to you to contribute doesn’t mean you can’t have a say. Who do you think the best program director in sports talk radio is? Feel free to add your comment below.
Covid Is A Convenient Excuse For Lowering Our Standards
“I am sick of hearing lag and noticeably different levels of soundproofing between two hosts on the same show.”
I was probably four hours deep into my all-day football binge on Saturday when I started to think about the overall quality of what I was seeing. This isn’t a column about whether college football is secretly better than the NFL. This is about our industry.
While you may not notice a difference in the presentation on CBS’s top line SEC broadcast or on FOX’s Big Noon Saturday game, it is clear how few resources are being allocated to some of the games further down the networks’ priority list. ESPN doesn’t even send live broadcasters to its Thursday night college football game for instance.
Covid-19 was the beginning of this. It forced every business in the broadcast industry to re-evaluate budgets and figure out how to do games when travel and the traditional set up of broadcast booths simply were not on the table.
This isn’t a problem limited to game coverage either. Plenty of hosts still are not back in their radio studio. Plenty of guests on ESPN’s and FS1’s mid day debate shows are still appearing via Skype and Zoom connections. It is as if we have started counting on our audience not expecting quality any more.
I want to be perfectly clear. I get that this pandemic isn’t over. I get that in many cases, networks and stations are trying to avoid overcrowding studios and in some cases, make accommodations for top-level talent that refuse to get vaccinated. “It’s survival mode,” is the answer from corporate.
Do we still need to be in survival mode though? We are 18 months into this pandemic. The majority of Americans are vaccinated. The ones who aren’t are actively making a choice not to do what they need to in order to put on the best possible show they can.
I am sick of hearing lag and noticeably different levels of soundproofing between two hosts on the same show. I am sick of seeing hosts on crystal clear HD cameras in a high tech studio talk to someone on a dirty webcam that can’t be bothered to even put in headphones so they don’t sound like they are shouting down a hallway.
A good example is the late Highly Questionable. I really liked that show when it was done in studio. I liked a lot of the ESPN talent that popped up on the show even after Dan Le Batard left. I couldn’t watch any more of the show than the two minute clips that would show up on Twitter. I didn’t want to see Bomani Jones behind a giant podcast mic. The low res camera that turned Mina Kimes’s house plant into a green blob gave me a headache. The complete disregard for quality made a decent show hard to watch.
There was a time when the accommodations we made for Covid-19 were totally necessary. Bosses and broadcasters did whatever they had to to get a show or a game on the air. At this point, I am starting to wonder how much of the concessions are necessary and how much are the result of executives that “good enough” is the new standard.
It is totally reasonable to argue that in an age where microphones and editing software are cheap, slick production doesn’t carry the weight it once did. That is true for the podcasters and TikTokers that are creating content in spare bedrooms and home offices. If you’re ESPN or FOX or SirusXM, that slick production is what sells the idea that your content is better than what people can make at home on their own.
It’s soundproof studios, 4K cameras and futuristic graphics packages that make the standard setters in the industry special. Maybe your average Joe Six-Pack can’t put it into words. He just knows that a lot of home-produced content sounds and looks like play time compared to what he sees or hears on a network.
Sure, the anchors are the signature of SportsCenter’s heyday, but it was the stage managers, producers, and other behind-the-scenes staff doing their jobs that really made the show thrive. Those people cost money. The details they took care of may be something 90% of viewers will never notice. They will just know that they are watching a really good show. Those difference makers cannot do their jobs to the best of their abilities if everyone is being piped in from a different FaceTime feed.
In the early days of the Covid-19 pandemic we did whatever we had to. As broadcasters, we made compromises. As an audience, we accepted compromises. We were desperate for familiar entertainment and if Zoom is what it took to get it, that was just fine. There was no cure, no vaccine, things were scary and we were all anxious not knowing how long it would all last.
More than 18 months later, things may not be back to normal, but we are considerably less desperate. There are signs of normalcy in the world. Make the commitment to bring back the standard that won you so many fans in the first place.
If Netflix Wants Live Sports, F1 May Be Just The Beginning
“Netflix will shrewdly need to continue to rethink its strategy because its first-mover advantage and long-time industry leading dominance is no longer guaranteed.”
In the past, Hollywood dealmakers and stockbrokers wondered whether another studio or streamer would catch Netflix. Its dominance stemmed from being a first-mover and not having a serious competitor until Amazon and Disney ten or more years after their launch. However, Netflix would eventually have to compete for content, original and licensed, other platforms that offered less expansive ad-based options, and additional content like live sports or a very popular series or movie premiere.
Arguably, the pandemic accelerated the move to digital and it allowed competitors to gain subscribers because people were spending more time at home. More subscribers and additional streaming options for consumers has not caused Netflix to faulter, but it has caused Netflix to rethink its sports strategy. For years, Netflix was dead set again streaming live sports because of their cost and commercials—Netflix does not have advertisements on its platform currently.
Netflix’s popular Drive to Survive docuseries about the Formula 1 (or “F1”) racing circuit, which was renewed for a fourth season, and the Michael Jordan/Chicago Bulls The Last Dance represents a golden era and renaissance of sports documentaries. As much as fans of feature films and television series enjoy learning about actors during and off camera they similarly want to know about sports stars, their coaches, and franchises. In other words, the business of sports is booming in valuation and behind-the-scenes content.
Recently, Netflix CEO Reed Hastings stated that the popularity of Drive to Survive has caused the company to rethink its stance on purchasing live sports content. The broadcast and streaming rights to Formula 1 will become available via ESPN and Sky Sports in 2022 and 2024. Netflix, will have some competition to secure F1 rights, which will drive up the cost. It was also reported by Front Office Sports that the Netflix CEO would require a level of exclusivity for sports rights that other platforms do not normally require. The exclusivity is likely required because Netflix will want to justify the purchase price and to keep-in-line with what Netflix customers expect—exclusive content on the platform.
With Premier League club Manchester United looking to secure a broadcast deal for selling its rights outside of the traditional league format, it might be the perfect acquisition for Netflix. An exclusive team vs. an entire league would also be less expensive and more targeted. One aspect of uncertainty for all streamers is their subscribers overseas, particularly in untapped China. The international market is far from settled or established. Netflix also has a large operation in India so possibly cricket via the Indian Premier League (“IPL”) could be a rights purchase to consider.
In 2018, the original content on Netflix only accounted for 8%. This means that 92% of the content on the platform just a few years ago was all owned (at least partially) by someone else. That statistic has changed because Disney+, Paramount+, Peacock, HBO Max, Apple+, and many others have since been created and stocked or restocked with content. Controlling interest in Hulu was even purchased from FOX by Disney. Disney and Amazon now both rival Netflix in terms of subscribers. Netflix will shrewdly need to continue to rethink its strategy because its first-mover advantage and long-time industry leading dominance is no longer guaranteed.
As Comcast-owned NBCUniversal CEO Brian Roberts recently said, purchasing sports rights can be difficult. Sports rights are expensive. Exclusive sports rights are even more expensive. Sports rights only become available every five to ten years. Networks and streamers are highly competitive to secure those rights with the hope of landing viewers, subscribers, and advertising dollars.
Will Netflix get into sports rights bidding? In the past, the digital entertainment giant has been steadfast is its non-sports approach. However, the market has changed and is flooded with more competitors now. Netflix has to change to meet its customer and the market needs.
Formula 1 presents an interesting scenario for Netflix as a buyer and partner. F1 is a popular league internationally and growing in the United States. Two new F1 races in Miami, Florida, and Austin, Texas, in addition to season four of the Drive to Survive Netflix series are sure to drive traffic, pun intended, and interest in the racing sport.
Formula 1 is a sports league that will cost less to purchase streaming rights than a traditional American “Big 4” like the NBA, NFL, or MLB. Formula 1’s structure is also centered at the top so it would be easier to make an exclusive deal that Netflix seeks. The remaining questions being, will Netflix pursue Formula 1 sports rights to increase its streaming platform subscribers and compete with others? Second, will Netflix be the first to offer commercial free live sports programming—for a premium price—or offer in-screen ads and additional during-break inside looks, content, and analysis? Or will Netflix act more like a traditional broadcaster and offer advertisements to pay down its purchase price? One will know more after a few laps around the sun.
Manningcast Is Best Experienced As A Fan, Not As A Broadcaster
“I still would’ve watched the game had the alternate not been available, but with the Manning breakdown of each play, I was watching an otherwise meaningless game on the edge of my seat.”
Much has been written on this site already about the ESPN alternative to a traditional Monday Night Football broadcast, the Manningcast. Andy Masur asked if it worked and questioned the network pulling its audience in two different directions. Mark Madden said the concept undoubtedly works, but the content is poor.
Both articles are good reads. Both provide another level of insight from those in the industry and how they view this unique/high-profile concept. Industry views provide solid insight to the success and quality of the show itself, what works – what doesn’t. But if we can’t sit back and take our industry glasses off, and just look at this broadcast as sports fans, I feel we’ll never see it in clear view.
I’ll admit, for me, it took me no more than 5 minutes of watching week 1’s Ravens vs Raiders game to say “yeah, this isn’t meant for me”. I didn’t like the non-traditional approach of the broadcast, it felt like it lacked the energy of a traditional sportscast. The stadium volume was turned way down, the excitement was more in the conversation they were having with each other, rather than the game itself. It took me out of the moment of the game, rather than allowing me to get sucked in.
Now, in fairness, I kind of went into it with a narrow mind, thinking that would be the case. I am not someone who has the desire to flip around during the College Football Playoff broadcasts and catch the coaches corner or studio chatter, I want the game.
Bottom line is, I hated the Manningcast when I watched it in Week 1. I even went on the air the next day and trolled members of my audience that were effusive in their praise of it. In the limited sample I provided for myself, I had come to the conclusion that this broadcast wasn’t made for REAL football fans (insert caveman sound effect here) and that only the most casual viewer would want to watch this SNL wanna be of a football broadcast.
However, week 2, I decided I was going to be more open minded to it. I made it a point to break away from the traditional Packers vs Lions broadcast and watch the Manningcast, no matter how painful. I was completely wrong in my initial opinion.
Was Peyton Manning wearing a helmet and acting a little too zany for my taste in week 1? Yes. Is the guest connection quality well below what we should find acceptable in broadcasting? Yes. But that’s where I made the mistake. I was looking at this broadcast through the eyes of a broadcaster and not as a sports fan.
Peyton Manning’s charisma jumps off the screen, he is elite at describing what he sees on the field in a way that no one else can. Eli can be a little dry, but he’s low key funny. And they have real chemistry together, as they should. They are family after all.
The thing that hooked me the most was just how invested Peyton was in the plays on the field, he really gets into the game, truly invested in the success and failure of the quarterbacks. There was a moment in week 2 when Jared Goff threw the ball to an empty patch of grass 15 yards down the field and was subsequently called for intentional grounding. You could see Goff yelling at the referee, pleading his case. Peyton surmised, probably accurately, that Goff was telling the ref that the ball was thrown to the right place and that its not his fault the receiver didn’t run the correct route. Peyton then carried on and told stories of when this type of thing would happen to him when he played for Indianapolis and Denver. I was hooked.
I realized that I was far more invested in week 1 as a stand alone football game, I’m from Baltimore, I have a lot of love for the Ravens. Being invested in the game itself doesn’t lend as much flexibility. As a fan, you to want to hear about anything else but the action on the field. However, when watching two teams that I have no personal interest in, the Manning broadcast took on this new life. It created a level of interest for me as a REAL football fan that I otherwise would not have had. I still would’ve watched the game had the alternate not been available, but with the Manning breakdown of each play, I was watching an otherwise meaningless game on the edge of my seat. I felt like I had a front row view to a football clinic, held by two of the most accomplished players in league history.
Personally, I could live without the guests. I am not as entertained by the back and forth with Rob Gronksowski or Pat McAfee as it seems the majority of social media is, but the Manningcast does a brilliant job of bridging the gap between the hardcore football fan and the casual observer. It’s an absolute hit and I’ll be locked in for the next one.
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