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5 Programmers Examine The Talent Vs. Play By Play Issue

Jason Barrett



Last week in Detroit, CBS Detroit and the Detroit Lions announced an end to their broadcast partnership after eighteen seasons together. The Lions will be moving to WJR next season.

valentiWhen the decision was announced, the team stated they made the move for business reasons. 97.1 The Ticket afternoon host Mike Valenti said the decision was personal and had more to do with the Lions disdain for him and their desire to control the media’s message.

CBS Detroit Market Manager Debbie Kenyon released a statement which was in line with Valenti’s assessments. She said “In the end it came down to the integrity of CBS — the refusal to be censored in talking about the team and making honest assessments on the air about this team.”

Valenti and Kenyon’s strong assertions forced the Lions into damage control mode. Elizabeth Parkinson, Senior Vice President of Marketing and Corporate Sponsorships for the Lions offered her position. “I know there’s a bit of narrative out there regarding the notion that, somehow the Lions are practicing some sort of censorship. If we were trying to practice any sort of censorship, we certainly would’ve done it (the switch) much sooner. Anytime our media is either not factual or misrepresenting the content that they’re sharing, those calls are made. Our media team works with all media outlets to correct inaccuracies, and they were working with The Ticket to correct inaccuracies.”

But was the team using its position as a partner to reach out and correct mistakes? Or were they using the association to limit negativity and increase positive conversation?

greggGregg Henson, who now programs in Pittsburgh, and spent 15 years in Detroit as a Programmer and On-Air host, said the Lions issues with the media are very real. In a blog post on his website, Henson added: “It’s been going on for 20 years. When I programmed WDFN in the 90’s, the Lions on many occasions complained to our bosses about the on-air content and we weren’t even the rights holder for the team. At one point, they informed WDFN upper management that if Art Regner and I were terminated they would “consider” granting WDFN the team’s broadcast rights.”

Henson continued ” The main culprit was Lion’s PR Director Bill Keenist. He attempted to turn hosts against one another and complain that Art (Regner) and I didn’t go to practice. He implored our bosses to “mandate” that we come to practice. Why? So he could bully us into his way of thinking. He even threatened to pull our credentials if we didn’t fall in line.”

When organizations attempt to control the way personalities think and operate, it often ends badly. You don’t develop great relationships that way. I used to tell one individual “if you’re not going to consult me when you’re changing your roster and potentially impacting my station’s ability to generate ratings and revenue, then don’t expect me to afford you the same courtesy”.

Some teams that I’ve worked with have been more than fair in the way they handle business. Much of that starts with the individuals who are in charge. In the Bay Area, I had a great rapport with both football teams because Marc Badain and Will Kiss with the Raiders and Bob Sargent and Bob Lange at the 49ers, are not only first class people, but they respect the media and understand the business. Rarely did my phone ring for something minor.

I’ve also dealt with a few teams who were very sensitive to criticism and wanted on-air talent fired, suspended, or required to attend games and practices. Those teams not only lose the respect of the hosts but they also create a situation where they become the enemy of the Program Director. That’s not positive for anyone involved.

partnersOne word that far too often comes into play is ‘partnership’ and it’s a word that means something entirely different to each side. Many teams believe it means the radio station will be positive, avoid difficult subjects, and offer the franchise the benefit of the doubt when bad things happen. Radio stations believe it means the station has the exclusive right to air the team’s games, sell ads during the broadcast, use the franchise’s logos in all marketing materials, and have access to special guests and broadcast opportunities without their weekday content being compromised.

From where I sit, both sides need to understand what they’re signing up for in advance. Rights fees don’t increase when teams create headaches and roadblocks, and stations don’t continue to enjoy the benefit of the association when they’re close minded and using the airwaves to deliver verbal haymakers.

fairOne rule I’ve stressed to my staffs over the years was to be critical of performance, but avoid personal attacks and cheap shots. The result of a game, the performance by an athlete, the poor execution by an organization to provide a positive game experience, those are all fair. Teams may not like hearing it but the facts are the facts. We owe the audience an honest analysis and if the criticisms are directed in that way, I’ll battle for any individual’s ability to speak their mind.

On the other hand, it’s tougher to defend a talent when they step outside the lines and get personal. Whether the team gave you good seats to a game, the best setup at training camp, the interview you wanted, or the best spot in the media press box shouldn’t influence how you speak about their performance. You’re privileged to have access to many of these things and if you don’t get your way, that shouldn’t restrict your ability to be fair. If you want to call the owner a drunk, or suggest that a front office executive has photos of the owner to remain employed, be prepared to lose that fight, and in some cases your job.

kenyonWhere this becomes interesting is when you’re forced to choose between play by play and your weekday programming. While I’m sure money was a big factor in the conversation in Detroit, I do believe that the integrity of the radio station came into play. I respect Debbie Kenyon and CBS for standing by Mike Valenti. I’m not sure how many others would’ve done the same.

Play by Play rights fees are high and often cause stations to lose money. But they also deliver audience, attract good sales people, and usually help a station enjoy great ratings success. When a team leaves a radio station, good people usually follow, and ratings aren’t far behind. Whether that will or won’t happen in Detroit remains to be seen.

In looking across the country at the top 25 markets, the ratings leader in each city usually has a play by play partnership with a popular local team. Less than 5 of the top 25 cities had a station winning the local competition without an NFL, MLB, NBA or NHL franchise on their airwaves. Those who carry local NFL/MLB teams perform even higher than those with NBA/NHL rights.

chooseAs necessary as it may be for sports stations to offer dynamic air talent M-F 6a-7p, numerous radio operators believe that they stand a better chance to drive higher ratings and revenue with play by play on their airwaves.

But what happens when you’re forced to choose between the two? Can you win without a popular local team’s games on your radio station? Can you afford to lose a dominant personality and replace them with lesser talent simply to keep a team on your airwaves?

I was curious of how other programmers felt about the importance of play by play and what their preference would be if they had to choose. Given the sensitive nature of the discussion, I’ve elected to keep the identities of the 5 programmers I spoke with private. Although I’d love to believe that a candid conversation like this wouldn’t lead to additional headaches, I’m not certain it wouldn’t.

How important is play by play to your ratings success?

PD1: Play-by-play of a winning team is the greatest marketing a station can get. It brings people to your station that you’d never otherwise have sample your product. When you combine that with a brand which is better than the competition, but not the heritage station in the market, it can be very valuable to success.

PD2: Play by play is important because there is a big cume available for stations to use to send their messages to listeners. This is important for directing the audience back into your weekday programming.

weeiPD3: Very! Though the caveat is what sport, what team(s), and most importantly – relevance. The NFL is king. I could run a Jacksonville-Buffalo game on a Sunday morning and get a ton more meters than other sports’ play-by-play. With everything else, it depends on the specific significance of the event. As our local teams progress thru their respective seasons, we see either ascending or descending interest based on how they perform.

PD4: It’s very important but it’s not the play by play as much as it is using the game broadcast to get folks to come back the day(s) after to help with cume for the M-F shows.

PD5: Ratings success depends largely on the success of the team. I have been PD of a station with Play By Play of a team that does not attract a large audience and therefore the pxp is a detriment to the success of the station. It’s 3 hours where the station could be talking about other teams in the market or content that has greater local appeal. If the team is in second or third place or even worse in terms of standings or importance, it hurts.

How important is play by play to your station’s revenue success?

PD1: It helps. As much as anything, it opens doors with advertisers who may not be familiar with us. When you’re the flagship of a major professional team, very rarely do you have sales calls go unanswered.  We’re not allowed to sell spots in our “direct play-by-play,” the game, coach’s show, etc., but what the play-by-play allows us to do is build shoulder programming around it and position ourselves as the flagship.

PD2: Enormous. It’s not just the on-air commercials that spike rates and revenue. It’s the relationship and tickets that come with the partnership. My sales manager once said, “having that relationship allows you to say “please” to potential new clients and “thank you” to loyal clients.”

moneyPD3: Revenue is a big part of play by play deals. Making a buck is tough these days especially with expensive rights deals. For many clients, the emotional attachment to a certain team is the deciding factor in spending money on the station. Having it available helps bring clients in the door, with the goal being to make them a larger part of the station down the road, whether that’s through buying features associated to the team, sportscasts or anything else programming related.

PD4: It is very important to our revenue. We put a lot of effort into selling our local play by play and when we have success selling it, it lifts all aspects of revenue for the station. We tie together our play by play sales and station sales so when play by play is hot, it carries over to the spot sales and NTR (non-traditional revenue) for the sports talk programming.

PD5: It depends on the specific play-by-play partner and relationship. Most teams/franchises are taking their broadcasts in-house and controlling all or most of the inventory, so the value in these affiliations might be in ancillary programming – coach’s shows, pre/post game, sponsored features/segments suited towards team coverage. The ratings help you might get from play by play cume increases, can boost your weekday numbers which helps your sales department when it comes to selling spots and other station items.

Considering the financial commitment that is required to secure a local team’s broadcast rights, are they worth it?

PD1: If it’s an “A” property – MLB, NBA, NFL, major college, I think it is worth it. It can be a tremendous hassle (I’ve seen it in every market I’ve worked) but from a branding and credibility standpoint, whether you’re an established station or a startup – it has undeniable benefits that couldn’t be attained any other way.

PD2: Having worked in several markets where team broadcast rights fees are a big part of the stations expense line, it really comes down to the bottom line and how much the station/company is willing to partner with the team. That “partnership” and the willingness to work together in the “radio marriage” is essential. Does the team have a list of restricted categories for selling? Are they willing to work and push dollars from their major sponsors to you? Is the station willing to introduce their clients to the sports property? It is one of the biggest commitments and all of these items must be presented before the marriage is set – no surprises. Surprises are what lead to a bitter relationship.

investPD3: This depends on the sport, franchise and city. For example, if you went to Minneapolis, I’m sure it’d be worth it to be the flagship for the Minnesota Vikings, but probably not as much to carry the Minnesota Timberwolves. Each market has a team or two that exceeds the others in value and interest.

PD4: In today’s radio business climate, I think it’s important to enter into these agreements with the idea of making money or at least breaking even. The problem with losing money on radio rights deals is that it ends up impacting your sports talk lineup. Usually when a station loses money on the rights, they’re forced to trim staff.

PD5: It depends on the market and team. In my city, if you have football it’s worth it. If you were in St. Louis and you had baseball, it’s worth it. Football rules in most markets, but in some the others (baseball and basketball) do and don’t make business sense.

What chance does a station have of winning a ratings & revenue battle in a local market if it doesn’t have play by play and the competitor does?

PD1: Year round it’s all about your station’s personalities. Those who have polarizing talent with an ability to “say something” always keep a brand from being dependent on the performance of a local team. Owning NFL coverage in a city can make it seem to listeners that your station gives the “best” coverage without owning the rights.

PD2: It depends on the market and teams. I think if you do some research on top rated stations in NFL cities you will see the majority have the rights to the NFL team. Then the question is, what came first? Did the team go to the top station and the top station got better? Or did the team make that station the top station?

winPD3: Creative programming wins. Having the ability to sell special features, shows, covering the team with reporters, segments and special guests can give the station the upper hand in being the station of record for the sports property. If the play by play for a popular franchise is not available in the market, get over it and start thinking of ways you can still cover the team and win.

PD4: It is hard to win the 12+ number in the ratings world if you don’t have play by play but you can win the 25-54 battle 6a-7pm if you have great personalities, and that demo is key for most sports stations. As for revenue, not having play by play might make winning the overall billing battle more difficult but you can still be profitable as a radio station without play by play.

PD5: It’s very possible to win the ratings without play-by-play. Some stations have the luxury of being the hotter brand than the team. In other cases, the team is a hotter brand than the station. A station needs to see where they stand in that assessment when analyzing their play-by-play options. Not every station needs play-by-play to drive their success. But even on stronger brands, it’s nice programming to have on nights and weekends, where it doesn’t interfere with what is really driving the station, for both ratings and revenue.

How do you handle situations that arise when teams wish to influence content on your airwaves?

PD1: I meet for lunch with front office personnel and attend games regularly. Relationships are key and I believe in making myself available as a sounding board, not my on-air talent. I have never had a problem with a team because I explain up front that we will criticize but be fair and I encourage my hosts to show up in the locker room and at practices and games. That helps build the relationship.

PD2: There is one guarantee when becoming a flagship, the team will have “concerns” with the on-air commentary and voice their opinions to management about them. This has taken place in every single team-station relationship I’ve been a part of. Being accessible to discuss issues is key, and each situation is dealt with on a case by case basis.

Angry couplePD3: Hopefully at the point of agreeing to the contract, we’ve made it clear who we are and what we’re about. My direction to my talent is that they (a) go to the games…that’s why I get them credentialed (b) give your opinions based on what you saw and experienced, not always on what you read from someone else. That way if/when a team has an issue with something we’ve said, we can say we’ve done so from a standpoint of coverage and credibility, not just being salacious and/or outspoken. When you’re at the games and the PR staffs see you there covering the team on a night in/night out basis, they’re less likely to question your motives when you’re critical.

PD4: The number one rule is to not make it personal. When you do that, it is harder to defend. If you are critical of the team because they are playing bad, no problem, but taking low blows at people in the spirit of being mean and hurtful is just not smart. So, if there is a complaint, I usually just try to first get context by listening back to the content, and then try to make it clear that this is an opinion based business and the opinions being sharing are based on what’s happening on the field. If the product is better, the talk will be more positive. If the product is not good, that talk is not going to be positive. The key as a programmer is you have to serve as a buffer so that you protect your talent’s ability to speak their mind as much as possible. You have to be willing to take the calls, talk through the difficult conversations, hear the complaints and stay calm and focused. Many times the situation will dissipate.

PD5: Welcome to business. Generally, we give our partners the benefit of the doubt, and we try to keep critiques between the lines. Not all stations do or need to operate that way but that’s how we value our relationships with teams, weekly guests, networks, sponsors, etc.

If you had to choose between keeping your play by play rights and your #1 personality, what would you choose? Why?

PD1: Personality by far. That is what makes talk radio unique and it carries your programming year round. It’s hard to believe you would ever have to consider choosing between both.

PD2: It would depend on the talent. If my #1 personality was king of the city and entrenched in the market for 10+ years then you stick with the talent. If the #1 talent is doing well but not crushing/overshadowing every other show, then you have to look for somebody else while trying to work with the talent/team in order to keep the relationship with the team. Each circumstance is different.

mattersPD3: I would always choose my #1 personality. That said, this is a business and it’s a much more complex question. Many programmers know that you can back your talent all you want but if you don’t have support of your management team than it won’t matter. I know Mike Valenti is an incredible talent who can be abrasive and come close to crossing the line, but the key in that situation turning out the way it did was a result of his GM having his back.

PD4: I’d rather keep my best show than the rights to a local team. But if a station doesn’t have a singular, dominant personality with major market appeal, then they’d probably lean towards sticking with their play by play rights.

PD5: You keep your #1 personality, hands down. Play-by-play is fleeting (one year they might be great, the next they might suck) and seasonal. My personalities are on year-round. Personalities can help make the radio station more money thru solid ratings, promotional opportunities, endorsements & appearances, plus they’re involved in our community outreach. No question in my mind about this one.

Barrett Blogs

Jeff Catlin, John Mamola, Gordy Rush & Maggie Clifton Join The 2023 BSM Summit Lineup

Jason Barrett




We’re less than two months away from the 2023 BSM Summit in Los Angeles. This year’s conference takes place on March 21-22, 2023 at the Founders Room inside of the Galen Center at USC. Many industry professionals are set to attend but sports media folks tend to be a last minute crowd whether it’s buying a ticket, reserving a room or committing to be a sponsor. Yes, tickets, rooms, and a select few sponsorships are still available, but the longer you wait, the more you risk not being in the room, featured as a partner, and paying higher prices for travel. To make sure you have a seat and a place to stay, log on to For sponsorship inquiries, email Stephanie at

I am really excited about this year’s Summit. The venue is tremendous, the agenda is coming together nicely, and there’s no doubt we’ll have great weather when we gather in LA. Some have asked me why I don’t reveal the full schedule of sessions months in advance, and it’s because I believe in swinging for the fences and trying to do big things. To do that, you’ve got to be willing to invest time and explore every opportunity that can be impactful. It’d be much easier to fill the schedule and be done with everything but if it’s going to take a little longer to deliver the best speakers, discussions and experiences for all in the room, then that’s what I’m going to do.

Those involved in the creation of this conference know that I set a very high standard for it. We’ve run some great events over the years, and it’s because we put everything we have into making sure each session is valuable to a different segment of the industry. My goal each year is to present an action packed agenda that helps people learn, gain access to information to improve themselves and/or their brands, and create a few connections and memorable moments to justify it being worth a few days away out of the office or studio. If we can do that, it makes the sacrifices worthwhile. If we can’t execute at a high level, then I’d probably pass on doing it.

Before I tell you about the four people we’re adding to our speaker lineup, I do want to remind you that we recently announced a contest for California college students. We’re giving away ten (10) FREE tickets to the show courtesy of Steve Kamer Voiceovers. If you know a student in California please let them know about this. If they’re not in California but want to attend the event, we’ve created a special college rate to make it affordable for young people. Everything is listed on

Now, for the new additions to the lineup.

I’m excited to welcome Jeff Catlin of The Ticket in Dallas to the Summit. This will be Jeff’s first Summit visit, and I appreciate him making time to share his programming wisdom with the rest of the room. Jeff will be part of a programming panel that kicks off day #2. That panel will include Jimmy Powers of 97.1 The Ticket in Detroit, Raj Sharan of Denver’s Sports Station 104.3 The Fan, and our next addition, John Mamola of WDAE. John has been at all of our events dating back to our first test event in Chicago. I’m looking forward to giving him an opportunity to offer his programming insights alongside this talented group.

Also joining the Summit lineup is Maggie Clifton, Blue Wire’s Senior Vice President of Business Development. Maggie has played a vital role in growing Blue Wire’s revenue, and I’m looking forward to having her join Barstool Sports’ SVP, Head of Sales Matt Berger, and Magellan AI’s Chief Revenue Officer John Goforth on a panel that focuses on digital monetization.

Guiding that conversation will be Guaranty Media’s Gordy Rush. The Baton Rouge Vice President and General Manager who doubles as LSU’s sideline reporter on football broadcasts is well versed in monetizing content, and understanding the opportunities and challenges broadcasters face. I’m confident those in the room charged with maximizing digital revenue for their brands will gain great value from these four professionals.

There’s much more in the works that I’m looking forward to announcing in the coming weeks. Whether you own a company, manage a cluster as a GM, lead a sales team, host or produce a podcast or radio/TV show, buy advertising, oversee a brand’s social media strategy or program a network or local outlet, there’s something for every sports media professional at the BSM Summit. I invite you to come see for yourself. To do so, visit

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Barrett Blogs

Jimmy Powers to Receive The Mark Chernoff Award at the 2023 BSM Summit

“Jimmy received the most votes from our industry panel to become our third recipient of the Mark Chernoff Award.”

Jason Barrett




As a former programmer turned consultant, I pay more attention than most to those who lead brands, manage talent, and create consistent success. When you look across the country at the hundreds of stations delivering sports radio content, and analyze who operates at a high level, there’s maybe ten to twenty who are changing the game, and others who are rising and hoping to become a bigger part of the conversation.

What makes this annual award special in addition to having Mark Chernoff’s name on it, is that it’s voted on by eighteen industry heavyweights. These are folks tasked with overseeing radio companies, major networks, and having exceptional track records of broadcasting success. So when they vote and an individual earns an honor, it means a little more.

If you’re in the business and follow sports radio, then you’re aware of Mark Chernoff’s accomplishments as a program director. He was one of the true architects and consistent winners, and his ability to excel as a sports radio manager has influenced and shaped many careers. Mark graciously agreed to be part of our awards ceremony a few years ago when I approached him with the idea in New York City. I’m thrilled to share that although he doesn’t attend many industry conferences on the west coast, he will be with us at the 2023 BSM Summit in Los Angeles for the ceremony.

Which brings me to this year’s winner.

It is my honor to congratulate the leader of 97.1 The Ticket in Detroit, Jimmy Powers. Jimmy received the most votes from our industry panel to become our third recipient of the Mark Chernoff Award. He follows Rick Radzik of 98.5 The Sports Hub in Boston, and Mitch Rosen of 670 The Score in Chicago. Jimmy will be in attendance at the Summit to pick up the award, and will take part in a program director panel at the show. Further details on that to be shared next week.

“It’s such a great honor not only to be mentioned in the same breath with Mark Chernoff, but to receive the ‘Mark Chernoff Award’ is really, really cool” shared 97.1 The Ticket Program Director Jimmy Powers. “With so many great program directors across the country who are deserving of this award, I truly appreciate the recognition.”

Since late 2009, Powers has led the Detroit sports radio station to unmatched local success. Brought in to build upon what was created by the late great Tom Bigby, he’s helped The Ticket become one of the format’s best examples of success. The station has consistently dominated the Male 25-54 demo, while also becoming a ratings force with Persons 12+ and Adults 25-54.

“Jimmy has done an amazing job over the years running 97.1 the Ticket,” said legendary sports radio programmer Mark Chernoff. “He knows how to work with talent, and maintain balance while managing relationships with the Lions, Tigers, Red Wings and Pistons, which is not an easy job. The ratings remain high, and the Ticket continues to be one of America’s top sports stations, which reflects the great work Jimmy has done as the station’s program director.”

In addition to delivering double digit shares, quarterly ratings wins, and presenting a star studded lineup and Michigan’s top sports franchises, The Ticket has taken home plenty of hardware too. The station has won the Marconi award for best sports station in 2016 and 2022. And now, they can add the 2023 Mark Chernoff Award to their trophy case.

“2022 was another big year for The Ticket, and many in Detroit deserve credit for the brand’s consistent success, but none more so than their exceptional brand leader, Jimmy Powers,” added BSM President Jason Barrett. “Jimmy has been a staple of consistency, guiding one of the crown jewels of sports radio, managing top personalities, important play by play partnerships, and helping the brand generate large revenues. I’m thrilled that our industry voters took notice of the fantastic work Jimmy has done and look forward to celebrating his career and accomplishments in Los Angeles this March.”

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Barrett Blogs

California College Students Earn Chance to Win 10 Free Tickets to the 2023 BSM Summit Thanks to Steve Kamer Voiceovers

“In order to win tickets to attend the Summit, students must submit a 2-minute video by email explaining why they’d like to be in attendance and what they hope to learn at the event.”

Jason Barrett




With a new year comes renewed energy and optimism for the sports media business. Yours truly is looking forward to showcasing the best our business has to offer when we gather the industry in Los Angeles, CA at the 2023 BSM Summit at the Founders Club at the University of Southern California on March 21-22, 2023. Our conference is returning to the west coast for the first time since 2019. We’ve announced some super talented speakers. We’ve got additional things in the works and I plan to make additional announcements in the next few weeks.

People often ask me what the biggest challenge is putting this event together. My answer is always the same, it’s getting people to leave the comfort of their office and spend two days in a room together learning and discussing ways to grow the business. We have great sponsorship support and exceptional people on stage and are fortunate to have a lot of folks already set to attend. Our venue this year has extra space though, so I’m hoping a few more of you make time to join us. If you haven’t bought a ticket or reserved your hotel room, visit to make sure you’re all set.

If there’s one thing our industry could get better at it’s opening our minds to new ideas and information. There’s more than one path to success. Just because you’re in good shape today doesn’t mean you will be tomorrow. Building brands, growing audiences, increasing revenue, and examining new opportunities is an ongoing process. There are many shifts along the way. We may not solve every business challenge during our two-days together but you’ll leave the room more connected and informed than when you entered it.

Each year I’ll get two or three emails from folks sharing that they learned more about the industry in two-days at the Summit than they have in ___ years inside of their building. That’s truly gratifying and what I strive to achieve when I put this event together. I remember when conferences like this didn’t exist for format folks and I take the risk and invest the time and resources to create it because I love the sports media industry and believe I can help it thrive. I see great value in gathering professionals to share ideas, information, and meet others who can help them grow their business, and if we do our part, I’m confident some will want to work with us too. That’s how we benefit over the long haul.

But as much as I focus on serving the professional crowd, I also think we have a responsibility to educate young people who are interested, passionate, and taking steps to be a part of our business in the future. The BSM website is visited by hundreds of thousands of people each month and it’s become a valuable resource for folks who enjoy sports radio and television. I think it’s vital to use our platform, influence and two-day event to connect generations and I’m happy to announce that we will once again welcome college students at this year’s Summit.

Most of us who’ve been in this line of work for two or three decades learned the business without podcasts, YouTube, social media, the web or conferences delivering two full days of sessions that taught you more about the business than what’s available inside of a class room. We learned by doing, and hoping we were right. Then we copied others who had success. Some of that still exists, and that’s not a bad thing. But where our business goes in the future is going to be drastically different.

I’d like to see the difference makers in our format remembered for years to come, and practices that have stood the test of time remain valued down the line. Change is inevitable in every business and I’m excited about the road that lies ahead especially some of the technological advancements that are now available or will soon become a bigger part of our industry. I think we can embrace the future while enjoying the present and celebrating the past. The best way to do that is by bringing together everyone who is and is hoping to be a part of the sports media universe.

So here’s two things we’re doing to make sure future broadcasters have an opportunity to learn with us.

First, I want to send a HUGE thank you to Steve Kamer Voiceovers. Thanks to Steve’s generosity, TEN (10) college students will be given FREE tickets to attend the 2023 BSM Summit in March. Steve is a USC graduate (Class of 1985) and he bought the ten tickets to help young people learn about the industry, save money and make valuable connections. When I first received his order, I thought he hit the wrong button. I reached out to tell him a mistake was made and I needed to refund him. That’s when he told me what he wanted to do for students who were pursuing their broadcasting dreams just as we both did years ago. A very classy gesture on his part.

As it pertains to the contest, here’s how it’s going to work.

To win tickets to attend the Summit, students must submit a 2-minute video by email to explaining why they’d like to be in attendance and what they hope to learn at the event. Included in your email should be a list of steps that you’ve taken or are pursuing to explore opportunities in the media industry. If you want to pass along a resume and audio or video clips too to showcase your work and experience, that’s fine as well. BSM will accept submissions until February 17th. The winners will be announced on Friday February 24th.

Helping me select the winners will be an exceptional panel of media executives. Each of these folks below will choose one person to attend our L.A. event. The final two will be picked by Steve Kamer and myself.

  • Scott Shapiro – Senior Vice President, FOX Sports Radio
  • Justin Craig – Senior Program Director, ESPN Radio
  • Jeff Sottolano – Executive Vice President, Programming, Audacy
  • Bruce Gilbert – Senior Vice President of Sports, Cumulus Media & Westwood One
  • Amanda Gifford – Vice President, Content Strategy & Audio, ESPN
  • Jacob Ullman – Senior Vice President, Production and Talent Development, FOX Sports
  • Greg Strassell – Senior Vice President, Programming, Hubbard Radio
  • Scott Sutherland – Executive Vice President, Bonneville International

To qualify for the BSM Summit College Contest, students must be enrolled in college in the state of California, pursuing a degree that involves course work either in radio, television, print or the digital business. Those attending local trade schools with a focus on broadcasting are also welcome to participate. You must be able to take care of your own transportation and/or lodging.

This is a contest I enjoy running. We’ve had great participation during our prior two shows in New York City but haven’t done it before on the west coast. I’m hoping it’s helpful to California students and look forward to hearing from many of them during the next month.

For students who live out of state and wish to attend or those enrolled at local universities who enter the contest but aren’t lucky enough to win one of the ten free tickets from Steve Kamer Voiceovers, we are introducing a special two-day college ticket for just $124.99. You must provide proof that you’re currently in school to take advantage of the offer. This ticket gives you access to all of our sessions inside the Founders Club. College tickets will be limited to forty (40) seats so take advantage of the opportunity before it expires.

The 2023 BSM Summit will feature award ceremonies with Emmis Communication CEO Jeff Smulyan and legendary WFAN program director Mark Chernoff, sessions with influential on-air talent such as Colin Cowherd, Jim Rome, Joy Taylor, and Mina Kimes, big picture business conversations with executives from groups such as Audacy, iHeart, Bonneville, Good Karma Brands, Barstool, The Volume, Omaha Productions and more. For details on tickets and hotel rooms visit

I look forward to seeing you in March in Los Angeles!

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