The most iconic network on sports radio just turned 30 years old. It was January 1, 1992 when ESPN Radio first debuted. Since then, the network has been the home of legendary voices and games that live in the annals of history.
ESPN television was already an institution and destination for sports fans in the early 90s when the worldwide leader decided to enter the world of sports radio. The move made logical sense as it provided the company with an opportunity to expand its reach and presence. WFAN in New York had proven that the format could find an audience and stations were starting to pop up everywhere across the country. Even brands that didn’t have a need for 24 hours of sports talk were interested. After all, many news/talk stations aired sports radio programming at night and on weekends back then.
When the network launched, ESPN offered weekend shows and boasted 147 affiliates. Since then, the network has grown into a 24/7/365 operation with over 400 local stations partnering full time with the country’s largest sports brand, and many others picking it evenings, weekends and other select shows.
“That’s a credit to the power of the brand,” says Traug Keller, the former Vice President of ESPN Audio. “The biggest challenge local radio has is ad sales revenue right? It’s how they eat. And if you’re a salesperson in Quad Cities, Iowa or New Orleans or whatever market, it doesn’t matter. You’re coming into a business to sell radio ad time, which is invisible to begin with. You’ve got to get people over the visual part of the value. But as soon as you say those four letters, ‘I represent ESPN radio,’ it takes half the battle off the table.”
Norby Williamson, ESPN’s Executive Vice President of Production, has been with the radio network since the beginning. He said its launch was very different from how ESPN rolled out another one of its iconic brands a little over a decade before.
“We grew SportsCenter and there was always a demarcation point,” he told me. “Whether it was Berman or Dan and Keith or Robin Roberts, the product was always there and it was about the content. The brand SportsCenter kind of became front and center.
“I think with radio it was first and foremost, certainly about sports, but when you think of the great radio voices of the past, there was this sense of credibility and connectivity between the talent and the audience, which then gave the talent the opportunity to go in different directions about different topics.”
The lineup has gone through its share of changes over the years. For many, there was a distinct “golden era” of the network’s prime lineup. It was the middle of the first decade of the 21st century. The mornings featured Mike & Mike followed by The Herd with Colin Cowherd, who joined the network in 2004. Cowherd was then followed by one of ESPN’s biggest names on any platform, Dan Patrick.
Patrick’s star was well-established. The next step for the network was establishing its morning show as a force in the national syndication space.
“The truth is that was just the timing of the situation, it wasn’t necessarily a strategic decision,” Bruce Gilbert told me. He served as the network’s GM until 2007. “Dan Patrick was hugely successful, and really didn’t need any more focus. Meanwhile the network was uncertain about whether Mike & Mike would work together or if they would be better off on separate shows.”
Clearly, Greenberg and Golic belonged together. Gilbert credits not just the hosts, but the entire behind the scenes crew with building what he calls “the show of record for sports fans centered on the newsmakers.”
Calling it “the show of record” implies that Mike & Mike was a stuffy affair, the kind of thing that you respect and learn from more than you actually enjoy. Nothing could be further from the truth.
Mike & Mike were funny. They had great on-air chemistry. They took the games and the outcomes seriously without losing sight of the fact that their audience, for the most part, will never be invested like the people they interviewed each morning.
“My thought process in the morning because people are driving to work, was maybe I can take you where you can’t go,” Golic told BSM’s Brian Noe last year. “I can take you into a pro athletes’ head, I can take you into their locker room. I can take you onto the field of any sport because as pro athletes you have that mentality, and can I make you laugh a little bit? If I can make you smile and chuckle a little bit on your way to work, I feel like I did my job. So to me the best part of radio is when you went off course and that turned out to be the most fun.”
That is a very particular needle to thread, but the duo and their crew did it. That is why the show became more than just a sports show. It became a huge part of the national sports conversation.
What was the exact moment that happened? Well, that depends on who you ask.
Maybe it started with the show going to television as well as radio. That wasn’t a landmark moment though in Williamson’s eyes. He told me putting Mike & Mike on TV was almost a necessity for ESPN to meet the needs of its audience.
“You’ve got to realize that not that long ago SportsCenter wasn’t even alive in the morning. You know, at one point I said, ‘Wait a minute, we’re doing the show at 1am on the West Coast that re-airs until one o’clock in the afternoon? We’re giving away the entire morning!’”.
For others, it was specific events that proved Mike & Mike was something more than just a sports radio show.
“When we were first invited on Letterman,” Greenberg insisted when I asked about it. “He was someone both Mike and I admired a great deal. That first appearance was among the most exciting nights of my life.”
That appearance on The Late Show with David Letterman happened in October of 2006.
For Williamson, it wasn’t so much about the invitations. He liked the physical proof that Mike & Mike had become a big deal.
“I remember going to a remote, I think in Philadelphia. I can’t remember exactly where. At four o’clock in the morning, people were lined up around the block to get in to see the show. And that’s kind of when it registered for me that these guys had broken through. They’re resonating, and we’ve got something special.”
ESPN Radio wasn’t just a collection of strong talent behind the microphones at that time. Plenty of people in behind the scenes roles went on to successful programming careers in markets of all sizes.
Bruce Gilbert isn’t surprised when he looks back at the members of his former staff that went on to spread their wings and leave their stamp on the sports radio industry. He says that the network was in something of a luxury position: every sports fan wanted to be there, and that meant the talent was stacked from floor to ceiling.
You couldn’t even get in the door without a degree and high scores on one of the hardest sports trivia exams ever developed. This created a competitive environment and a workforce of people that were hungry, passionate and driven to succeed and grow. The other great thing about ESPN were the different paths it offered to professionals. The company was always evaluating talent and working to help them find the right growth trajectory. At ESPN you could grow in audio, move into television, the magazine or digital/web. The opportunities were endless and equally rewarding.”
One of the people that passed that test and earned an opportunity is Freddie Coleman. The longtime host joined the network as part of Game Night in 2005. Coleman is still heard nightly on Freddie and Fitzsimmons.
The network doesn’t currently have a lot of people with Coleman’s kind of hosting tenure. Greenberg would be the other. ESPN Radio went through two major lineup overhauls as recently as last year. That position, a sort of “dean of hosts,” is one Coleman takes a lot of pride in.
“I know how blessed I am to have been a part of the Worldwide Leader for 17 plus years. It’s hard to be ANYWHERE now for 17 minutes. With that pride comes accountability and I never take that for granted,” he told me.”
Some of the most successful talent in the radio industry have come and gone over the years. Each has left his or her mark on a network which has been a key part of millions of listener’s lives. Though change is a part of every business, there’s no doubt that some departures have created larger voids than others.
Tony Kornheiser’s exit from the network’s weekday lineup in March of 2004 fits in that conversation. Replacing a host with his stature was not easy. In fact, Bruce Gilbert says he recoiled a bit at the idea of having to find “the next Tony Kornheiser.”
“My boss and I really wanted a TRUE radio person,” shared Gilbert. “Most of the people on the radio network at that time had come up through SportsCenter or ESPNews. We made a pact to find someone that really understood the intricacies and subtleties of audio and how to connect emotionally and passionately with the ESPN radio audience.”
Remember, this was before radio stations across the country were focused on streaming. Gilbert’s search wasn’t easy. He was calling affiliates and asking how he could listen to their best talents over the phone.
There was one name that Gilbert heard from two trusted advisors. Scott Mastellar and Rick Scott told him to check out this guy in the Pacific Northwest named Colin Cowherd.
“I was a local radio guy, and Tony Kornheiser was amazing,” Cowherd said, reminiscing about the process during a show in 2015. “He’s a brilliant man, brilliant writer, media icon, and he was leaving. And they could have picked a million guys out of New York, or L.A. Chicago, Dallas, many applied, it was a good job.”
“After hearing his show we flew him to Bristol and when Colin came into my office, he never even gave me a chance to ask a question, he basically started doing a show,” Remembers Gilbert of his first meeting with Colin Cowherd. “For 45 minutes straight he entertained the hell out of me and I don’t believe he ever took a breath. I remember telling my bosses he was the guy and they couldn’t understand how I was so sure and I said I just wish you could have been in my office the day he was here and you wouldn’t even ask me that question. There was one executive who said to me, and I quote, ‘What the hell is a Colin Cowherd, and is that even a real name?’”.
Plenty of sports radio fans across the country are happy Gilbert got his way on that one.
A few years later, the network had to replace another icon. Traug Keller remembers Dan Patrick’s decision to leave ESPN as “bittersweet.” He jokes that it worked out just fine for the recently inducted Radio Hall of Famer and ESPN Radio “kept on trucking”.
“We had this collection of 300-plus affiliates that were trusting us. As big of a name as Dan was and him going probably made some of them nervous, they were confident we would figure it out.”
The initial plan was Mike Tirico. Keller says that just as that show was finding its rhythm, the host was tapped for another assignment by the network. He describes the call for Tirico to take over as the voice of Monday Night Football coming just as “you could see the ratings start to pop.”
From there, Scott Van Pelt was given a shot. He and Ryen Russillo established a strong presence in the noon to 3 pm time slot. Van Pelt was well-known thanks to SportsCenter. Russillo wasn’t a national name quite yet, but had established some credibility for himself in Boston, working on 1510 The Zone and WBCN.
The move to ESPN Radio wasn’t exactly easy for Rusillo. Last year, he told Bryan Curtis, his colleague at The Ringer, that his prep process and scope had to change in order to be successful on the national level.
“I always had to know a little about a lot of things, where in local I had to know everything, but only about one thing,” he said in October on The Press Box podcast. “The math is easier on the local side of things.”
Cowherd would leave the network in 2015, but not before calling his time there “the best ten years of my life.” In 2017, it was Greenberg who said goodbye to radio.
That gave ESPN Radio the chance to give its morning show the first overhaul it would receive in nearly two decades. Mike Golic was given two new co-hosts, NFL Live’s Trey Wingo and his son, Mike Golic Jr, who had been working overnights on the network.
The younger Golic told me that he knew from growing up around broadcasting that it was the career he wanted. That didn’t mean he was ready for the spotlight on day 1.
“That’s kind of like being in shape vs being in football shape,” he told me via email. “Growing up around it certainly made me familiar with the names and the environment, but I was still so green when it came to doing the actual job. Everyone gives you the same advice coming in: reps reps reps. And they’re all right. It worked a lot like my football career though, where Dad was able to help me by being an extra set of eyes and ears. I got to watch my high school football tape with a guy who played 9 years in the NFL, and now I was getting feedback from a hall of fame radio host.”
Golic and Wingo lasted for four years on the network. Then it was Mike Golic Sr.’s turn to say goodbye.
His final show has become one of the truly iconic moments in ESPN Radio history. Originating from his home, with his entire family around him, Golic shared stories and insight about how the job had changed his life.
It was Golic Jr. that stole the spotlight though. His farewell to his father was raw. Everyone on the set, and presumably most people on the other side of the screen or speaker, were in tears
“To get to do this with you for the last three years will be the highlight of my professional life and my personal life,” Junior said. “To get to do the thing you always wanted to do with the person you always wanted to be is just surreal.”
I asked Junior about that moment and if he recognized immediately the weight that it had.
“Oh yeah,” he said. “I think as long as I live and am with ESPN that and dipping Oreos in mayonnaise will be my legacy.”
Mike Golic Sr. looks back on his ESPN Radio years mostly with fondness. He did tell Brian Noe that there is one thing he would never miss though.
“Getting up sucked, but once you start going and getting to the studio and everybody is there, I loved it. There wasn’t much I haven’t missed outside of that 4:15 alarm, which I swore at every single morning. Every time 4:15 hit, I had a bad word come out of my mouth.”
Changes don’t happen without grumbling at ESPN Radio. Norby Williamson says he is used to that. “Radio and audio is a very personal connectivity,” he says. Sometimes, there isn’t much you can do to change people’s minds. The public will just have to wait and form their own opinions.
Affiliates though are a different story. Williamson says that they tend to offer the people making the decisions a certain level of trust. That is what comes with long relationships and a history of performance.
“I think the ESPN brand stands for something, you know? For a lot of years we’ve worked hard to create this brand affinity with our customers to serve sports fans and to gain some credibility with them,” he says. “So I think when you put the ESPN logo on certain things, whether it’s audio, ESPN Plus, etc., there is a very particular expectation by the customer. There’s also a sense of ‘Alright, I trust this group. So maybe I may not like it initially and boy, I really like that old show better, but I understand I’m going to give it a chance and hope.’ We do a great job. I think a lot of our partners approach any new product we offer thinking ‘I’m going to learn it, accept it, and possibly like it maybe more than the old offering.”
“There isn’t a day that goes by that we aren’t looking to super serve our partners,” says Justin Craig, ESPN’s Senior Director of Network Audio Content. “From paying attention to storylines in key markets to doing our best to have a two way conversation to understand what matters to them, it’s a non-stop focus. We try to be as representative of the largest set of the audience as possible.”
Keeping affiliates happy means giving them help when they want it and giving them an audience when they want that instead.
The network has held regular calls with its affiliates over the years to discuss key issues and ideas that could benefit both sides. Local program directors and executives often join network managers on those calls, which keeps the relationship between both parties in a healthy state. The network has also welcomed representatives from local stations to Bristol to explore ways to work better together, providing tours of ESPN’s studios and making introductions to ESPN Radio talent during those visits to further remind partners of their appreciation for the partnership.
“We work very hard at making sure our talent is accessible to supplement what’s being done with our partners, whether it’s regular appearances, liners or anything else that might be of interest,” Craig adds. “We also operate the other way. If there is a story that matters in one of our markets, we aim to have a host or talent from that market on the network to enhance our coverage. We also continue to provide production elements to everyone through a web based system, so what you hear on the network is easier to duplicate locally. The most important thing is the open flow of communication.”
The older Golic’s exit was the first step towards ESPN Radio’s current lineup, one that features a plethora of voices that weren’t on the radio in Bristol just a few years ago. Keyshawn Johnson and Jay Williams are not new faces by any stretch. ESPN had already created major profiles for each in the past to go along with what they had established in their playing days.
Tapping them for morning drive radio on a national network though? That was going to be a new venue for both of them.
In August of 2020, I had the chance to speak with Williams and he told me that a big part of the reason he felt up to the challenge was that he had the chance to watch, learn from, and get to know Mike Golic.
“I’ve been with ESPN for a long time. Mike Golic was the first person I saw on there for an extended period of time doing that show. I remember sitting there thinking to myself ‘Wow, that is really cool. Mike Golic Sr. is Mike Golic Sr.’ He’s very comfortable with who he is and he is very comfortable being that person on camera.
“It was the first time in my career that I ever thought ‘I’ve gotta figure out who I am, so I can be who I want to be on air.’ I never thought about who I was. I was too busy running. I was too busy giving my opinions about other things to ever have an opinion about myself.”
Johnson told BSM in 2020 that he was ready for the challenge of establishing a new identity for the network in morning drive, because he was not worried about the old identity. The audience was going to have preconceived notions and set feelings no matter what he said on the first show, so he was just going to focus on Keyshawn, JWill and Zubin instead of worrying about how he compared to Mike Golic.
“There’s nobody else out there that’s me, there’s nobody that’s any of my co-hosts. Everybody has their own opinion on how to do something, how to host a show. You’ll hear people say, ‘they’re not that good,’ and you’ll also hear people say ‘they’re really good.’ Everyone has a different opinion, so I don’t get caught up in the hype.”
When the radio lineup received its first post-Golic overhaul, Zubin Mehenti was part of morning drive. Eventually, health concerns forced him to step away from the grind of morning radio. Max Kellerman, who had been added to the radio lineup in early afternoons would move into Mehenti’s seat in mornings.
Good things that go away have a way of not staying gone forever in the media business. That’s why it shouldn’t be a surprise that another part of ESPN Radio’s new identity was Mike Greenberg.
He was no longer in morning drive and he wasn’t grinding away for four hours everyday anymore, but Greeny was back on the radio three years after leaving to launch Get Up on television.
His new show #Greeny is heard for two hours every weekday. Now it is on from 10 am until noon, but it started out from noon until 2 pm.
Greenberg told me that he didn’t sit around pining for the chance to be back on the radio during the time he was solely focused on TV, but it is a medium he loves. So when the opportunity to sit behind a microphone again presented itself, he was interested.
“I didn’t actively think about it much because my time was fully consumed with launching Get Up, but I always knew I’d eventually go back in some form,” he said. “There is an intimacy in the relationship you develop with your audience in radio that is unlike anything I’ve found in any other medium.”
Say the words “ESPN Radio” too many times or to the wrong person these days and you are bound to be corrected. It’s ESPN Audio now. The network is creating shows and content with different identities across different platforms.
“Nobody makes decisions in a vacuum,” says David Roberts, ESPN’s Senior Vice President for NBA and Studio Production. “It’s a matter of understanding the markets, analyzing the research, reviewing the ratings, and placing a focus on the importance of cross platform content creators. The days of being just a radio focused brand are long gone. You have to be focused on audio, video, digital. Those are the parameters you have to operate in.”
Roberts played a major role in the overhaul of ESPN Radio’s talent lineup and overall philosophy. Two years ago, he spoke with Jason Barrett and explained that he has faith that diverse voices and diverse technology would be a key to ESPN’s long term success in the audio space.
“I have the utmost respect for our competition. There are some very talented personalities and brands out there. But I’m not focused on what they’re doing. I’m looking at how we can improve ESPN Radio. A key part of our strategy is making sure our platforms are connecting with one another. It’s why you see many of the people on our product today. That underscores the commitment we have to maximizing the strength of the ESPN brand to the depth of talent. That’s integral to our strategy and growth. Any decisions we make are going to be made with that being a key focus.”
Like every other radio venture, ESPN functioned for so long following the rules of what entertainment on the platform was supposed to be. Norby Williamson says that isn’t good enough in 2022. Audiences want options when it comes to entertainment. If you want to stay on their radar, you have to play by the new rules.
“Ultimately the consumer wins,” he says. “I think sometimes, whatever product that you’re making, whether it’s in the media or other things, sometimes we think we know more than we actually know. The consumer will always win.”
Every ESPN Radio show is also a podcast. It has a video feed on ESPN+. Keyshawn, JWill and Max, is on ESPN2 in the morning. On top of that, clips from everyone’s content make their way to ESPN’s and ESPN Radio’s various social media channels.
A multi-platform approach is nothing new really. Remember, going back to the days of Mike & Mike, ESPN Radio was sharing shows with television. Traug Keller says he feels lucky to have been in the business during a time when the options for audio entertainment were blowing up.
When ESPN Radio launched in 1992, there were no podcasts. There was no satellite radio. There was no streaming audio or smart speakers.
It wasn’t just executives. Talent had to earn to work and succeed in the new media environment too. Not every old school radio guy is cut out to start playing “anywhere there’s ears” as Keller puts it. That is why he gives credit to Dan Le Batard.
“Dan was incredibly creative with how he did both the radio show and a TV show. The show works so well as a podcast too without even without a lot of tinkering, just kind of the way Le Batard and his crew down there in South Beach presented it. So, you know, a lot of ESPN’s strategies depended on the different personalities and different shows. But as a general theme we wanted to be what we called ‘Uber Audio,’ right? We just wanted to be everywhere that there was the opportunity for more listening.”
The other piece of the puzzle that makes ESPN Radio what it is are play-by-play rights. Sure, the four letters are valuable to sellers in local markets, but what makes those letters valuable? It is that ESPN is synonymous with the biggest events in sports.
A local ESPN Radio affiliate instantly gets play-by-play rights to Major League Baseball’s Sunday night showcase game and its entire postseason, the biggest college football games each week including the College Football Playoff, and the NBA Finals.
To look at that collection today, one would be forgiven for thinking that ESPN Radio put a premium on accumulating those rights from day one. Bruce Gilbert says that isn’t true and he credits one man for helping change that.
“ESPN Radio was actually behind the curve when it came to the number of live events. We had John Martin – “The Chief” – who was an experienced and extremely talented producer of live audio play-by-play and John was always looking to do more and add more to the ESPN Radio offerings.”
Even if others in Bristol didn’t think it was imperative that the radio network carry actual games, Gilbert says “Chief” kept it at the front of everyone’s mind. This was sports radio after all! Games have been airing on the radio long before they were on TV and even longer before the word “talk” became synonymous with “sports radio.”
Besides, this is ESPN! It’s the biggest name in sports. How could the radio network live up to that standard without the biggest games?
“John understood the drama of live events and the storytelling that brought those events to an even higher level,” Gilbert said. “Like many successful business ventures, the addition of play-by-play was a natural and organic process that elevated ESPN Radio.”
Thirty years is a long time. Plenty of radio networks have come and gone since January 1, 1992 when Tony Bruno, Keith Olbermann, Chuck Wilson appeared on the network’s airwaves, soon to be followed by a trailblazing female host, ‘The Fabulous Sports Babe’ Nanci Donnellan. Plenty of media formats have come and gone too. Remember mini discs?
ESPN’s audio offerings keep expanding and adapting. The executives get the importance of that. David Roberts says the key to continued success is finding and investing in talent that gets that too.
When ESPN Radio launched in 1992, it found success by leveraging the ESPN brand in a new space. Success in 2022 in beyond is about getting both listeners and affiliates to view audio offerings as part of the entire ESPN portfolio.
“If you think otherwise you’re not being realistic,” Roberts told Barrett. “Today, you have to connect in multiple ways. That’s how you build a bigger brand.”
Success in the future will certainly depend on understanding new trends and appealing to the modern listener. But the foundation for success was laid long ago.
“I think there are a few reasons for the sustainability,” says Amanda Gifford, the Senior Coordinating Producer/VP, ESPN Audio and Content Strategy. “One – the ESPN Brand. Nothing says sports like “ESPN,” so when people tune in to ESPN Radio, they know they’ll get high-quality sports talk to keep them informed and entertained about everything going on in the sports landscape. Two – the people. We’ve had such talented people both in front of and behind the microphone over the past 30 years, and because of the aptitude of hundreds of folks who have made an impact on ESPN Radio, we’ve been able to uphold the standards of the World Wide Leader.”
ESPN is the biggest name in sports media. The company has access to some of the biggest events and most unique voices. As long as that is true, no one will worry about whether or not the radio network can survive another 30 years. It absolutely will. The questions are more along the lines of what will it sound like and how will we hear it.
After thirty years of success, it is probably fair to trust that ESPN will figure all of it out.
Adam The Bull Is Giving Cleveland Something It’s Never Had Before
“It was only more recently that I was like why do I have to only be a radio guy?”
After spending 22 years on the radio, Adam “The Bull” Gerstenhaber was ready for a new adventure. In fact, the former co-host of Bull and Fox on 92.3 The Fan in Cleveland did not have a new job lined up when he signed off from his 11-year radio home last month.
“I was already leaving without having a new project,” admitted Gerstenhaber during a recent phone interview with BSM. “I left before I knew for sure I had a ‘next project’.”
Gerstenhaber was preparing for his final show with co-host Dustin Fox on April 1st when he was contacted by an executive producer for TEGNA, a company that was developing a Cleveland sports television show on YouTube. The executive producer, who had just found out that Bull was a free agent, made it clear that he wanted Bull to be a part of the new project.
It all came together very quickly.
“Let’s talk on Monday,” Gerstenhaber told the executive producer. “And within a week they signed me up.”
The Ultimate Cleveland Sports Show on YouTube featuring Gerstenhaber, former ESPN personality Jay Crawford, 92.3 The Fan’s Garrett Bush, and rotating hosts to make up a four-person round-table show, made its debut last Monday. The show, which airs weekdays from 11am to 1pm, features passionate Cleveland sports talk, live guests, either in-studio or via Zoom, as well as interaction from the audience through social media.
“I’m very excited,” said Gerstenhaber. “It’s a definite adjustment for me after 22 years on radio doing television. For the last 11 years, I’ve been doing a radio show with just one other host and I was the lead guy doing most of the talking and now I’m on a show with three other people and it’s such an adjustment. So far, I’m having a ball.”
And so far, the reaction to the show has been very positive.
A big reason why is that it’s something that Cleveland didn’t have and really never had, unlike a city like New York, where there are local radio shows that are simulcast on regional sports channels.
“There’s nothing like that in Cleveland,” said Gerstenhaber. “And there was certainly nothing like this with a panel. Cleveland is such a massive sports town and now people that don’t live in Cleveland that are maybe retired in Florida or Arizona, now they actually have a TV show that they can watch that’s Cleveland-centric.”
The new venture certainly represents a big change in what Bull has been used to in his radio career. He’s enjoying the freedom of not having to follow a hard clock for this show. In fact, there have already been some occasions where the show has been able to go a little longer than scheduled because they have the flexibility to do that on YouTube.
Doing a show on YouTube gives the panel a great opportunity to go deep into topics and spend some quality time with guests. And while there is no cursing on the show at the moment, there could be the potential for that down the road.
Don’t expect the show is going to become X-rated or anything like that, but the objective is to be able to capture the spirit and emotion of being a sports fan and host.
“It’s something we may do in the future,” said Gerstenhaber. “Not curse just to curse but it gives us the option if we get fired up. It is allowed because there’s no restrictions there. The company doesn’t want us to do it at the moment.”
There’s also been the shift for Gerstenhaber from being the “point guard” on his old radio show, driving the conversation and doing most of the talking, to now taking a step back and having Crawford distributing the ball on the television show.
For a guy called “The Bull”, that will take some getting used to.
“Jay is a pro’s pro,” said Gerstenhaber. “He’s the point guard for this but he’s also part of the conversation. I’m not used to not being the point guard so I have to adjust to that. I think it’s gone pretty well and the chemistry is pretty good and with time we’ll get used to the flow of it.”
Gerstenhaber’s move from sports radio to an internet television show is a perfect example of how the industry is changing. A good portion of the listening and viewing audience these days, especially those in the younger demographic, are not necessarily watching traditional television or listening to terrestrial radio. For a lot of sports fans, watching and listening on a mobile device or a computer has become a very important way of life.
The desire to adapt, along with a shorter workday, was very enticing to him.
“It was only more recently that I was like why do I have to only be a radio guy?” wondered Gerstenhaber. “There were things about my job that I was unhappy about. I was doing a five-hour radio show. It’s too long. That’s crazy. Nobody should be doing a five-hour radio show at this point.”
Broadcasting on the internet has arrived and it’s not just a couple of sports fans doing a show from their garage anymore. The business has evolved to the point where the technology has provided more opportunities for those who have already enjoyed success in the industry and are looking for new challenges.
Kind of like Adam The Bull!
“I think years ago, probably like many people in the radio business, we looked at internet and podcasts as like whatever…those guys aren’t professionals…they’re amateurs,” said Gerstenhaber. “But the game has changed.”
Gerstenhaber, Crawford and everyone associated with the “Ultimate Cleveland Sports Show” should not have much of a problem attracting the younger audience. That demographic is already accustomed to watching shows on YouTube and other streaming platforms. The challenge now is to get the more mature audience on board. There are certainly some obstacles there.
I know this from experience with trying to explain to my mother in Florida how she can hear me on the radio and watch me on television simply by using her tablet.
Bull can certainly relate to that.
“My mother is still trying to figure out how to watch the show live,” said Gerstenhaber with a chuckle. “The older fans struggle with that. A lot of my older fans here in Cleveland are like how do I watch it? For people that are under 40 and certainly people that under 30, watching a YouTube show is like okay I watch everything on my phone or device. It’s such a divide and obviously as the years go by, that group will increase.”
With the television show off and running, Gerstenhaber still has a passion for his roots and that’s the radio side of the business. In the next couple of weeks, “The Bull” is set to announce the launch of two podcasts, one daily and one weekly, that will begin next month. But he also hasn’t ruled out the possibility of returning to terrestrial radio at some point.
“I have not closed the door to radio,” said Gerstenhaber. “I still love radio. I would still, in the right set of circumstances, consider going back to radio but it would have to really be the perfect situation. I’m excited about (the television show) and right now I don’t want to do anything else but I’m certainly going to remain open-minded to radio if a really excellent opportunity came up.”
The landscape of the broadcasting industry, particularly when it comes to sports, has certainly changed over the years and continues to evolve. Adam Gerstenhaber certainly enjoyed a tremendous amount of success on the radio side, both in New York and in Cleveland, but now he has made the transition to something new with the YouTube television show and he’s committed to making it a success.
I Heard A Lot of Boring, Uncreative Sports Radio On Friday
“Sometimes your first idea is your best one. You don’t know that though if you stop thinking after one idea. That is what it feels like happens a lot the day after NFL schedules are released”
Maybe this one is on me for expecting better. Maybe I need to take my own advice and accept that there are times the sports radio audience just wants a little comfort food. Still, this is my column and I am going to complain because I listened to probably six different stations on Friday and all of them were doing the exact same thing.
The NFL schedule was released on Thursday night, so on Friday, regardless of daypart, every show seemingly felt obligated to have the same three conversations.
- How many games will the home team win?
- What does the number of primetime games we got mean for how much respect we have nationally?
- Why do the Lions still get to play on Thanksgiving?
Football is king. I get that. Concrete NFL news is always going to take priority. That is understandable. But where was even an ounce of creativity? Where was the desire to do better – not just better than the competition, but better than the other shows in your own building?
I listened to shows in markets from across the league. The conversations were the same regardless of size or history of success. Everyone that picked in the top 5 in last month’s draft is going to go 10-7. Every team that got less than 5 primetime games feels disrespected. It was all so boring.
Those of us in the industry don’t consume content the way listeners do. We all know that. Perhaps I am harping on something that is only a problem to me because I listen to sports talk radio for a living. If you don’t ever want to put more than the bare minimum of effort into your show, decide that is the reason for my reaction and go click on another article here.
Consider this though, maybe the fact that I listen to so much sports radio means I know how much quality there is in this industry. Maybe it means that I can spot someone talented that is phoning it in.
I want to be clear in my point. There is value in giving your record prediction for the home team. Listeners look at the people on the radio as experts. I will bet some futures bets in a lot of markets were made on Friday based on what the gambler heard coming through their speakers. All I want to get across is there is a way to have that conversation that isn’t taking two segments to go through each week one by one. I heard no less than three stations do that on Friday.
Sometimes your first idea is your best one. You don’t know that though if you stop thinking after one idea. That is what it feels like happens a lot the day after NFL schedules are released. It’s a very familiar rhythm: pick the wins, get a guest on to preview the week 1 opponent, take calls, texts and tweets with the listeners’ predictions.
I didn’t hear anyone ask their listeners to sell them on the over for wins. I didn’t hear anyone give me weeks that you could skip Red Zone because one matchup is just too damn good. I didn’t hear anyone go through the Sunday Night Football schedule and pick out the weeks to schedule dates because the matchup isn’t worth it.
Maybe none of those ideas are winners, and that is fine. They are literally three dumb ideas I pulled out of the air. But they are all ways to review the schedule that could potentially leave a smile on your listener’s face.
Show prep is so important, especially in a group setting. It is your chance to tell your partner, producer, or host that you know you can do better than the idea that has just been thrown out. Quit nodding in agreement and challenge each other! It may mean a little more work for you, but it means more reward for the listeners. And if the listeners know they can rely on you for quality, creative content, that leads to more reward for you.
And lay off the Lions. It’s Thanksgiving. You’re stuck at home. The NFL could give you Lions vs Jaguars and you’d watch.
Why You Should Be Making Great TikTok Content
“We’re specially trained in the world of TSL (time spent listening), and the longer people view your content on TikTok, the more the app rewards you by shoving your content into more and more feeds.”
It feels like there’s a new social media platform to pay attention to every other week. That makes it easy to overlook when one of them actually presents value to your brand. It wasn’t long ago that TikTok was primarily used by teenagers with the focus being silly dance trends filmed for video consumption with their friends and followers alike. Now, as the general public has become in tune with how this complicated app works, it’s grown far beyond that.
TikTok is now an app used by all types of demographics and unlike TikTok’s closely related cousins Instagram and Facebook, this app provides a certain type of nuance that I think people in our line of work can really excel in.
Before I get into the nuts and bolts of how you can use TikTok to your advantage and how to make your videos catch on, I think it’s important to first mention why this matters for you. Now, if I’m being realistic, I’m sure there are some that have already stopped reading this or those that could scroll away fast enough when they saw the words TikTok. You might be thinking that this doesn’t fit your demo, or maybe that it’s a waste of time because productivity here won’t directly lead to an uptick in Nielsen ratings. But I’m not sure any social network directly leads to what we ultimately get judged on, and we aren’t always pumping out content directly to our core audience.
TikTok, like any other app you may use, is marketing. This is another free tool to let people out there know who you are and what you offer in this endless sea of content. And the beauty of TikTok is that it directly caters its algorithm to content creators just like us. Bottom line, if you are a personality in sports talk, there’s no reason you can’t be crushing it on TikTok right now. All it takes is a little direction, focus, consistency, and a plan.
Unlike Instagram, Facebook, and Twitter where you can throw a photo up with a caption and be done for the day, TikTok’s whole model is built on creative videos that keep users engaged for longer periods of time. This approach works. According to Oberlo, a social media stat tracking site, people spend more time per day on TikTok than any other popular social media application. 38 minutes per day!
This is where this is good news for us in talk radio. We’re specially trained in the world of TSL (time spent listening), and the longer people view your content on TikTok, the more the app rewards you by shoving your content into more and more feeds. TikTok’s algorithm doesn’t care how many followers you have, your level of credibility, or the production on your video. All ir cares about is 1) Is your content good. and 2) Are people watching it. 3) How long are they watching it. The more people watch and the longer they watch creates a snowball effect. Your videos views will skyrocket, sometimes within hours.
So, how do you create content that will catch on? It’s really not all that different than what you do every day. Create thought-provoking commentary that makes people think, argue, or stay till the end to get the info you teased up for them. I’ve found through my own trial and error that it’s best if you stay away from time-sensitive material, I’ve had more success the more evergreen my content is. That way, the shelf life expands beyond just that day or week. This is different for everyone and there’s no one-size-fits-all, but this is where I’ve seen the most success.
Also, put yourself out there, don’t be afraid to say something that people are going to vehemently disagree with. Again, it’s not unlike what we do every day. It’s one thing to get someone to listen, it’s another to get them to engage. Once they hit you in the comment section, you’ve got them hooked. Comments breed more views and on and on. But don’t just let those sit there, even the smallest interaction back like a shoulder shrug emoji can go a long way in creating more play for your video.
If you want to grow quickly, create a niche for yourself. The best content creators that I follow on TikTok all put out very similar content for most of their videos. This means, unlike Instagram where it’s great to show what a wildly interesting and eclectic person you are, TikTok users want to know what they’re getting the second your face pops up on that screen. So if you are the sports history guy, be the sports history guy all the time. If you are the top 5 list guy, be the top 5 list guy all the time, and on and on, you get the point.
Other simple tricks:
- Splice small videos together. Don’t shoot one long video.
- 90 seconds to 2 minutes is a sweet spot amount of time.
- Add a soft layer of background instrumental music (this feature is found in the app when you are putting the finishing touches on your video)
- Label your video across the screen at the start and time it out so that it disappears seconds later. This way a user gets an idea of what the content is immediately and then can focus on you delivering your message thereafter.
- Research trending hashtags, they are far more important than whatever you caption your video.
- Use closed captions so that people can follow your video without sound.
Finally, don’t be intimidated by it or snub your nose at it. Anything that helps your brand is worth doing and anything worth doing is worth doing well.