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Will Audiences Pay For Local Sports Radio Digital Content?

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The interest in sports radio programming continues to soar across the globe. But is that appetite for sports audio content strong enough to expect local audiences to pay for it?

Executives at ESPN Cleveland 850 WKNR believe it is.

On May 1st, the radio station announced they would start charging $8.50 per month or $85.00 annually to listen to full length podcasts of the station’s top shows, minus local commercials and with the talent having the freedom to express themselves in uncensored fashion on their website and app “The Land On Demand“. WKNR offers their over the air radio programming and short-form clips from their shows on their digital platforms for free, but full-length shows had previously not been made available.

Keith Williams, ESPN Cleveland’s vice president and general manager, told Crain’s Cleveland Business that full-length podcasts are the number one thing listeners have asked WKNR to offer. But unlike the majority of brands across the country that provide that form of programming to their audiences on their websites and digital channels for free, WKNR is hoping the demand for consuming the content will be strong enough to justify additional spending.

“We know the way fans are consuming media in an on-demand world,” Williams told Crain. “They don’t have the time or resources they once had. We’re providing them what they asked for.”

In the same article with Crain, Talkers Magazine publisher Michael Harrison was a proponent of the move. He said “The biggest problem facing commercial radio is the commercials. If WKNR was charging people to listen to it on the air, then people should grumble, but what the hell do they have to grumble about? They don’t want radio stations to make a living?”

There’s some truth in Michael’s words. Commercials have become viewed as obstacles standing in the way of the listener enjoying the content. Fred Jacobs wrote about this issue recently after his TechSurvey 13 revealed that ads were the number one reason why people say they listen to less AM/FM radio. That’s a reflection on our growing impatience as a society. We want what we want and we want it now or we’re moving on to something else.

However, to suggest that people shouldn’t grumble over the radio station charging a fee to consume audio that they can hear for free over the air is looking at it strictly from the company’s point of view.

It’s not the audience’s problem if the station generates a profit. They have their own financial difficulties to deal with. Their only role in the situation is to listen to the programming. If they do that consistently, the station can then leverage that passion and commitment with their advertisers. Judging from the early feedback on iTunes and Google Play, people aren’t happy with the direction WKNR has chosen to go.

But let’s take a step back for a second and analyze this from a number of different perspectives.

First, if the listener is able to listen to one of WKNR’s shows over the radio airwaves or on the station’s stream during the time that it airs, they pay nothing for it. If they want to enjoy a small portion of a show in podcast form, that too is free. There are options for them to consume content without having to pay for it. However, if they miss a show, and want to enjoy it later on during their free time, that same content (minus the commercials) which was available over the air for free, now requires a monthly or annual fee.

Now let’s add the advertiser’s perspective.

Imagine for a second if you’re a local or national client. You’re being asked to spend your money promoting your products on WKNR’s airwaves. Those are the same airwaves that are encouraging fans to pay the radio station to hear their programs online, without your commercials in them. If that model gains traction and reduces over the air listening, how would it sit with you if you were investing in the brand’s over the air product? Wouldn’t you want a future place at the table in the digital space if it was becoming a hit with the local audience?

The reason advertisers invest in radio stations is because of their ability to help the client reach specific audiences. If that desired demographic though views the client’s over the air commercials as a detriment to their listening time, and the station wants to prevent the advertiser from being included in digital spaces, then why exactly would a client continue spending the same amount or even more of their ad budget on the radio station?

That’s a slippery slope for stations. The executive team is absolutely right to shift their programming online and eliminate roadblocks that hinder the audience’s listening experience. However, they’re also reliant on advertising dollars to continue running a business. If they piss off their key clients during a period when they’re trying to develop a potential new revenue stream, it could harm their business, especially during the short-term.

Another area that I want to examine is the value.

The Land on Demand’s key selling point is that it’s weekday shows (which you can hear for free on the radio station) are now available in full-length form without interruption. That’s not anything groundbreaking. In fact, most local sports stations already provide that. To expect that offering full-length shows without commercials, with the benefit of using adult language is going to be enough to generate significant spending seems rather peculiar.

However, WKNR did add a section titled WKNR Classics which allows the audience to hear archived shows, guests, and memorable moments. That part is cool and gives the paying consumer something they can’t get over the air. There are also plans to introduce more original content which will only be available to paying customers. That’s a wise move.

But here’s where the problem lies.

Place yourself in the shoes of the consumer for a minute, and consider what you’re up against.

For $11-$20 per month, a listener can purchase a subscription to SiriusXM and gain access to hundreds of programming options. That includes hearing music, comedy, live sporting events, and high profile talent such as Howard Stern, Chris “Mad Dog Russo, and many more.

If you want to save even more money, you can spend $8 per month to become a premium subscriber to TuneIn which gives you access to every MLB and NFL game, commercial-free music, audio books, thousands of radio stations, and millions of podcasts.

I haven’t even touched on the services available to paying consumers on television, video and online platforms. Between Netflix, Hulu, Amazon Prime, MLB, the NFL, the WWE Network and others, there are tons of options to consider when paying for entertainment. In each case, these companies are offering a ton of value in exchange for a minimal monthly or annual fee.

You may suggest that it’s an apples to oranges comparison because one product is focused on local sports radio and the others aren’t, but they’re all delivering entertainment while reducing an individual’s bank account. I assure you, when push comes to shove, most people will spend money on the things they need first, and then consider the available choices when deciding on whether or not to add luxuries.

But spending aside, another potential concern for WKNR is bad publicity. A decline in ratings is often a natural fear for radio companies but Good Karma Broadcasting (WKNR’s parent company) doesn’t live and die by the ratings, so that shouldn’t be an issue. However, no station or business wants to lose listeners.

That said, one item which can easily be lost in this conversation is the fact that the long-form digital offerings were previously unavailable on WKNR. It’s not as if Good Karma is forcing this on its audience. Instead, they’re supplying an additional option to the audience, which they can hear in exchange for a fee. If they don’t want to pay for it, then they’re in no different shape than they were last month.

If it ruffles the feathers of a Cleveland sports radio fan, they do have other options to consider. They can listen solely to WKNR over the radio or if they’re bothered to the point of considering a switch, they can pledge their allegiance to 92.3 The Fan. If for some reason that doesn’t suit their style, they can also turn to brands like 97.1 The Fan or 105.7 The Zone in Columbus who are also talking about Ohio sports. In fact, Bruce Hooley who hosts mornings on The Zone, used to host shows on WKNR.

If neither of those options satisfy, there are always networks and hundreds of sports stations across the country offering quality content for free, both on-air and online. The one big difference though, they’re not largely focused on Cleveland sports the way that WKNR or those other Ohio sports radio brands are.

From the local fan’s point of view, they’re going to wonder why they’re being asked to pay for something that other stations and cities don’t. For example, a Boston sports radio fan can log on to WEEI.com and gain access to all of the station’s programming, plus a number of original podcasts, including Kirk Minihane’s “Enough About Me” which ranks among the best in the format. The station also offers uncensored programs, commercial-free content, and generates over 2 million web visitors per month. The cost for that experience? Zero.

That same strategy of offering free long-form programming in the podcast space is employed by numerous radio companies who own and operate sports stations. Among them include ESPN, iHeart, Bonneville, Hubbard, Emmis, and Beasley. Cumulus doesn’t employ that strategy, and as I mentioned previously, CBS doesn’t either. Their approach is more focused on offering short-form content clips.

But this begs the question, should digital content require a fee?

Stations are dedicating a lot of hours, creativity and bandwidth to provide valuable listening experiences for their audiences, with the idea being that advertisers will offset it. But most of those dollars are coming from the over the air product, not the digital side of the business. As advertisers continue to shift their ad spending into the digital space, and listeners expect ads to be eliminated from their listening experience, it’s worth examining whether or not a subscription based on-demand strategy makes long-term sense.

The subject of digital and podcasting came up in a recent interview with Mike Francesa of WFAN. Talking to Bryan Curtis of The Ringer, the New York sports talk show host said most brands bastardize their own content by giving it away for free. While radio preaches the importance of being on Facebook, Twitter and Instagram, it hasn’t figured out how to make a dime off of those platforms. As a result, Francesa says radio is destroying its own business.

I can see Mike’s point. From the product end of the business, brands are doing an incredible job of building audiences and generating interest. Turning that passion and dedication though into profitability in the digital and social media world remains a daunting task.

As it applies to WKNR’s situation, one positive working in their favor is that their local competitor (92.3 The Fan) doesn’t currently offer long-form versions of their shows online. That’s a CBS strategy that exists on most of their sports radio brands websites. You can download and listen to interviews, highlights, and occasional monologues, but not full-length programs. But with WKNR announcing their new digital initiative, might that lead The Fan to make a future adjustment? It probably wouldn’t be a consideration under CBS, but with Entercom on the verge of taking over the company that’s certainly possible. Especially since they offer free full length programs in podcast form on the majority of their sports radio brands.

Throughout the years, WKNR has built a familiar brand in Cleveland. Many of their personalities have appeared on the station for a lengthy period of time, and it’s clear they’re counting on local fans having a strong enough interest in their personalities and content to help them enhance their digital business. It’d be foolish to suggest the radio station won’t attract a market for what it’s offering, but whether or not it’ll be sustainable is way too early to tell.

What should be appreciated, regardless of how things play out, is that WKNR is taking a risk. We often talk about our industry being stuck in mud and unwilling to take chances, yet the second someone does, we’re quick to pounce on them and sign their death certificate. Maybe there are some holes in the existing strategy, and the public’s reaction to the news certainly leaves little to be desired, but immediate feedback to any change is often negative, and people have demonstrated numerous times that they’ll pay for things we never expected them to. What one person believes is worth $1, someone else values at $1000.

All of that taken into account, not every risk is a wise one. To simply present shows without commercials in exchange for a fee, and turn it into a thriving revenue stream is expecting a lot. I believe that WKNR will need to add more original content to its digital channels, plus offer additional unique benefits associated with a premium experience to satisfy and grow its subscriber base. I’m sure they’re already working on that. The beauty of a project like this is that it’s in its infancy, so there’s still plenty of time for making improvements.

In life, if you want to grab the brass ring you have to have brass balls. ESPN Cleveland certainly has those. But if you push the audience further than they’re willing to go, those same brass balls can be kicked in by steel toed boots. Hopefully WKNR has invested in a sturdy athletic supporter and cup. I just hope for their sake they don’t end up needing to wear it.

Barrett Blogs

Where Are The Sports Radio Programmers of Tomorrow?

“As someone who’s helped many aspiring programmers over the years, I’ve seen less new people seeking out advice the past few years than they did from 2011-2019.”

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Photo Credit: Roman Gorielov

I don’t get the opportunity to write as often as I’d like to. Consulting projects make that harder these days but I do miss it. Fortunately I’ve been able to assemble a quality team to deliver news and industry opinions to your inbox and social media platforms each day. If you receive our emails, then you should notice one of those improvements today with our BSM 8@8 Newsletter. If you aren’t receiving our emails and would like to, click here to sign up.

The reason I chose to write today is because there’s one specific area of our industry that I’m concerned about and need to draw attention to. That’s the emergence of tomorrow’s sports radio program directors.

If you work in or follow this business, can you recall a year during the past decade where we saw more programming changes in sports radio than this one? I can’t. WFAN in New York, WEEI in Boston, KNBR in San Francisco, WIP in Philadelphia, Arizona Sports 98.7 in Phoenix, ESPN 97.5 in Houston, 93.7 The Fan in Pittsburgh, 750 The Game in Portland, ESPN 94.5 in Milwaukee, The Fan in Indianapolis, 107.5 The Game in Columbia, ESPN Las Vegas, 1620 The Zone in Omaha, and 98.1 The Sports Animal in Oklahoma City have or are soon to undergo PD changes. This follows a year where 101 ESPN in St. Louis, 104.5 The Zone in Nashville, WFNZ in Charlotte, and 680 The Fan and 92.9 The Game in Atlanta changed programming leaders. 98.5 The Sports Hub in Boston, ESPN 1000 in Chicago, 710 ESPN in Seattle, and ESPN LA 710 went thru changes too in the fall of 2019.

Twenty three brands undergoing change at the top of a station’s programming department in that short period of a time is an eye opener. But what really stands out are the lack of new faces to arrive on the PD scene let alone even come up during the interviewing process.

For every Rick Radzik, Amanda Brown, Kyle Brown and Qiant Myers who were elevated to PD positions over the past two years, there are proven leaders like Kevin Graham, Jeff Rickard, Tommy Mattern, and Terry Foxx who’ve landed in new situations. Those folks absolutely deserve those positions, so let me be clear, proven PD’s should always be valued. As I’ve told many decision makers before, a great PD is a difference maker. The film industry pays big money for Steven Spielberg, Martin Scorcese and Quintin Tarrantino because their track record highlights their abilities to deliver box office hits. Proven PD’s who can do the same for a radio station deserve similar respect.

But if you’re a younger person looking to advance your career into a programming role today, how do you take that next step let alone earn the nod when more experienced people want the same gig? Who’s advocating on your behalf? How would a corporate executive or market manager know that a producer, board op, promotions director or part-time host is capable of becoming the next great programmer?

Better yet, how does any corporate executive or market manager running a local brand know anything about your management style, vision, multi-platform skills, ability to lead people and work with multiple departments, and create exciting content, events and promotions if you’re working for another company in a different city? Here’s the answer, most times, they don’t. You apply for the job, your resume and email arrives in their inbox, which leads to them asking others about you. If someone you’ve crossed paths with says something good about you, you might get a call. If not, your materials go on file should the station have future needs.

Having led PD searches for a number of brands the past few years, I think the first step is finding out who’s interested in growing. Does anyone know of your desire to one day lead a brand besides the host you work with and the programmer you work for? Who have you sought out to gain knowledge and mentorship from outside of your building? Are you counting on an internal promotion to become a leader or assuming your PD will hype you up to potential employers? What are you doing to make sure the right people know you’re hungry to take the next step and you’re ready to go wherever an opportunity exists?

As someone who’s helped many aspiring programmers over the years, I’ve seen less new people seeking out advice the past few years than they did from 2011-2019. Maybe folks don’t think to come my way as much. Maybe they assume the company they’re working for will take care of them when the time comes. Maybe they don’t have the motivation to relocate or upset their current situation. Maybe the pandemic forced folks to press pause on pursuing advancement. Or maybe the role of a program director isn’t as appealing as it was to leaders from my era.

Some assume that because they’ve been successful at producing, and have done it for a long enough time, it means they’re ready for the next step. But programming is much more than managing a show. Not everyone is built to handle a verbal lashing from a market manager, balance a budget, negotiate deals, coach high profile talent, understand and examine PPM ratings, and unify departments. Let’s not forget interactions with corporate, being multi-platform skilled, knowing how to study and attack the competition, dealing with negative PR, and being the brand leader who keeps play by play partnerships in a healthy state.

If you’re behind the scenes in the sports radio industry, your path will most likely lead to becoming either a host, PD, moving into sales/marketing/imaging/digital/corporate or leaving the business. Top 10 markets and national networks are an exception as there are some very talented producers who’ve continued to work with top shows/stations for a long time. Both invest more in off-air positions. In many other cases, the financial upside for behind the scenes help is limited so eventually you reach a fork in the road when you have to decide the best path forward to make a decent living.

But those looking to take the next step don’t often think about positioning themselves to land the next big opportunity. They don’t take time to build relationships with key executives who they’ll one day interview with for a top job. Instead they think about that day’s show and the immediate tasks at hand. You can be the most creative, multiplatform savvy, best guest booker and strongest talent coach in America as a producer but if nobody else knows it outside your building, it’s going to be hard to take the next step. Which is why you have to make time to help yourself. You can start by emailing me. That can’t hurt.

Program directors have a responsibility here too. They should be making time to teach and push their behind the scenes people to want to advance their careers. They should also be telling anyone who will listen why one of their own is ready for the next step. Not enough do that. I can count on one hand the number of PD’s who’ve come to me championing one of their own for a top programming job over the past six years since I began helping stations find PD’s. Just going thru the interview process can be huge for an off-air professional who dreams one day of leading a brand. It helps them learn what to expect, how to present themselves, which areas they need to improve on in order to make the jump and most importantly, it shows them you care about them and their professional development.

I know that the job is busier today than ever for a PD and finding time is a pain in the ass. But coaching people is one of your biggest strengths. It’s why why you’ve been trusted to lead your brand. When twenty three positions open up and more than half require hiring elsewhere in the country and turning to folks inside different companies, that should raise eyebrows. Have you told others to consider someone on your staff? Did you push for them to be interviewed, even if they weren’t the right fit because you knew it’d serve them well later? Did you invest time in them to to make sure they were ready for the next step? And that doesn’t mean just giving them the crap you hate like filling out affidavits, building clocks, and corresponding with the traffic department.

Have you conducted 1 on 1’s with all of your off-air crew and learned who aspires to one day do what you do? Have you taught them how to analyze ratings and content? Sit in on show meetings? Critique talent? Recruit future staff? Participate in creative brainstorms or sales meetings? Have you told your GM or other high ranking executives or PD’s in your company about their passion to lead?

It should go without saying that if you’re in a position to lead and develop people, that it applies to more than just on-air talent. It should include grooming future programmers too. Any executive with oversight of your brand should be asking “who on your staff is ready to take a step?” If the answer is no one, they should be asking what your plan is to change that so the answer is different the next time they ask. If you’re skilled enough to lead a brand for years or even decades, those above you should want to protect the future by having you develop the next crop of programmers too. Your report card as a PD isn’t complete if all you can point to are good quarterly ratings. There are plenty of brands who’ve won in spite of their PD and others who have lost despite having an elite program director.

By the way, shouldn’t a PD want to see people inside their operations get called upon to take the next step? As hard as I pushed my crew to perform in St. Louis and San Francisco, when one got an opportunity to become a PD, APD or EP I was proud as hell. There’s nothing more fulfilling than seeing someone you have mentored, challenged and cared about take their career to a higher level. If you spend years in the position and have producers and assistant programmers not landing opportunities, let alone receiving calls to be interviewed for openings, you should be asking yourself ‘what haven’t I done to get them to that next level’ and ‘do I have the right people here who want to grow?’.

Lastly, I recognize everyone is under pressure to add good help. A station operating without a leader in the programming department creates a lot of problems, especially when it lingers for months. But you also need to find the right people or you end up with bigger problems later, most notably, others questioning your ability to hire the right people. If there’s one thing I’ve learned going thru these processes with different companies is that often times, decision makers want to move fast and find people who are referred by others they know and respect. If they hear a few good things said in conversation by a candidate that match what they value, they’re ready to move forward. Some get caught up in resumes or similar experiences/interests but not all ask the right questions and research people well. It’s amazing what you’ll learn if you investigate properly and ask questions that make folks uncomfortable. If you’re going to trust someone to lead your brand and staff, and set the tone for your operation, spending the extra time to be sure about those you hire is absolutely necessary.

Taking a chance on the APD or smaller market PD isn’t as safe as hiring a veteran leader. If you have a proven winner interested in your opening and feel confident that they fit your needs, I’m all for them being hired. But don’t make the mistake of assuming someone with less experience can’t make a greater difference. Imagine if we were back in 2004 and you passed on Jack Dorsey or Mark Zuckerberg in favor of a proven Newspaper editor to lead your brand’s digital strategy. How would you look today? That could be your radio station in five years if you overlook those with an ability to see the future better than the present when future openings arise.

To grow this format we need a mixture of new blood, new ideas, people who view the audio business differently from those in the present or past, and proven performers who’ve helped turn this format into a very successful one. We have to ask the right questions, fully research candidates, challenge our executives and programmers to take a greater interest in developing the next crop of sports radio executives, and consider new roads rather than the ones we’re most familiar with. We also need to hear from people who haven’t told us of their interest in taking the next step. We need to encourage them to want to grow and show them the path to do so. If we each do those things better, our format is going to spend a lot more time thriving and less time surviving in the years ahead.

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John Skipper To Speak At The 2022 BSM Summit

“In January 2021, Skipper’s plate became even more full when he reunited with Dan Le Batard to create Meadowlark Media. Since joining forces, the group has raised millions of dollars in funding, lured key talent to join the brand, and in April, Meadowlark closed a deal with DraftKings for a reported fifty million dollars over three years. Not too shabby for year #1.

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Putting on a two-day industry conference comes with a fair share of challenges. Months are spent building sessions, selling sponsorships, and talking to so many people that by the time the event rolls around, all I can think about is reaching the finish line and avoiding major issues.

But then the event happens, and there are moments where I’m able to block out the noise for 30-40 minutes and just be present in conversation. It’s what I enjoy most. Being able to sit across from an industry leader who’s been successful in business, and pick their brain on the past, present and future of our industry is both personally and professionally fulfilling. Not only does it provide me with an education, but it helps everyone in attendance too. That’s my motivation for running this conference.

When we return to New York City on March 2-3, 2022, I’m thrilled to share that I’ll have a chance to do that once again with someone I’ve professionally respected and admired for a long time. It is an honor to announce that Meadowlark Media CEO John Skipper will join us for a special on stage conversation at the 2022 BSM Summit.

If you’ve worked in this industry or aspire to, then you’re likely aware of what John has accomplished. He’s seen the business from many different points of view and remains very much involved in helping shape its future. But before we discuss his present involvement, let’s revisit the past.

During his tenure with ESPN, John spent five years serving as company president where he secured a series of long-term, multiplatform agreements with key rightsholders such as the NBA, NFL, MLB, Major College Conferences, US Open Tennis, FIFA, the Masters Tournament and British Open, the College Football Playoff, and the Rose, Sugar and Orange Bowls. He also oversaw the evolution of several brands including The Undefeated, Grantland, five thirty eight, and espnW among others.

Prior to becoming company president, John held the position as EVP of Content, which he earned after helping create and introduce one of the most successful magazine launches of the 1990’s with ESPN The Magazine. His understanding and belief in digital helped ESPN move ESPN. com forward in 2000, adding a paid section, ESPN Insider, and delivering a revamped site approach to generate more advertising. His foresight also spurred the launch of ESPN3, a television network producing more than 4,000 live events on the web and through mobile devices. If that wasn’t enough, John also supported the creation of the Watch ESPN app, played a key role in elevating the careers of many of the industry’s top sports media stars today, and oversaw the growth of ESPN Films, ESPN Radio, and many of ESPN’s key television programs.

After exiting the worldwide leader, John signed on as the Executive Chairman of DAZN. In January 2021, Skipper’s plate became even more full when he reunited with Dan Le Batard to create Meadowlark Media. Since joining forces, the group has raised millions of dollars in funding, lured a number of key talent to become part of the brand, and established a strong presence in podcasting and on YouTube. In April, Meadowlark closed a deal with DraftKings for a reported fifty million dollars over three years. Not too shabby for year #1.

What I’ve appreciated about John is that he’s never been afraid to roll the dice and take risks. Some of his moves have worked out, others haven’t. The wins have been recognized across the industry, but so too have the losses. He’s had to lead a company thru high profile talent controversies, cord cutting challenges, understand the world of video, audio, print, digital, advertising, subscriptions, talent, and rights deals both domestic and internationally, all while keeping his finger on the pulse of the present state of the media business while turning an eye towards the future and knowing which areas the company should make significant investments in.

John has been thru all of it as a media executive, and he’s still doing it while building the Meadowlark brand. A recent story in Bloomberg captured some of his views on growing the Le Batard empire and navigating various parts of the industry. I highly recommend taking time to read it. You can do that by clicking here.

We have five and a half months until we’re inside the Anne Bernstein Theater in New York City, so who knows where the industry will shift during that time. One thing is for certain, John Skipper will be ready for whatever lands on his doorstep. I’m eager to spend time with him in New York treating industry professionals to his insights, opinions and leadership lessons. I’m confident those in attendance will gain value from hearing his perspectives on the industry.

I invite you to join us either in person or virtually for the 2022 BSM Summit. Tickets to the event can be purchased by clicking here. For information on sponsorship opportunities, email JBarrett@sportsradiopd.com.

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2022 BSM Summit Adds Pablo Torre, Joe Fortenbaugh, Kazeem Famuyide & John Jastremski

“By the time March’s conference rolls around, we’ll have somewhere between 50-60 people announced to participate at the two day Summit.”

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The announcements continue for the 2022 BSM Summit. After recently sharing the news that former ESPN Radio executive Traug Keller would join us in the big apple to accept the Jeff Smulyan Award, and previously revealing the first fourteen participants scheduled to appear, it’s time to inform you of a few key talent who will participate in sessions at March’s show.

I’m thrilled to welcome ESPN’s Pablo Torre to the 2022 BSM Summit. Pablo’s been with the worldwide leader since 2012. During that time he’s served as a senior writer for ESPN.com, the host of the ESPN Daily podcast, and has appeared on shows such as Around The Horn, Highly Questionable, and The Dan Le Batard Show. He also previously co-hosted High Noon with Bomani Jones. Prior to joining ESPN he spent five years writing for Sports Illustrated. Having worked with a mixture of talent from various backgrounds, I’m looking forward to having him share his insight and opinions on the value of it at the show.

Pablo isn’t the only ESPN personality joining us in New York for the conference. I’m excited to welcome back a great friend and one of the smartest sports betting analysts on television, Joe Fortenbaugh. Joe is regularly featured on ESPN’s sports betting program Daily Wager. He also appears on other ESPN programs and segments on television, radio and digital platforms. Prior to joining the network he hosted 95.7 The Game’s morning show in San Francisco, and hosted “The Sharp 600″ sports betting podcast. He’ll moderate a conversation with sports betting executives at the show.

Given that this two-day sports media conference is taking place in the heart of New York City, it’d be silly to not include someone who’s passion, energy, sound, and content embody what New York is all about. The Ringer’s John Jastremski will make his BSM Summit debut in 2022. The ‘New York, New York’ host is known to many for his years of contributions on WFAN. It’ll be fun picking JJ’s brain on the differences between performing on a traditional platform and the digital stage.

Jastremski isn’t the only one with a connection to The Ringer who will participate at our 2022 event. My next guest is someone who I’ve followed on YouTube and Twitter for years, has infectious energy and likeability, and has taken his life experiences and sports passions and turned them into opportunities with MSG Network, SNY, The Ringer, Bleacher Report, WWE, The Source and various other outlets. Kazeem Famuyide will join us to shed light on his journey and offer his perspective on the value of traditional vs. non-traditional paths.

By the time March’s conference rolls around, we’ll have somewhere between 50-60 people announced to participate at the two day event. I’ll be announcing the addition of a very special executive in mid-October, as well as a few high profile speakers and awards recipients in the weeks and months ahead. I’m appreciative of so many expressing interest in speaking at the conference, and as much as I’d like to include everyone on stage, I can’t. Keeping the Summit informative, fresh and focused on the right issues is important, and to do that, I’ve got to introduce different people, perspectives and subjects so our attendees gain value to further improve the industry.

A reminder, the 2022 BSM Summit is strictly for members of the sports media industry and college students aspiring to work in the business. It brings together people from more than thirty different media companies and focuses on issues of relevance and importance to media industry professionals. The show takes place March 2-3, 2022 in New York at the Anne Bernstein Theater on West 50th Street. Tickets and hotel rooms can be secured by visiting BSMSummit.com. For those unable to attend in person, the Summit will also be available to view online. Virtual tickets can be purchased by clicking here. Hope you’ll join us!

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