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A Great Imaging Strategy Helps Your Brand Sound Great

Matt Fishman



The Program Director has a number of tools to use to define the station, the brand. The shows, hosts, updates, reports, live reads, website, Twitter/FB/Instagram/Snap Chat and so on. But still, in today’s 21st Century environment, imaging is the one area the PD can put a real stamp on the brand.

I like to break station imaging into two parts:

1. Overall general station imaging

2. Specific timely station imaging.

For example, if you’re 610 Sports in Kansas City. The overall imaging pushes the station slogan “Our teams, Our Town” as well as “Home of the Royals!” during baseball season. That’s overall station imaging. Good, important station branding.

Where the great imaged stations separate themselves is with #2—Specific timely station imaging. This type of imaging plays off a major news story or special event and tells listeners, sometimes ad nauseum, that your station is the place to be for the game, coverage, or an event.

“Getting you ready for the Chiefs Draft” or “Getting you ready for the NFL Draft” would be two great lines for the radio station. It can get even more specific when describing the station’s weekday shows—“You’re listening to The Drive, giving you a comprehensive preview of tonight’s NFL draft.” Give the shows a sense of urgency and the listener reasons why they have to listen today. Use station imaging to hammer that point home. You need to make the audience believe that they won’t be ready for tonight’s draft if they don’t listen to your station/shows.

I can hear PD’s all across the country reading this and lamenting that this plan is great in theory, but unrealistic because they don’t have either the time or the resources to pull it off. I hear you and I’ve been there. Nowadays if a sports radio station has an imaging director they typically share him/her with other stations in the cluster. Or the imaging director is also making commercials for the sales department.

Having to battle for time with your imaging director or with another PD in the cluster to get the time you need to aggressively image a sports station is ridiculous, but also important to make the station sound the way it needs to. If you’ve made it successfully through these hurdles, then you have to consider the availability and turnaround time of the station “voice”. If it’s someone in the building who is usually available—Great! But if he/she is out of the building and a freelancer, you need to have a system for quick turnaround or a daily session early enough in the day to knock out timely imaging content.

That does beg the question though, if imaging is so important, why are limited resources put into imaging? Why are imaging/creative directors stretched so thin and pulled in so many directions? That’s something for the suits to answer. As radio companies looked to cut budgets, behind the scenes staffs have taken a beating. Producers, imaging and production people bore the brunt of these cutbacks. So living in the real world, here’s a plan to make sure you take care of your imaging needs:

  1. Make sure every show has a producer or associate producer who can edit and produce imaging. I know a lot of extra work falls on the producers and APD’s nowadays, but this is essential.
  2. Use two voices on your station. The first voice, handles the overall station imaging and is likely less accessible than your second voice. The second voice is someone in the building. They could be a DJ on a station in your cluster or someone else with a good voice that can be available at a moment’s notice to voice timelier imaging. In a perfect world, this is the imaging director.
  3. Have imaging and voice coverage of some kind from 6am-6pm.Too often imaging or production directors won’t start until 9 or 10am which is a great disservice to the morning and midday shows.
  4. With modern technology, it doesn’t mean that your imaging director needs to be in the office for 12 hours a day, but there has to be an “on call” component in your imaging staffing plan. Same for your station voice.

If your city is lucky right now, you could have an NHL and/or NBA team in the playoffs; an NFL team with a key pick in the draft; and an MLB team involved in a big series. But no matter what you have going on in your market, make the special stuff sound SPECIAL, BIG, and IMPORTANT. You do have to toot your own horn, and there’s no better way than with great, timely, imaging.

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After KNBR Exit, Paul McCaffrey Looks Forward to Sports Talk Return

“I don’t think that I really had a clear understanding in terms of how far the reach of the show could stretch because I heard from hundreds and hundreds of people literally, and they did help.”

Derek Futterman



Paul McCaffrey

It was just another morning at KNBR in San Francisco with riveting and entertaining sports discussion surrounding the local teams. The Golden State Warriors lost a game by one point the night before against the Sacramento Kings, and there was speculation surrounding the San Francisco Giants’ offseason plans. Brian Murphy and Paul McCaffrey, encompassing the local duo of Murph and Mac that had been on the air for 18 years, were talking about these topics and welcomed several special guests for interviews, including San Francisco 49ers defensive lineman Nick Bosa. As the 49ers were gearing up to make a Super Bowl run though, the congenial sound that had become a familiar presence suddenly, without warning, ceased to exist.

There were ostensible warning signs that McCaffrey detected during the latter years of hosting the morning drive program. Cumulus Media, which owns KNBR and a cluster of stations in the San Francisco Bay Area, introduced new management in 2021 that presumably caused a change in culture. McCaffrey perceived an overall lack of connection with the executive team, underscored by a dearth of conversations surrounding promotions and public broadcasts. After years of being visible and in the community, the show became somewhat confined to the studio and purportedly more restrained in its freedom.

“It wasn’t quite as much fun as we had in the past, and the management group that came in were certainly less involved with us, meaning the Murph and Mac show, than previous management groups had been, and this gave us pause,” McCaffrey explained. “We were scratching our heads a little saying, ‘Huh? We’re suddenly kind of feeling like we’re radioactive here, and I’m not sure why’ because we had a lot of success, so the feeling wasn’t a positive one for me.”

On top of that, the program director role exhibited instability over the preceding years with several departures and new hires. Kevin Graham left the station last August for health reasons, which came two years after Jeremiah Crowe stepped aside and moved to Las Vegas. Cumulus Media had granted afternoon host Adam Copeland the program director responsibilities in November, marking the third person to hold the role in a four-year span. Mere weeks after Copeland started the role, KNBR made sweeping alterations to its lineup that affected the livelihoods of several employees and stunned dedicated listeners.

Following the late-November edition of the show, an intern informed Murphy and McCaffrey that they had been called by management for separate meetings. McCaffrey met with executives at the station, including its general manager, where he learned that his time at KNBR would be coming to an end effective immediately.

“I always equated it to like a life in the mafia, because if you’re in the mafia, there are two likely endings,” McCaffrey said. “One of them is you’re going to be jailed, and the other one is you’ll be whacked, and in radio, you don’t get jailed, but I’ve [seen] guys get whacked. I saw Gary Radnich get whacked [and] Ralph Barbieri get whacked, so it’s a long way of saying I was not surprised, and I knew that would be the most likely outcome at some point, so when it came, I wasn’t shocked.”

While McCaffrey and several other KNBR employees were laid off, Murphy was retained in morning drive and paired with Markus Boucher as his new co-host, debuting as the Murph and Markus program almost immediately thereafter. Although the layoffs did not change the dynamic between Murphy and McCaffrey, the situation represented an undesired outcome over which they had no control.

“We were basically forced into a divorce that we did not want,” McCaffrey said, “and it was unfortunate because here’s a situation where you’ve got two guys, partners for 18 years that genuinely like and respect each other that were forced into a separation that we really didn’t want.”

McCaffrey seldom listens to the KNBR morning show at this point because it feels weird to him, comparing it to seeing an ex-girlfriend in public with her new significant other. Nonetheless, he tries not to feel resentment towards KNBR about the situation and focuses on other aspects of his life without bitter sentiment.

“The truth of the matter is I don’t want to give them that much of my energy because the people that are involved with what happened and what led to the breakup of the Murph and Mac show, these are people that had had no impact on the history of that show,” McCaffrey said. “They basically just got here just a couple of years ago, and we had already built our brand. We had already hit our success prior to their arrival, [and it] had nothing to do with them.”

The authenticity demonstrated by Murphy and McCaffrey, combined with the sports talk and compelling conversation, yielded an on-air product that appealed to many local listeners. Neither of them ever had personas specific to their show, he felt, and were instead able to showcase their genuine dispositions to the audience and display that when hosting on location. Concurrently speaking, they understood what their audience wanted to hear and delivered on a consistent basis.

“I always felt like people don’t necessarily want or need a lecture at that hour in the morning on sports and on the right play calls and stuff, and so I try to do a lot of comedy,” McCaffrey said. “I’m a huge fan of comedy; I’m a student of comedy. I’ve studied it really for decades since I was a college student watching standup films of Richard Pryor and Eddie Murphy and guys like that. I was always very interested in making people laugh, and I tried to do that on the show.”

The amusing levity of McCaffrey and journalistic credibility of Murphy established a sound that attracted and retained scores of listeners. McCaffrey took a pragmatic approach with the show, recognizing that countering Murphy’s background would ultimately prove beneficial.

“I think a lot of other sports talk guys might not have been cool with that – the guys that want to talk serious spots – but Murph always let me be myself, God bless him,” McCaffrey said, “and by doing that, I think my personality is allowed to come to the surface [and] complement his, and the show really worked that way, but he deserves a lot of credit for allowing those things to happen.”

Although the program experienced levels of success in its early years, the show took off when the San Francisco Giants began to regularly contend for World Series championships. As the flagship home of the Giants, KNBR broadcast the games and covered the team during its dynasty of three championships in six seasons. After the team’s night games, the Murph and Mac show was one of the first local entities to broadcast reaction and analysis the following morning.

“When the Giants started to just blast up into the stratosphere, Murph and I just kind of saddled up, got on the rocket and took the ride with them, and we became synonymous with the Giants during those years because there was such a fever for the Giants and the players were such a part of the community,” McCaffrey said. “It was a really special time. I think that happens sometimes in sports when the right team and the right group of guys can capture the interest of a city, and that’s exactly what happened in those years.”

Several years later, listeners continue to remember the essence of Murph and Mac, many of whom communicated their best wishes and support to McCaffrey following his being laid off. Over the ensuing time following the announcement, he would see his phone flooded with messages of goodwill as he tried to acclimate to his new lifestyle. No longer did McCaffrey need to wake up at 4 a.m. and run out the door to the radio station; however, he did not view it as a burden and enjoyed hosting with Murphy on KNBR.

“I don’t think that I really had a clear understanding in terms of how far the reach of the show could stretch because I heard from hundreds and hundreds of people literally, and they did help,” Murphy said. “They made me realize, ‘Hey man, people dug that show. We did a good job. People enjoyed us in the morning,’ and hearing that every day from so many people during that time, it did lift my spirits.”

There has been turmoil at KNBR of late with declining ratings and public controversy involving Copeland, who stepped down from the program director position last month. As KNBR looks to fill the vacancy, McCaffrey is not interested in returning to the station in that role, deeming the hypothetical scenario to be a “disaster of epic proportions.” Even so, he does not miss the office politics and tension surrounding KNBR, some of which involved prognosticating the future of the show. At the same time, he is disappointed to see the situation surrounding the company and feels the outlet needs to rethink things.

“Right now, there’s nobody at the wheel,” McCaffrey said of KNBR. “They’re going to have to get somebody to get their hands on that wheel and start to steer this thing a little bit because you can’t be directionless out on the open sea, right? You’ve got to chart a course and you’ve got to follow that for better or worse, so to me, if any kind of forward progress is going to be made with that station, I think the most obvious think that they need to do is find the right person to sit in that program director chair and get this thing back on the tracks.”

Over the last several months, McCaffrey has been traveling and cherishing the downtime while evaluating the media landscape and thinking about his future. Since he is no longer tied to the morning program, he has had more time to explore innovations in digital media. In fact, he is beginning to question the traditional radio model itself, specifically the need for four-hour shows five days a week. The entire experience has been illuminating, and while it marks a paradigmatic shift, it is one he is compelled to try and embrace. McCaffrey has a group of investors and is working on launching a new sports-focused show with a destination to be determined and looks forward to the freedom therein.

“Sometimes you may love the guys [at the radio station] – you may love their ideas – and there are other times you’re not going to really see eye to eye on things, so the idea that putting a show together and not being holden to anyone else’s thoughts or visions, that to me is really exciting because that represents creative freedom,” McCaffrey said, “and I am one of those guys who thinks that the more ideas you can bring to the table, the better off the product is going to be.”

McCaffrey believes that creativity can be stunted by those who do not have the prudence or vision to actualize future endeavors. None of that will apply with his new project, which will capitalize on ideas they feel are salient or noteworthy, an enticing proposition to construct the product. McCaffrey hopes to bring the audience he helped develop on KNBR to his new program, and would love to work with Murphy again down the road in the right situation. For now though, he is focused on forging his path ahead and returning to the sports talk landscape.

“I just kind of want to get back into doing shows, get back into a rhythm, start to have some fun again [and] do a show in my own vision,” McCaffrey said, “and if I can just get some people to come along and maybe they can spread the word, I do have confidence that it’ll grow, so just knowing that I have an audience out there, even if it’s a small one at first, would be satisfying to me.”

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NBC Sports is the Big Loser in Caitlin Clark Olympics Snub

It’s hard to fathom just how many extra pennies Caitlin Clark’s inclusion on the women’s team might have meant, both now and down the road.



Logo for the Paris Olympics and a photo of Caitlin Clark

Before this year, I’m not sure too many folks were putting extra effort into unraveling the mysteries of USA Basketball’s selection process for the women’s Olympic team. When you’ve won seven gold medals in a row and have a 72-3 composite record, it’s hard to stir too much controversy over, say, the 12th player.

But that’s where we are today, since Caitlin Clark wound up on the outside looking in. And although Team USA’s first Olympic tipoff is still seven weeks off, we can go ahead and tally up some early winners and losers.

Winner: Sports talk. Seldom have so many babbled so often on a topic about which they know so little. Again, that’s the Clark effect in full bloom. Her stunning rise in popularity during her college years not only riveted fans, but made her name one that sports yakkers could throw out there fearlessly, as if to say, Sure, I follow women’s hoops. (No, you don’t.)

Loser: Olympics watchers. The U.S. women are 54-0 at the Games since 1996, so there’s not a ton of drama attached here. But watching Clark rain down some ludicrous threes on the Paris stage, even if she were limited to 12 or 15 minutes a game, would’ve been fun.

Winner: Caitlin Clark. She’s pretty good. And even if her exclusion from the Oly squad is fully justified by the number of players who are better, Clark receives another popularity bump in a weird, martyred way that I’m sure she wouldn’t seek. She really doesn’t need to be outraged, since people are outraged on her behalf. (Clark could still be added to the roster if injuries or other unforeseen circumstances occur.)

Loser: Women’s basketball. This topic really has been pounded into the ground. But Christine Brennan summed it up best in this piece for USA Today: It’s an airball for the women’s sport not to include its one current, bona fide, no-questions-asked sensation as it takes the world stage. Sensation does not mean best in class. Sensation means sensation. Clark is compulsively watchable right now.

Which brings us to…

Loser: NBC Sports. Wow. Huge. Bigly.

It’s hard to calculate what the NBC Olympics broadcast could have had if Caitlin Clark were selected to the women’s team. It’s hard because we’re trying to add up what didn’t happen, and that’s always a bit of a puzzle.

But here’s what an NBC spokesperson told Front Office Sports’ Michael McCarthy back in April about Clark’s potential ratings effect, should she make the team:

“Caitlin’s impact on viewership is undeniable and historic,” the spokesperson said. “Her presence on Team USA in Paris would only add to the growing anticipation and excitement for the Summer Games starting in just over 100 days.”

Undeniable and historic. Brennan was on the mark when she suggested that three of the dominant American storylines in Paris likely would have been Simone Biles, Katie Ledecky and Clark. NBC still gets two out of three, but amazing ratings for gymnastics and swimming are almost always guaranteed. The network was already banking on that.

Women’s hoops, while certainly popular, is still ripe for ratings growth. Clark’s presence not only would’ve spiked those ratings, it would have introduced a basketball-watching world to a number of other great players, American and international.

We can’t put an exact dollar figure on what that kind of focus would be worth, but here’s one way to think about it: The 2022 Beijing Winter Olympics were the lowest-rated on record, with about 11.4 million viewers tuning in during prime time. The 2021 pandemic-delayed Tokyo Games were at 15.6 million. This year’s women’s NCAA basketball title game between Clark’s Iowa Hawkeyes and South Carolina drew 18.9 million viewers – the biggest TV audience for a basketball game since 2019, according to Nielsen.

That is men’s or women’s games, college or pro. None higher. That’s absurd. And without diminishing any of the great storylines that ran through that NCAA tournament, including coach Dawn Staley’s South Carolina team completing a perfect 38-0 season, you have to know that the engine of the historic viewership was the sensation of Clark.

As for the Olympics, NBC isn’t exactly suffering. In April, parent company Comcast said the network had already sold $1.2 billion worth of advertising for the Paris Games, including $350 million from first-time buyers.

Still, NBC is in the midst of a $7.65 billion deal to hold Olympics broadcast rights through 2032. In that respect, I guess, every penny counts – and it’s hard to fathom just how many extra pennies Caitlin Clark’s inclusion on the women’s team might have meant, both now and down the road.

Again, it’s hard to total up what you could’ve had. All NBC knows for sure is that it didn’t get the opportunity.

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Do Sports Radio Hosts Still Reflect The Attitude of Their Audiences?

There seems to be a disconnect between the vitriol spit out by sports radio hosts and the feelings from the normal, average, run-of-the-mill fan.

Avatar photo



AM Radio
Courtesy: Deposit Photos

As Championship Season comes to a close and more and more teams drop out of the postseason hunt, sports radio is oftentimes at its best. The annual autopsy dissecting what went right and what went wrong for the teams that didn’t bring home gold trophies is often pretty good radio.

But does the oftentimes overboard nature of those autopsies still reflect that attitude of the average sports radio listener?

Because if you turn on a station after their local pro sports team is eliminated from the playoffs — or in some cases didn’t make the playoffs at all — you’ll hear hyperbolic statements, vitriol at certain players, coaches, or front office members, and questions about the future.

If you look at the reactions from average fans, however, it’s very rarely that. Depending on the situation, you’ll see “Thanks for the memories!” or “What a great year!” posts from fans, more than you’ll see “(Player X) needs to GO!” or “(Insert Coach Here) better be run out of town on a railroad tie by tomorrow morning!,” that often emulates the talk of sports radio.

Now, I recognize that you could argue that the response from fans who share their appreciation for teams that don’t win it all aren’t representative of sports radio listeners. And you’re probably right. It makes completely logical sense that the most diehard fans — the ones who are willing to tweet out a coach’s address, for instance — are the most likely P1s.

But I don’t know about you, but I’ve never had too many listeners.

I’m not arguing for Sunshine and Rainbow Sports Radio. As one of the world’s foremost fans of Don La Greca rants, I can’t pretend as if I don’t like Scream and Yell Radio. Be harsh when the situation calls for it.

But what I don’t enjoy is “Our Team Lost and I Think The Listeners Expect Me to Host a Three or Four Hour Bitch Session Today, So That’s What They’re Gonna Get” Radio.

I’ve made no bones about how much I admire hosts who are willing to zag when the audience expects them to zig. 92.3 The Fan’s Ken Carman several times a year say “I’m not doing ‘Fire the Coach Radio’ today,” during the Cleveland Browns season.

And I can’t tell you how much faith that instills in me that this medium isn’t simply kowtowing to what fans expect. Because anyone, literally anyone, can sit down in front of a microphone and shout nonsense about how someone should lose their job the first moment something goes wrong.

But it’s much harder to be entertaining, interesting, and informative when you’re challenging the stance of your audience. When you have the cajones to say “You’re being ridiculous and I’ll tell you why.”

In this instance, when seasons are ending and questions abound about the future of a team, it feels like the shoe is on the other foot, though. And I find that situation fascinating.

I don’t know the answer to the question of whether or not sports radio hosts still reflect the attitude of their audiences. And I don’t know if it even particularly matters in the grand scheme of things. But I think it’s a quick way to lose an audience when you think they want something they don’t.

You need to keep your finger on the pulse. If you don’t, you might end up hearing that long, drawn-out, high pitched squeal every medical drama in history has used for dramatic effect.

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