I’m always interested to find out how big names in the sports media business simply come across as people. Are they full of themselves? Can you feel their ego starting to infiltrate your soul? Are they genuine? Michael Jordan’s former agent, David Falk, recently said that what the public really has difficulty understanding is when a superstar puts on his uniform, he’s working. It’s the same concept for media members. Hearing an animated clip from a sports radio or TV show doesn’t mean those people operate the same way in everyday life.
I enjoyed chatting with Jason La Canfora for a number of reasons. Despite being a heavy hitter who covers the most popular league in America, I didn’t catch one iota of ego from the CBS Sports NFL Insider. He has also remains calm while being less than two months into a brand new sports radio show on 105.7 The Fan in Baltimore during a global pandemic. Being quarantined without face-to-face interaction — especially on a new show — will test the patience of anybody.
La Canfora keeps pushing forward as he always does. It’s interesting to learn how an extensive writing background helps La Canfora’s approach to his Inside Access radio show with Ken Weinman. Not one to shy away from opinions, the upcoming NFL draft is a topic we discuss as well. Future endeavors are unknown for La Canfora at this point, but one opportunity could include some sophisticated neckwear down the road. (I vote yes.) Enjoy!
Brian Noe: What’s your biggest challenge launching a new show in this current environment?
Jason La Canfora: I don’t even know where to start. It’s been tricky. It certainly has been a challenge. It’s been a blessing in a lot of ways to be able to try to give people some outlet for entertainment or escapism, the theater of the absurd a little bit. Also to continue to do smart sports talk and to try to stay on top of the pandemic as it affects the sports world; to try to educate our listeners as well. But this is our sixth week so literally it’s been one thing after the next. By the end of our first week there were going to be no college conference tournaments. Then we found out we wouldn’t be able to do any remote shows. Then also that second week, I think was our last week in studio so it was learning this new equipment while we’re just starting to build chemistry.
I’ve known Ken for a while and Ken’s an absolute pro. He makes my life a lot easier on a lot of levels, but there’s no substitute for being there and having eye contact and being able to play off each other.
We had an incredibly talented producer, Alex Woodward, who was if anything underpaid. After the fourth week he was let go as part of the sweeping changes at Entercom and the restructuring that took place there. As much as the station didn’t want to lose him it was out of their hands.
Tim Barbalace has to produce two shows basically now. He’s been with Vinny Cerrato and Bob Haynie for a while. Now he’s also running the board and helping us. I don’t think there’s much that could have prepared us for it. [Laughs] That’s to say nothing about obviously the business climate and the situation that advertisers and potential sponsors are in with the economy being where it is and with people not able to go to bars and restaurants and all of that stuff.
I kind of wanted to do this all my life and we get the chance. It’s certainly been a little more tricky than we would’ve imagined. It’s not ideal, but I’m not complaining. There are people who’ve got it way worse than us. There’s a lot going on in the world right now and a little sports talk show doesn’t mean a thing. But it has been from a business side, from a content side, from the advertising side and just from sort of the mental health side of what we’re all experiencing on a day-to-day basis and how our emotions fluctuate, it has certainly been unique.
BN: I don’t know exactly how to phrase this perfectly, but in what ways does not having live games help a new show, and in what ways does it hurt a new show in terms of you playing off of your partner?
JL: Thankfully Ken and I have been hoping that this would have happened for years. He and I would be texting each other through games even though we didn’t have a show together. We’d be texting each other during Oriole games. The minor leagues are really where it’s at here because the Orioles are in a deep rebuild. I’d go to a ton of games with my kids. Ken probably went to five or six minor league games with me last year, maybe a few more.
Thankfully we had some of that already built up. Otherwise it really would’ve been much more difficult. But we kind of knew each other’s thoughts on certain things and we already had a bit of chemistry. We knew how we could bust each other’s chops. I think that gave us certainly a leg up. Even so, I’m not going to lie, when we got kicked out of the studio I was not happy. I understood why; it was a corporate decision. I get all of that but it was like, man, it just feels like every time we’re starting to build something it goes away. Not through anything we were doing but just through circumstances. Losing Alex was a huge blow.
I feel like it’s just forced us to hit the ground running, to be really creative. We communicate quite a bit already. Now with Tim, there isn’t quite as much contact with him as we had with Alex because he’s got two shows to produce. We don’t want to throw too much at him, but Ken and I are talking all the time about “Do you think this works?” “What if we try this tomorrow?” “What if we get this guest?” It’s just things like that.
BN: Were you an avid sports radio listener before you had a show?
JL: Yeah, absolutely. First of all just from being in the national media for so long, I feel like I’ve done many shows in the past if you just put together all my phoners. [Laughs] I was already doing hundreds of hours of radio a year anyway and had co-hosted some national and some local stuff on a fill-in basis. It’s something that I was always interested in, something that I always wanted to do more with.
I love the medium. I love how creative you can be. I love how it can be like TV where you’re doing things rapid fire and it’s do less with more, but you can also branch out and end up doing two or three segments in a row on something that wasn’t on the rundown just because you have the time and there’s the trust there between you and your partner and you just feel like it’s good radio. I just think it’s a great medium especially in a time like this.
Everything I’m reading is that listenership is actually up. I don’t know how you monetize it in something like this, but even without people going to work they’re still flipping on podcasts and terrestrial radio, or taking it in off the Radio.com app. It’s such a direct medium.
I like being part of a team. As a beat writer you’re always a lone wolf to a certain extent. It’s three of us in this together every day and I like the camaraderie aspect of it. I really like everything about it.
BN: As someone who’s been interviewed so many times does that give you ideas of what to ask now, or is it more what to avoid when you’ve been asked stupid questions over the years?
JL: Interviewing is such a big part of reporting — knowing how to set someone up and how to go here to eventually go there, how to stagger things, how to defuse certain situations, or create a welcoming vibe. All of that stuff. I’m definitely stealing from people sometimes consciously and sometimes subconsciously. But yeah, you have a feel for what you think worked and what you think didn’t work.
BN: What do you think is the trick to getting something really good out of an interview?
JL: One thing that I learned a long time ago was interview somebody when they want to be interviewed. I think part of it is in how it’s presented and why you are talking to them. A lot of times it’s knowing something about a subject that maybe isn’t what they’re known for. Doing a little research and finding out that they have a particular shared interest with you. Something that’s not the typical question they’ll be asked and you say, yeah I’m going to talk to you about some of the stuff that everybody talks to you about, but I really also would like to get a couple minutes with you about X, Y, or Z.
BN: What’s the most useful part of your writing background that you apply to sports radio?
JL: I think it applies in a lot of ways. Certainly interviewing people and knowing how to ask questions. Knowing how to get out of your own way at times. Having been around a locker room environment for so long, I have a pretty good feel with athletes in particular; sort of some do’s and don’ts and a lay of the land. You just have a nose for information.
I feel like a lot of the skill sets do dovetail. You’re always looking for stories and what are people interested in or what’s an interesting way to tell a story that I haven’t seen done a million times before. You’re reading a lot. I think there’s no substitute for that. I’ve been reading and consuming sports media all the time as someone who is involved in it. I think it’s also knowing good reporters. Knowing who to talk to. Something breaks, there’s a pretty good chance that I know somebody covering that story or know somebody who could tell me somebody covering that story who’s really good, or who I’ve worked with before. I have a natural list of contacts or resources that I can go to for different things.
Then also in this case, it has nothing to do with reporting, but I’ve lived here virtually my entire life. Except for when I was in Syracuse and in Detroit, one for school and one for a job, I’ve been here. I’ve lived 46 years pretty much all Baltimore sports. I worked locally at The Baltimore Sun. That’s where I was first interning so I’ve seen a lot of things. I’ve covered a lot of things. I know a lot of people.
It’s Smalltimore. People call it that for a reason. Everybody knows everybody. When they say what school did you go to they mean high school not college. I think that helps versus being in a parochial market like this and coming from the outside. I think it’s just a lot tougher to have a feel for what people are interested in, to have a feel for the way the city ticks and who the movers and shakers are.
BN: When you go back to the beginning what did you always want to do in the sports media business and how did you initially break in?
JL: It’s something I always was interested in. I love to write. When I was a kid I’d walk down to the corner store to buy a Washington Post and a Washington Times. We subscribed to The Morning Sun and my aunt would subscribe to The Evening Sun. Sometimes I’d walk a couple blocks down to her house and see what was in that paper as well. I just was always a sports junkie.
I knew that I was going to do something in the sports realm. I thought about broadcasting and originally went to Syracuse as a broadcast journalism major and switched over to newspaper journalism. I pretty much knew I was going to switch majors by the end of my freshman year. Then like everybody else tried to get internships, tried to get my foot in the door.
I was really lucky and blessed to have great mentors at The Baltimore Sun. It was such a great sports department — Buster Olney and Ken Rosenthal — sitting in the press box with those guys every night. You couldn’t go to school and replicate that in any classroom or textbook environment. There’s no substitute for that. I did some internships in college and ended up getting a job at the Detroit Free Press covering hockey there probably way before I ever should have. I thankfully knew some people, John Lowe the longtime baseball writer at the Free Press, I had sort of befriended and he helped me get in front of their sports editor Gene Myers. That ended up being huge.
It was just really right place, right time. A lot of good luck, over-blessed with tremendous mentors. I just really couldn’t imagine even as a pretty young child doing something that wasn’t involved in sports whether it was broadcasting, working for a team, being in PR, or ideally being a writer.
BN: Are you on board with the NFL draft beginning on the 23rd?
JL: I’ve gone back and forth about this. I get it. I understand it. We had Troy Vincent from the NFL head of football operations on the show and he was really convincing. We went pretty long with him and by the end of that I was like “look, I understand why they’re doing this.” I applaud the telethon component of this. They’re going to use it in large part as a fundraiser for first responders for research to develop some sort of vaccine or some way to better detect this or to eventually be able to curtail it. That’s a huge part of it, which is awesome.
From a football standpoint I understand the general managers and a lot of people have concerns. There’s a lot going on in their lives and they feel like there’s no reason it couldn’t be moved back. I get that and I also understand the morality issue of “hey, there’s other stuff going on in the world right now. Maybe we don’t need to be picking football players for three days.” But at some point we all hope and pray and think that we’re going to be on the other side of this. I do think for a lot of people it’ll be a little bit of escapism. At least that weekend will feel a little different than some other weekends.
BN: What’s your strongest opinion about the draft heading into it?
JL: I just feel that all of a sudden now I’m supposed to believe Tua is like the third or fourth best quarterback in this draft. That just doesn’t pass the smell test for me. The body of work is what it is. I understand he was injured but the doctors aren’t lying to NFL teams about the condition he’s in. It’s just not how it works. That’s crazy talk.
Would you like to get your hands on him and everything else? Yeah, but there’s nothing Justin Herbert has done that’s increased his stock. It’s not like he’s meeting with owners and blowing them away and they’re coming away changing their draft boards. Nobody has any contact with anybody. Everybody’s going back to the film. If you look at the film there’s not a comparison between these two. I just think some people are protesting a little too much about this precipitous fall that I’m supposed to believe that Tua’s in store for.
BN: When you look toward the future is there anything that you haven’t been able to do yet that you’d like to at some point in your career?
JL: I’m always open the new opportunities. I got a lot on my plate right now between CBS and Entercom. [Laughs] I would be lying if I said I’m actively looking for more gigs.
I think I would like to teach at some point. That’s something I’d like to do. I don’t know about now. It would be impossible now, but down the road if maybe I’m not doing quite as much as I am right now in the media realm and once at least a couple of my kids are in college. I wouldn’t mind being a professor teaching some communications classes. That would be pretty cool.
BN: Would it specifically be communications because of the background you have?
JL: I guess. It could be, I don’t know if it would be broadcasting, I don’t even know. What I love to do more than anything else still is write. If I could go teach a sports writing class somewhere at some point, I think that would be pretty cool.
BN: Do you think you would wear an ascot if you ever teach a class?
JL: No. Not unless it was part of the contract and they paid me handsomely to do so. Not of my own volition, but if there’s a sponsorship involved, I’ll listen. I’ve learned that much in my six weeks of radio.
Imagine If Sports Media Had To Justify Its Own Tucker Carlson
“Of course Tucker Carlson lies. Even his most dedicated fans think he lies.”
Last week, our partners in the news media department posted a story about Tucker Carlson. It was about a recent interview the FOX News host did with some guy on YouTube. In the interview, Carlson admits that there are times he blatantly lies on his show – the most popular show that is broadcast by what is ostensibly a news channel.
“I guess I would ask myself, like, I mean I lie if I’m really cornered or something. I lie,” Carlson told Dave Rubin. “I really try not to. I try never to lie on TV. I just don’t – I don’t like lying. I certainly do it, you know, out of weakness or whatever.”
When I first read this story, I just dismissed it. Of course this jackass lies. Even his most dedicated fans think he lies. There is just no way he is actually as stupid as he pretends to be when he makes that “I am shocked by what I just heard” face. You know the one. It looks like he just discovered there’s a Batman movie where the suit has nipples.
I tried to dismiss it, but then later in the week came his impassioned plea to Nicki Minaj’s cousin’s friend to come on TV to discuss his balls after the rapper tweeted a story about how the Covid vaccine made this guy’s testicles swell and thus ruined his potential wedding.
It is a clip that was passed around Twitter thousands of times. It showed up in my feed over and over with comments like “This is THE NEWS in 2021” and “I never want this man to stop talking about Nicki Minaj’s cousin’s friend’s balls.”
Can you imagine if Carlson’s bullshit was acceptable in sports media? I could write the same thing about FOX News in general, but let’s keep this focused on Tucker, because this past week he crossed the rubicon into a special category of absurd.
There are plenty of people in sports media that will go on TV and explain to you why a loss is actually good for a team or why undeniable greatness is actually unimpressive. This is someone going on TV and telling you that it doesn’t matter what you saw with your own two eyes on Thursday night, the Giants actually beat Washington or that the Brooklyn Nets can be dismissed as title contenders because there is no proof that anyone on their roster has even been to the All-Star Game.
I have written in the past that news commenters, be they on radio or television, do not impress me. Those people are not original or interesting at all. They aren’t even talented. I’m only bringing up that opinion to be completely transparent.
Sports Tucker Carlson would be a totally different animal. In fact, such a thing would be unacceptable.
Now, I am sure some of you are out there shouting that sports media does have a Tucker Carlson. In fact, the sports Tucker Carlson works for the same company that the real Tucker Carlson does. His name is Skip Bayless.
Look, I hear you. Skip brings no sincerity to anything, but I also don’t think Skip has any values he is trying to push. His takes are ridiculous for the sake of being ridiculous. ALL HAIL THEM CLICKS!
Besides, the great thing about sports broadcasting in general is that the stakes of what we are talking about are pretty low. Creativity and absurdity are welcome. None of this is important, nor is there any illusion that it may be. No one is showing up at the Capital with zip ties and bear mace demanding the Chiefs be re-instated as Super Bowl champions or screaming at doctors that the Covid vaccine is a scheme to return Miami to relevance in the college football world.
Putting on my programmer hat for a second, I just cannot imagine how to justify a Tucker Carlson. Then again, my programmer hat was not made and fitted by people trying to pass performance art off as news. So, maybe me not getting it is the strategy.
Either way, this, to me, feels like very good information to take to advertisers next time they question the desirability of a sports radio audience versus a news audience. Our listeners are passionate, intelligent people looking to be entertained and engaged by conversations about their favorite teams and they’re willing to support the people that do that for them. The most popular name in news talk admits that he lies when the facts don’t match up to the story he wants to tell. The reaction from the public is “well of course he does.” Which one would you rather have your brand associated with?
Back To Basics: Teases
“If we think about this from a very basic level, we need listeners to hold onto our signal as long as we can possibly keep them.”
I think one of the things I love about radio is how theoretical a lot of our strategies can be. We assume a lot in this business, and its largely because we have to. We assume we know what topics our listeners want to hear, we assume they know things that might actually need more explanation, and sometimes we assume they’re just going to stick around because they like us. Sure, there are metrics that you can follow, trends you can keep track of, and social growth that helps gauge your impact, but largely a lot of the content we put out, and specifically the way we put it out, we’re just hoping it lands.
I think one of the easy tactics to lose sight of when you’re going through the daily gauntlet of hours of talk time, is the good old fashioned radio tease. In an ever-increasing world of digital tracking and analytics, the value of a tease going into a commercial break can be difficult to track. And because we don’t know its true impact it can easily be forgotten or just ignored altogether. To me, this is a massive mistake and a big opportunity lost. Sometimes, we just need to let common sense prevail when determining what is and is not worth our time.
If we think about this from a very basic level, we need listeners to hold onto our signal as long as we can possibly keep them. How do we do that? Compelling conversations, debates, interesting interviews, and personality they can’t find anywhere else. All of that is great, but at some point you’ll need to go to commercial break, and no matter how likable or entertaining you think you might be, 6 minutes of commercials is likely going to take your average listener across the dial to a new location. So, how do you keep them or at least ensure they’ll find their way back? Give them something they need to know the answer to. Again, I’ll ask you to think about this logically: Which one of the examples below is more likely to keep a listener engaged through a commercial break?
Example 1: “More football talk, next!”
Example 2: “Up next, the one move that will guarantee Brady another ring, right after this!”
We all know the answer. Example 2 gives the listener something to think about. You’ve provided just enough information that you have them thinking, while creating a gap of information that they will hopefully want filled. Yet, we opt for Example 1 way more than we should. Myself included. It’s lazy and more than anything it’s a lost opportunity to keep a listener.
The most loyal/die-hard members of your audience aren’t going anywhere, so it doesn’t matter how you go to break for those individuals. The least loyal, who maybe like your show, but they are just jumping around every day in their car or online, they aren’t sticking around no matter what you say. It’s those in the middle, the one’s who are looking for, usually subconsciously, a reason to stay or comeback. That’s the audience you’re providing this tease for.
Teases are not for your most loyal listeners, teases are for people that are stopping by to see what you have going on, which is the majority of your overall CUME. If you can hook those casual listeners, even just a few, to stay through a commercial break and listen to a fertility clinic commercial, then you’ve done your job as a host.
I find the best radio tease is direct, a good description that leaves the audience hanging for an answer or your opinion on the issue. Nebulous or nondescript teases don’t give the audience enough to sink their teeth into, you want to leave them guessing but if they guessing too much they’ll probably lose interest. You want to make them think, you don’t want them to have to solve a puzzle.
Example 1: “Could Aaron Rodgers be subtly hinting where he wants to play next?”
Example 2: “A player makes it known he wants out, but where does he want to go?”
Both examples above are fine, it’s certainly a step up from the “more football, next” tease but Example 1 provides the listener with something specific enough for them to start thinking of answers in their own mind, thus creating that desire to see if their idea matches up with what you are about to tell them. Giving the listener a player or team that you know most of them care about, plus a level of mystery, equals a good/solid tease that is more likely to keep them hanging on through the break. Example 2 is good but the problem I find with those is that they’re so nebulous that you aren’t sure you care as a listener. You might want to know the answer, but without a solid description, you give the audience a chance to decide that they don’t care or you just simply miss the opportunity to elicit a response by not drawing attention to an item that they are passionate about.
The next step in all of this is making sure you follow up on what you tease. You might only get a couple opportunities to mislead a listener before your teases mean nothing to them in the future. If you say you are going to talk about Alabama’s dominance in the SEC around the corner, make sure you do it, and if you aren’t able to, I think its only fair to draw attention to the fact that you couldn’t follow up on it. Apologize and move on. It’s live radio, things happen, and I think people listening understand that but you also have to be respectful of the time they are giving you.
Bottom line is, teasing is a radio parlor trick and it’s an easy one to lose sight of. We don’t prioritize them as much as we go along in this business, whether that be for egotistical reasons, laziness, or just not prioritizing them as part of the show prep process. Treat your teases with seriousness and a level of priority, the same way you do with the topics and content you create. We all know we’re not reinventing the wheel, there’s nothing that we can say that hasn’t been said 100 times in the sports talk sphere, but portraying that to your audience is doing them and yourself a big disservice.
Athletes Are Making Their Money In Content
“Jordan’s example has led to the next generations’ emergence in entertainment, media, and sports. It is an emergence that is beyond in some ways what Jordan has accomplished.”
In many ways, the voice of athletes started its exponential growth with the introduction of social media, where every human being has access to a personal broadcast channel to express themselves, their passions, stories, and ideas. The athlete as an artist immediately expanded from highlight reel to Hollywood film and television reel as a content producer. However, it was The Players’ Tribune, founded by Derek Jeter in 2014, that jumpstarted the athlete-driven voice of content, first in writing, and later in video, polls, and podcasts.
Michael Jordan was the first international athlete that made millions in sponsorship money—selling his name or attaching his name to products for the purpose of endorsing them for a profit. He also starred in the Warner Bros. live-action/animated film Space Jam. Jordan turned those partnerships into ownership of an NBA basketball team and a partner and focus of one of the most iconic athletic brands in the world, Jordan/Jumpman (Nike). More recently, Jordan was the focus of the Emmy award-winning The Last Dance docuseries about the NBA Chicago Bulls six championships and more specifically the sixth and final trophy for Air Jordan his Bulls team. He also co-owns a NASCAR team with Joe Gibbs.
Jordan’s example has led to the next generations’ emergence in entertainment, media, and sports. It is an emergence that is beyond in some ways what Jordan has accomplished. However, that is the point—the mentee should always outperform the mentor with proper, training, guidance, and a little luck too. Where many athletes have pursued broadcasting work as color analysts during and after their professional careers in sports, Jordan did not pursue these avenues or seek to open a television or film production studio to develop entertainment, media, and sports content.
The direct-to-consumer approach of Hollywood and sports networks through streaming platforms, combined with the introduction of athlete voices through social media and podcasts has led to more opportunities. Los Angeles Laker LeBron James launched his SpringHill Company in 2020 not long after joining showtime in Tinseltown. SpringHill is a content studio that develops and looks to other studios for major production and distribution. LeBron has the sponsorship advertising prowess, but can also add documentaries and feature film content to his resume.
Kevin Durant launched a podcast titled “The Boardroom” through his company, Thirty-Five Ventures. With YouTube on par with Netflix in revenue (minus the paywall), it provides another direct-to-consumer platform for everyone and more opportunities. Steph Curry launched Unanimous Media in 2018 as a content and production studio, originally in partnership with Sony Entertainment, now the studio is partnered with Comcast owned NBCUniversal in the $10 million dollar range.
The media has deemed the Curry deal a first, which is noteworthy, but so is the faith and family focus of Curry’s programming that will span many brands in the NBCUniversal entertainment family. Curry will join the NBC broadcast for the Ryder Cup as an analyst and host and interview guests for an educational series, which does not include film projects and the second $200 million dollar basketball contract Curry signed in 2021. Chris Paul, Kyrie Irving, and Dwayne Wade have been involved with film projects of their own. Tim Tebow is a nationwide celebrity and motivational speaker, not to mention a world-renown athlete and person with a big heart towards faith and philanthropy.
Peyton and Eli Manning also have their own broadcast for Monday Night Football. Peyton also starred in the very successful “Peyton’s Places” that will have season two launched soon on ESPN+. Both are produced by Peyton’s Omaha Productions.
Speaking of Disney brands, the company’s 30 for 30 is still one of the main catalysts for highlighting the struggles and triumphs of athletes. Hard Knocks, Ballers, and Jerry Maguire also gave insight into the world of sports beyond the field, statistics, and championships.
The growth of entertainment, media, and sports has been and continues to be exponential. Some additional areas to watch include development of series and docuseries in baseball, hockey, soccer, and in other popular, but not the big five sports in America (e.g., lacrosse, cricket, etc.). With women’s sports receiving more attention on television, there are tremendous opportunities for growth in entertainment production particularly in women’s soccer.
To date, NBA players have dominated the entertainment, media, and sports landscape for Hollywood production. However, to each their own, because some stars love developing content, others love speaking about content, and still others love to own content (particularly in the form of brands and franchises) (see Michael Jordan and Derek Jeter). Indeed, the era of athlete as Hollywood producer is upon us.
Sports Radio News3 days ago
Mike Golic, Dave Pasch Reunite On Westwood One Next Week
Sports Radio News3 days ago
Joy Taylor Creates Scholarship At Barry University
Sports Online3 days ago
Clay Travis & Todd Fuhrman Launch Get Rich, Kids Podcast
Sports TV News3 days ago
Gus Johnson: Aqib Talib Has A Very Bright Future In TV