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Expanding the College Football Playoff Won’t Create Drama

Drama sells and there is no better drama than “win or go home for good” sporting events. It is why CBS and Turner gladly shell out an average of $1.1 billion per year for the NCAA Basketball Tournament. It is that same emotion college conference commissioners and TV executives hope they’ll harness in an expanded College Football Playoff.

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College Football Playoff

I’ve got a million dollar idea, I just need one answer. Seriously, I could sell this answer to coaches everywhere and pay off my summer home in Santorini, Greece. First, the question: Why do teams play average all season and come alive in the playoffs? Coaches everywhere have tried, in vain, to answer this question for decades.

Take, for instance, Ole Miss baseball. The Rebels started the season in Baseball America’s Top 10 and eventually moved all the way to number one in the nation with 38 regular season games left to play. The Rebs went 19-19 in those games, were one-and-done in the SEC Tournament, got their coach on the hot seat and were the last team in the NCAA Tournament.

This story would normally end with a quick NCAA Tournament exit, the coach getting canned and you not thinking again about Ole Miss baseball. Except, the Rebels decided they would become the 1927 Yankees. Yes, I see the irony in comparing the Rebels and the Yankees. On their tear to Omaha, Ole Miss has outscored their NCAA Tournament opponents 59-16 and now sits in the finals of their half of the bracket.

How can an incredibly average team, who had failed to meet expectations all season, finally become what many thought they should’ve been all season? The only thing that changed was the day on the calendar.

There is something about postseason play that changes a team. There are few better motivators than knowing one more loss can end your season forever and that creates incredible drama. It is why you will fake a bout of dysentery to skip work in order to watch U.C. Santa Barbara play Syracuse on an NCAA Tournament Thursday while you would never think twice about watching that game on a November Tuesday.

Drama sells and there is no better drama than “win or go home for good” sporting events. It is why CBS and Turner gladly shell out an average of $1.1 billion per year for the NCAA Basketball Tournament. It is that same emotion college conference commissioners and TV executives hope they’ll harness in an expanded College Football Playoff.

In my best Lee Croso voice: “Not so fast, my friend.”

Don’t get me wrong, an expanded College Football Playoff would kill in the TV ratings. It is why I believe multiple networks will be involved. Why allow ESPN to keep it all? Why not maximize what you can get for the rights by hard selling ESPN and FOX? It’s just that the drama will be, well, different.

I don’t believe a Cinderella will thrive in college football. For one thing, there will only be eight or twelve teams, not sixty-four. A smaller playoff limits the participants to teams that have had a regular season a little closer to what everyone expected.

The college football comparison to this season’s Ole Miss baseball team would be…well, Ole Miss football. The football Rebels were 10-2 and ranked eighth in the final College Football Playoff Rankings. They weren’t a conference champion and were the third highest ranked SEC team. They would’ve been an at-large team and among the last couple of teams selected. But, this was a 10-2 team that was one of the better teams in school history.

To believe that team could upend the top seeded Alabama Crimson Tide, you’d have to believe they were much better than the Ole Miss team that trailed Alabama 35-0 earlier in the season. Sure, an upset would be possible, it just feels like the gaps are much wider in college football. The previous College Football Playoffs have shown just that, the semi-final games have been largely non-competitive. 

If Cinderella is your drama of choice, that would be a “Group of Five” team in college football. It is likely those teams have a seat at an expanded playoffs table. That said, we saw an early preview with Cincinnati in the 2021 Playoffs. That movie ended early. Alabama didn’t blow out the Bearcats but Cincy never challenged the Crimson Tide in that game.

Might we one day find a team from the Sun Belt or American Athletic Conferences of the world that could be the Cinderella of a College Football Playoff? Sure, maybe Louisiana goes on the road one day and beats a four seed. But, could that Ragin’ Cajun team reel off enough wins to reach a championship game? Not likely. Did I choose Louisiana just because I wanted to type Ragin’ Cajuns? 100%.

Drama in college football comes from the fact we are a football crazed nation and each Saturday brings us a whole new set of lovably weird endings. We will watch football in most any form because we are addicted to it. That is why an expanded College Football Playoff will kill at the bargaining table and in the ratings.

Make no mistake, college football will be just fine but, if you are looking for the out of nowhere team to make a championship run, you’ll probably need to look elsewhere. If drama is all you want, college football will deliver a steady dose whether in an eight or twelve team format. After all, drama is college football’s most endearing quality.

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Would TNT Prefer NBA All-Star Weekend Without the All-Star Game?

Credit the TNT crew with playing things about level — nobody tried to pretend this was anything other than a freestyle show — but there is just such a limited audience for the kind of tripe that was on the court in Indianapolis.

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NBA All Star Game graphic
Courtesy: NBA.com

I could tell you why you almost certainly didn’t watch the NBA All-Star Game, or why you watched it for only a few minutes and then bounced. Really, though, you already know.

The game has gotten fat. Bloated. Sloppy.

Unwatchable, even with a galactic collection of talent.

And over the past couple of years, the All-Stars themselves have finally given up pretending that either the action or the outcome matters at all. (I mean, they’re right.)

You are not legally required to care about any of that, of course, since it’s not your job. You’re just supposed to create and influence the marketplace by either watching or not watching.

But what happens if holding the broadcast rights to All-Star weekend eventually begins to feel like something a network gets saddled with, rather than something it’s eager to pay good money for?

That question may help explain why NBA commissioner Adam Silver looked like he’d just eaten paste on Sunday night as he presented the winning trophy to the Eastern Conference team after a no-defense-allowed 211-186 shootaround that involved popular players wearing uniforms.

“And to the Eastern Conference All-Stars, you scored the most points,” the Silver Robotron intoned before adding, “Well … congratulations.”

The commish genuinely looked disgusted, but what did he expect? Not only have things been trending in this direction for years (no competition, all open shots, absolutely no fouling or body contract of any note), but the league’s own structure practically screams at the teams — and thus their players — to tank the All-Star Game in the name of stretch-run health.

Which is to say: It’s all about the playoffs.

That’s where the rub lies. The NBA wants its post-season lengthy and lucrative. The league leaves no doubt that the playoffs are where the real money lies, and its more recent bracket renovation involves 10 teams out of a possible 15 in each conference.

Twenty teams — out of 30 — hit the post-season, beginning with the play-ins.

It’s all about bank.

You don’t even have to question that — it simply is. It’s a fact of the business of the NBA. And so Adam Silver can hardly be surprised when the message that goes booming forth through the league’s 30 franchises to their stars is, For God’s sake, whatever you do, don’t go and get yourself hurt in the All-Star Game.

Did you hear LeBron James after Sunday’s debacle? No one is ever going to jump on LeBron when the subject of competitive fire comes up, but in this case, James made it very clear what the big motivation was on All-Star Sunday.

“I think the good thing that came out of tonight was none of the players were injured, and everybody came out unscathed or how they were before the game started,” James said. “So it (a competitive game) is a deeper conversation.”

James noted that while the stars don’t mind the up-and-down style of a defense-free game, it’s not normally in their competitive nature to just avoid guarding an opponent. But the bigger picture — no injuries — won out handily on Sunday.

It’s hard to know where a network is supposed to go with that. Credit the TNT crew with playing things about level — nobody tried to pretend this was anything other than a freestyle show — but there is just such a limited audience for the kind of tripe that was on the court in Indianapolis.

The last two All-Star Games, 2023 and Sunday, are the two lowest-rated in the history of the event. This year’s numbers actually represented a 20% jump over last year, which tells you how low the bar has been set lately. Even the hastily assembled, post-pandemic game of 2021 drew more eyeballs than the last two faux competitions.

Is there a way out of this? The short answer is, not with the game itself, which feels broken beyond repair. But the ratings for All-Star Saturday Night, which included the heavily hyped Steph Curry-Sabrina Ionescu three-point shootout, were up 31% from the year before and equaled the total viewership of the 2023 game itself, which at least signals viewers’ willingness to watch something that is, you know…interesting.

There is still value in having an All-Star weekend. Any time a league can get its brightest stars together under one roof, a massive amount of attention will be paid. It’s actually remarkable, considering the individual popularity of these guys, that they could be the featured players in such a widely trashed game.

Every All-Star game in every sport was originally designed with one goal: Increase positive publicity for the league that sponsors it. In recent decades, the game is also supposed to be a gold mine for the network that broadcasts it, or at the very least not a loss leader.

Now, Adam Silver and his cohorts have to come to grips with the reality that their players, and the people who cut those players’ checks, have no interest in seeing any sort of effort on All-Star weekend that would open the door to an injury, not even a crack. What results, as a broadcast, is a tough watch — and maybe, someday, a tough sell.

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Social Studies: Amanda Anderson, ESPN Sr. Director of Social Media

“Because ESPN and our team is so focused on many different sports properties and leagues and sport verticals, how we celebrate that and what engagement looks like varies. What’s considered success varies.”

Alex Reynolds

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This week’s edition of Social Studies features Amanda Anderson, ESPN’s Senior Director of Social Media. Anderson started with the network right out of college in 2011. When she started with the social team they primarily focused on Facebook and Twitter with Instagram being the “new platform.” Now she oversees an expansive team that works directly with tech companies, teams and athletes to stay on the cutting edge.

In this interview Anderson discusses ESPN’s social media KPIs, partnerships with athletes and how a ubiquitous sports brand like ESPN approaches audience expansion. We also dive into the Creator Network which comes to Bristol February 28th and the value of influencer marketing in sports media.

Note that this interview was conducted on February 16th and has been edited for brevity and clarity. Visit the Barrett Media YouTube Page for the full conversation.

AR: What does the sort of typical day at ESPN in your role look like?

AA: I’m so multifocal focused. I’ll use today as an example. Today we were celebrating a huge part of our efforts that we’ve been planning for more than a month, which was Caitlin Clark, and her moment last night. We started to see the likelihood that she would be breaking this record and we had a full team-wide brainstorm the first week of January to start the build up for it.

So today, I started by doing a clean sweep of all of our content and looking at the numbers. We have a Slack channel. We’re big slack users on the social team that we call ‘Crush Bucket.’ That’s where we celebrate all of our wins and highlight and shout people out for leading an event or discovering an amazing piece of content.

One of the highlights last night was how many different athletes rallied around ESPN content about Caitlin. That was my morning – let’s celebrate this, let’s make sure my leader sees that. Let’s celebrate that we owned a moment that wasn’t on ESPN, it wasn’t ‘ours’ necessarily. But we really brought all the creative energy and creative juices to be a gathering place for athletes and sports fans alike around that moment.

Another big part of my job from an ops standpoint, is engaging all of our partners so right before this, I was on a call with Meta talking about new events that they have coming up some potential collaborations, engaging them around our Creator network, so they can help elevate the creators that we’ve selected in this class using their platform.

Then it’s on to hiring development and one-on-ones. Managing people is such a huge part of any leader on the social team’s job. That’s really important because so many employees on our team, it’s their first job. They’re very young and very hungry, so molding and investing in the energy that they bring and showing them the ropes of how to succeed in a corporate company like ESPN (Disney) is a big passion of mine. It’s really a point of emphasis for our entire team.

AR: So let’s dive in a little more specifically. What do those wins actually look like? Which numbers do you look at and then take to your higher ups?

AA: The obvious KPI and we say it constantly is engagement. So there’s more nuance to it than that. Because ESPN and our team is so focused on so many different sports properties and leagues and sport verticals, how we celebrate that and what engagement looks like varies, and what’s considered success varies.

We know that a women’s volleyball post on ESPN isn’t going to engage at the same rate that a Steph Curry post will and that’s fine. So I would just say engagement is our North Star but we get a lot more nuanced and sophisticated. It’s not just a simple, “our average on ESPN or SportsCenter on Instagram is this, anything above that is a success, and anything below that is not.”

Audience expansion which is such a big part of all of our roles, and mine in particular, especially with regard to women’s sports, or underrepresented sports, which is what we’re trying to account for in the Creator network. We have so many more layers of numbers to say, ‘Hey, did this post about Caitlin Clark, get more people to follow [ESPN] W?’ That’s an added layer besides over indexing. We’re often getting a lot more granular than that. But engagement is a good starting point to say how many fans took action on this? How did it move them in such a way that they had to do something with it? Like, comment, share, etc.

AR: Tell me a little bit about the Creator network, and how the importance of micro-influencer marketing plays into that strategy.

AA: Everyone who works in social knows the importance of creators in the space. With the fans that are coming up, we’re increasingly seeing these younger cohorts identify less and less as avid fans. At the same time, this younger generation, the majority of them are looking to influencers for guidance on how they spend their time, money, and what shows they’re watching. We want ESPN to be at the forefront of that conversation and top of mind, even for people who maybe aren’t sports superfans – who we at ESPN serve really, really well.

This year’s class is all female, which is new from last year, and what we’re hoping to do with the Creator Network is serve not only the super fans, of which there are many, but we’re also trying to find new ones and use the power of sports and storytelling to help new fans connect with either the athletes, teams or creators themselves that look like them. So it’s multifaceted – our approach of what we’re trying to do with this group.

AR: In terms of leveraging personality to reach people, tell me how the social team works in conjunction with ESPN talent who are commanding really big audiences themselves.

AA: It’s the same approach where, Stephen A. Smith, Adam Schefter or Lachina Robinson are talking about something, a fan is going to connect with them like they would a friend, fellow fan or teammate. It’s done in a way that a brand just doesn’t have that versatility and flexibility. And one doesn’t have to compete with the other, we want to do both.

So with our talent strategy, it’s that same goal of how are we connecting with fans in a person-first approach. That is going to be really effective in a different way than our brand handles. It deepens the connection and allows and affords a lot more unique distinction and flexibility, like what a talent can say as their opinion is not the same as a social brand that’s speaking for a large company.

AR: How do your partnerships with athletes play out on social?

AA: Being able to align, as I mentioned before with the Caitlin Clark example, athletes rallying around our content helps us stay relevant. That helps us keep our brand distinct. One example I would offer is, we worked with Mikayla Schiffer last year when she broke the All-Time World Cup wins record. We got ahead of that well in advance, spoke with her agent, and were able to create a storytelling piece that talked about her whole journey and comeback after the Olympics.

Ultimately, that resulted in a collab from espnW to her own handle. Again, it helps us target and be more precise with who we’re reaching. Everyone who is a fan of Mikayla is going to rally around that story from her brand standpoint. And then on the espnW side, we may be telling people about Mikayla’s story that aren’t alpine skiing superfans. So we look at it as mutually beneficial. When we’re able to collaborate with athletes, we’re able to establish ourselves with the fans of that athlete. And on the flip side, maybe create new fans who are less familiar with them with our brand handles that are trying to serve everyone.

AR: So as you mentioned, you’ve been at ESPN since you graduated college. Can you tell me about your experience and how social media at ESPN has shifted over that time?

AA: Oh my gosh, it’s evolved so much. This is kudos to our leader, SVP Katie Daly, who had the vision for this group. She has always seen it as an extension and a way to reach fans in a unique way. When I started, we were programming, primarily Facebook and Twitter and Instagram was like the new thing. At the time, everyone working on social media was also working on other parts of ESPN digital.

It’s amazing to see how it’s evolved from a handful of people in a scrappy, startup-mentality environment working on just the ESPN account and maybe two or three others to now where we are programming 20 different brand accounts on six different platforms 24/7. The fact that it requires an ops management team that I oversee now is just wild.

I like to think that we’re the best of both worlds. We still maintain the scrappiness, hustle and competitive drive as a startup but now they have established it to be a revenue producing and generating group that’s only rising in the amount of fans we’re able to reach.

AR: Does that start up mentality lead to a need to be on the cutting edge? What does innovation look like?

AA: Something we remind our own internal partners outside of the social group is that the platform’s are changing their algorithms and what’s prioritized. They’re rolling out new capabilities all the time. It can be frustrating sometimes to partners when they say, ‘hey, we’d like to collaborate with you on social and the story. Does this thing that we talked about six months ago, is this still what you want to do?’ And oftentimes the answer is like, ‘nope, actually. TikTok is now testing out horizontal video and eight months ago, we said give us everything vertical.’

So we really pride ourselves on being quick to experiment with and be like scientists to some degree of learning the platforms. No one hands us a playbook. So it’s on us to figure it out. And we know that the playbook is constantly evolving. Instagram Reels is another example where at one point it’s really hot and other times we’ll pivot our strategy to a carousel format, depending on what we’re seeing. And that just changes so quickly.

So what does that do for a team’s mentality? No one is ever complacent. And no one ever wakes up and says, I know exactly what’s going to hit today and what works, because there’s always this standard of evolution.

AR: You touched on some of the innovations and things that you’re working on right now. But outside of those, what are the big goals on social in 2024?

AA: Audience expansion is a big one. Finding new fans is our primary focus especially on youth sports and youth fans. Women through the lens of women’s sports and female sports fans is another huge area of focus for us. We measure ourselves every year on certain areas of engagement. So every account will have its own follower goals. Every account will have its own average engagement rate every year.

The other thing that is a constant goal is responsibility. We measure ourselves in trying to up our approach around women’s history. Black History Always is in our internal corporate branding for February. We have leads established every month and we’re always trying to up the game and increase what we’re doing with storytelling. One thing that we’ve learned since this has become a consistent part of managing social is how to show up in these spaces authentically while increasing our storytelling, experimentation and overall reach.

We rally around events like Black History Always, Women’s History Month, International Women’s Day and AAPI [Heritage Month] and now because we’ve been doing it for several years, we create content that performs above our averages. It’s not just like checking a box. We want our storytelling and the ways we show up in those spaces to be empowering. We want to move a fan with what we’re telling them to be a part of change, or to educate them about a trailblazer or a pioneer in sports that maybe they were less familiar with and be inspired by.

That’s a big component outside of the obvious, reach a lot of people and grow and find new fans, but also do it in a way that is reflective of our brand authentically.

AR: Where do you see the social space going forward?

AA: I think that there will be even more platforms. We’ve sort of seen the emergence of TikTok and other platforms emerge, like BeReal and Discord. It’ll be interesting to see where brands decide to be.

One thing we’ve learned as the social space has become more established is that the strategy is not the same for every platform. Therefore, if you’re operating with a small team, or even, let’s say one person, it’s more valuable, for you to be in one space, doing it really well, and connecting with fans in an intentional way, versus what many of us working in this social industry experience, trying to be everywhere, and maybe only doing a 20% effort.

I think more brands and social platforms are going to emerge. That seems like a given. Whether that number doubles or triples, I think brands will have to make harder decisions about where they can feasibly show up in a way that’s having impact from a reach and revenue standpoint.

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Danny Parkins is Playing to Win at 670 The Score

“We’re not going to do any sort of sanitized version of a story, and I think that’s our strength.”

Derek Futterman

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Danny Parkins
Courtesy: Audacy

As Danny Parkins was recovering from spinal fusion surgery that stymied his high school athletic career, a science classmate informed him about the institution’s radio station. Finding the studios required a trek to the fifth floor of the building, a tier that Parkins was wholly unaware existed. Shortly thereafter, he was asking a college counselor the best schools where he could pursue a career in sports media, resulting in him selecting to attend Syracuse University and enroll for membership at WAER-FM. The sports division of the outlet had a path focused on play-by-play announcing and another focused on talk show hosting and commentary for students to consider. Parkins explored both segments before realizing his ultimate focus.

When he was a sophomore, Parkins met colleagues Nick Wright and Andrew Fillipponi as he aimed to materialize his media aspirations in the sports talk radio format. Wright was running the talk show staff at the time, and they quickly became close friends who assisted each other by listening to tapes and offering feedback. Moreover, they all engaged in sports debate and spent time together outside of the radio station, strengthening their bond as lifelong friends and Syracuse alumni. The three hosts will reunite on stage at the 2024 BSM Summit in New York City alongside fellow Syracuse alumnus and SiriusXM Mad Dog Sports Radio host Damon Amendolara.

“It will be fun to just be up there with these guys who we talk about the industry [with] all the time off the air doing it in front of people who kind of helped shape the present and future of the industry because I think that the three of us are pretty damn good at it if I’m being honest,” Parkins said. “That will be a valuable exchange of ideas, and they’re just some of my best friends in the world, so I’m looking forward to that and seeing them.”

Outside of his endeavors with WAER, Parkins hosted his own sports talk program on Z89, another student-run radio station at the university. Additionally, he gained professional experience by producing Brent Axe’s talk show on The Score 1260 after completing an internship. Parkins graduated with qualifications that he hoped would lead to a job, but things became difficult because of a hiring freeze at various media companies because of widespread economic hardship amid a nationwide recession.

Parkins had money for graduation that he used to pay the necessary rent to live with his friends in Wrigleyville and spent time playing poker to attain profits. While unemployed, he also traveled to various destinations around the world, one of which happened to be Syracuse where he met Axe for lunch.

Axe revealed that the station was thinking about adding local midday programming, a revelation Parkins immediately volunteered to enact. While Axe was somewhat incredulous that Parkins would move back to Syracuse for the role, which was compensated hourly, he followed through and started hosting The Danny Parkins Show. Furthermore, he produced Bud and the Manchild and was paid for six hours of work per day while living with two people in a home he found on Craigslist.

“[I] was embarrassed that I hadn’t gotten a job with a salary and health insurance and in a bigger market but was thrilled that I was hosting and doing my thing,” Parkins said. “I was doing what I wanted to do, and it ended up being the best thing for me because then I could apply for other jobs and point to, ‘Hey, you can listen to my show on the website.’”

While beginning his professional career in Syracuse, Parkins developed invaluable versatility that he utilized in his ensuing occupations. Collecting sound at Syracuse practices, operating the board while hosting and booking interviews coerced him to effectively balance multiple tasks. Parkins felt the move back was humbling and fostered a deeper connection with the city by meandering to different social outlets and interacting with listeners. After he found success in Syracuse, Wright helped him land a role with 610 Sports Kansas City where he signed a two-year contract and expected to have a short stay in the city.

Conversely, Parkins remained with the station for approximately six years and covered several marquee events, including the Super Bowl and World Series. He was eventually paired with Carrington Harrison for a four-hour afternoon program and reaffirmed his commitment to the city.

“Some people that were there would still go back to Minneapolis for dentist appointments or whatever, and they didn’t really sink their teeth metaphorically into Kansas City and it never really made any sense to me,” Parkins said. “It was like, ‘No, if you’re here, you’re going to be here. You’re going to meet the people and go cover the practices and go to the games and go to the restaurants and be about town and really be a Kansas Citian for as long as you were there.’”

Anticipating that Chicago sports radio host Terry Boers would retire, he signed a one-year deal with 610 Sports to position himself for a move back to his home market. Sure enough, the situation ended up working out and led to him being partnered with Matt Spiegel in afternoon drive on 670 The Score. Parkins underscored that the outlet usually promoted from within and that his hire from another market was rare.

“I just kind of had to prove myself to everybody, including myself,” Parkins said. “I knew I was good enough to do it, but until you do it, there’s always going to be that shred of doubt. There were certainly challenges, but it was still getting behind a microphone and talking sports for four hours a day, and I knew that if I was given enough time that I was good enough to do the job.”

Parkins continues to host in afternoon drive with Spiegel today, forming a duo that has frequently finished among the top programs in the marketplace. There was a stretch, however, where he was hosting with Dan McNeil, a former member of the illustrious Mac, Jurko and Harry program on ESPN 1000 Chicago. Parkins had interned with McNeil and expeditiously formed a connection with the host with a cognizance about his controversial opinions and fickle nature.

Jimmy de Castro, former senior vice president and market manager of then-Entercom Chicago, split Parkins and Spiegel to form the new afternoon pairing in an overall downsizing at the station. Despite the adjustment, no changes were made to Parkins’ contract and he was referred to by de Castro as “kid,” a moniker he felt indicated that he needed to further prove himself.

“It was not a perfect set of circumstances to work with one of your radio heroes, but I’m really glad it happened in the whole,” Parkins said. “Mac and I had and have a great relationship, and I love the man.”

McNeil was fired in 2020 after posting a misogynistic comment towards a sports media host on social media, marking the conclusion of his third stint with 670 The Score. The station utilized Leila Rahimi and the aforementioned Spiegel as temporary co-hosts with Parkins as they deliberated the long-term solution. After some time, Parkins and Spiegel were reunited and have been hosting their show together ever since.

“I think that Spiegs and I work really well together because we complement each other,” Parkins said. “We’re similar in ways that are valuable, and we’re different in ways that are valuable.”

As they prepare for a typical program, Parkins and Spiegel focus on how they can offer a unique perspective for the listeners to prevent the station from sounding repetitive. There exists a lot of content within the media ecosystem, and it is essential that the Parkins & Spiegel Show stands out from others.

“The goal is to make four hours feel like four minutes and help people get through their day and be an escape for people,” Parkins said. “….People are not going to remember the brilliant point I had about the Cubs bullpen or a fourth-down call, but maybe they’ll remember an honest story that I shared about personal hardship or parenting or a story of being an incompetent homeowner and that makes them relate and laugh and smile a little bit while they’re sitting in their cubicle.”

The show does not take many listener calls, but it seldom goes more than two segments without some form of listener interaction. Aside from listening to the program on traditional AM radio, consumers can access the show using the free Audacy app or livestream on Twitch, which includes a live chat functionality. Shane Riordan and Chris Tannehill contribute to the show as well in producer roles, both of whom infuse the show with additional energy.

“It needs to be entertainment-focused,” Parkins said. “I hate when people say on a show, ‘Later on, we’re going to have some fun,’ but the whole thing is supposed to be fun. I think that’s what the great shows do – they put every story they can through the prism of fun.”

As the vice president and brand manager of 670 The Score, Mitch Rosen has a responsibility of overseeing programming and ensuring that the station is achieving its goals. Rosen is responsible for hiring Parkins in the first place and is someone he greatly respects and appreciates for his efforts and reliability.

Although the media marketplace is changing, Rosen and Parkins are continuing to execute their roles to safeguard the consumption of sports media content. Parkins used to intern with ESPN 1000 Chicago, and he believes it is a good thing to have two successful sports talk radio outlets in the city. Yet there is an element of competitive fervor, especially going against another local program, that adds to the fuel Parkins has to be the No. 1 program in the city.

“I think people come to The Score because we’re the heritage radio station with the great signal that’s live and local all day that is going to be raw and authentic and genuine and edgy and unapologetically ourselves,” Parkins said. “We’re not going to do any sort of sanitized version of a story, and I think that’s our strength.”

There is a contrast in Parkins’ desire to be the No. 1 show, however, related to a philanthropic project for which he utilizes his platform. Parkins lost his brother last April after he suffered with glioblastoma, a form of brain cancer, and is committed to raising money and awareness surrounding research to treat and cure the disease. Over the summer, Parkins will host a 24-hour radio-thon in partnership with the Chicago Cubs to expedite these efforts and has a goal of raising more than $1 million.

“We have a pretty selfish job,” Parkins explained. “I know people don’t like to admit that, but I get to tell my wife, ‘Hey, I have to watch this game for work,’ and then I get to come in and BS with three of my buddies about sports for four hours a day and judge success based on how many laughs we have in the greatest city in the world, get paid handsomely for it and then go home. It’s a pretty awesome way to make a living and live your life, so it would feel selfish to not use that platform for some good.”

Parkins recognizes there to be considerably more supply than demand for content and evinces dedication from aspiring professionals looking to break into the format. He is cautiously optimistic about the future of the audio format if executed correctly but also asserts that the glory days of radio have come to their conclusion.

“The Score will exist in 20 years,” Parkins said. “Will it exist primarily as a radio brand? I don’t know, but The Score will be doing live sports talk content in Chicago in 20 years – there’s no doubt in my mind about that. It’s just got too much brand equity in the market, so I just want to be sure that it’s as relevant as possible in 20 years.”

Although he cherishes the Chicago marketplace and the platform he has built, Parkins values his versatility and continues to take part in other areas related to sports. For example, he co-authored with a close friend titled “Pipeline to the Pros” is set to be released this April. Parkins is also continuing appearances on television programs with Marquee Sports Network, a local regional sports network. Through it all, he remains committed to the Parkins & Spiegel Show trying to do his part in achieving a consensus No. 1 finish.

“I don’t have undisputedly the best show in the country yet; we aren’t No. 1,” Parkins elucidated. “I haven’t done this next radio-thon to hopefully raise seven figures for cancer research, and then after we do that radio-thon in August, I’m going to say, ‘Well, when’s the next one and can we beat it and raise more?’ I’m always looking for the next thing; the next side-hustle; the next project.”

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