ORLANDO — At first glance, it seems like all is functioning normally for the website of Cox Media Group Classic Rocker WMMO-FM, which serves Central Florida.
“Desire” by U2 is playing. A “First Responder Fridays” nomination form can be filled out and submitted. The “Listen Live” button is ready for a push. Once it’s pressed, an “audio temporarily unavailable” message appears. Still.
“You may be offline,” it reads. “Please check your connection and try again using the Retry button.”
The problem isn’t that of the user, however. WMMO, like all of CMG’s radio and TV properties, have fallen victim to a ransomware attack — a cyber nightmare that began late last week.
It’s just the latest in a string of incidents involving radio broadcasting companies. What would you do if your operation is next?
TORONTO — On March 10, the latest PPM top-line radio statistics for Canada’s largest media market were released by Numeris, the nation’s measurement services company.
Among all of the radio stations appearing in the report, a Rogers Sports & Media AM that 28 years ago today dropped its 20-year-old Top 40 format for all-News was the No. 2 radio station by cume, and again one of North America’s most-listened-to stations on the AM dial.
That ratings supremacy has no bearing on branding, however, and the growing trend of optimizing advertising and marketing opportunities in a cross-platform, national manner. As such, “680 News,” along with four other Rogers-owned all-News stations, are getting a name change once autumn brings fall foliage to full tilt.
Ralph Justus, who for many years was at the center of technology developments in U.S. broadcasting and consumer electronics, has died.
He was known in our industry through roles at the Federal Communications Commission, National Association of Broadcasters, Consumer Electronics Association and Electronics Industries Alliance. Among other accomplishments he was credited with playing an “instrumental” role in the development of digital TV standards starting in the late 1990s.
According to his obituary, he died at age 72. Justus finished his career as a patent examiner for the U.S. Patent Office.
According to a 2004 profile published by the Advanced Television Systems Committee, Justus started in broadcast technology in the late 1970s as supervisory electronics engineer of the FCC Television Branch and a staff engineer in the AM and FM radio branches.
In 1983 he moved to the NAB to become director of engineering, regulatory and international affairs, working on issues involving radio and television technologies, auxiliary and satellite systems, spectrum management, proceedings at federal agencies including the FCC, EPA, FAA, Department of State and participation in the International Telecommunications Union, according to the ATSC article.
He then moved over to become director of engineering for the CEA (now called the Consumer Technology Association), where he worked on radio and TV system design and performance, TV antennas, audio technologies, regulatory activities and consumer electronics/cable TV compatibility.
For several years starting in 1999 he chaired the ATSC Technology Group on Distribution, or T3. In that role he was “instrumental in guiding many new DTV standards,” according to the 2004 article.
In 2003 Justus also was elected president of the Institute of Electrical and Electronics Engineers’ Consumer Electronics Society, according to a Radio World story at the time. He also was a former president of the IEEE Broadcast Technology Society.
At the CEA he was promoted after eight years to the post of vice president of technology and standards, a position he held until he left in 2005, according to his LinkedIn page. He later worked for the Building Performance Institute and as a consultant before joining the USPTO in 2012, working on radio, television and satellite communications, telecom technologies and intellectual property patent applications.
Justus also was active in technical organizations such as SMPTE and the AES. He was a graduate of Georgia Institute of Technology with a Bachelor of Science in electrical engineering.
The post Ralph Justus Dies; Former Tech Executive at NAB, CEA appeared first on Radio World.
Its two TV stations have gained international recognition for their roles as pioneers in the advancement of ATSC 3.0-powered NextGen TV in the U.S.
Now, those stations’ owner has re-evaluated its access to local TV ratings data, which in recent years has seen an exclusive relationship with Nielsen.
That’s about to change.
At 12:26am Eastern on June 6, a SpaceX Falcon 9 rocket launched from Cape Canaveral.
It was a successful launch, carrying a SiriusXM satellite into space.
While that was successful, Sirius XM Radio Inc. has a whole other kind of launch ready for takeoff — and this one is on Wall Street.
LONDON — Global, the Media & Entertainment group that seeks up to 49.9% equity interest in iHeartMedia, has selected a North America CEO for its digital advertising platform, DAX.
It sees the internal promotion of a U.S. media industry veteran and the shift of the person currently in the chief executive chair to “a key advisory position with the company.”
Matt Cutair is relinquishing his role as DAX US CEO, a position he has held since the 2017 launch of DAX US.
DAX US launched in 2017, following Global’s purchase of AudioHQ, where Cutair was co-founder and CEO.
With the change, Les Hollander (pictured) has been promoted from Chief Growth Officer to CEO/North America at DAX.
This consolidates North American operations for DAX, with Hollander overseeing the U.S. and Canada.
Hollander took his most recent role for DAX North America in May 2020. In that time, Hollander re-aligned the U.S. and Canada markets for growth as DAX added NPR, Wondery and Sounder to its roster of digital audio publishers.
Hollander will continue to report to Guy Jones, Product of Data and Digital Director for DAX. Jones is based at Global’s Leicester Square headquarters.
Hollander is a digital audio advertising veteran with over 30 years of expertise. He joined DAX from Spotify, where he was responsible for building the organization’s digital audio monetization business through direct, programmatic and automated channels, as Head of Global Audio Monetization.
Prior to joining Spotify, Hollander was a VP of Ad Revenue at Pandora and held senior management positions at Gannett, CBS Radio, and, interestingly, iHeart predecessor Clear Channel Communications. Hollander also co-chaired the United States IAB Audio Committee from 2016-2020 and has sat on several industry boards throughout his career including the Mobile Marketing Association.
Hollander commented, “In the past year, despite major disruption to the industry, we have collaborated with our colleagues in the U.K. to demonstrate innovation in streaming, podcasting and voice activation as well as signing some fantastic new partners. At a time when audio is thriving and we’re seeing a huge shift in consumer habits; I’m looking forward to this opportunity and the next stage of DAX’s growth.”
This past week, Adthos introduced what it calls “the only free ad-serving technology built specifically for radio.” Athos Ad-Server is an ad sales application that replaces playout of ads by an existing automation system, allowing digital audio and radio “to be sold seamlessly within a single integrated campaign.”
We sought to learn more about it and emailed with Raoul Wedel, CEO of parent company Wedel Software.
RW: What prompted Wedel to launch this Adthos initiative?
Raoul Wedel: Our traffic and billing system can do live reconciliation. But when implementing it, we found out that it would require integration and development with each and every automation system provider. Instead of building dozens of integrations, we felt this was a better solution. And made it available for free.
RW: Why would a broadcaster wish to replace the ads in an existing automation system?
Wedel: For traditional ad playout, the Adthos Ad-Server comes already with maybe two dozen features that most small automation systems don’t have. Like live reconciliation, sending new logs live without intervention or integration with cloud storage systems for material management.
The future of audio advertising is dynamic, in scheduling or creative replacement. If terrestrial radio wants to keep up with digital they will need to move forward on those subjects. The Adthos Ad-Server is a simple, non-intrusive app that can be easily installed and managed. It allows for frame-accurate ad replacement. So an advertiser can play a McDonald’s spot on the radio but may replace the ad with a local franchise’s address.
RW: What are the main features and benefits of Ad-Server?
Wedel: It reconciles your schedules live. Logs can be sent without any intervention; material can be stored cloud-based.
Also it includes a streaming encoder compatible with Triton, AdsWizz, Icecast and Shoutcast. It enables dynamic scheduling and dynamic creative replacements.
And it gives advertisers and agencies a portal to view their schedules and listen to an aircheck of what has been played.
RW: Ad-Server is free, so how does Wedel Software benefit, i.e. how do you make your money from the service?
Wedel: We feel that the current state of technology of radio stations is preventing terrestrial radio advertising from moving into the digital space. This is our vision of a solution for the problem. And we’re putting our money where our mouth is. By laying this foundation it opens the door for other technologies and advances to truly gain broad acceptance in the market. It is a platform that we can build on.
RW: You said there are future integrations planned, what kind of additional features should we expect?
Wedel: There are three main releases of the platform, we call chapters. The second and third chapters are due after the summer and since the ad server enables dynamic scheduling and dynamic ad replacement, you’d have to think along those lines.
RW: What else should we know?
Wedel: That we have made it as easy as possible to convert to our platform. In a testing phase, the ad server can run in parallel with your current automation system. Even though it is free, we have staff dedicated to onboarding our first customers. Our platform comes with a preloaded list of U.S. FCC licensed stations and station owners, so it’s easy to start.
It is de rigueur for a public relations or communications pro to release news that it really doesn’t want to have to discuss late on a Friday afternoon.
For the FCC, late in the day on June 4 proved to be the perfect time for the Commission to adopt an Order that puts its long-awaited loosening of local media ownership rules into effect — something the acting Chairwoman voted against during the leadership of Ajit Pai.
Frank Foti is executive chairman of The Telos Alliance and founder of Omnia Audio. We spoke with him for the recent Radio World ebook about audio processing?
Radio World: Frank, what would you say is the most important recent or pending development in the design or use of processors?
Frank Foti: The recipe for audio processing is never finished.
Aside from ongoing development to subjectively improve sonic performance, the function of processing has crossed over into the virtual realm. This concept was first fostered by Steve Church, and myself back about 1994, as our early efforts began on Livewire, our audio over IP platform then under development.
Today, we have the tools to provide processing in the software-as-a-service (SaaS) format, as well as a container. Yet we also know that there are those in the marketplace whose comfort level remains having their processing running in a dedicated appliance. Our work will always support that platform as well.
RW: What should we know about differences in processing needs for analog over the air, digital OTA, podcasts and streaming?
Foti: Telos Systems was first to introduce data-reduced audio more than 25 years ago. Steve Church and I were also the first to recognize the need of dedicated processing for conventional broadcasting, and audio streams.
In reality, digital OTA, podcasts and streaming are all basically one form or another of the data-reduced technology. Thus, all conventional analog OTA transmissions for FM or AM need to employ a processor for that function, and digital OTA, podcasts, streaming, need to use processing designed for data reduced audio.
The main difference between conventional and data-reduced audio transmissions is the final limiter function. Suffice it to say, a processor designed for one system will not “play” well with the other type of system.
RW: How will cloud, virtualization and SaaS affect our processing marketplace?
Foti: It already has! The pandemic of 2020 escalated efforts that were already in place regarding this topic. If anything, now we’ll observe refinements to what’s already in place.
The concepts of the cloud and virtualization present flexibility to the broadcaster that was never possible before. Processing can be installed, adjusted, modified as a system, moved, updated and a host of other utilities from basically anywhere in the world. We even have the ability to transport monitor audio back to remote locations that might be outside of the listening coverage.
RW: Six years ago we had an ebook where we wondered how processors could advance much more, given how powerful their hardware and algorithms were. What about today?
Foti: This question gets asked fairly often. The Achilles Heel of broadcast audio processing has always been the final limiting system. As much as we’d all love a free lunch, it does not apply here, and there is a breaking point.
I’m constantly evaluating our own efforts, as well as those from others. Using choice content, which is challenging for any algorithm, it is easy to discern a good limiter design from another. Sadly, there are some current designs that leave a lot to be desired in this area.
Recent ongoing development from my own workstation has produced a new final limiting system that further reduces and in some cases eliminates sonic annoyances. Those being harmonic and intermodulation distortion components that are audible.
RW: Has radio reached a point of “hypercompression,” with little further change in how loud we can make over-the-air audio? How do we break out of that plateau?
Foti: Loudness is really only a problem if it’s accomplished in an annoying fashion. That’s not being said to promote loudness. It is possible to create a “standout” loud on-air signal that is not annoying.
It comes down to the processor involved, as well as who sets it up. The term “hypercompression” can be defined differently based on interpretation.
I know there are some who absolutely love the sound of “deep compression” and the effect the added intermod it creates, whereas there are others who use less dynamic compression and rely on the final limiting system for their end result. Both are capable of generating large levels of RMS modulation, yet result in dramatically different effected signatures.
Is one better than the other? It’s all very subjective, as well as what is truly to be defined as hypercompression.
RW: As John Kean told us in another article, AES loudness metrics are moving to a lower target level for content, streams, podcasts and on-demand file transfer, like existing metrics for online and over-the-top video. If radio stays with its current environment — modulation limiting, reception noise, loudness wars — could radio see loss of audience due to listener fatigue?
Foti: Any broadcast facility that has lost audience due to listener fatigue needs to realize this occurred due to their approach to audio processing.
Loudness is not the issue. It’s how one achieves a loud signature that determines the listenability of a signal. There is a difference between the perception of a good clean loud signal, and another which sounds like your head is squashed within the jaws of a vice. Both are loud, but both are not bad.
It really comes down to choices made by the broadcaster. Analogy: A car that goes fast is not necessarily a reckless auto. It comes down on the driver of the car. Same applies here.
RW: We read that processing can mitigate multipath distortion and reduce clipping distortion in content. How can users evaluate such claims?
Foti: Great question! I’ve done significant work in this area, and have recently created a method to test, and observe the effects of induced multipath, based on audio processing. Surely, it could be further developed, as a tool for broadcasters.
As of this writing, there is nothing on the market, but there are technical papers that address it. Suffice it to say, I’d be very weary of those who make ad hoc statements about multipath, exaggerated by processing, that were done without any technical evidence or test criteria or employed good engineering practice.
RW: Nautel and Telos recently did a joint demo aimed at eliminating alignment issues by locking the FM and HD1 outputs from the processor through the HD air chain to the transmitter. What’s your take?
Foti: Having been in some of the discussions about this method, this is a solid design that negates outside/ancillary devices to monitor and adjust the time alignment. This is the first systemic approach, which further solidifies the digital transmission infrastructure. It’s very straightforward in design, and reduces the level of complexity within the digital transmission system.
We need to remember that as HD Radio evolved and refined itself, the overall system and infrastructure has had to change. Now that the tech has become mature, it’s possible to create a method that efficiently and reliably creates the broadcast signals for conventional and digital transmission.
June is Microphone Month here at Radio World. This is one in a series of interviews with people who work in and around radio about the kinds of mics they love and why.
Voice veteran Don Elliot applied his music training to radio and jingles, working as a voice talent, PD, DJ, production guy and agent. Stops included WEAM(AM) in D.C., KCMO(AM/FM/TV) and KUDL(AM) in Kansas City, KISN(AM) in Portland and KOIL(AM) in Omaha.
In Los Angeles he worked at 1500 kHz in its various formats, then was hired to switch KIIS to top 40. At KFI(AM)/KOST(FM) he was the house voice for several years, and later broadcast taught at Fullerton and Saddleback Colleges.
Radio World: What’s your favorite microphone for radio on-air work?
Don Elliot: I am very appreciative of this question to ignite some independent thinking as opposed to the acceptance of the ubiquitous, oversized repurposed kick drum mic, the RE20 amongst “me too” stations that rely on crowd advice. But if it works for you, that’s great. Just know that getting out of the box won’t kill you.
Every voice and every microphone is different. That’s why there is no “one-size-fits-all.” You have to try them and listen.
For me, it’s the Sennheiser MKH 416 with a Hook Studios pop screen when I must work closer than a foot. It just finds that sweet spot in my voice without any EQ, and that’s the ideal situation. Much better to spend $1,000 on a mic that works than to spend $300 on one and then $4,000 in outboard gear to make it sound like the $1,000 mic in the first place! Simple.
RW: What’s your choice for remote or specialty work?
Elliot: It puzzles me to see ENG video work being done with omnidirectional microphones, which are known for a 360-degree pick up.
I can understand the benefit for an interviewer who does not know how to move the mic back and forth between themselves and the interviewee, but it’s at the cost of inviting unwanted ambience into the audio.
Far better to use a good cardioid and learn the technique of keeping the interviewee within the polar pattern during the interview. There is much to benefit from using its known null pattern capability when you use your mic as a tool in this way. I call it “fixing it at the source” instead of having headaches back in the studio trying to rescue bad field audio.
Above all, pay attention to the quality of your interface. I use a Centrance MicPort2 with its amazing boutique-quality preamps, 48v phantom, headphone amp and built-in limiter, to get the most out of any mic on location.
RW: If you were training someone what’s a tip you might share or common misconception to dispel?
Elliot: I would bring them to the realization that radio environments are not ideal and that must be taken into consideration in finding a mic not only ideal for the voice but also for “the room.” That’s the tip.
As for the misconceptions, one must realize that “proximity effect” does not change the pitch of your voice but instead causes an artificial low-end mushiness that can lead to loss of intelligibility in a mix or overcompensation for something that is not natural. You must consider listener fatigue in the results that you are getting.
Also, learn proper placement and which polar pattern to use! When I’m singing, I like either my U 87 in a good studio environment, or my Vanguard V13 — I heard Bill Rogers doing Disney promo work on one,which prompted me to buy — which has the advantage of remote-controlling the pattern so you can hear the changes immediately. And it’s continuously variable. I like the openness of this mic in omni, knowing that all mics sound best in omni, but we are hampered by environments into which we are forced. The V13 is a problem-solver.
RW: Other thoughts?
Elliot: When I first started at KFI/KOST, I was given the studio tour, with identical microphones in every position in the production rooms because “that way we have a consistent sound.” It was an uphill battle to convince them that to get a consistent sound you needed a variety of microphones, because no two voices are the same! I would use a ribbon microphone on a female voice that tends to fill out a higher range without making it sound artificially basic. It also helps with sibilance.
Traditionally in an air studio, one step in the right direction has been a multi EQ unit, one module for each jock in order to achieve this desired goal of consistency. I have never been a fan of EQ boost. If anything before boosting, I would start to cut some frequencies if necessary. It’s always better to be able to fix it at the source.
And although it’s probably for another subject sometime, a good microphone preamp could be the most important and prized item in the chain, which reminds us all that the “chain” only as good as its weakest link!
The best takeaway is that just because you have the tool doesn’t mean you know how to use it! Learn from the pros, but don’t be afraid to deviate and experiment.
Read more of Radio World’s coverage of microphones.
Call for Entries for the 30th anniversary Radio Mercury Awards is officially open.
Fifteen trophies will be awarded in 12 categories, and the final round judges have the option to award a Best of Show winner.
Starting this year, the Radio Mercury Awards is now accepting entries in any language for work that was broadcast, aired digitally, released or transmitted initially and primarily in the U.S. and its territories.
For 2021, a new category, Purpose-Driven Spot or Campaign, will award a radio spot or campaign for an advertiser or corporation that promotes their actions and effort towards the public good and demonstrates how they addressed social, environmental or public health/safety issues. There are also updated categories, including Creative Radio Spot: Insightful Voice and Radio Station or Group Promotional Spot or Campaign.
The Radio Mercury Awards is bringing back several popular categories, including Integrated Brand Campaign and Creative Spot for a Cause, to this year’s competition. In addition, in the Creative Radio Spot category, two awards will be given to an agency/production company/advertiser, and two awards will be given to a radio station or group. The Creative Radio Campaign category is also open to two awards this year.
The Call for Entry deadline is on August 9, 2021.
Finalists for the show will be announced in late September and winners will be announced at the 2021 Radio Mercury Awards event on November 17, during a virtual event.
The Radio Mercury Awards is introducing a “Thirty Years in Your Ears” campaign produced in collaboration with Chief Judge Robin Fitzgerald and the creative team at BBDO Atlanta. The campaign highlights several of the Best in Show winners from the last 30 years of the competition. It can be viewed on www.RadioMercuryAwards.com and will be featured in social media and digital marketing.
On June 3, Clear Channel Airports announced that it has partnered with Rockbot to fill a void left by the demise of the CNN Airport TV Network service.
Now, NBCUniversal is doing the same.
Before the FCC closes its current quadrennial review of media ownership rules, it wants more public input.
The commission also has reinstated deregulatory changes that the Supreme Court recently upheld in the “Prometheus” decision.
Regarding the first item, the commission wrote that, “Given the passage of time since the prior comment period ended, as well as the subsequent litigation culminating with the Supreme Court’s recent decision, we now seek further comment to update the record in the 2018 Quadrennial Review proceeding.”
The Telecommunications Act requires the commission to review its media ownership rules every four years to determine whether they remain “necessary in the public interest as the result of competition.” A final order in the 2018 cycle has yet to be issued.
The Local Radio Ownership Rule, or “radio subcaps,” remain subject to the FCC’s review, along with certain television ownership rules.
“Beyond reviewing the existing record in light of the passage of time, we also seek submission of new or additional information regarding the media marketplace that commenters believe is relevant to this proceeding,” it wrote in a public notice.
“Specifically, we seek information regarding the broadcast industry’s evolution since early 2019 and its current trajectory, including the effects, if any, of technological change, new entry, consolidation or changing market conditions. We seek comment in particular on the further development and impact of technological advances and industry practices.”
Among other things, the FCC also wants to hear about other relevant trends in the broadcast industry or related markets, such as the growth of online audio and video sources, “including as sources for news and information, as well as the continued strength and importance of broadcast radio and television stations in the local communities they serve.”
It asked for more info about the impact of the pandemic on its proceeding, and whether those have any bearing on ownership rules.
And it asked for input on diversity proposals, noting that the Supreme Court did not address whether the Telecom Act bars the FCC from considering minority and female ownership in its quadrennial reviews.
One of the issues that radio industry people will be watching is whether the FCC takes any action on the subcaps that limit how many radio stations a given company can own in a given service (AM or FM) in one market. The NAB hopes the commission will at least ease those. But FCC watchers note that the FCC seems less likely to deregulate media ownership rules under a Democratic administration. (The current Acting Chairwoman Jessica Rosenworcel had opposed the changes that the Supreme Court just upheld when she was in the Democratic minority on the commission.)
For a full list of what the commission is asking, see the public notice. Filings should refer to MB Docket No. 18-349. Comments will be due 30 days after this notice appears in the Federal Register.
Regarding the second item, the FCC Media Bureau now officially has reinstated several of the commission’s prior ownership rule changes. It did so per the Supreme Court’s unanimous decision. So the Newspaper/Broadcast Cross-Ownership Rule, the Radio/Television Cross-Ownership Rule and the Television Joint Sales Agreement Attribution Rule are eliminated.
Hercules has launched its new DG Adaptive Series of stands intended for studio use by broadcasters, podcasters, content creators and musicians. The new line includes three new products — the Universal Podcast Mic & Camera Arm Stand, Smartphone Holder and 2-In-1 Tablet and Phone Holder.
Currently shipping, the new models all include 360-degree rotation, the TightVice locking mechanism, the ability to accommodate a variety of devices and accessories, and adaptive application for ease of mounting on any surface.
The Universal Mic & Camera Arm Stand ($59.99) can clamp to a flat or round surface and can hold a microphone, pop filter and a device, be it smartphone or tablet, so users can access content and record at the same time. Using Hercules’ TightVice 360-degree rotation, each component can reportedly adjust to any angle.
Akin to that, the Smartphone Holder ($39.99) can support a variety of smartphones. It sets up on a flat surface, or with round or square tubes, and supports phone sizes of 4.7 inches– 6.9 inches. Meanwhile, the 2-In-1 Tablet and Phone Holder ($49.99) expands upon the Smartphone Holder, in that it extends to fit all tablets. With support for tablet and phone sizes 6.1 inches–13 inches, it also has an option to mount directly into a tripod stand.
All DG Adaptive Models are available worldwide via licensed Hercules dealers and e-commerce partners.
DPA Microphones named Søren Høgsberg as its executive vice president of sales and marketing.
“As a former executive with many of Denmark’s leading corporations, Høgsberg will call on his global experiences to lead DPA in strengthening the coordination of its sales and marketing initiatives,” the company stated in the announcement.
Kalle Hvidt Nielsen, CEO of DPA Microphones A/S, was quoted saying the company seeks to grow its presence in the global market. “It has been our recent goal to bring sales and marketing together under one functional, joint management team.”
He will oversee global sales and marketing including product management, customer care and corporate service.
Høgsberg is former VP of international sales for Demant A/S, which makes hearing aids, audiological equipment and personal communication devices. He also worked for Vestas Wind System A/S and GN Store Nord A/S.
He has degrees from the Aarhus School of Business.
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As organizations around the world make plans for their people to return to the workplace, the latest research report from Accenture finds that 83% of people say a hybrid work model is optimal ─ where individuals have the ability to work remotely between 25% and 75% of the time.
The Accenture research report encompassing 9,326 workers in 11 countries titled, “The Future of Work: Productive Anywhere,” found that 40% of individuals feel they can be productive and healthy anywhere — either fully remote or onsite or a combination of the two — as the hybrid workplace emerges.
In 2002, a Class A FM serving Fort Wayne, Ind., on the commercial band was acquired by Northeast Indiana Public Radio for $1.8 million.
Over the next 19 years, listener contributions have done little to offset the debt associated with the purchase. Now, NE Public Radio is parting ways with this station.
As such, Classical music is about to depart. Gospel programming targeting African Americans is ready to debut.
Jeff and Callie Dauler have managed to turn finding the upside in everyday living and their relationship with one another not only into a happier and more successful lifestyle — but a money-making, listener-generating podcast as well.
After Jeff lost his Atlanta radio gig in August 2019, The Upside landed on Apple Podcast’s top 10 shows in less than 24 hours. How this couple took a lemon and made lemonade with it by covering pop culture, current events, and real-life ups and downs offers a road map for others who may also be sitting on untapped podcasting potential.
Learn from Callie and Jeff when they share their story of The Upside and how to turn the ordinary into an extraordinary career path.
Callie and Jeff Dauler are confirmed participants in How to Make Real Money Podcasting virtual conference, presented by Streamline Publishing’s Radio Ink and Podcast Business Journal.
They appear Thursday, July 15, from 12:20pm-1:15pm Eastern, right before Steve Dahl, the legendary Chicago “shock jock” turned podcaster!CHECK OUT OUR SPEAKERS HERE
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In the final days of 2020, the FCC approved a request by Univision to accept foreign investment in excess of the 25% benchmark set forth in its regulations.
Now, the company that’s now majority controlled by Searchlight III UTD and ForgeLight and led by CEO Wade Davis is seeking the Commission’s OK for two specific non-U.S. based entities to grab a share of Univision ownership.
Burke Magnus has been promoted to the role of President/Programming and Original Content at ESPN.
A 26-year ESPN veteran, Magnus previously served as EVP/Programming Acquisitions and Scheduling. It’s a role he has held since May 2015, adding oversight of ESPN’s relationship with BAMTech in June 2017 and of original content in November 2020.
“Burke is a talented leader and collaborative colleague who has been instrumental in guiding ESPN through what has undoubtedly been one of the most challenging and critical periods in our history,” Jimmy Pitaro, Chairman for ESPN and Sports Content, said. “He is an industry-leading programming strategist who continues to take on new challenges with his signature combination of relationship building and creativity.”
Magnus is responsible for all programming and rights acquisition and scheduling, as well as ESPN and ESPN+ original content development and scheduling (including ESPN Films and 30 for 30 franchise). In his role, Magnus is responsible for rightsholder relationships, content strategy and cross-platform programming rights acquisition/scheduling on a global basis. He is a key driver of Disney’s Direct-to-Consumer priority, including ESPN+, through his team’s close collaboration with DMED (Disney Media & Entertainment Distribution).
In late 2020 and 2021, he guided ESPN and The Walt Disney Company through one of its most active and notable sports rights acquisition periods. He helped drive new, cross-platform (linear, direct-to-consumer, digital, social, etc.) agreements and/or extensions with the NFL, MLB, NHL, SEC, LaLiga and more. Additionally, he led a programming team that collaborated with numerous league, conference and event partners to navigate the postponement, cancellation and rescheduling of thousands of events across ESPN platforms in the aftermath of the COVID-19 outbreak.
Previous agreements forged during Magnus’ time as executive vice president include the NBA, the Masters and PGA Championship, UFC, the German Bundesliga, and more.
Magnus previously served as SVP/Programming and Acquisitions (January 2014 – May 2015).
Magnus joined ESPN in 1995 as a program associate and in 1996 was promoted to program planner.