I’ve been a cheerleader for radio since I founded Westwood One 40 years ago. My guiding principle has always been that content is king. Today’s digital technology has made it possible to bypass the format restrictions of radio to provide consumers easier access to audio and more content than ever before.
The renaissance television experienced, when on-demand video sparked a new and vibrant environment for content, has now made its way to audio. The advent and dramatic growth of podcasts have created a new marketplace for scripted audio dramas that are attracting top talent from radio, television and film.
Dozens of highly produced audio dramas are back in the marketplace and they’re booming. These programs are bringing in ad revenues, millions of listeners, and measurable results for the advertisers that participate in or sponsor them. It’s
I’ve been a cheerleader for radio since I founded Westwood One 40 years ago. My guiding principle has always been that content is king. Today’s digital technology has made it possible to bypass the format restrictions of radio to provide consumers easier access to audio and more content than ever before.
The renaissance television experienced, when on-demand video sparked a new and vibrant environment for content, has now made its way to audio. The advent and dramatic growth of podcasts have created a new marketplace for scripted audio dramas that are attracting top talent from radio, television and film.
Dozens of highly produced audio dramas are back in the marketplace and they’re booming. These programs are bringing in ad revenues, millions of listeners, and measurable results for the advertisers that participate in or sponsor them. It’s all part of the raging growth of audio podcasts. Comedy, sports, conversations, interviews, tech and culture have historically been the key drivers of podcasting. Now, dramatic, well-produced programming has become a major contributor to podcasting’s rapid growth.
Top drama storytelling
Here at PodcastOne, that reality has not been missed. Fully produced, original dramatic podcasts currently airing or in production include Cold Case Files (in partnership with A&E), Murder Made Me Famous (with Reelz), Serial Killer, Trials of a Vampire, Small Town Murder and other scripts in production with well-known television writers. One of those is the original series Goldrush, being produced in partnership with We’re Alive creator/producer Kc Wayland.
From left, Norman Pattiz, Shaquille O’Neal, Adam Carolla and Jim Berk at the Podcast Upfronts
But how did we get here? When I first became aware of the nature and potential of podcasting six years ago, there were no 800-pound gorillas to help define the business. I quickly realized this was absolutely similar to the state of network and syndicated radio back in 1976 when I founded Westwood One. My first thought was there were no real podcast networks, at least no full-service networks at scale, that provided everything needed to produce and/or distribute a quality podcast from start to finish. The market was highly fractionalized with companies focusing on narrow areas of expertise. None of these companies provided a major commitment to sales, marketing, promotion, research, analytics and tech, let alone the back-end infrastructure to provide metrics in a variety of ways or handle client billing and collections.
Surging listenership
As a result, the podcast segment wasn’t large enough to attract the big agencies and brand advertisers. This market opportunity led to the creation of PodcastOne and subsequently, a host of other companies which now have created the critical mass necessary to create a marketplace. So, how’s it going? According to Edison Research, in 2006, 11 percent of the U.S. population (P12+) had listened to a podcast. Last year, that figure had reached 40 percent. Our own digital research shows that in the last five years, consumption of our network programming has grown from 1.3 billion downloads to 2.8 billion downloads last year.
The robust year-over-year audience growth has spurred a myriad of new production companies to join the podcasting community and this is good for the marketplace. Great content fuels market growth, which benefits all content providers. There are production houses, tech platforms and sales reps, many of them focusing on particular genres. Going back to Edison, podcast listeners listen more to podcasts than any other digital audio, including music. Podcast listeners spend 28 percent more time listening to podcasts than they do listening to AM/FM radio.
We now have the platform to tell dramatic stories in a compelling and intimate way. We can target specific demo’s and markets, we can integrate brands into stories, reach a very large audience and accurately measure who, how, when and where they are listening. Best of all, the tidal wave that swept syndicated radio is about to happen again. I can see it, feel it and thanks to podcasting, hear it.
Am I still a cheerleader for radio? Sure. But my cheerleading passion is now squarely focused on podcasting, and I’m happy to say that the rooting section gets larger every day.
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Norman Pattiz is the founder and executive chairman of PodcastOne. His extensive history of innovation and success in audio began over 40 years ago when he founded radio syndication giant Westwood One. Later recognizing the untapped opportunities in audio on-demand, Pattiz launched PodcastOne, which quickly became the leading producer, distributor and revenue-driver in audio on-demand programming. Pattiz is in the National Radio Hall of Fame and received a Giants of Broadcasting Award from the Library of American Broadcasting.
We live in a rebellious age when it comes to content.
No one wants content to be force-fed to them as people want to watch, listen and read things on their own terms – not when a media company tells them to.
Sports talk radio has been thriving since the early 1990s in the U.S., and there are currently more sports talk radio stations than ever before. So the appetite for sports audio is enormous. In the past 10 years, a new alternate sports audio universe has emerged. It’s a world where niche, little commercial interruption and zero structure reigns supreme. It’s sports radio - with no strings attached, and it’s already a dominant force in the media world.
PodcastOne, the primary podcasting company in the world, generated a whopping 1.5 billion podcast downloads in 2015 and works with over 100 brand advertisers. Metro spoke with PodcastOne’s founder and executive chairman, Norm Pattiz,
We live in a rebellious age when it comes to content.
No one wants content to be force-fed to them as people want to watch, listen and read things on their own terms – not when a media company tells them to.
Sports talk radio has been thriving since the early 1990s in the U.S., and there are currently more sports talk radio stations than ever before. So the appetite for sports audio is enormous. In the past 10 years, a new alternate sports audio universe has emerged. It’s a world where niche, little commercial interruption and zero structure reigns supreme. It’s sports radio - with no strings attached, and it’s already a dominant force in the media world.
PodcastOne, the primary podcasting company in the world, generated a whopping 1.5 billion podcast downloads in 2015 and works with over 100 brand advertisers. Metro spoke with PodcastOne’s founder and executive chairman, Norm Pattiz, about the difference between sports radio and podcasting, as well as where the business is headed. Pattiz was also the founder of Westwood One, which became America’s largest provider of news, sports and entertainment in the broadcast industry.
“You’re not limited by radio formats with podcasts,” Pattiz, who spent over 40 years in the radio syndication business, told Metro. “I think one of the chief attributes for us is that we’ve got a pause button. Radio doesn’t have that, and when you get out of the car – that’s it for the day.
“We, in podcasting, can do anything. It reminds me of my early days at Westwood One when the company had 30 people instead of 3,000 people and it was smaller. I had more fun then, and I’m having a blast now.”
Sports talk radio will often hammer home certain topics throughout the course of a day. Vontaze Burfict stomped on LeGarrette Blount’s leg? What an A-hole, that’s half a show right there. NFL ratings are down? Why is that? There’s your other half.
With sports podcasts, though, the listener can pick and choose the topic he or she wants to listen to. For instance, Pattiz says Podcast One will soon unveil a podcast by Forbes devoted only to the business side of sports. This niche idea began with the first “sports” star of Podcast One, former pro wrestler “Stone Cold” Steve Austin, as now there are hundreds of pro wrestling-devoted podcasts.
"There was an immediate response with [Austin],” Pattiz said. “He let his fanbase know about it on social media and the combination was instant. Now Steve does two podcasts a week, not just one, and we have [fellow pro wrestling personalities] Chris Jericho and Jim Ross doing podcasts. That’s not the kind of specific sports talk that you would get on regular sports radio.”
Sports podcasts began popping up 10 years ago, with then-ESPN employee Bill Simmons leading the charge. His “BS Report” podcast routinely got over 30 million downloads per year in the early portion of this decade and now Simmons’ “Ringer” podcast brands itself as the most downloaded sports podcast of all-time. PodcastOne does not feature Simmons, but it does have his pal, Adam Carolla, who is the most successful podcaster of all-time. Just one typical Carolla podcast gets over 250,000 downloads.
“Adam dwarfs them all. He’s made more money in podcasting than anyone,” Pattiz said, of the former terrestrial talk radio host. “That said, 40 – maybe even 50 percent – of our top podcasts focus solely on sports.”
Pattiz does not exactly have a “get with the times, already!” opinion of traditional sports radio. He believes that sports podcasting and sports radio will be able to thrive for years to come.
“[Sports radio] will never go away,” Pattiz said. “Play-by-play on radio has always been interconnected to the talk format. Always will be. In most cases, if you want play-by-play sports, you have to carry sports talk as well. They’re looking for as close a connection as they can with local listeners. They want pre-game and post-game talk.
“Radio has its own set of many, many problems … I don’t think sports is one of them.”
More with Norm Pattiz
Burke: I always hear the same ads pop up on podcasts, like Me Undies, Onnit, Blue Apron, Stamps.com – is that by design, and were advertisers hesitant at first to get involved with podcasts?
Pattiz:We do have a core of advertisers. All of it is direct response advertising. There’s a call to action, which immediately leads to buying a product. Sponsors can measure this. They know that it pulls. The listener is much more influenced to buy something if the host of a program is talking about it directly. Then you add in that there’s a fraction of the commercial load with podcasts. You might get four spots in one, hour-long podcast. You might get 16 in one hour on sports radio.
Burke: Can you bring me up to speed on CBS Radio. I saw in March that they were planning to sell, then they kind of backtracked. What’s the deal there?
Pattiz:They’re going to take it public. Spin it off, take it public. They couldn’t find an acceptable solution to sell off all their assets to different players, so they’re going to spin it off and make it a separate company.
I will say that they are a good company. They deliver a lot of positive cash flow. The problem is, radio isn’t the sexiest business right now and the rest of the players are swamped with debt.
PodcastOne's lineup includes:
The BIG Podcast with Shaq Steve Austin Talk is Jericho with Chris Jericho The Dan Patrick Show Barstool Sports Lineup (including Pardon My Take) Ross Report with Jim Ross Rich Eisen Jim Beaver’s Project Action (action sports) You’re Welcome with Chael Sonnen The Stinkin’ Truth with ESPN’s Mark Schlereth Ross Tucker’s football collection of podcasts
Southern Cross Austereo (SCA) and PodcastOne today announced they have signed a long-term partnership to create PodcastOne Australia, a brand and platform that will bring the best in podcasting directly to listeners.
SCA will operate PodcastOne Australia as the exclusive partner in Australia and New Zealand with select SCA podcasts made available in the U.S. on the PodcastOne platform.
As one of Australia’s leading media companies, SCA reaches 95% of the country with assets in television, radio and digital. PodcastOne is the largest advertiser-supported podcast network in the United States, delivering more than 200 programs, with over 350 hours of original weekly episodes, which were downloaded 1.5 billion times last year.
The joint venture represents the first international partnership of this magnitude in the commercial podcast industry with the companies together developing and
Southern Cross Austereo (SCA) and PodcastOne today announced they have signed a long-term partnership to create PodcastOne Australia, a brand and platform that will bring the best in podcasting directly to listeners.
SCA will operate PodcastOne Australia as the exclusive partner in Australia and New Zealand with select SCA podcasts made available in the U.S. on the PodcastOne platform.
As one of Australia’s leading media companies, SCA reaches 95% of the country with assets in television, radio and digital. PodcastOne is the largest advertiser-supported podcast network in the United States, delivering more than 200 programs, with over 350 hours of original weekly episodes, which were downloaded 1.5 billion times last year.
The joint venture represents the first international partnership of this magnitude in the commercial podcast industry with the companies together developing and producing content for both the U.S. and Australia.
PodcastOne Australia will be available early in 2017 via mobile app and website, providing listeners with a single, curated destination to easily get the best existing PodcastOne programs, along with the jointly-created lineup.
The partnership was signed in Los Angeles by Grant Blackley, Chief Executive Officer of SCA and Jim Berk, Chief Executive Officer of PodcastOne.
“I am thrilled that SCA has this opportunity to be partnering with PodcastOne. This partnership gives us the ability to tap into the expertise, experience and success of the leading commercial podcast company in the U.S. market, where the podcasting industry is a number of years ahead of audio, on-demand in Australia,” said Blackley. “We recognize the enormous growth potential of podcasting, both internationally and domestically, and look forward to further building this vast platform with the best international and unique Australian content. SCA is striving to be at the forefront of developing the Australian podcasting industry and its talent.”
“This is PodcastOne’s first partnership outside of the U.S. - really the first of its kind in the podcast industry all together - and Executive Chairman Norm Pattiz and I are very excited it is with Southern Cross Austereo, who leads the radio and audio industry in Australia,” said Berk. “SCA will now have a U.S. platform to actively promote the best commercial podcasts in Australia, giving creators and producers the opportunity to expand audience reach to new territories, and grow audience by being available on the PodcastOne app and website.”
Building on SCA’s track-record as a leading audio content creator, a dedicated, stand-alone PodcastOne Australia team of executives is being structured within the company to nurture new talent, commission new content, adapt existing content, develop existing talent, undertake technical production and monetize the podcasts.
Grant Tothill, currently Head of Strategic Partnerships at SCA, has been appointed to the newly created position of SCA Head of Podcasting to run the new business.
Further announcements about new Australian podcasts and the launch of the platform will be made in the coming months.
Clad in designer sneakers and a slim black blazer, 73-year-old Norm Pattiz gestures excitedly at a framed photograph in his office–not the postcard-size photos of him with Bill Clinton and Madeleine Albright but a life-size action shot from a Los Angeles Lakers game. Seated in the front row, among the likes of Mark Wahlberg, Ari Emmanuel and Jack Nicholson, is Pattiz.
Hanging with the front-row celebs isn’t just a perk for Pattiz; it’s the business model of Courtside Entertainment, the Beverly Hills-based parent of his latest venture, PodcastOne. Just as he did with radio syndicator Westwood One, Pattiz believes he can turn his podcasting outfit into a national juggernaut–and revolutionize an industry whose commercial clout still lags its cultural footprint by a stunning margin. A 2014 report by ZenithOptimedia estimated industrywide
Clad in designer sneakers and a slim black blazer, 73-year-old Norm Pattiz gestures excitedly at a framed photograph in his office–not the postcard-size photos of him with Bill Clinton and Madeleine Albright but a life-size action shot from a Los Angeles Lakers game. Seated in the front row, among the likes of Mark Wahlberg, Ari Emmanuel and Jack Nicholson, is Pattiz.
Hanging with the front-row celebs isn’t just a perk for Pattiz; it’s the business model of Courtside Entertainment, the Beverly Hills-based parent of his latest venture, PodcastOne. Just as he did with radio syndicator Westwood One, Pattiz believes he can turn his podcasting outfit into a national juggernaut–and revolutionize an industry whose commercial clout still lags its cultural footprint by a stunning margin. A 2014 report by ZenithOptimedia estimated industrywide ad sales at a paltry $34 million a year.
“It was a $34 million business before we got into it,” says Pattiz. “In short order, another zero will be added to that, and I think the potential for growth is going to make this an industry that will be in the billions.”
There are plenty of reasons to believe he’s right. One in three Americans has listened to a podcast, and thousands have created their own. It can be as simple as recording a rant and uploading it to the Web via SoundCloud or iTunes–or as involved as big-budget smashes like Serial, which Pattiz acknowledges he never would have green-lighted: “The return would have been too risky and too low.”
Silicon Valley has taken note of podcasting, too. This American Life alum Alex Blumberg helped launch a podcast network, Gimlet Media, in 2014; its first offering, Startup, chronicled his company’s founding. Blumberg raised $7.5 million from Betaworks, an incubator, and Lowercase Capital, the venture fund of billionaire Chris Sacca. Both were attracted to the mix of a new medium and public-radio-level journalism.
Pattiz is banking on celebrity. Most of his 200 shows feature prominent names like former Laker Shaquille O’Neal and comedian Adam Carolla. “There will be the Game of Thrones of podcasting,” Blumberg says, “and there will be the Keeping Up With the Kardashians of podcasting. I think his strategy is great.”
Indeed, Carolla’s show averages 800,000 downloads per episode; PodcastOne clocked over 1.5 billion downloads overall in 2015 as revenue soared to $20 million, up from just shy of $2 million in 2012, its first year. In July the E.W. Scripps Co. scooped up competitor Midroll for $50 million (Pattiz believes the company is two-thirds the size of his; Midroll declined to comment for this story).
The world of podcasting may be new, but for Pattiz it’s familiar turf. “People want to create this chasm between podcasting and terrestrial radio,” says Carolla, whose hosting resume includes Westwood One’s Loveline and Comedy Central’s The Man Show, with Jimmy Kimmel. “It’s the exact same model in my mind: Create a show, do it consistently, send out advertising.”
Pattiz has plenty of experience doing that. In 1976, after he lost his job as sales manager of a Los Angeles television station, he decided to take the TV syndication model to radio and founded his one-person company in L.A.’s Westwood neighborhood: Westwood One.
While most American radio stations are owned by just a few conglomerates today, 40 years ago no one company was allowed to control more than five stations. But there was no rule prohibiting lots of stations from buying the same show, so Pattiz created a 24-hour Motown special, complete with unreleased tracks and artist interviews. “I wound up getting a couple hundred radio stations who thought it was interesting enough that they’d run it,” he says, “and then spent the next months and years producing programming for the four national advertisers who had a really good experience with the Motown special.”
At the end of his first year he had $200,000 in revenue. Within a decade he had $600 million. He took the company public in 1984, and it peaked at a market cap of nearly $4 billion before Infinity Broadcasting took over its management. Pattiz stepped down as chairman in 2010 and formed Courtside Entertainment as a consulting entity to handle long-standing Westwood One relationships with high-profile talent.
Shortly thereafter a friend introduced him to Kit Gray, a young entrepreneur who was grossing nearly $2 million a year selling podcasts like Carolla’s to direct-response advertisers such as Shari’s Berries and LegalZoom. “I thought, ‘This is a digital Westwood One without the necessity of having to go get drunk with the program director to convince him to carry your program,’ ” Pattiz says. “ I was shocked to find that there were no serious players of any size or any bandwidth in the podcasting business and that national advertisers really didn’t use the medium.”
Pattiz and Gray went into business together, launching PodcastOne from Courtside’s offices. One of the first people Pattiz told was his Staples Center buddy Ari Emmanuel, who is chief of the talent agency WME and whose clients were looking for digital revenue streams. Other agencies followed, and soon wrestler Stone Cold Steve Austin had signed up to do PodcastOne’s first show, with Carolla shifting over soon after.
BEVERLY HILLS, Calif. — After building his Westwood One radio syndication house into a $500 million powerhouse, Norm Pattiz moved on from radio.
Now, he’s turned his building skills to podcasting, where his PodcastOne company produces and distributes programming from the likes of former Los Angeles Laker Shaqueille O’Neal, comedian Adam Carolla, actor Alec Baldwin and former wrestling star Steve Austin. He has a roster of 200 shows and 100 million listens weekly to his fare.
Pattiz recently sold a 30% minority stake of his company to broadcasting veteran Hubbard Radio. Terms weren’t disclosed, but Pattiz has pegged the podcasting market as worth $50 million currently and has said PodcastOne is approaching 50% of the ad business for podcasting.
In a chat with USA TODAY at PodcastOne’s offices here, Pattiz talked about why he sees podcasting as
BEVERLY HILLS, Calif. — After building his Westwood One radio syndication house into a $500 million powerhouse, Norm Pattiz moved on from radio.
Now, he’s turned his building skills to podcasting, where his PodcastOne company produces and distributes programming from the likes of former Los Angeles Laker Shaqueille O’Neal, comedian Adam Carolla, actor Alec Baldwin and former wrestling star Steve Austin. He has a roster of 200 shows and 100 million listens weekly to his fare.
Pattiz recently sold a 30% minority stake of his company to broadcasting veteran Hubbard Radio. Terms weren’t disclosed, but Pattiz has pegged the podcasting market as worth $50 million currently and has said PodcastOne is approaching 50% of the ad business for podcasting.
In a chat with USA TODAY at PodcastOne’s offices here, Pattiz talked about why he sees podcasting as the new frontier, and his belief that radio has nothing to worry about.
USA TODAY: PodcastOne is different from many of the places where people get to listen to podcasts, like Stitcher, TuneIn and SoundCloud, in that most everything you run is exclusive, correct?
PATTIZ: Right, we’re not on platforms that offer podcasts, because they sell advertising inventory around the programming. We exclusively represent all the ad inventory on our network.
USA TODAY: What made you want to get into podcasting as a business?
PATTIZ: I saw it as the digital version of Westwood One without the constraints of syndication. I wouldn’t have to get drunk with program directors to convince them to run my shows.
USA TODAY: Why do you think podcasting is a better buy than radio?
PATTIZ: If we deliver 1 million impressions and radio has 1 million impressions, people have to press a button to get us, unlike the radio listener, thus our listener has a far greater connection to the podcast and host.
USATODAY: What advice do you have for podcasters looking to break in?
Jefferson Graham interviews Norm Pattiz at PodcastOne's studios in Beverly Hills. (Photo: PodcastOne)
PATTIZ: It’s not too late. There are over 250,000 podcasts on iTunes. Most are broadcasting out of their garage, or something similar. The average podcast on iTunes is listened to by less than 100 people. If you find yourself with a growing audience in the thousands instead of hundreds, and think you have something that could be bigger if it was promoted properly, and have a hankering to make some money, then give us a call. We will promote the heck out of the podcast on our network, so if you wind up not getting listeners, it won’t be because nobody knows you’re out there.
USA TODAY: What kind of money are people looking at?
PATTIZ: Most podcasters have been making no money. With some shows, if we can generate $50,000 to $60,000 a year, they’re thrilled.
If we go out and get big names, and one episode leads to two or three a week, that could lead to making at least $1 million a week.
USA TODAY: Why did you sell a stake to Hubbard Broadcasting?
PATTIZ: I didn’t need additional investors. but in the last year, it became obvious we could sell a minority share, and still have majority in our hands.
I’ve been preaching to radio they should embrace podcasting, to show that radio and audio continues to grow. We wanted to do the deal, to show other companies interested in the space how serious it had become.
USA TODAY: How is radio doing?
PATTIZ: Radio will always be a mass medium consumed by millions of people, but traditional radio on broadcast is not growing at all. The competition from digital is significant. Radio used to be the only place you could get new music, now there are music services. Talk radio was only consumable on broadcast band, now everything we do is talk oriented. So there’s a lot that’s not exclusive to broadcast radio anymore. We believe radio needs to embrace podcasting, because it promotes audio.
MEDIA: Podcast One dials up dollars with rise in ads, audience. By Sandro Monetti Sunday, August 16, 2015
After making his name and fortune in radio as founder of broadcasting giant Westwood One, Norm Pattiz is now an evangelist for podcasts – and radio broadcasters are starting to convert.
Pattiz sold a 30 percent stake in his podcast hosting company Podcast One to Hubbard Radio earlier this month, just the latest example of an old-media company hopping aboard the new-media train – before they get run over by it.
The radio station owner in St. Paul, Minn., bought the stake for $12 million, according to a source close to the deal, valuing Beverly Hills’ Podcast One at $40 million. That deal came 10 days after another traditional media company, E.W. Scripps, bought Hollywood podcasting network Midroll Media for an undisclosed amount, rumored to be around $40 million.
MEDIA: Podcast One dials up dollars with rise in ads, audience. By Sandro Monetti Sunday, August 16, 2015
After making his name and fortune in radio as founder of broadcasting giant Westwood One, Norm Pattiz is now an evangelist for podcasts – and radio broadcasters are starting to convert.
Pattiz sold a 30 percent stake in his podcast hosting company Podcast One to Hubbard Radio earlier this month, just the latest example of an old-media company hopping aboard the new-media train – before they get run over by it.
The radio station owner in St. Paul, Minn., bought the stake for $12 million, according to a source close to the deal, valuing Beverly Hills’ Podcast One at $40 million. That deal came 10 days after another traditional media company, E.W. Scripps, bought Hollywood podcasting network Midroll Media for an undisclosed amount, rumored to be around $40 million.
Pattiz said both deals confirm what he’s been preaching since founding Podcast One in 2012.
“I’ve been saying the radio business ought to embrace new platforms in order to put the industry in a continuing growth pattern and now there’s a great deal of interest in on-demand audio,” he said. “People have seen what companies like Midroll and us are doing, how advertisers have jumped on board and they recognize the great opportunities in this area of the media.”
Podcasts are audio shows broadcast on the Internet that listeners can download or stream, consuming them whenever they wish. Podcast One has a stable of 200 shows and makes money by selling ads across that network, sharing revenue with podcast programmers.
With more consumers preferring to get their content on demand rather than tying themselves to a TV or radio broadcasting schedule, partnerships between old and new media appear to be relationships of necessity, said Jor Law, an attorney with Sherman Oaks law firm Homeier & Law, which specializes in merger and acquisition advice for media firms.
“Traditional media has now recognized the right move is to get invested with the trend toward alternative methods of content distribution instead of missing out,” he said.
Podcasts rising
Scripps and Hubbard are buying into podcasts as consumption of on-demand broadcasts has risen, with 46 million Americans listening to podcasts on a monthly basis, up from 39 million a month last year, according to a 2015 Edison Research and Triton Digital study.
Improvements in technology have played a huge part in the rise in audience figures for podcasts, Pattiz said. Years ago, podcasts had to be downloaded from the Web then uploaded to an iPod or other device. Now, they can be streamed directly to smartphones and tablets – and, in Pattiz’s case, beamed directly into his car’s stereo.
“When they first appeared eight or nine years ago, they were difficult to consume,” he said. “Now it’s so much easier, especially with Bluetooth in cars. I get in my car, switch on and start listening. It’s easier to find a podcast than a radio show these days.”
As their audience has grown, podcasts have become a more attractive proposition for advertisers, said Arthur Chan, executive vice president of digital marketing at Santa Monica’s Palisades Media Group.
Part of the appeal for advertisers, he said, is the intimacy podcasts provide.
“Listeners most often listen to podcasts alone – with earbuds, commuting or at work,” he said. “Combined with the limited spots for advertising, this creates a more premium experience.”
Adding to advertiser appeal is that podcast consumers have higher-than-average incomes and are17 percent more likely than the average person to show loyalty to certain brands by repeatedly buying the same branded products, according to the Edison-Triton study.
Podcast One has more than 60 major brand advertisers – including American Express, Mazda and Geico – a figure that has doubled over the past year. Growth like that attracted investment queries from Hubbard and several other old-media firms, Pattiz said.
Radio roots
Decades before founding Podcast One, Pattiz made his name in the broadcasting business by founding and building Westwood One, which started out in Westwood in 1976 and grew into the country’s biggest radio network. The company went public in 1984 and once commanded a market cap of $4 billion.
Pattiz said he made $300 million selling off Westwood One shares over the years. In 2010, he left the company, which has since passed among several owners, including Beverly Hills private equity firm Gores Group. Westwood One is now part of Atlanta radio empire Cumulus Media.
Pattiz, 72, saw potential in the podcast space and personally bankrolled Podcast One to the tune of several million dollars. He said the company became profitable this year after significant growth.
Having grossed $2.5 million in its first year, the company did $12.5 million last year and “this year there’s a very good chance we’ll no longer be a teenager,” Pattiz said.
Podcast One’s growth and profitability is what prompted interest from investors, he said. But he still wanted control of the company and was only willing to part with a minority stake.
“Our company was big enough to consider taking in a minority investor in a strategic move which would show confidence on behalf of the financial community in our industry, create market value for the company and still give us operating control,” he said. “Hubbard proved a great fit as it’s an iconic company which has been around forever that has digital and TV assets as well as radio and a desire to stay on the cutting edge of media development.”
Ginny Morris, chief executive of Hubbard, said the company expects to make a handsome profit on its investment and to help Podcast One continue to grow.
Business model
Apart from broadcasting, Pattiz’s other passion is the Los Angeles Lakers. Memorabilia from the team fills his Beverly Hills office.
He has been a season ticket holder for more than 30 years and owns four courtside seats between the Lakers bench and the scorer’s table – the next four are owned by Ari Emanuel, chief executive of talent agency William Morris Endeavor. He credits those seats with winning him some big business over the decades.
“They’ve cost me a lot but have more than paid for themselves over the years with all the big deals I’ve done with guests I’ve sat with there,” he said.
Indeed, his business model at Podcast One relies on attracting the kinds of big names you can only lure with courtside seats.
He likes to broadcast shows hosted by personalities with big social media followings or a proven track record in radio – such as comedian Adam Carolla, Spanish-language radio star Eddie “Piolin” Sotelo, sportscaster Dan Patrick and “Jersey Shore” favorite Nicole “Snooki” Polizzi. Those with big built-in fan bases are an easier sell to advertisers, Pattiz said.
But he said the investment from Hubbard allows the company to push the envelope by trying riskier fare and start making shows more along the lines of last year’s podcast sensation “Serial.” The nonfiction series re-examined a Baltimore murder case and has been downloaded more than 80 million times.
“We are in the infancy of podcasting but I know from my Westwood One experience what it’s like to be in at the infancy of a segment of the media,” he said. “By using a similar game plan here, we aim for similar growth in the digital age.”
Los Angeles – August 3, 2015 – PodcastOne, the nation’s largest advertiser-supported podcast network, and iconic broadcast company Hubbard Radio, have reached an equity agreement in which Hubbard Radio acquires 30% of the on-demand digital-audio leader, it was announced today by PodcastOne Chairman and CEO Norm Pattiz, and Hubbard Radio Chair and CEO Ginny Morris.
The agreement maintains PodcastOne and parent company Courtside Entertainment Group’s independent control of all operations, as the network continues to expand its collection of more than 200 top-rated programs, delivering more than 400 million monthly impressions for advertisers. The network features many of America’s most popular podcasts, including Adam Carolla, Shaquille O’Neal, Steve Austin, Dan Patrick, Chris Jericho, Penn Jillette, Nicole “Snooki” Polizzi, Shawn and Larry King,Read More
HUBBARD RADIO PURCHASES 30% STAKE IN
PODCAST INDUSTRY LEADER PODCASTONE
Los Angeles – August 3, 2015 – PodcastOne, the nation’s largest advertiser-supported podcast network, and iconic broadcast company Hubbard Radio, have reached an equity agreement in which Hubbard Radio acquires 30% of the on-demand digital-audio leader, it was announced today by PodcastOne Chairman and CEO Norm Pattiz, and Hubbard Radio Chair and CEO Ginny Morris.
The agreement maintains PodcastOne and parent company Courtside Entertainment Group’s independent control of all operations, as the network continues to expand its collection of more than 200 top-rated programs, delivering more than 400 million monthly impressions for advertisers. The network features many of America’s most popular podcasts, including Adam Carolla, Shaquille O’Neal, Steve Austin, Dan Patrick, Chris Jericho, Penn Jillette, Nicole “Snooki” Polizzi, Shawn and Larry King, Laura Ingraham, Dr. Drew, TheCHIVE, the newly launched Mark Schlereth podcast, plus WNYC’s Radiolab, Freakonomics and many more.
Hubbard Broadcasting operates radio stations and television stations across America, as well as satellite and cable network ReelzChannel, F&F Productions and the Hubbard Radio Network. The companies will work closely on synergies in content development, cross-promotion, brand development, new technology opportunities, and local, regional and national joint marketing and advertising. The investment will also allow for rapid expansion of sales and marketing resources, along with the ability to service more clients, as PodcastOne continues its phenomenal growth trajectory since being founded just three years ago by Kit Gray and Westwood One Founder and Chairman Emeritus Norm Pattiz.
“We could not be more pleased and excited to have the chance to collaborate with Norm Pattiz and Kit Gray,” said Morris. “These great audio mavericks have a vision that we believe in, and are honored to be a part of. Great content always wins, and to make great content available at the convenience of the consumer is a natural evolution and one that our industry is beginning to embrace. It will provide additional options that expand our audience and build the value of our existing assets.”
Pattiz echoed these sentiments: “They say you’re judged by the company that you keep. In that case, my reputation just got a huge boost. I am so looking forward to working with Ginny and her entire team. The accomplishments of the Hubbard family in the broadcasting, content and media worlds speak for themselves. I view this as, not only a great deal for both of our companies, but more importantly, for the radio industry as a whole. Embracing all forms of audio distribution, from broadcasting to streaming and on-demand is what will drive radio as a medium continually growing and on the cutting edge.”
This is the second major podcast industry announcement in ten days, as podcast consumption continues its rapid rise. One third of the population has listened to a podcast, and 32 million people listen to podcasts on a weekly basis, as noted in the recent Edison Research and Triton Digital Infinite Dial 2015 study. The study also confirms advertiser appeal, noting that podcast listeners are 17% more likely than the average population to follow brands, and these consumers have a higher education level and income than the general U.S. population.
Hubbard Radio is the most recent broadcast group to commit resources to the podcast landscape, adopting the digital platform as part of radio’s natural growth. Pattiz has long been a cheerleader of radio, since founding Westwood One 35 years ago, and recognizes the commitment Hubbard demonstrates to the future of audio through this partnership with market leader PodcastOne. Show Less
The podcasting network, home to Snooki and Adam Carolla, boasts 120 million monthly downloads.
Serial is the media story of 2014. The podcast series, which investigates a 15-year-old murder case, has averaged 3.1 million listeners each week. More notably, it’s become an Internet phenomenon, with dozens of articles, recaps, conspiracy theories, and parodies. Twitter is obsessed. Reddit is obsessed. There are discussion groups. There are tip jars. There are social media gaffes. It has captured the Internet’s fascination the same way that, before now, only a television show could. The success of Serial, combined with the launch of Gimlet Media, a podcasting startup (producing a podcast show about starting a podcast startup, no less), is enough for the media to declare we are in a podcasting renaissance.
The podcasting network, home to Snooki and Adam Carolla, boasts 120 million monthly downloads.
Serial is the media story of 2014. The podcast series, which investigates a 15-year-old murder case, has averaged 3.1 million listeners each week. More notably, it’s become an Internet phenomenon, with dozens of articles, recaps, conspiracy theories, and parodies. Twitter is obsessed. Reddit is obsessed. There are discussion groups. There are tip jars. There are social media gaffes. It has captured the Internet’s fascination the same way that, before now, only a television show could. The success of Serial, combined with the launch of Gimlet Media, a podcasting startup (producing a podcast show about starting a podcast startup, no less), is enough for the media to declare we are in a podcasting renaissance.
Should the radio industry be scared? Not yet. Terrestrial radio still reaches 92% of Americans, and only 15% listen to podcasts. Within that sliver of listeners, Serial’s audience is small potatoes.
The radio listeners of the world won’t switch to podcasts overnight. But the shift from scheduled programming to on-demand content that is happening in TV also applies to radio. Just ask Norm Pattiz, a radio industry veteran who started Westwood One, a syndicator of talk radio shows, and grew it into a half-billion-dollar company. He’s a radio guy for life—“I’ve been a cheerleader of radio for 35 years. I’m not changing my stripes,” he says—but he believes the only way to grow in radio industry is to embrace digital. He saw an opportunity in podcasts, because, unlike radio, which depends on broadcasters to pick up your shows, podcasts have their own distribution.
What’s more, the big radio companies have ignored podcasting, because “it isn’t a major needle-mover for them,” Pattiz explains. Two years ago, podcasting was “pretty much a mom and pop business,” he says. New York ad agencies weren’t buying ads on podcasts, even though podcasts report very high engagement among listeners.
The engagement part is important: “[These] were people who had actively gone out and downloaded this. If you get one million listeners who are active listeners, the engagement for an advertiser is pretty much off the charts,” Pattiz says. That’s how Serial’s advertiser, MailChimp, has spawned its own set of jokes and memes online.
But Serial is only one show with one advertiser. (In later episodes, the show added additional sponsors; it also asked listeners for donations.) Major brands haven’t poured money into podcasts because they aren’t prepared to write small checks to individual shows. Big brands have huge budgets and need to buy at scale.
That’s what Pattiz’s company, PodcastOne, hopes to fix. The company aggregates shows and sells ads in bundles across their combined audiences. It shares the revenue with its programmers. PodcastOne partnered with talent agencies to bring on celebrity podcasters such as Snooki, Dr. Drew, Stone Cold Steve Austin, Radiolab, and Penn Jillette. (Pattiz pitched the idea to Hollywood agent Ari Emanuel during a Los Angeles Lakers game, where they have adjacent seats.)
PodcastOne now offers 200 different shows that are downloaded 120 million times per month. (This equates to 100 million listens, the company says.) Pattiz has 200 more potential shows in the hopper, but the company is rolling them out slowly to meet demand.
That’s where Serial comes in. The show’s fame has translated to more interest in the category of podcasts from listeners and advertisers. “It’s been great for the business because it’s bringing attention to podcasting,” says Pattiz, who is a Serial listener.
The next step is to make the podcast experience even more like radio. Today, the company announced it will partner with the Associated Press to insert up-to-date news briefs at the beginning of each of its podcasts. When a podcast is downloaded, the most recent 60-second audio news clip from the AP will be inserted at its beginning. The majority of podcasts are listened to within a few hours after they’re downloaded, according to Pattiz. There’s a business proposition here, too: Radio networks are increasingly abandoning the news, Pattiz says, so advertisers that want to be positioned alongside news content have fewer options.
In its first year, PodcastOne was happy to snag six major brand advertisers. This year, it landed 36. Pattiz says he expects the podcast category to be worth $100 million next year, with PodcastOne taking the biggest share of it. It’s nowhere close to the $16 billion radio industry. But it might be the future of audio.
With podcasting a new frontier for radio, new ways to monetize the fledgling medium have emerged that go well beyond direct response ads read by hosts. Ad insertion has entered the ring, along with native advertising.
Targeting podcast ads based on behavioral data and demographics is becoming more prevalent. Using third party providers, CBS Radio, PodcastOne, audioBoom and other podcast players dynamically insert ads. CBS Radio stitches them into Play.it podcasts, whether the listener is streaming on demand or downloading the audio to their device. Here’s how it works: When there’s a call to the server for a specific podcast, it instantaneously sees what ads are available for that podcast or the demographic behavior purchased by the marketer. It then inserts the ads into the file before it’s downloaded or streamed.
“We made the audio on demand business very marketer-friendly,” says CBS Local Digital Media
With podcasting a new frontier for radio, new ways to monetize the fledgling medium have emerged that go well beyond direct response ads read by hosts. Ad insertion has entered the ring, along with native advertising.
Targeting podcast ads based on behavioral data and demographics is becoming more prevalent. Using third party providers, CBS Radio, PodcastOne, audioBoom and other podcast players dynamically insert ads. CBS Radio stitches them into Play.it podcasts, whether the listener is streaming on demand or downloading the audio to their device. Here’s how it works: When there’s a call to the server for a specific podcast, it instantaneously sees what ads are available for that podcast or the demographic behavior purchased by the marketer. It then inserts the ads into the file before it’s downloaded or streamed.
“We made the audio on demand business very marketer-friendly,” says CBS Local Digital Media president Ezra Kucharz.
Data plays an increasingly important role. “There’s plenty of data, both digitally and through surveys, that can provide all the needed info to brand advertisers on who the audience is and their purchasing makeup,” PodcastOne founder Norm Pattiz says.
Native advertising is becoming part of the playbook, too. At its SoundFront presentation, iHeartMedia’s pitch to marketers included inviting them to participate in the creative process for a new slate of podcasts. “We have some ideas, and we want to do it with your brands,” CMO Gayle Troberman said.
Client-branded podcasts are a big push at CBS, too, which is working with several brand advertisers to launch podcasts of their own original content toward the end of second quarter.
When PodcastOne launched two year ago, 90% of its business was direct response ads. Audience deliveries were small. But engaged, loyal followings produced strong results and high CPMs. “The podcast audience is worth more for an advertiser because they had to perform a positive act to access the content,” Pattiz says. The company’s national brand advertisers have surged from six to 46 during the past two years and it expects to end 2015 with a 50-50 ratio of direct response to brand advertisers.
“National brands are starting to use the medium in much more effective ways,” Pattiz says. The company expects to bill $20 million this year, ten times what it booked when it launched two years ago.
But despite the runaway success of NPR’s “Serial,” which amassed 80 million downloads, podcasting gets only a sliver of ad dollars. There is no precise tracking of its annual revenue with estimates ranging from as low as $34 million to as high as $60 million with potential to reach $100 million in the near-term.
Podcasting’s ace in the hole is a loyal and engaged audience – users seek out and subscribe to specific shows on topics that interest them. Being able to demonstrate a deeper emotional attachment could lead to higher CPMs than your average music stream. “We’re in the early stage and everyone’s trying to assess value,” Kucharz says. “A lot of brands like to associate themselves with passion plays and that’s what this is about.”
One-third of the country’s 12+ population has listened to a podcast, some 89 million people, according to Edison Research and Triton Digital. While the trend is one of solid growth, measuring how many people listened to a specific podcast after downloading it is one hurdle the industry will need to overcome to give marketers the metrics they’re accustomed to.
Companies like RawVoice, Libsyn and Podtrac measure the number of podcast downloads but they aren’t able to convert them into audience impressions. PodcastOne uses Edison to survey its audience and then fuses that demographic and psychographic data with the raw downloads to convert them into impressions. It also tags spots to validate the number of impressions the commercial received at the time it was consumed or downloaded.
The way Americans listen to podcasts is changing. There’s more consumption through on demand streaming than downloads, digital executives say. PodcastOne says 60% of its listeners stream its podcasts. As usage continues to shift away from downloads to streaming, podcast measurement is expected to improve.
But even without precise measurement, the trend line is clear. PodcastOne programs are downloaded 140 million time a month and generate 100 million monthly impressions, according to the company. Listening to Play.it has increased more than 30% since it launched.
Kucharz sees nothing but blue sky ahead for the medium, thanks to consumers already trained to use services like Netflix and Hulu to access on demand video and platforms like Spotify and Rdio to access music on demand. “You’re training consumers to access content when they want it,” he says. “Now it’s spoken word’s turn.”
FRIDAY's agenda at the annual WORLDWIDE RADIO SUMMIT at the HOLLYWOOD ROOSEVELT HOTEL included looks at audio's new platforms, breaking artists and picking the hits, social media, international radio, air talent, and security.
It Can Happen To You
VALORIANT SAFETY Senior Consultant TOM HUGHES opened the day's proceedings with a talk about security, dealing with issues from getting through airport security to a station's vulnerability to attack, both physically and online. He warned that those who exercise freedom of speech "without limits" can expect "bad guys" to "exercise freedom of action," and advised stations to have an emergency plan and safety training, including escape plans. He pointed out that broadcasters are "valued, and soft, targets," because they can offer a route for publicity and because everyone knows where the stations are. HUGHES, who handles security for MIRANDA LAMBERT, also offered c
FRIDAY's agenda at the annual WORLDWIDE RADIO SUMMIT at the HOLLYWOOD ROOSEVELT HOTEL included looks at audio's new platforms, breaking artists and picking the hits, social media, international radio, air talent, and security.
It Can Happen To You
VALORIANT SAFETY Senior Consultant TOM HUGHES opened the day's proceedings with a talk about security, dealing with issues from getting through airport security to a station's vulnerability to attack, both physically and online. He warned that those who exercise freedom of speech "without limits" can expect "bad guys" to "exercise freedom of action," and advised stations to have an emergency plan and safety training, including escape plans. He pointed out that broadcasters are "valued, and soft, targets," because they can offer a route for publicity and because everyone knows where the stations are. HUGHES, who handles security for MIRANDA LAMBERT, also offered checklists of best defenses for live events and against stalkers.
New Platforms, New Issues
PODCASTONE Founder NORM PATTIZ moderated FRIDAY's first panel on radio's challenges and opportunities competing on and with new audio platforms, joined by iHEARTMEDIA's ANDREW JEFFRIES, NIELSEN's JON MILLER, MEDIAMONITORS/RCS/MEDIABASE's PHILIPPE GENERALI, and MUSICWATCH's RUSS CRUPNICK. PATTIZ asked the panelists what they thought the audio industry would look like five years from now, and MILLER noted that the pace of change for radio has been "glacial" compared to television, which he noted has changed enormously in the last 18 months, with a huge shift to on-demand streaming video like NETFLIX. MILLER also cited the need to figure out measurement of digital audio, which prompted PATTIZ to raise the podcast industry's attempts to shift from direct response to brand advertising and how raw download numbers were being filtered through several proprietary formulas, which did not lead to agency acceptance.
Asked about how programming radio has changed for him with more competition and audience fragmentation, JEFFERIES said that he does not work in radio, but is a "curator of a brand" working in many platforms; his job, he said, is to provide the audience with the best content on all platforms.
PATTIZ asked whether programming is more important than platform, and GENERALI pointed out that operations like SPOTIFY and PANDORA don't own their content and that a spoken word programming company like PATTIZ's are in different positions. MILLER suggested that a third factor might be in play, the experience, because the content, especially music, is becoming the same across platforms. Asked if NIELSEN will ultimately measure PANDORA and SPOTIFY, MILLER said yes, but that measurement needs to be separated when different listeners are served different ads. CRUPNICK called technology "the price of entry" and noted that anyone can license the same music, meaning that, as MILLER posited, "it's somewhere in the middle ... it's about the experience."
PATTIZ asked whether technology is leading society in the right direction, and whether, for example, a news app that only serves up news the user wants to hear is a healthy thing; CRUPNICK noted that younger audiences are going to pick and choose what they hear, "for better or for worse, and I'm on the for-worse side." MILLER, however, noted that despite that, when major news stories like natural disasters hit a market, listeners flock to traditional all-News outlets, with the trick being to "do it every day."
Breaking Big
After DMR/INTERACTIVE's ANDREW CURRAN offered a mini-keynote on keeping P1 "super-fans" engaged by collecting and analyzing data about them and treating contest winners "like PPM panelists" to encourage sharing their good fortune with others, THE MUSIC BUSINESS REGISTRY's RITCH ESRA headed a panel on developing and breaking new music and artists. COLUMBIA's LEE LEIPSNER, DISNEY MUSIC GROUP's MIO VUKOVIC, WARNER BROS. RECORDS' PETER GRAY, iHEARTMEDIA SOUTHEAST Regional SVP/Programming ROD PHILLIPS, SONGS MUSIC PUBLISHING's RON PERRY, and BMG's EVP Writers Services THOMAS SCHERER comprised the panel, which discussed the cost of breaking artists ("it's a range," GRAY said, declining to be more specific), whether potential radio play is a consideration in signing an artist (yes, VUKOVIC and PERRY agreed), the link between A&R and promotion (closer than ever, LEIPSNER said, leading to a discussion of how HOZIER's "Take Me to Church" managed to become a multi-format hit), breaking international artists in the U.S., and other issues.
#Radio (Or Maybe #TacoEmoji)
JACOBS MEDIA Digital and Social Media Strategist and ALL ACCESS columnist LORI LEWIS hosted a presentation and panel on radio's use of social media to build connections and trust with fans, with the assistance of panelists including CUMULUS Corporate PD and Country WNSH (NASH FM 94.7)/NEW YORK PD BRIAN THOMAS, ATLANTA-based syndicated "THE BERT SHOW" Executive Producer JEFF DAULER, FLUX FM/BERLIN Managing Partner/PD MONA RÜBSAMEN, and TACO BELL Sr. Director/Digital Marketing Platforms and Social Engagement TRESSIE LIEBERMAN.
LIEBERMAN gave insight into how TACO BELL has used social media to connect with millennials, saying that the company decided to be "human," speaking to fans as friends rather than a corporation. While the company generates 15% of its social media content, 85% is fan-generated, including a promotion focused on some teens' propensity to use TACO BELL as part of prom proposals. LEWIS noted that the TACO BELL social campaigns do not show a "need to be seen" as some other companies display, and highlighted the brand's "Taco Emoji" campaign to create a taco emoji to its emoji choices as a particularly shareable concept; LIEBERMAN explained that the company, finding out that the Unicode Consortium was indeed considering a taco emoji, started a CHANGE.ORG petition. And the campaign to promote the chain's mobile ordering app by going dark on social media was examined as an example of using social media as a "supporting character" rather than the star performer.
The discussion turned to creating "holy crap" moments, such as THOMAS' station giving tickets to a fan who tweeted that she was on her way to a concert hoping to find tickets, adding backstage passes. LEWIS noted that station staff should be checking Twitter throughout live events, connecting with listeners. DAULER said his show took a page from TAYLOR SWIFT's "stalking" of fans online -- when she surprised them by delivering CHRISTMAS gifts they'd expressed interest in receiving -- by buying random social media followers dinner and engaging them about it, and loading a STARBUCKS card and posting the QR code to let followers have a coffee for free (warning, though, to turn off auto-reload). "Read your teets, favorite them, respond," DAULER advised. THOMAS counseled to start early in developing relationships with new artists. As for FLUX FM, RÜBSAMEN showed examples of how the station did a home concert promotion with JAGERMEISTER using social media.
"Social media is not a volume business," LEWIS closed, "it is a differentiation business."
Three-peat!
Two-time defending champion CUMULUS Hot AC WPLJ/NEW YORK's DAN KELLY won his third IRON IMAGER contest held by BENZTOWN, besting challenger SEAN GALBRAITH of EVANOV Top 40/Rhythmic CIDC (Z103.5)/TORONTO in a battle of Classic Hip-Hop IDs and imaging.
The winner was just one of the announcements at the WORLDWIDE RADIO SUMMIT 2015 INDUSTRY AWARDS LUNCHEON, sponsored by WESTWOOD ONE with INGRID MICHAELSON performing three songs ("The Way I Am," "Girls Chase Boys," and "Time Machine") and ZACH SANG of the syndicated ZACH SANG & THE GANG joined ALL ACCESS' JOEL DENVER and A&R WORLDWIDE's SAT BISLA hosting. See the complete list of Industry Awards winners by clicking here.
It's Got A Good Beat And It's Good To Dance To
The post-lunch sessions began with the annual interactive record-rating panel, with panelists and selected audience members wielding meters to register their opinions on several new songs. BISLA moderated the segment with Top 40 BBC RADIO 1/Urban 1XTRA Head of Music GEORGE ERGATOUDIS, CUMULUS VP/Programming and Top 40 WRQX (DC'S 107.3)/WASHINGTON PD GILLETTE, SIRIUSXM VP Programming/Pop KID KELLY, CUMULUS Corporate PD-Urban/Rhythmic MAURICE DEVOE, FLUX FM/BERLIN Managing Partner MARKUS KUEHN, SOUNDOUT CEO DAVID COURTIER-DUTTON, and MID-WEST FAMILY BROADCASTING Active Rock WJJO (94.1 JJO)/MADISON PD RANDY HAWKE on the panel.
The International View (Not Too Positive About U.S. Radio)
DENVER returned to host the international radio panel sponsored by PHIL DOWSE MEDIA, which included OXIS MEDIA (JACK FM)/OXFORD, ENGLAND CEO IAN WALKER, AUSTRALIAN RADIO NETWORK CEO CIARAN DAVIS, BROADCASTING LAGARDÈRE/PARIS Senior Foreign Advisor ANDREW MANDERSTAM, and KAGISO MEDIA/SOUTH AFRICA Executive Director/Deputy CEO OMAR ESSACK.
DAVIS opened with a discussion of how his company started over with new management, new marketers and salespeople, and slowly rebuilt, culminating with the signing of KYLE SANDILANDS and JACKIE O for the successful relaunch of what is now KIIS 106.5/SYDNEY. MANDERSTAM detailed his company's expansion efforts, while ESSACK discussed the revamping of EAST COAST RADIO/DURBAN from a small, primarily white station to an integrated station on air and audience-wise; observing American radio's racial polarization, he said, he decided not to bring that kind of segmentation to his station, instead seeking to concentrate on a lifestyle/economic segment. WALKER talked about his experience working with private radio in VIENNA, learning from mistakes made there, coaching talent, and the value of a local strategy for commercial radio to combat the dominance of the BBC in local markets.
The panel also addressed staffing issues, including ESSACK touting the success of his diverse staff and DAVIS relating the value of hiring young employees who cost less but work hard. MANDERSTAM noted the history of government-controlled radio in EUROPE and the explosion of private radio after Communist rule ended. And ESSACK said that his station is not a radio station but a lifestyle brand, showing a video highlighting several successful events sponsored by the station.
And WALKER mentioned being inspired many years ago by hearing KQMQ/HONOLULU but that nothing he hears presently on his trips to AMERICA sounds as good. DAVIS said that he felt a level of depression in the room at THURSDAY's sessions and added that the American radio industry "needs to wake up really fast.... (or) the radio industry in AMERICA will become like the newspaper industry."
Star Time
The Summit's sessions closed with an air talent panel moderated by iHEARTMEDIA Top 40 KIIS-F/LOS ANGELES morning co-host ELLEN K and featuring BEASLEY Rock-oriented Adult Hits WBRN-F (BUBBA 98.7)/TAMPA-ST. PETERSBURG syndicated morning host BUBBA THE LOVE SPONGE, iHEARTMEDIA Top 40 WKSC (103.5 KISS FM)/CHICAGO morning team CHRISTOPHER (FRED) FREDERICK and ANGI TAYLOR, ENTERCOM Alternative KRBZ (96.5 THE BUZZ)/KANSAS CITY morning host AFENTRA BANDOKOUDIS and her husband, PD/afternoon host SCOTT (LAZLO) GEIGER, "ASIA POP 40" host DOM LAU, and NELONEN MEDIA/FINLAND radio division Content Director and host SAMI TENKANEN.
BUBBA admitted to having had to do things he didn't want to do, but noted "I'm gainfully employed" as a result; he offered details of the launch of WBRN ("a JACK format on crack... I can't believe anyone would give me my own radio station") and joked that he doubts that BEASLEY giving him WBRN to program will set a precedent.
TAYLOR discussed being "thrown together" with FRED at WKSC and being successful after a few years together, with Chicagoans finally accepting the team, prompting ELLEN K to discuss her own relationship with co-host RYAN SEACREST after being "thrown together" with him as well.
AFENTRA and LAZLO related the beginnings of their relationship while working in DETROIT and, prompted by a question from TAYLOR, said that they bring their personal lives onto the air -- LAZLO said that "it would be foolish.. to shut that part of my personality off." LAU discussed his show and how it airs in several nations, with CHINA next on the list; he jokingly pointed out that he hosts the show in English in his natural, unaccented speaking voice. TENKANEN talked about being both talent and management, leading to the panel joking about being hotlined (AFENTRA, married to the boss, said that the hotline always should be picked up).
Asked about the best and worst advice they got from their PD, TAYLOR said that the best advice was to "be your authentic self," and FRED added that the best (study and embrace improv comedy) and worst (that the PD was the PD because he could do FRED's job better than FRED) came from the same PD. LAZLO, as a PD and talent, said that he has never quit a job but he was always fired from every job; as for the best advice, one PD told him that as he changed jobs, people will keep telling him to be "less and less you," and while that would get him a job, "it won't get you the job you want."
BUBBA decried the loss of PDs like MARC CHASE, B.J. HARRIS, or BUDDY SCOTT in favor of the current crop of PDs and the lack of talent development that has led to voicetracking. "There's not a lot of RANDY MICHAELS out there," he said. "We're big f--king PPM jukeboxes now." LAZLO said that talent should be standing up for talent, but BUBBA noted that talent has no power now.
On cameras in the studio, BUBBA said that he does not like them -- it's "the old zookeeper mentality" and he wants to keep some trade secrets -- but, he said, it's a "necessary evil." He also praised HOWARD STERN as a "trailblazer in our industry... he's brilliant, he's the best" and termed STERN's endorsement of him by signing him to his SIRIUS channel his proudest moment in the business.
On what makes her proud AFENTRA said "I'm proud to compete with penis... and win." Her husband voiced pride in working for ENTERCOM, which allows him to play the music he chooses and to talk about politics from a liberal perspective and talk about the Internet and other things he brings in from home. "I know she (AFENTRA) loves JOY DIVISION and I know JOY DIVISION doesn't test... and I don't give a sh-t," LAZLO declared.
If you’ve never known otherwise, you may not even think about how much syndicated programming has changed the face of radio programming, personalities, and content delivery. But in 1976, when Norm Pattizlaunched Westwood One, there weren’t satellite receivers at every station, let alone FTP sites for distributing content. Syndicated programming wasn’t common like it is today and it surely wasn’t widely recognized as an effective advertising vehicle. But over the course of his 35 years at Westwood One, Pattiz played a major role in changing the game by growing the popularity of syndicated programming among listeners, while upping its value for advertisers. Today, it is a staple of the industry.
Now he is on the front lines again, championing another new method for delivering audio content to consumers: podcasting. With PodcastOne, Pattiz has created a place where a star-studded group of hosts create compelling content
If you’ve never known otherwise, you may not even think about how much syndicated programming has changed the face of radio programming, personalities, and content delivery. But in 1976, when Norm Pattizlaunched Westwood One, there weren’t satellite receivers at every station, let alone FTP sites for distributing content. Syndicated programming wasn’t common like it is today and it surely wasn’t widely recognized as an effective advertising vehicle. But over the course of his 35 years at Westwood One, Pattiz played a major role in changing the game by growing the popularity of syndicated programming among listeners, while upping its value for advertisers. Today, it is a staple of the industry.
Now he is on the front lines again, championing another new method for delivering audio content to consumers: podcasting. With PodcastOne, Pattiz has created a place where a star-studded group of hosts create compelling content about a nearly limitless variety of topics consumed by rabid fans. And where there is an audience, there are advertisers, with whom Pattiz is working to educate about the value of podcasting, or as he calls it, on-demand audio.
So, for this week’s innovation Friday, we asked Norm to share reflections on his time at Westwood One, insights about the world of podcasting, thoughts about how the radio industry can adapt to the changing audio landscape, and, most importantly, what his beloved Los Angeles Lakers need to do to return to the glory days of “Showtime.”
JM: Let’s start with Westwood One. During your time there, what was the most innovative thing the network did and what inspired it?
NP: I founded the company and was there for 35 years, so narrowing it to one thing is impossible.
There’s producing, distributing, and monetizing our first program, The Sound of Motown, a 24-hour weekend special and producing individual programs for my first four advertisers which really got us moving. Getting into the concert business, building three state-of-the-art mobile recording studios and crisscrossing the nation was a big deal. And hiring KMET’s “The Burner,” Mary Turner, was important both because she’s been my wife for 30 years and she knew Bruce Springsteen, The Rolling Stones, The Who and every other major rock star. Her show, Off the Record, is the longest-running music interview show on radio, though no longer hosted by her.
Going public in 1984 and acquiring the Mutual Broadcasting System, the NBC radio networks, and Radio and Records are right up there, too. Our management deal with CBS was huge for Westwood One shareholders, and becoming a multi-billion dollar company with revenues of over half a billion dollars annually certainly made me smile. Being a middle class kid from West L.A. who figuratively gave birth to this company, which still exists decades later and opened the doors to other opportunities I could have never imagined, has been quite a trip.
JM: What led you to identify the opportunity for PodcastOne?
NP: A mutual friend introduced me to Kit Gray who was representing podcasts and selling them to advertisers. He reminded me of myself when I started Westwood One. He was working out of his apartment doing everything himself and having good success, though on a small scale.
Podcasts, which are really radio/audio on demand, looked interesting. Upon further investigation, I was surprised to find there were no major players in the space. No one had the critical mass or deep enough pockets to go to Madison Avenue and create demand. I got very excited. It’s Westwood One for the digital age without the restrictions of radio formats, program directors’ individual tastes or the difficulties of navigating radio programming during a time of ultra-consolidation, heavy debt loads and 400-pound gorillas.
JM: So what makes a great podcast?
NP: There are a ton of things that make a podcast great. But to be great for me it has to have an audience in the hundreds of thousands, a host who understands the importance of content to an advertiser, and someone who thinks PodcastOne is a good place to be.
JM: What has been the biggest hurdle you’ve encountered so far in launching and growing the platform? How did you overcome it?
NP: Having the experience of launching and building Westwood One has helped a lot because the hurdles are similar. In the early days, the radio syndication business was very much like podcasting is today, lacking reliable metrics, general visibility, and players with critical mass. Advertisers haven’t gotten what they required to get comfortable with the medium, which has resulted in major brands with a lack of knowledge and interest.
But it hasn’t been that difficult to overcome. I’ve got almost 40 years of relationships with associates, advertisers, talent and all the other areas that support them. Plus, in addition to Kit Gray, it helps having Gary Yusko and Greg Batusic, who were with me at Westwood One, as part of the executive management team. And even though the rest of our 25 team members seem like teenagers by comparison, they’re not. They are young, bright, eager and excited to be part of an enterprise that’s radio, audio, and digital all rolled into one with no limits in sight.
JM: What trends are you seeing in the types of content and consumption patterns on PodcastOne?
NP: The trends are no trends, all trends, and no limitations. If there’s a fan base, interest in a subject and the potential of attracting an audience, we’re interested. Comedy and technology launched podcasting when consumption wasn’t the easiest thing. Today, iPhones, Androids, tablets, computers, and Bluetooth make podcasting so simple, mobile and available whenever and wherever the consumer wants to access the content. So, spoken word on demand audio content on any subject — sports, politics, music, lifestyles, entertainment, business, science, the arts, or Snooki’s latest pregnancy — are all out there with millions of social followers and podcast consumers creating billions of impressions for advertisers.
JM: You have some big stars on PodcastOne. How essential is that to the success of a podcast?
NP: PodcastOne stars? Sure, plenty. Adam Carolla, Radio Lab, Stone Cold Steve Austin, Chris Jericho, Nicole Polizzi (aka Snooki), Dr. Drew, Dan Patrick, Dennis Miller, Kathie Lee Gifford, Brett Easton Ellis, Penn Jillette, Jay Mohr, with Larry King, Pawn Stars’ Rick Harrison, and Rich Eisen on deck. Plus, a couple of hundred others who are downloaded over 120 million times every month. Yeah, we’ve got stars.
JM: How do you “identify” and “recruit” the next generation of stars?
NP: When was the last major national star created in radio? It’s been quite a while. National stars are created in podcasting weekly. They come from other mediums, social media, YouTube, Facebook, Twitter, TV and radio, music and parts unknown. They are unconstrained by formatics, station groups, program directors, and tastemakers. This is audio democracy in its ultimate form. Let the listeners, consumers, and the market decide.
JM: Adam Carolla is probably best known as the first mega-radio star to step away from a successful broadcast career to make his way in the world of podcasting. What’s something we don’t know about him that’s really interesting?
NP: His middle name is “Lakers.” That’s no bull. It’s true. He doesn’t have a middle name and when he went to get his driver’s license, they asked for one. “Lakers” was the first thing that popped into his head. We’ve been in love ever since.
JM: In an LA Times article, you said, “You can’t look at radio as a brick and mortar operation, and consumed on a radio over a certain frequency. That’s a recipe for disaster.” What suggestion could you give broadcasters trying to adapt in this rapidly changing audio environment?
NP: Embrace the change. Make it part of radio and think of the possibilities for local engagement. The old definition of radio shouldn’t exist anymore because growth in that area alone is over. But by embracing the content and making it additive to traditional terrestrial radio, the medium will grow, as will every segment that contributes to it. And stop giving it away as value added; it has significant value on its own.
JM: What do you say to those who claim that monetizing new media – like streaming or podcasting – will never be successful or profitable?
NP: Bullshit!
JM: What is the largest impediment to innovation in the broadcast radio business?
NP: Ownership and debt loads.
JM: What would you say to someone with an innovative idea for radio who isn’t sure how to get it going?
NP: Start it online. You may find traditional radio unnecessary.
Clockwise from upper left: Norm, the ultimate Lakers fan, Norm with Adam Carolla and Bill O’Reilly, Norm with Ashton Kutcher, Jason Biggs & wife, Jenny Mollen with Norm & Mary Pattiz,
JM: And finally, as a fan who has sat courtside for over 30 years, what kind of innovation do the Lakers need to adopt in order to become an NBA powerhouse again?
NP: I have had such joy being a Lakers fan that it causes me real pain to say that I have no brilliant insight into that subject. Players, coaches, ownership, and I all pray to God that Kobe returns as the player he wants and needs to be to keep fans like me from slitting their throats.
Thanks to Mike Stern for writing this “RMI” profile.
Leo Laporte (Owner and Chief of TWiT.tv) moderates a discussion on the future of podcasting with Norman Pattiz (Founder of Westwood One and PodcastOne) and Noah Shanock (Founder of Stitcher) during the New Media Expo '14 keynote. The discussion centers on the trends and direction of traditional syndicated radio, on-demand audio and audio podcasting.
Leo Laporte (Owner and Chief of TWiT.tv) moderates a discussion on the future of podcasting with Norman Pattiz (Founder of Westwood One and PodcastOne) and Noah Shanock (Founder of Stitcher) during the New Media Expo '14 keynote. The discussion centers on the trends and direction of traditional syndicated radio, on-demand audio and audio podcasting.
Sassy star to dish with celebrity guests and talk about gossip, dating, sex, beauty, fashion and celebrities
LOS ANGELES, November 4, 2013 - Brandi Glanville, star of "The Real Housewives of Beverly Hills," debuts her podcast, Brandi GlanvilleUnfiltered, tomorrow on PodcastOne, the leader in audio on-demand programing and a division of Courtside Entertainment Group. Glanville welcomes actress Jennifer Gimenez and television personality Dr. Will Kirby as her first guests. In addition to interviewing star guests on the one-hour show, Glanville dishes about pop culture, fashion and celebrity gossip. New shows will air on a weekly basis.
"It’s great being the one who gets to ask the questions," said Glanville. "We're making the show entertaining, informative, fun and as spontaneous as possible, so you never know what someone is going to say next."
PodcastOne Chairman/CEO Norm Pattiz said, "Brandi is a natural, in every
Sassy star to dish with celebrity guests and talk about gossip, dating, sex, beauty, fashion and celebrities
LOS ANGELES, November 4, 2013 - Brandi Glanville, star of "The Real Housewives of Beverly Hills," debuts her podcast, Brandi GlanvilleUnfiltered, tomorrow on PodcastOne, the leader in audio on-demand programing and a division of Courtside Entertainment Group. Glanville welcomes actress Jennifer Gimenez and television personality Dr. Will Kirby as her first guests. In addition to interviewing star guests on the one-hour show, Glanville dishes about pop culture, fashion and celebrity gossip. New shows will air on a weekly basis.
"It’s great being the one who gets to ask the questions," said Glanville. "We're making the show entertaining, informative, fun and as spontaneous as possible, so you never know what someone is going to say next."
PodcastOne Chairman/CEO Norm Pattiz said, "Brandi is a natural, in every sense of the word. No thought goes unspoken and what you hear is who she is. She was born for this medium. We're glad to have her at PodcastOne."
Available at www.PodcastOne.com, Glanville joins the popular line-up of PodcastOne personalities and brands which include Kathie Lee Gifford, Dan Patrick, Adam Carolla, Dr. Drew, Steve Austin, Dennis Miller, Ron Paul, Jay Mohr, Jillian Michaels, NPR New York, NPR Los Angeles, 60 Minutes and more.
About Brandi Glanville Brandi Glanville is one of television's most recognizable personalities, a bestselling author, actress and model. Known to millions of fans as the sassy and outspoken star of the reality series The Real Housewives of Beverly Hills, Glanville is also a best-selling author. Her first book, Drinking and Tweeting and Other Brandi Blunders debuted at #1 on The New York Times Best Sellers list where it remained for 10 consecutive weeks. She's currently working on a second book.
About PodcastOne PodcastOne is the leader in audio on-demand programing and a division of Courtside Entertainment Group. Launched in February, 2013, PodcastOne hosts approximately 200 top podcasts including the ones previously mentioned, as well as Radio Lab, 60 Minutes, Freakonomics Radio, Rooster Teeth, The Nerdist, CBS News, Loveline, Laura Ingraham, Penn Jillette, Ross Tucker, Yahoo! Sports Radio, Ask Women and more at www.PodcastOne.com.
About Courtside Entertainment Group Norm Pattiz, founder and chairman emeritus of radio giant Westwood One, founded and launched Courtside Entertainment Group (CEG) in 2010. Based in Los Angeles, the company produces and finances multi-platform, quality programming. It's also the radio home for such high profile personalities as Laura Ingraham, Bill O'Reilly, Dr. Drew Pinsky and Ron Paul.
LOS ANGELES, October 17, 2013 -- Sportscaster Dan Patrick partners with PodcastOne, the leader in audio on-demand programing and a division of Courtside Entertainment Group. Patrick's podcast is now available on demand via PodcastOne and is exclusively represented to national advertisers by PodcastOne Sales, the company's in-house rep firm. With exclusive insider access, Patrick brings A-list guests from the world of sports and entertainment to The Dan Patrick Show. Sharing his perspective on pop culture and sports, Patrick also brings a dose of humor to his fans.
"Nobody does sports talk better than Dan Patrick," says PodcastOne Chairman/CEO Norm Pattiz. "Nobody does on demand audio better than we do. So
LOS ANGELES, October 17, 2013 -- Sportscaster Dan Patrick partners with PodcastOne, the leader in audio on-demand programing and a division of Courtside Entertainment Group. Patrick's podcast is now available on demand via PodcastOne and is exclusively represented to national advertisers by PodcastOne Sales, the company's in-house rep firm. With exclusive insider access, Patrick brings A-list guests from the world of sports and entertainment to The Dan Patrick Show. Sharing his perspective on pop culture and sports, Patrick also brings a dose of humor to his fans.
"Nobody does sports talk better than Dan Patrick," says PodcastOne Chairman/CEO Norm Pattiz. "Nobody does on demand audio better than we do. So it should come as a surprise to absolutely no one that we're teaming up for the benefit of listeners and advertisers. With the addition of Dan Patrick, the list of stars on the PodcastOne platform has just become significantly brighter."
Available at www.PodcastOne.com, Patrick joins the popular line-up of PodcastOne personalities and brands which include Adam Carolla, Dr. Drew, Steve Austin, Kathie Lee Gifford, Dennis Miller, Ron Paul, Jay Mohr, Jillian Michaels, NPR New York, NPR Los Angeles, 60 Minutes and more.
About Dan Patrick
Dan Patrick is one of America's legendary sports journalists. Patrick spent 18 years at ESPN before pursuing his own independent brand in 2007. Patrick evolved and perfected The Dan Patrick Show over the last six years with the best guests, breaking news, and entertainment.
The Dan Patrick Show is distributed nationally through DIRECTV Entertainment and the weekday radio program can be heard on over 270 affiliate stations and seen on television in over 90 million homes on both DIRECTV's Audience channel and on NBCSN.
Patrick has received multiple awards and nominations for his work. He has won and been nominated multiple times for a Sports Emmy Award, has been named Sportscaster of the Year, won a Marconi award, and has had many more accomplishments. Patrick continues to build upon his independent brand by growing his distribution platforms in radio, TV, digital, magazines and even movies. By continuing to innovate, Patrick remains as one of the leading sports broadcasters and premium brands in the business.
About PodcastOne
PodcastOne is the leader in audio on-demand programing and a division of Courtside Entertainment Group. Launched in February, 2013, PodcastOne hosts approximately 200 top podcasts including the ones previously mentioned, as well as Radio Lab, 60 Minutes, Freakonomics Radio, Rooster Teeth, The Nerdist, CBS News, Loveline, Laura Ingraham, Penn Jillette, Ross Tucker, Yahoo! Sports Radio, Ask Women and more at www.PodcastOne.com.
About Courtside Entertainment Group
Norm Pattiz, founder and chairman emeritus of radio giant Westwood One, founded and launched Courtside Entertainment Group (CEG) in 2010. Based in Los Angeles, the company produces and finances multi-platform, quality programming. It's also the radio home for such high profile personalities as Laura Ingraham, Bill O’Reilly, Dr. Drew Pinsky and Ron Paul.
LOS ANGELES, August 15, 2013 -- As PodcastOne, the leader in audio on-demand programming, continues to expand its offerings, it also refines its message delivery system by partnering with Abacast, a leading provider of streaming, advertising, and audience analytics services for the digital radio industry. With the Abacast Clarity® Digital Radio System, PodcastOne, a division of Courtside Entertainment Group, will provide its clients targeted, relevant ad insertion, campaign management, audience metrics and delivery for live and on-demand digital audio programming. PodcastOne clients can place customized commercials in specific markets thereby geo-targeting listeners and even listener devices.
LOS ANGELES, August 15, 2013 -- As PodcastOne, the leader in audio on-demand programming, continues to expand its offerings, it also refines its message delivery system by partnering with Abacast, a leading provider of streaming, advertising, and audience analytics services for the digital radio industry. With the Abacast Clarity® Digital Radio System, PodcastOne, a division of Courtside Entertainment Group, will provide its clients targeted, relevant ad insertion, campaign management, audience metrics and delivery for live and on-demand digital audio programming. PodcastOne clients can place customized commercials in specific markets thereby geo-targeting listeners and even listener devices.
Courtside Entertainment Group Chairman/CEO Norm Pattiz says, "This is another example of taking advantage of the latest technology to provide the services that advertisers expect. This is consistent with our promise to have the best targeted ad solution in an industry poised for rapid growth. Abacast has demonstrated its ability to provide us with exactly what we need."
Abacast CEO Rob Green says, "Abacast is making a commitment to podcasting by extending its Clarity® Digital Radio System to the podcasting market. We couldn’t be happier to be chosen by PodcastOne, the premier destination for the most popular podcasts on the Internet."
The integrated service will be released in the fourth quarter of 2013.
About Abacast Abacast is a leading provider of streaming, advertising, and audience analytics services for the digital radio industry. Abacast's software and services drive advertising revenue, build listener loyalty, grow audiences, and deliver top-quality user experiences. Abacast was founded in 2000 and currently serves over 200 customers and over 1,000 stations. (http://www.abacast.com)
About PodcastOne PodcastOne is the leader in audio on demand programing and a division of Courtside Entertainment Group. Launched in February, 2013, PodcastOne hosts approximately 200 top podcasts including Radio Lab, Adam Carolla, 60 Minutes, Freakonomics Radio, Rooster Teeth, The Nerdist, CBS News, The Steve Austin Show, Dr. Drew, Loveline, Laura Ingraham, Penn Jillette, Dennis Miller, Jay Mohr, Ross Tucker, Yahoo! Sports Radio, Tom Green, Ask Women and more at www.PodcastOne.com.
About Courtside Entertainment Group Founded by former founder and chairman emeritus of radio giant Westwood One, Norm Pattiz launched Courtside Entertainment Group (CEG) in 2010. Based in Los Angeles, the company produces and finances multi-platform, quality programming and is the radio home for such high profile personalities as Laura Ingraham, Bill O’Reilly, Dr. Drew Pinsky and Ron Paul. Launchpad Digital Media is CEG’s in-house national advertising sales representation firm. PodcastOne is the on-demand audio programming division of CEG that launched in February, 2013.
BEVERLY HILLS, CA – April 4, 2013 – Podcastone.com, the premier destination for great podcasts, and Steve Austin and have joined forces to bring Steve’s Broken Skull Ranch lifestyle to the digital world with the launch of The Steve Austin Show on Friday, April 5, 2013. Each week Austin will shake things up by sharing his thoughts on everything from current events, to his career as one of the greatest wrestlers of all time, to his life at the Broken Skull Ranch, the toughest ranch in Texas. Austin will also give his listeners the chance to participate and interact with him via Twitter and Facebook.
Launchpad Digital Media/PodcastOne.com Chairman Norm Pattiz said, "Steve Austin is a sports legend and big screen action hero to millions around the world. We are proud to help Steve connect with his loyal fans everywhere and give advertisers the opportunity to align with the iconic brand he embodies.”
BEVERLY HILLS, CA – April 4, 2013 – Podcastone.com, the premier destination for great podcasts, and Steve Austin and have joined forces to bring Steve’s Broken Skull Ranch lifestyle to the digital world with the launch of The Steve Austin Show on Friday, April 5, 2013. Each week Austin will shake things up by sharing his thoughts on everything from current events, to his career as one of the greatest wrestlers of all time, to his life at the Broken Skull Ranch, the toughest ranch in Texas. Austin will also give his listeners the chance to participate and interact with him via Twitter and Facebook.
Launchpad Digital Media/PodcastOne.com Chairman Norm Pattiz said, "Steve Austin is a sports legend and big screen action hero to millions around the world. We are proud to help Steve connect with his loyal fans everywhere and give advertisers the opportunity to align with the iconic brand he embodies.”
“I’m pumped to launch The Steve Austin Show with PodcastOne.com this week,” said Austin. “This is the perfect partnership and I am excited to lay some stone cold wisdom on the world.”
Steve Austin is a professional wrestling Hall of Famer, action star and successful reality TV host, who’s long list of credits include The Longest Yard with Adam Sandler, The Condemned, Sylvester Stallone’s The Expendables, Damage, Hunt to Kill, The Stranger, and Tactical Force, among others. Austin hits the big screen this summer in Adam Sandler’s comedy Grown Ups 2.
PodcastOne.com is the new online destination for free discovery and enjoyment of all the best podcasts. Launched in February, PodcastOne.com is already home to over 200 popular podcasts including CBS News, Adam Carolla, Jay Mohr, Dennis Miller, Ron Paul, Penn Jillette, Laura Ingraham, Maria Menounos, Tom Green, Dr. Drew and many more.
PodcastOne.com is represented for ad sales by Launchpad Digital Media, its in-house digital rep firm. Launchpad represents podcasts aggregating over 100 million downloads every month. It's a convenient single source for advertisers to access a growing, diverse and engaged audience on their time, and on their terms.
About Launchpad Digital Media
Launchpad Digital Media (www.launchpaddigitalmedia.com), a division of Courtside Entertainment Group, is one of the largest players in on-demand media. Launchpad’s podcast platform includes some of the biggest names in on-demand entertainment including Adam Carolla, CBS News, AfterBuzz TV with Maria Menounos, Dennis Miller, Jay Mohr, Laura Ingraham, Dr. Drew, Tom Green, Mark & Lynda, Brian & Jill, Penn Jillette, Rooster Teeth and the Toad Hop Network just to mention a few.
The reteaming of former Loveline radio partners Adam Carolla and Dr. Drew Pinsky, The Adam & Dr. Drew Show podcast, has hit No. 1 on iTunes after launching in December. The pair also plan to hit the road with the Adam and Dr. Drew Live Reunion Tour, with the first date slated for March 29 in Las Vegas.
On the new podcast, the pair dole out advice to callers asking about sex, drugs, personal health, relationships and other hot topics.
Carolla and Pinsky famously worked together on the syndicated call-in radio show Loveline from 1995-2005. Carolla went on to become a juggernaut in the comedy podcasting world, with The Adam Carolla Show being honored as the Guinness Book of World Records' most downloaded podcast ever. Pinsky continues to host Loveline as well as HLN’s Dr. Drew on Call.
Currently, 22 episodes of The Adam & Dr. Drew Show are available for download at www.AdamCarolla.com
The reteaming of former Loveline radio partners Adam Carolla and Dr. Drew Pinsky, The Adam & Dr. Drew Show podcast, has hit No. 1 on iTunes after launching in December. The pair also plan to hit the road with the Adam and Dr. Drew Live Reunion Tour, with the first date slated for March 29 in Las Vegas.
On the new podcast, the pair dole out advice to callers asking about sex, drugs, personal health, relationships and other hot topics.
Carolla and Pinsky famously worked together on the syndicated call-in radio show Loveline from 1995-2005. Carolla went on to become a juggernaut in the comedy podcasting world, with The Adam Carolla Show being honored as the Guinness Book of World Records' most downloaded podcast ever. Pinsky continues to host Loveline as well as HLN’s Dr. Drew on Call.
Currently, 22 episodes of The Adam & Dr. Drew Show are available for download at www.AdamCarolla.com and on iTunes. Find the dates for the Adam and Dr. Drew Live Reunion Tour below, and visit Pinksy’s site for ticketing information.
March 29 – Las Vegas – House of Blues March 30 – Salt Lake City – The Kingsbury Theater April 4 – Chico, Calif. – Cal State University Chico April 13 -- Redondo Beach, Calif. – Redondo Beach Performing Arts Center May 18 – Napa, Calif. – Uptown Theatre Napa
Jefferson Graham
We live in a rebellious age when it comes to content.
No one wants content to be force-fed to them as people want to watch, listen and read things on their own terms – not when a media company tells them to.
Sports talk radio has been thriving since the early 1990s in the U.S., and there are currently more sports talk radio stations than ever before. So the appetite for sports audio is enormous. In the past 10 years, a new alternate sports audio universe has emerged. It’s a world where niche, little commercial interruption and zero structure reigns supreme. It’s sports radio - with no strings attached, and it’s already a dominant force in the media world.
PodcastOne, the primary podcasting company in the world, generated a whopping 1.5 billion podcast downloads in 2015 and works with over 100 brand advertisers. Metro spoke with PodcastOne’s founder and executive chairman, Norm Pattiz,