Skydance Paramount Purchase Stirs Up Hollywood Culture War

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Speaker 1 (00:00):
Podcasting since two thousand and five. This is the King
of Podcasts Radio Network, Kingopodcasts dot Com.

Speaker 2 (00:08):
Another corporate media merger. Check other corporations never worked in
television or cable. Check investors are private equity check.

Speaker 1 (00:21):
The King of Podcasts Radio Network proudly presents the broadcasters
podcast Here is the King of Podcasts.

Speaker 2 (00:31):
The Paramount Skydance merger is complete, and we're going to
go through all of it and what it means for
Hollywood and for everyone out there. As you know, in
the same way that radio industry said, well we need
to go and commute against the Internet. Well that's what
Paramount and CBS and all these other companies that are
being bought by Skydance is looking to go and do

(00:53):
listen when you had COVID, when you had all these
things where these media companies con see the hamorrhage money
when their corporally owned and operated and they run on
a debt and they can't do much more with it
because they're not incapable of creating good quality content because
they're all suits looking for money, but then on how
to create the content that creates cash. So what do

(01:15):
they do now? Paaramount at this point. They have a
lot of properties together from other media mergers that have
gone on for decades, which have the Paramount logo embedded
on top of it. Now we get sky Dance to
take over. And here's what we got. If you haven't
never really gone into whose Skuydance is, but if you

(01:37):
know this program for as long as you have, know
that with the radio industry operates the same way corporate media,
you can see some of the troubling signs when there's
a corporate media merger like this that happens. Let's go
through some of these normal bas disease that we're going
to go through right now, here's what we got. So essentially,
this Paramount Guide Dance Media deal has been approved of

(02:00):
the SEC today. As I record, it's an eight point
four billion dollar merger creating a new entity called the
Paramount Skuydance Corporation. Paramount still gonna be the front of
the name. It's a comprehensive acquisition of Paramount globals assets
by Skydance Media, which is backed by a billionaire David
Ellison and investment firm Redbird Capital. So Guide Dances getting

(02:25):
the following TV networks, the CBS, Television Network, the Tiffany Network,
BBS News and CBS owned and operated stations, TBS Sports,
and the CBS Sports Network. They will retain the twelve
point five percent stake into the CW Network. Not much
left that through what was going on with Paramount of
Icon BT Media Group, which is BT and BT plus Nickelodeon,

(02:50):
Nick Junior, Nicktoons, Nick at nineteen, Nick Showtime, the Movie Channel, Flicks, MTV,
and Comedy Central. It'll be Calming Central. One of the
things that was done before the sky Dance Media merger,
the South Parks Folks Batstone Traine Parker cashed in one

(03:12):
point five billion dollars for the next five years to
produce fifty episodes for pair amount. Good on them, Good
on them. And I saw that first episode while at
least saw you know, highlights of it. Okay, we're gonna
just rehash jokes. That's what it felt like. I mean
to me, it's like, okay, twenty years later, I mean, yeah,

(03:35):
you run out of what the gun do? Like how
creative can you be? And how funny can you stay?
After all this time? Like the Simpsons and teens to
go on as well, But it's like they were throwing
a lot of cash because there's nothing else left of
these companies that do anything with Like south Park has
been an entity that has been an institution for a
long time. Was it nineteen ninety five, right ninety four?

(04:00):
Thirty years plus? And so like, what else do you do?
Their twentieth season now in play. I don't know what
they do. They keep themselves relevant going, but look, the
money's there, so the checks in the mail. Trey and
mckuld do. What do they want in Colorado? Make their
shows as they want, make them, you know, current, as

(04:22):
they like, and deliver a show with it a week
and that's how they'll do it. And we'll see. I
don't know. I didn't try to go watch it. I'm
not going out of my way because the thing is
that I was like, I don't know, see them coming
back and do another season of shows like god Man,
they were doing full with the movie stuff like the
little two part specials. That was cool, but come back

(04:45):
again and also after a long hiatus. You know, if
you're not in there consistently trying to you know, refresh
your jokes, it's gonna be tough. But no, hey, every
show is going to go through their down there, their
other side of the road to Twilight. Okay, Frick and
Morty has lost it after the whole thing with Justin Royland.

(05:06):
I mean this one I know about Justin Royland and
what white people didn't want him around anymore. But you
know what was a talent on that show, because now
look what's happened to it. It's not the same and
him and Dan Harmon they had a good thing going.
Now you try to put that show together and not
had any another show lost itself. The rebellion that was

(05:27):
into it, well, Prey Amount are not really rebellious anymore.
They're billionaires. I mean, come on, they're billionaires. They're not
the rebel rousers that they were in nineteen ninety four.
They're not for good fifteen twenty years they were very
relevant and they were funny. Now it's just a payday,

(05:47):
really is They didn't have to go paramount in this
case paramount plus. They were desperate to have something up
there that people will go ahead and watch out a
regular basis. And okay, so the Tyler Sheridan stuff is
not the stuff that's going to hold up all the time.
That's I mean, I watch a lot of Paramount Plus,
but you know, they gotta find out other things they
can do. Coll of sheared and stuff can only go

(06:10):
for so long, so they'll figure something out. Film studios
they will get Paramount Pictures, Nickelodeon Movies, Paramount Automation, Paramount Players,
Mirrormax if a forty nine percent stake in Mirramax, fifty
percent state in Unit United International Picture paira Mountain Home Entertainment,
and Paramount Music. They also have access They have control

(06:32):
of three streaming services, Paramount Plus, w'st troml it. I
think it's fifty million drivers on there, Little TV, which
is one of the most prominent open, pre ad supported
services that are out there, which is incredible. Whether Plutal
TV is badass, I like it. I don't watch it enough,
but it is really good. At CBS Sports, HQ, the

(06:55):
other whole things, they have our CBS studios, which is
like because CBS is not really outsourcing to any other
studios for their content. I mean, they still do some
of the things, but for the most part, like anything
that's BSI or FBI or SCAS whatever that is, like
all those kind of shows. A lot of CBS programming
Tracker at lock Fire Country. They're all picked up by

(07:17):
other companies. It gets just what they do to be
as media ventures. They ticket television, Nickelodeon's animation is still
in the Colodion productions Pause Incorporated. They also have cinema
chains that are oversea and again twenty eight local TV
station licenses of twenty TBS owned and operated stations around

(07:40):
the country. Now sky Dance has their own set of
idiot production. They have an animation division, Interactive new Media productions,
sports and television. But they've been in it in the
game as a provider of content. Now they own networks content.

Speaker 1 (08:03):
Now.

Speaker 2 (08:03):
As for Skydance Media, they are privately owned company. As
we said, premier ownership is the Elson family, the controlling
state of the company, Redbird Capital Partners, private equity, pj
E and M, Tencent and KKR. They're all minority stakes

(08:23):
together now Pairamount Global was publicly traded and the new
paramount Skuydance Corporation will continue to be publicly traded. Finance
Media itself has not been It's been probably owned. But
that's clear up things. Yes, they are probably owned company,

(08:45):
and I wanted to ask, well, does this refer to
private equity no. Private equity refers to investment that firms
that raise capital for institutional and accredited investors to acquire
and manage companies with the ultimate goal of selling for
a profit. Well, while sCOD Dance Media is a proudly
owned company, their investors are private equity. So Skuydance primarily

(09:09):
has been producing media and media production and financing, producing films,
TV shows, the animation of video games. They're centered on
creating content and building franchises, not solely on buying and
selling companies. That's Guideance, but ye have strong ties of
the private equity world because Redbird Capital Partners is private
equity and KKR is private equity, so there's a little

(09:32):
bit of a digging where they are creating content and
they're not just buying a selling Guidess is not a
private equity firm in the traditional sense, but it's heavily
backed by and partners with private equity, providing with significant
capital for its ambitious projects, including the Paramount acquisition, and
prior to doing this, the only other media space they

(09:55):
actually acquired was an animation unit call Illion Studios in
twenty twenty, a Madrid based firm, and the form would
recreate into Skydance Animation their core business production. But there's
investments and the development of private equity partners indicated brought
are interests in acquiring and consolidating media assets that align

(10:15):
with their long term content and franchise building strategy. From
an acquisition is anual monumental step in that direction. Now,
one of the things we talked about prior to all
this is that we had heard that with this Paramount
Skiddance merger that there would be a plan for spinning
off all the cable networks are even done with Versant

(10:38):
WITHBC Diversal, we know that the same thing's going with
Warner Brothers Discovery. They're all unloading all their television to
cable properties and pushing them off into separate companies because
those are basically on the selling block. All those networks
are going to be up for sale. So at the moment,

(11:00):
there has been no immediate full spin off announced, so
we don't know anything about that yet. The plan from
David Ellison and Jeff S. Shell, who will lead a
new company, they are looking to go ahead and make
sure that CBS, which is broadcast network that is one
of the most important assets of this merger is a
cornerstone asset. Paramount Plus and putal TV are seen as

(11:23):
key for streaming growth and profitability, so they're going to
try to do things to try to grow and maximize
subscribers or lists or viewers. To that film production through
Paramount Pictures and animation with guidance animation will be central
to content creation. They're also very interested in sports content.
So Jeff Shell has talked about the analogy of a

(11:46):
bar bell for revenue for linear TV. The traditional TV
outlet that broadcasts and streaming are at the two weighted ends,
and the skinny bar represents cable networks. Linear TV is
not being a band that they're saying, but it's not
the primary growth in it for the new company either.
You're also looking to explore strategic partnerships and assets sales

(12:08):
so that some of the cable networks are some parts
of them could be sold off or restructured in the
future if they don't align with the core strategy or
if a good offer arises.

Speaker 1 (12:15):
Well.

Speaker 2 (12:15):
Keep this in mind. We have channels like MTVVH one,
BT primarily music channels when they first came out, among
other things, and when you look at some of these channels.
They're basically just housing other just content they've had produced
in the past, and maybe some new content out there,
but they're not aggressive in creating new content. Not MEVH

(12:41):
one throwing Love and Hip Hop on what was VH
one before and now it's over on MTV, and the
same thing with Ridiculousness and all these other shows that
they have. But they're also just kind of relying on
other programming just to kind of fill up the lineup
of what they have available. Quite far as a day,

(13:01):
Paramount had explored selling certain cable assets. They were looking
to go and put up bet originally, but the idea
was to go and look at that so among the
other versions we've already seen before and Comcast Universal, NBC
all that was put together and Warnerburg's Discovery that we

(13:25):
got through a couple of years ago. They were looking
to go ahead and optimize the divest parts of their
cable portfolios, so to unload cables a dying breed. But
the idea is to see what they can do with
these properties. They're going to do a strategic review that

(13:45):
will lead to restructuring, consolidating, or potentially selling rather than
a predetermined spinoff, and they're going to be optimizing their
value and aligning them with the companies three priorities in streaming,
film and key broadcast sports content. I mean, they're following
the same rules, the same kind of roles that these

(14:05):
other big media companies are doing. They're not gonna be
in the business of saying, Okay, we're gonna build all
this new content for television. It's for streaming primarily, and
also for films. Not gonna be gonna be any movies
exclusively on pay amount Plus. They're gonna try to put
everything out in theaters, get a good recoup of the funds,

(14:25):
and then put it on streaming after the fact, which
is kind of commonplace right now what most companies are
trying to go and do. Now, the industry raggs out
there have been reporting all about this and went to
all the major rags as what they did to report
on this, because there's a bit of a change on
how they want to go ahead and talk about it,

(14:45):
because you know, there's things that they feel that they're
that are going to be compromised as a rule of
this political compromise. There's a creative compromise. There's a lot
of things behind it. But the thing is, some of
this is going to be irrelevant because at the end
of the day, this paramount Skydance Company still has to

(15:08):
go up against the Internet and the continuation of certain
programming that maybe for what the first seventy years of
television eighty years excuse me, might have been important at
the time, but not anymore. There's just certain things that
just don't matter to what happened with this digital disruption.

(15:30):
I've talked about since since I started this program. It
just all changed. The deals expected to close the next
coming weeks and not going to what SEC is saying
about this and what they're going to do. There is
some political swaying that's going on for the SEC as

(15:51):
they make this point. Because guidance upon the approval of
the SEC of this merger, they submitted to three areas
of commitments to the SEC. Number one ensuring that DEI
programs diversity equity inclusion will be shut down and that
have been shut down. Appointing to puting ombudsman to review

(16:14):
compliants of bias throughout the concerns. If only the CBS
is part of ensuring viewpoint diversity and invest think the
local news and working with affiliated broadcast stations to serve
local communities. Branded Carr will say the chairman of the
SEC that Americas no longer trust the legacy national news
media their report fully, accurately and fairly. It's time for
a change. So he welcomes sky Dances to commitment to

(16:38):
make significant changes in the one story CBS broadcast network.
I mean, it doesn't sound good the fact that we
have the SEC or anybody else kind of telling what
they need to do in terms of, you know, complying
with the SEC. I mean, I guess with content, yeah,
I mean it should be understood that content should be

(17:00):
regulated when it is for language or sexual you know,
natured content or you know whatever, violence, sex, language, Yes,
those kind of areas. We have something that you're going
to make sure they're always going to, you know, maintain
a certain regulation to it. But the part they're talking
about here, where's alleged media bias. And I mean the

(17:22):
thing is, I could care less if these network news
channels decided to go and make changes. The thing is
people are not getting their news from these sources. I
mean there's an older demographic that does. But look, let's
just make this clear. The bulk of the pain audience
of media content. They're watching on social media, they're watching streaming,

(17:47):
and you know, if you want to get their advertising dollars,
you're probably better off of the YouTube video than trying
to get them to watch anything on TV. They're on
a TV set for that matter. But people are not
into appointment viewing. People are not so much accustomed to
watching evening news at six thirty pm. Wherever you are
are watching late night programming eleven thirty at night, that

(18:11):
kind of work, or talk shows in the daytime, gangels
in the daytime, soap operas in the daytime. Like, there
was a whole way that the content was done. But
if it was done good and people enjoyed it and
you had a mass appeal, then all this would be
still relevant. But one of the things that was a
mistake during COVID is that some of these companies they

(18:33):
decided to divest out of the networks and go more
to streaming. Look, it's the same thing that goes twenty
years ago when you talk about Napster, how it disrupted
the space with music streaming, the same thing happens once
again here where you know, you had these physical properties

(18:55):
and the advertising dollars you were getting off of those,
and if you didn't do anything to make sure that
you kept people to watch the product, didn't put enough
into it to get it back, then people don't want
to go to that anymore. I mean the cable companies,
the load of commercials you mount the cable bill is
these days people don't want to spend that kind of

(19:15):
money anymore. So let's find a way to get off
of there. Let's go and move ourselves off and find
a way to say, Okay, you know what, streaming sounds
like a good idea. And in twenty twenty, I guess
what everybody did. They thought, oh, thirty forty bucks, we
can watch all those different content. We don't need the cable.
We we can cut it. We need to watch network TV. No,

(19:36):
because it wasn't that much left, because we're all centered
on individual intellectual properties. Let's just put on a different
Chicago show FD Medical Fire. Let's just do that now.
Fire Country has another show, some police countries, something like that. Right,
they're going to have that come up rescue n I

(19:58):
want one. Now they got another show like, okay, one
show does well, let's just put it off something else.
Another property with the same intellectual property attached to it.
That's the idea. There's a reason why Dick Wolf has
had nine shows on the air across NBC and CV.

Speaker 1 (20:18):
Do that.

Speaker 2 (20:21):
But it can't really get that much anymore at this point,
you know, constant cuts on various programming. What else you
gonna do? And trust me with Paramount before they get
sky Dance ready to go and set up, yeah, they
were kind of cleaning up house because I mean, no

(20:42):
matter what Paramount is gonna have to make changes. Okay, Turger,
programs that don't stay around anymore. Okay, Dick Wolf, one
of your shows, I almost wanted to cancel. A handful
of shows that have been around for a long time
got canceled on CBS. Yeah, and then you.

Speaker 1 (20:59):
Have but.

Speaker 2 (21:02):
The Talk on CBS also canceled, replaced it with a
soap opera. See how that goes now, Stephen Colbert, and
you know last week on the program, I talked about
it because the news broke late on Thursday night and
I brought it up, and you know, there's been a
lot of talk about that ever since the end of
the day. Man, no media company is going to operate

(21:26):
a program that's running on a forty six million dollar
a year low can happen, and you're paying. You're paying
for two hundred people's staff and fifteen million dollars to host.
Like all those late night shows are irrelevant, And you know,
I don't think anybody's going to really miss as Jimmy

(21:47):
Fallon or to be Kimmel or Stephen Colbert going away.
I mean, there's nobody else trying to create late night
shows to go up against them anymore, because there's no
no interest in that now, not at all. Remember we
used to have different shows that would come on. We

(22:07):
had Vibe, we had the Magic Johnson's show, Bitch if
Chase tried to do a show, Remember when late night
was so popular that you'd have other shows with our
senior survived. You're thrived in that for a couple of years,
five years of that against Carson a letterman, and I

(22:27):
try to think, man, they used to try to do
that all the time, like let's get out of the
late night show up there, John Sally doing get show
on Beatre. I remember I was like a man and
they all did that. Now a lost cause. I mean,
sorry at Greg Goetzfeld, I don't consider late night ten
o'clock at night. It's just a comedy show and also

(22:48):
one of the easiest comedy shows that we've made because
the same jokes just insert, you know, set up for
the same punchline. That's what that show is fine as
easy laughs, but also there's not much of a staff.
They're just kind of doing it. And you know, boxers
in general, they're always kind of like being a little
bit more lighthearted on their content. They're kind of be

(23:09):
the the opposite of all these other outlets out there. Okay,
that's a different direction, but Box does fox stuff. So
there are continuous cuts that are going on, and that's
a big change now leading up to this as well.
Not only do we have things going on where we

(23:30):
had changes to the programming and shows being canceled, there's
also staff layoffs. Paramount undertook teveroneownds the layoffs as a
company's current RecA coaseos bbs Haad, George Cheeks, Chris McCarthy,
president's EO of Showtime, MTV, Intertment Studios and Paramount and
Media Networks and Paramount Pictures had Brian Robbins. Robbins, by

(23:53):
the way, that's the guy that worked with Dan Schneider
and all those Nickelodeon shows. How the hell did that
guy get from head to class like thirty years ago
to become the head of Paramount Pictures. It f out
of here. They aimed a slash five hundred million dollars
at annualized costs. Yeah, to take a good, big forty
million dollar chunk out of the Late Show with Stephen Colbert. Yeah,

(24:16):
they're gonna do that because remember I said this last
week as well. It wasn't just Colbert, it was the
whole show. Financial decision. People want to make it political.
It was at financial decision, big corporate media, mirror Merger
are going to cut stuff. And if it were me,
I could have told you after COVID late night shows

(24:38):
didn't need to come back. They don't provide anything. I
could care less about the interviews that we see or
they put up there with any of the celebrities that
are out there. I mean, nobody really cares. If they did.
The movie theaters would be going crazy for some of
these things that are going on. Or you know, they
used to go and have musical acts. And when do

(24:59):
we hear about me none comedians none.

Speaker 1 (25:03):
He used to be.

Speaker 2 (25:04):
Entertained on these shows. These shows are also done at
a point where like the hosts have to go ahead
and depend on their joke riders to go ahead and
like lift the show up and make something out of it.
But they're all run poorly, all of them. You know,
something to be said about the fact that when you've

(25:24):
got a good host that can help go ahead, you know,
really just stand up and make a show for an
hour plus whatever. But man, when I look at justn't
the last crop of people that we had. I mean
not don't give me James Gordon, right, but like Craig Ferguson,

(25:45):
Jay Leno did a very good job of what he
was able to do with that show after Carson. Don't know,
Brian did a pretty good job I didn't have. I
felt a bit like he did a pretty good job
for himself. But the crop that we have now, I
think Jimmy Kimmel probably the beginning. But you get stuck
in there and you don't have, you know, a way

(26:07):
to kind of keep yourself grounded to who you are
and what made you popular and entertaining in the first place,
and you lose yourself in that Hollywood dynamic. Hard to
kind of keep yourself grounded and give you who you
are and keep yourself true to who you were in
the first place. How a reporter put on an interesting

(26:29):
story about Paramount facing a talent rebellion. So because of
Stephen Colbert and the Late Show being let go, John Stewart,
who helped to basically recruit Stephen Colbert, was a contributed
to The Daily Show and John Start was doing it regularly,
and he was, you know, in his prime doing that show,

(26:50):
and it was very funny going off the Colbert Report.
And then Colbert Listen, who had a good career for himself,
you know beforehand doing televis, know other things before he
got to the Late Show. John Stewart's pissed. I mean,
John Stuart didn't get that show, but I'm sure that

(27:11):
he wants going to defend his guy. That's why he did.
So a lot of political stuff going on with John Stewart,
Steven Colbert, and south Park this fall because they're all
going up to Trump. That's the part that's kind of
like the signal. That's not the signal, it's all noise.

(27:32):
Oh So, John Stewart's blasting the company for giving to
Trump's demand for sixty minute settlement and casting the Late Show.
Stephen Colbert saying, quote, maybe it's the path of least
resistance for your eight million dollar merger to kill a
show that you know ranked for a rank called a
fragile and vengeful president who's so insecure that he's suffering
terribly from a case of chronic penis and all that

(27:54):
going on. Colbert Steart says that Colbert jumps on at
south Park to pix it, like, Okay, this is a
whole like rebellion against Paramount and the merger. Forget about
the politics. They're pissed because all their programming except for
south Park is compromised. I mean, good thing for south

(28:16):
Park is, you know, they got five years to cash in,
and you know, we'll see what they're gonna do with
their programming. South Park can do whatever they want. The
checks in the mail, the checks already cashed. They don't
have to worry about that. But with feels like John
Stewart only doing like one what is it once a
week and Steve Colbert leaving at the end of twenty

(28:36):
twenty six or May twenty twenty six, I don't know
if they're gonna let Colbert stay around to continue to
go on, not necessarily going after the president. And it
don't matter about that, it's going after the company company's down,
merging and the bosses that might be going on there.
They're probably not gonna take the fact take lightly the

(28:56):
fact that they got this talk show host that's being
paid a lot of money that's going to continue to
go and bash back at them. And Conor O'Brien only
had like about a week or so to go back
after NBC after he got let so I'm surprised they
let him stay around. Like in a radio when somebody
gets fired on the air, you got to just sit
them aside and like let them sit out there, deal

(29:17):
and get out. We let Stephen Colbert have that much
time to go ahead and just rail against Paramount Global
for their deal here with sky Dance, and then also
just use it after the president. The president part is whatever, Okay,
you know what, you want to go attack them, whatever,
It doesn't matter to me. This is any political show.
I'm bringing it up because it's all being talking about

(29:38):
everywhere on these industry rags. They can't help them doing
the story from Hollywood Reporter. They talk about the fact
that all these shows are part of Paramount global facing
and open a rebellion over the handling of the sixty
minutes lawsuit, which resulted in a settlement, doubled the canceling
of Stephen Colbert's late show. So they're saying that the

(29:59):
merchant has incredibly messy process resulting in plenty of hard
feelings which could have have further consequence. Olbear and Steer
certainly will continue to open fire right up the ladder
for the foreseeable future. And in the media business, the
only thing that matters more than money is your reputation.
Over the past few months, Paramoun's reputation has gotten a
lot smaller more than average. But here's the thing. I mean,

(30:21):
maybe part of the fact is that you know, people
might be watching these shows because the outrage. If the
outrage is bringing in ratings, then okay, let these guys
vent for a while, as it will benefit us a
considerable competent. And I wouldn't be surprised that that's the

(30:43):
corporate line of thinking right now at Paramount sky Dance.
That's what they're going to do and decide to go that.
I could see that an interesting story that came in
from the wrap that talks about this is the creator verse,
as late night is dying, podcasting is driving the future
of talk shows is no longer tradition. Kayla Cob writes
the story for the Rap, and it's absolutely right. We

(31:05):
don't need late night to program movie because a late
night format has gone the podcasting, no doubt about it.
So they go into the story and they say that
here that if you want to make it a podcast,
you need two things curiosity and passion. No creative verse
is an ongoing column in the Rap, and Keller Cobb
writes it so she says now that he spoke with

(31:27):
Eric new Zoom, co founder of the podcasting company Magnificent Noise,
and Eric spoke about what Colbert's next steps could be
after his late night show comes to an end. And
then Eric makes the point that you know, podcasters today
seem to share a lot of DNA with the late
night hosts of yesterday, but there's that area of podcasting

(31:49):
with all the big celebrities on. So after Connen loses
his TVs show, after everything happened at NBC, gets dropped
out of the Tonight Show, moves to TBS after that
for a while and then he signed a deal with
serious XM one hundred and fifty million dollars to do
Colna O'Brien is Cone needs a Friend, and some of

(32:14):
the biggest names are getting the bigges pay days in
the talk show space. They're all podcasters. We talked about
all these different deals that happened, with Joe Rogan signing
for two hundred fifty million dollars for a new deal
of Spotify, Alex Cooper and to Call Me Daddy a
network signing with Seriou SIXM for one hundred and twenty
five million dollars, Kelsey Brothers with Amazon's Wondering for one
hundred million dollars, and podcasting Get to You to get

(32:36):
Bigger at US. A research say that time spent listening
to the podcast has jumped three hundred and fifty five
percent since twenty fifty. Podcast consumption now averages seve one
hundred and seventy three billion hours per week. I wouldn't
be surprised to get to him billion hours for the
next couple of years. Celebrities like Mark Marenthio, von Dak

(32:58):
Sheppard had become household names stinks to your podcast and
a buzzy name that might get a podcast well, and sure,
the first two episodes will get big numbers, but after
that post isn't invested, listening base will tend to plummet.
And podcasting prioritizes authenticity and it's far more intimate than others.
You don't just sit down to listen to a podcast.

(33:19):
They often listen to them to make the dull minutia
of life. Poret not wrong about that. Eric de Zoom
also says when it comes to the podcasting boom, the
podcasting industry doesn't really know what it wants to do
or what it wants to be. It's kind of flowing around,
trying and seeing everything what works and what doesn't work,
which is fine, there's no university answer for anyone. But see,
the thing is it doesn't matter because we have particular

(33:42):
programs that do not have to follow a certain suit.
I mean, there are shows that will follow a certain format,
talk show format, sure, But the thing is is that
we have now more than ever the late night for
you know, we see now even with Hollywood when it

(34:03):
comes to the press junkens when they're trying to promote
a movie, you don't hear much about various TV shows
getting the celebrities go and talk to them. We're actually
hearing more about them being on podcasts or other digital
programming that's online. Okay, Yeah, so like O Pedro, Pascal,
Vanessa Kirby. They've been promoting Fantastic four this week. A

(34:26):
lot of the things said about them, press junkets, whatever
they're doing. But they've been doing online stuff. And have
they necessarily gone on to the couches of the late
night talk shows. I don't know, and I don't care
if they do. You don't see that much promotion about
them anyway. But they try to say in the story
that late night might be dying. Okay, let me just
rephrase that, Kaila it is dying slow death right now,

(34:49):
much like linear TV and cable networks are period. But
people s don't want their parasocial relationships with celebrity interviews.
That's not true necessarily. If we want to catch them,
we can just catch clips on YouTube or TikTok or
Instagram whatever. It doesn't really matter. I mean. The thing
is is that if you're gonna do programming in general,

(35:13):
and it's the same thing goes for podcasts. The whole
point is that you need to make your entire piece
of content. The long form has to be interesting, compelling
and entertaining, funny. Whatever you do, not fill time just
to fill time. And by the way, for some of
those talk shows that they have out there, if you're
gonna do a show, you don't need to just run
it like it just raw and think, Okay, we'll just

(35:34):
run the whole thing and just people want to catch
it to get us catch it. No, drim it down
a little bit. Sometimes there might be things you do
in the recording not that good, so cut it out,
drim it up. Only deliver the best of the best
of programming. Trust I do it all the time for
my own programming, and when I also do it real time,
like I do right now. The thing is I want

(35:56):
to make sure I'm putting out content that is like
I'm not way seeing people's time. You've come here to
listen to me for an hour, and I thank you
for that. I'm also not gonna waste your time. Also
going to make sure that I am not insulting your intelligence.
There's a lot to cover, but I'm going to cover
it and when I get done, I'm done and that's it.
But I'm also trying to get it within a certain

(36:17):
amount of time. One thing I want to go in
preface before we move along is that I have gotten
the luck a scheduling interview with Michael Harrison, the Talkers magazine,
also former CEO of Radio Records and a long time
radio programmer radio sessional decades and decades of experience, going

(36:38):
back to the free form radio days of WNEW, you know,
and just all these different stations are out there with
such great creativity. I get a chance to talk with
him next week, and depending on what happens, my plan
is if the broadcasters podcast the Contents a little bit
late next week, I will put the interview on my

(36:59):
normal schedule Friday mornings, and if I don't, no matter what,
I would just go ahead and run the interview stan
alone as an extra episode, which I've been doing lately.
You know. I've had a couple of interviews where a
couple extra interviews that I got to do with radio people,
and I got lucky on this one as well. Thanks
to Ryan McCormick for setting this up for me, so

(37:19):
I'll get to talk of him. I got a lot
of questions to ask, very fascinating because in his area
now he's been for the last thirty five years, specifically
focus on the area of talk radio, and I'll have
to get what his take is on how podcasting has
made a much difference for him in the space. So
I'd like to go and see what he says. But
that's coming up. I should have everything else recorded and

(37:42):
I'll get it published next week sometime next week. Just
spent out to the broadcasters podcast channel kingopodcasts dot com
and also you go through you can find you know
the show itself and wherever you find podcasts. So please
appreciate you and do that. If you haven't subscribed, please
do that would be really great. Now, another story that
came out with the sky Dance Media Paaramount merger is

(38:04):
the co CEO of Paaramount Global, Christmas McCarthy will be leaving.
He's been head of day Time Mperty and Entertainment Studios
and co CEO of Payeramout Global, and George Cheeks will
remain the head of CBS after the merger, and again
Brian Robinson is also expected to br the de partner
company and he's been head of Paaramount Pictures. So changes

(38:28):
at the top are also going to be changing. We
know about that as well. One of the things that
McCarthy was very instrumental in doing was forging a significant
creative partnership with Taylor Sheridan, sunning him to his first
overall TV deal and thus the Yellowstone Universe, which goes
Yellowstone eighteen eighty three nineteen twenty three, and the upcoming
titles of Duntons, Why Marshall's nineteen forty four and The Madison.

(38:51):
He's also responsible for bring John Stewart back to Cable
TV and The Daily Show, and also finished the deal
with the South Park creators, Trade Parker and Matt Stone
to expand their partnership the Paramount to do five more
seasons of South Park ten episodes each, and contribute multiple
exclusive events to Paaramount Plus. So that deal got signed

(39:13):
and done before the merger. If South Park wanted to
stay around, had to be done before the merger happened,
and he struck the deal. McCarthy was head of Showtime
and MTV Studios, oversaw brands like Paramount, Showtime, pir Mount Network,
Rather Showtime, MTV, Comedy Central, and Smithsonian Network, assolidating nine
separate businesses into one portfolio, nearly doubled its audience and

(39:37):
spearheaded the expansion of the business within the launch of
Showtime ash Slash MTV and Entertainment Studios, which now produces
more than one hundred series annually and drove an aggressive
push of the brands into social media. So Showtime Slash
MPTVA Entertainment Studios has produced shows like Yellowstone, Emily in Paris,
South Park, RuPaul's Drag Race, Billions, Dexter's Origins, Daily Show, Pramoart.

(39:59):
Plus they'd done Toll King George and Tammy, Mayor of Kingstown,
Yellow Jackets, Chai, a special Ops Lioness and by the way,
I should recommend Mobland. It's a great show already up
to seven episode eight and there's a few more things.

Speaker 1 (40:11):
Let's go.

Speaker 2 (40:12):
But you know, I don't necessarily one of to do
one of the things where I'm binging through ten episodes
at one shot. I want to have something to watch like,
so I gotta spread it out at a bit now.
She was quite the program with This guy started as
a TV producer, work with Jeff Probes to develop and
sell several unscripted properties to Paaramount, then Viacom going in

(40:32):
to company in two thousand and three as a freelance employee.
Rose of the ranks. First content leadership role in two
thousand and eight is General major of MTV two. Became
president of VH one of twenty fifteen, then added a
TV too's purview in twenty six a lot. They're going
to it now, Hollywood. Essentially, when it comes down to it,
they were hoping that David Ellison, as the controlling stake

(40:52):
of Guide Ants, would take up on Paramount. There was
a probably equity buyer, Apollo that did make an offer
to Paaramount and wanted to acquire the story lot for
real estate. But then an approach by Warner Brothers, Discovery
and preliminr offer by Sony had the town weary of

(41:12):
another major citio merger, and other interested parties were also
trying to go and come in. You had Stephen Paul
try to put a group together to go ahead and
buy Paramount. You had Edgar Bronfman Junior, Barry Diller and
Buyer Now and all together to go and put together
a consortium called Project Rise try to buy, but Ellison
would actually get the deal. Nevertheless, but as I said,

(41:37):
as this merger happens, they're still getting some deals that
came in after the fact, and insually what Paramount Skuyde
Dances already doing is not only did you just spend
a one point five billion dollars right now for the
South Park guys, they're also have just announced one point
five billion dollars a billion of capital investment and pairmount
across operations including broadcast. So but the give thing is,

(41:59):
like I said, this deal that came out before a
five year global licensing deal with South Park. Kay Parker
Maths Stone were also disgruntled with Paramount because the due
will publicly blamed the sky Dance merger for fing up
their show as Skydances executives for interfering and contract talks
under the agreement s guy Dance got to any material

(42:20):
transactions while the deal is pending. But the thing was
that the South Park guys were trying to get this
deal done before Guy Dance metaled into this. They liked
out they got it done. All right, We're gonna go
ahead and segue into some other news. Now. YouTube is
making the case the podcasters the discovery lives in video,

(42:41):
and I forget who I was talking to about all this.
But yeah, when it comes to podcasting. I mean, even
if the fact that YouTube is such a great haven
for podcasters that videos steel important. We know that even
for this program. You know, my program is up there
in a video format, not really a video format, but

(43:03):
like you know, I've changed the what's showing on the
YouTube by having captions something animated, just so at least
looks good and clean for those that want to listen
to the show. Because for me to just be up
here as a talking head and get all dressed up
for it and you know, get well lighted on that
stuff doesn't make it different. Because I mean, if I'm
not showing you any kind of visuals or any kind

(43:24):
of overlays or anything else, like, it doesn't make sense
for me to go ahead and put this in a
video format. Like I mean, talking he has is fine,
you know forbody else, but I just don't need it
a radio person at the end of the day. But
I want to make sure that at least have something
that's kind of video friendly. Steve McLendon, who leads the
platform at YouTube's Podcasting, as creators who don't embrace video

(43:46):
or missing out on a major opportunity, saying that audio
is amazing when you're connected to it and it's in
your earbuds, But how do you discover that video is
actually the most effective way. Not doing video just feels
like you're missing out on a huge swath of the audience.
So it's the couragement of creators and podcasters to do
more video content and to pay more attention to the
visual part. That YouTube typically has visual and algorithmic strengths

(44:10):
to help solve that. That YouTube has an ability to
let users sample a show through recommendations, thumbnails and search
and all tools that don't exist in traditional RSS space podcasting.
Right well, since the actual content that I have is
not necessarily visually appealing, the thumbnails that I put together
for the shows could be. That's so I think what

(44:31):
gets a little bit of attention, if anything at all does,
and how it works on YouTube has been seeing rapid
growth and podcasts viewership, including on TV that users are
watching more than four hundred million hours of podcast content
on living room devices last year alone. You know what
I do, because if I do watch anything on TV,

(44:53):
there's a couple of shows I watched from YouTube that
I will put up on my TV screen in a
living room for whatever reason. On YouTube right now, one
of the things I'm really like watching a lot of
and I keep saving them a watch later. List our
bodycam videos, all the cops stuff. I was always a
fan of cops and it's just like the same thing.
I'm just missing the bad Boys team and that's pretty much.

(45:15):
But they're entertaining man and the people that are doing
those bodycam videos that are putting up online on YouTube. Hey,
thank you, hours and hours of entertainment. Amazing. YouTube is
updating his interface to improve the podcast experience on teeth
and they want to make the podcast look and feel
more like traditional shows or service assault like Netflix improved navigation,

(45:36):
episode progression, and binge listening. It's all good stuff. By
the way, I'm glad that YouTube is actually want to
do more to encourage more video content. Doesn't mean my
content needs to be that, but there's a lot of
content that could very much warn't from that, and I
like the idea they want to do that. YouTube is
remember your podcast destination page, exploring more ways to highlight
emerging creators. But we really really want to just celebrate

(45:59):
the creators, even it's a tremendous amount of time and
energy building audiences on YouTube and the creators still have
to make strong content to breakthrough, but argue that YouTube
offers unmatched scale your podcast or not on YouTube, in
some ways you're really missing out on this fire hose
of audience. And even I can see right now on YouTube,
I'm actually trying to use it more because I'm getting
close to monetizing the channel the subscriber counts, you know,

(46:22):
doing a little bit posing on five hundred THI dy subscribers,
so already have enough subscribers to qualify for modesty. But
now I need watch hours and one of the things
I need either watch hours or I need to go
ahead and produce YouTube shorts that will get a certain
amount of audience with a ninety day. So what I
have done to try to help increase the audience is

(46:43):
that I had not been using YouTube shorts to put
out short form. I have audiograms that I put up
on a regular basis. And since TikTok gave me a
warning for someone about the preve them Roger's content for
my other campaign your program, I said, well, I need
to do something. And also Facebook and Instagram is still
banning me. I figured let me go and leverage YouTube
more that I need to and it has worked really well.

(47:06):
Immediately I'm getting results from the YouTube shorts, and it's
not hard for me to go and add those into
the mix like I have everything else. So I'm fine
with the fact that I'm using YouTube now more than
I have at taking advantage of short. But if you're
doing podcasting, I would absolutely tell you to invest the shorts.
It must be working. I don't watch YouTube shorts myself.

(47:27):
I'm a TikTok you know you were at heart, but
I never get myself too much entrenched into watching YouTube
short but obviously creating them is beneficial. Not every one
of them is gonna make a hit, but like I'm
getting more traction, more viewership on my videos on YouTube short,
quite surprising, but I'm glad because I guess the algorithm

(47:49):
and the YouTube setup just works better for that, and
hopefully by the end of the year I'm monetized. But
if you don't mind, if you're listening to this show
and you want to help me out, you could donate.
I got to kick a podcast dot com donny button
right there. If you want to go and do that,
feel free to do that. That doesn't work for you,

(48:09):
then let me just ask you for this. If you're
on my YouTube channel and you're watching videos, let them play,
let them play, and just give a little more time
to listen to them, a little more attention, because that
will help in the watch hours for this program. And
I would greatly appreciate if you would be so considerate.

(48:31):
That's one of the biggest ways you can help on
the show is to help me build out another monetization route,
a little more revenue stream, to help put some more
in the coffers for the program for myself, because it
is struggling to I love doing the content, but I
wish I could make something more off of it. I'll
be honest, and I don't want to go ahead and
you know, go away and start doing sponsorships and doing

(48:51):
other things that are just getting out of my purview
that I don't want to do. I want to do
it like I like to do it. Make sure the
content's out there that people enjoy. YouTube recently introduced the
US Top only Top one hundred chart Ranks podcast in May,
based on watch time at updates every Wednesday. And I

(49:12):
haven't looked at this list in a while, but let's
conticularly what they have on the list. Right now. In
terms of who the podcast charts are right now. Early
other charts the weekly top podcast shows Call Our Daddy
number one, Joe Rogan, Experience two, Might Such Podcast, three, Diary,
CEO four, Kill Tony five, Rot Mango six, Don Ryan seven,

(49:32):
forty eight Hours, eight, Fosh Reachs, Reddit Stories nine Brian
Tayler Cohen on those. I don't really care about those
kind of programs because I like my grassroots kind of
stuff personally. Aside from MPR losing over the next two
years one point one billion dollars in the Corporation for

(49:55):
Public Broadcasting that would normally fund NPR, MPR has decided
to cut their operating budget by eight billion dollars the
divert money towards member station. So because of the decision
of federal funding for public broadcasting, NPR is going to
cut their budget by eight million dollars to send the
money to help support eighty MPR member station. Because of

(50:20):
the cutting a funding of the federal funds by for
MPR public radio stations stationwide will lose a total of
three hundred fifty million dollars the next two years. More
than seventy percent of federal funding goes directly to local
public and TV radio stations. A recent report says that
seventy nine public radio and thirty three TBS TV stations

(50:42):
across thirty four states and territories are an imminent danger
of going dark. A lot of changes. All that all
interesting story that came out about variety that centers is
a man being hits this year in twenty twenty five,
but superhero movies and horror movies all together. There have

(51:02):
been quite a few horror movies that were put out
this year with Sinners and Superman, you know, just over
the Superman. You know, not that many of the superheroes brand,
but they're no longer box office guaranteed. And what's been
said right now on one of the contributors of movies
out there, an exhibitor actually talking about the fact there's

(51:23):
a demand for higher quality. They're saying the story that
Hollywood's two most reliable genres, superheroes and horror, are showing
signs of it. And there are reasons for both for
both of these type of genres to suffering because both
types of fair are reaching oversaturation point. But so far,

(51:44):
Sinators has earned three hundred and sixty five million dollars.
It weren't a lot of money for themselves. Now on streaming,
Superman has so far four hundred and twenty six billion
dollars billion dollars a D eight hopefully going to make it
to a billion dollars for the worldwide box office. Fin all,
the Solution blood Lines two underty five million dollars have
been very good in the box office for those movies,

(52:07):
but not guaranteed. Twentiest research firm, Screen engine Asi, found
our CEO Kevin Getz, this Hollywood takes the lesser risk
of versus approach. It makes what has worked, they've exhausted it.
We there's a new horror move film every week. Superhero
movies got into a complacency exactly. So there have been

(52:27):
a lot of bombs and horror movies in the last
couple of years. Blamahouse having four in a row, Megan
two point zero only making thirty seven million, Wolf Ban
making thirty four million, one of the R twenty three million,
and Dropped twenty eight million. They all bombed. You have
the return of the I Know What You Did last summer,
the Bible that franchise twenty four million dollars so far.

(52:50):
The sci fi thriller Companion thirty six million dollars. Death
of the Unicorn sixteen point four million dollars, tanking all
of them. As Blum the found out of the Blumhouse
Productions says about the mixed bag of horror, there's a
cap on the number of scary movies that could co
assist on Multiplex. Marquis saying that there's too much horror

(53:13):
in the marketplace. Restore market that can absorb twelve to
fifteen horror movies where you can get these seals and
doubles on. He said, there are still some horror movies
left to go and push out this year to see
what happens that they're gonna make some money. You have
Zach Craiger's Weapons, the Jordan Peel produced film Hilm Blumhouse's
Black Phone, two and five Nights at Freddy's Too Openness Park.

(53:35):
Some money coming in that'll help make things really change
out the superhero Exhaustion, any Thing goes. Marvel hasn't been
hitting that big in their movies right now. Captain America
Brave New World, on one hundred and eighty million dollar budget,
broke four hundred fifty million dollars Utterbolts on one hundred
and eighty million dollar budget three hundred and eighty two million.

(53:59):
Marvel's making money, but not the kind of money they
were making. And when it comes to Superman, is because
it's different than other DC domes or it is like
outside of the mold of the other action movies, being vulnerable,
losing fights, which we haven't seen. Kevin Figi told reporters
that with a case of Marvel demand iss to do
less at a higher caliber because you had to go

(54:20):
and work on things for Disney Plus and Freebe see
all that. Between twenty seven and twenty nineteen they produced
fifty hours of stories, but since the Avengers Endgame after that,
they've done well over one hundred hours of stories. And
it has the time for Marvel's a cinematic university. Got
the Fantastic four First Steps right now coming up this weekend,

(54:42):
and then next year Avengers Doomsday and Spiderman Brand New Day,
and then the Avenger Secret War in twenty twenty seven.
They're expecting big money for those. Probably a radio story
we want to bring up here. We're going to be
in the time of streaming a radio rec decoration from
Sean Ross, so I like to go and read his
column on a regular basis, and he's saying here that

(55:08):
there are people on the radio music side of the
industry trying to put a positive spin on the state
of music. In the charts of the last five the
audience is choosing. Now. The point is is TikTok that
has ultimately changed everything. Listen with TikTok now and they're
embedding a Spotify Like when I see a song that

(55:29):
pops up and I want to hit the plus sign
on Spotify on the bottom of the FYP page because
there's a song they're playing and it can be old,
it could be new. But if when I see that
plus sign right there and that's the song I want
to hear, it instantly goes to my like songs older
in Spotify and then I can move into a playlist. Fantastic,

(55:49):
I'm going to ask for more. It's really really cool
to do that. And yes, the audience screaming, you know,
the taste has changed. And what's really interesting when Don
Ross brings this point is I look at there's a
guy that puts up a feed on YouTube called Billboard
Top Songs. Please follow him. Really good there's several lists

(56:13):
of music that he puts up and he basically counts
down the charts, so everything from the Billboard charts. When
it comes to the one hundred and the building under
Hot one hundred, like he'll play one hundred and twenty
five songs from one twenty five to one of that
week that comes up like immediately almos, almost like after
the chart has just been published, and then like the
next day, I can actually catch that and see it countdown.

(56:37):
Same thing with the Board Breakdown show, which I watch
with Mark Grondin on his steel it's a Spectrum post channel,
great stuff. And then I'll follow the official chart if
I don't catch an on BBC Radio because unfortunately BBC
Sounds went away in the UK and the US and

(56:58):
the UK, so now I have to go catch it live,
you know, I got to put on the tune and
app and I have to go look forward on Friday
morning and catch what I catch of it. But that's okay.
If I miss it, I can watch the chart, the
official chart on this Biitboard Top Songs channel, which great.
Then on Fridays, like Friday nights, he'll drop the Spotify

(57:22):
Global two hundred the Spotify Global two hundred, you get
a real taste of the music around the world that
people will listening to on spot The hits are definitely
probably there, But then you look at the songs that
people are going back to that are doesn't matter how
old they are. But I see songs that are on
there regularly that are gold records from various formats. Kill

(57:48):
there's mister Bright's side Radioheads creep in the top forty
of this Spotify Global two hundred list. When I look
at pe what mac and Dreams or any song from
Coldplay that's up there now. And then the variety of
music and the genres listen to versus K pop, whether
it's Brazilian funk, or whether it's afrobeats, whether it's reggaeton,

(58:11):
whatever there is, it's amazing and I really and then
you also see the songs that stay around the charts
for a long time because the charts are stagnant and
people are willing to go and listen to songs for
longer because they don't mind. So even when they talk
about here that the people want beautiful things for nineteen months,
or he says, here's sixty three year old Leslie Gord

(58:34):
LP cuts for a few weeks. Who are we to create? Well,
if we're going to go for an older you know, mentioned,
let's go for Connie Francis. Pretty little baby that And
unfortunately Connie Francis passed away, but at least she got
a chance to go consilibrate. The fact the song got
restored and people really got into her again. Really cool, amazing.
Don ros CON's used to go on and say that
maybe there's a problem current format struggle, except for the

(58:56):
country only format has a robust product flow. Alan Burns,
a consultant radio that says the top ten was full
of songs that were not consensus powers, in fact sometimes
not being powered by any chr of the top fifty markets.
And another column from researcher Bailey says, where the hell
are the hits? There's no ordinary consistence hit at the moment. Well,

(59:17):
that's the music label's fault. Record labels do not want
to push any major artists, and they're not, you know,
forcing the artists going to get out there and churn
out music and churn out hits. They're not doing it
as much. Look, they don't have to do that at all.
Billy who writes for graphs about Songs. Dot com mentions
in this story about this This is the nineteen nineties,

(59:38):
around fifty eight songs have reached the Billboard Hot one, hundreds,
Top ten, and a typical year ming gets moosted that
number to sixty three songs in a typical year. Now
and this story I actually prefaced before previously. But the
fact that it's again the people w D needs to
be both ar managers and music. You're taking this somewhere
off when we need the most me He has created

(01:00:00):
a profit model for labels. And that's the thing you
got to remember too, is that streaming. You know, like
at Spotify they have minority stakes divvied out to all
the major record label and publishers the bill we're going
to do that. One of the things they said here
in this story was that letting streaming making all the

(01:00:21):
decisions has not been a viable path for radio. So
there's a country station Kygo and Denver. They really follow
the streaming charts for what should be out there. They've
been a consistent winner and a market with an informat competition,
but they are going to stations that are heavily influenced
by streaming in both the CHR and countries have been

(01:00:42):
less successful. Do not consistently be their informat competition. Now
streaming stations that will really follow the streaming charts to
program their stations. There's KMVQ nine to nine points of
a nown in San Francisco or w d AQ three
ninety two and Kenton, Ohio. You're using streaming to inform
their judgment, not in place of it. One station that

(01:01:05):
has been doing a lot of work successfully in being
well researchers WIXX and Green Bay, Wisconsin. They're powering Benson Moon,
Miles Smith's nice to Meet You, and Benson Moon Song.
They're putting in power which is in heavy rotation sorry,
I'm here for someone else. They're also using Shine down
Street six five. They might be powering songs outside of

(01:01:28):
Spotify's top two hundred, but would they do even better
if they're putting in heavy rotation? No one noticed by
the Marie and Alan burnsided. There are four songs that
have become top ten hits without being major market heavy
rotated songs. Two of them without big streaming numbers was
Benson Boon's Sorry, Ed Scheeran's Asi Zahm and then they

(01:01:52):
talk about sombers Undressed and Sabriitta Carver's band Child being
instances of radio lagging behind streaming radio to make a
heavy rotation out of that with a spile acrost the
board until had already been number one streaming. He also
makes the point that we are missing streaming hits, or
so many hits right now we should not be overlooking.
There's dark thoughts from Little Teca by Leon Thomas, Shake

(01:02:17):
It to the Max by By and other streaming hits
that radio has futs, but not only fully embraced. And
then he also brings the point of that though we
still need radio hits, that utilizing the streaming data would
get radio more usable records, but not enough and doesn't
establish radio as anything more than a me too version

(01:02:38):
of street Without the excitement of ongoing renewal, we haven't
reached a point where radio can cheerfully abdicate finding the hits.
They're not allowed to sean because the corporate program directors,
music directors, regional music directors, they're not allowed to go
and do that. They're not allowed to go and do that.
And some of these stations you're talking about, they're also

(01:02:59):
independently owned or smaller clusters or smaller companies that are
allowing some of this flexibility, this enterprising as we call
it in the radio business, to be allowed also some
of the fact that here with Shaun Ross, that radio
flex not sure what it is, but it needs that
when somebody is listening. So Marian Carey put on a

(01:03:21):
new song typed Injurious that did get around. Radio embraced
it quickly, but growth has slowed and now disappeared. So
radio stations have put it up there and put it
up in rotation. They're dropping it. Media Base shows only
three or borders playing type dangerous even once a day
of mid days, and if they put the song on,
it'll be put on at ten am when adults are available,

(01:03:42):
not ten pm when the kids are still a lot
more into that story. But Shaun Ross always a great job.
We're going to do that radio Insight dot Com I
n Sight. I got to go find him and you know,
get him interviewed, because that would be a pretty cool
to do with it. But like I said, I really
enjoy stuff. And then we go that's the program for
Then again, I will be doing an interview with Michael

(01:04:04):
Harris of Talkers Magazine, and I hope to get a
lot of questions asked about him. I mean, he's another
guy that in the space of media, like the legacy leaves,
you know, behind him with radio records, with radio in
general is so expansive and it's so important today. I'm
curious to hear about that and the space season right

(01:04:27):
now and talk radio what he's thinking about right now
of the destruction of programming that is also affecting his program,
the program that he reports on rightfully for thirty five years.
So come back into the broadcast podcast. Remember the content
is keen and to control your content this year

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