Radio+Television Business Report

Public speaking is a vital skill to have if you want to make a difference in the world, says “Zoom” expert and veteran public relations executive Rosemary Ravinal. “It is known as the foundation of leadership,” she writes in a new column. “We do it to establish authority, persuade people to our point of view, educate, inspire, and advance our careers and businesses.” But what about private speaking—the kind we do with family, friends, and neighbors? “This is the kind of speaking you need to be a better parent, to have great relationships, to be a real friend or simply be someone who makes people stop and listen,” she says. It could very much help you in professional situations, too.

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It’s always great to chat with a media broker about the deal-making environment for radio and TV. From our vantage point it’s … um … pretty terrible. A Class A in New York just got sold for $51 million less than it was purchased for. There’s a squabble in Orlando between a $6 million valuation for a FM that covers the metro and a $10 million asking price for it.

What is Bob Heymann’s assessment of where FM station valuations are, and is that seriously harming the marketplace for a longer period than some may have anticipated? That’s just one question he responds to in the latest RBR+TVBR InFOCUS Podcast, presented by dot.FM.

Listen to “The InFOCUS Podcast: Bob Heymann” on Spreaker.

The buyer may be tied to Tennessee, but it is seeking FCC approval to own an unbuilt construction permit for a low-power television facility in the city that is home to the University of Florida.

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WASHINGTON, D.C. — A pair of House Democrats have teamed together to reintroduce legislation that they say is designed to ensure that community television operations continue to receive the resources they need to educate and inform viewers in the cities and towns where they operate.

Companion legislation was also introduced by a pair of Democrats in the U.S. Senate.

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The FCC’s Media Bureau continues to work fast and furious on adopting orders and, in many cases, handing licensees a forfeiture notice — a move that could bring the Commission hundreds of thousands of dollars, put toward its annual operating budget.

Now, the Commission has signed off on two Consent Decrees — with no financial penalty, or contribution to the U.S. Treasury, to worry about — handed to a pair of broadcasting companies devoted to super-serving Spanish-language listeners.

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NEW YORK — Advanced television advertising company OpenAP has brought to market a new cross-platform measurement framework backed by national TV publishers that is designed to provide advertisers with more choice in measurement tools.

How so? XPm can help facilitate “an open and independent measurement ecosystem,” OpenAP says.

For TV publishers, the benefit is a “common solution to proactively deliver on marketplace demands,” OpenAP notes. Importantly, it shifts TV from siloed measurement of
linear and streaming viewership to ID-based targeting and measurement.

XPm is being described by OpenAP as the collective TV publisher response to the Association of National Advertisers’ (ANA) call to evolve to a cross-screen media measurement framework for marketers.

As OpenAP explains, XPm is built on the central TV identity spine, OpenID, and powers the sharing of campaign exposure data with third-party measurement companies in privacy safe environments. The framework enables the resolution of data to OpenIDs so that unified ID-based audiences can be used for both targeting and measurement, and it facilitates cross-platform reporting on campaigns that span multiple publishers across both linear and premium digital video viewing environments. As a result, advertisers whose campaign was run using OpenIDs will benefit from post-campaign XPm reporting insights that include baseline metrics such as deduplicated unique cross-platform reach, total cross-platform impressions and average frequency per OpenID reached.

OpenAP CEO David Levy notes, “Holistic cross-screen advertising has been an elusive challenge that publishers, measurement providers and advertisers alike have been grappling with for too long. New innovations have made it possible to use the same IDs for campaign targeting and as for measurement, giving marketers the ability to understand not only how many people were reached but who specifically was reached across all screens. We believe cross-platform measurement at the ID level is the future for TV advertising, and we’re thrilled to link arms with our partners to bring optionality and more choice of solutions to market.”

The VAB, as part of its new Measurement Innovation Task Force, will operate as the governing body of XPm in order to create common standards and establish controls on how data is used on behalf of TV publishers. Measurement company requirements will be defined by the Task Force, with all solutions subject to validation and verification by the VAB to ensure transparency of methodology and technical integration with OpenID.

Participating XPm measurement companies include Comscore, iSpot, Nielsen, VideoAmp and 605, with Innovid offering enhancements to digital measurement for use in XPm reporting. GroupM, dentsu and Horizon Media have also joined as the first agencies to pilot the framework for XPm reporting insights.

VAB President/CEO Sean Cunningham notes, “This is a seminal moment for the TV ecosystem, which is only just at the beginning of an era of tremendous innovation, collaboration and transparency. The future of video advertising will be built on and shaped by modern measurement solutions that allow for competition in the marketplace and more choice for advertisers — which is delivered by this initiative on an open stage. The coming months and year ahead will be defined as a period of game-changing advancement for our industry.”

In development since early 2020, XPm has undergone what OpenAP calls “an extensive development stage to establish the necessary connections with measurement companies, data providers and publisher systems and entered beta in late summer 2021. “OpenAP will collaborate with all involved parties in a continued XPm reporting beta period to review
data, test results and collect further inputs from both publishers and advertisers ahead of the target launch of XPm reporting in Q1 2022,” it notes.

(PODCAST BUSINESS JOURNAL) — Some 125 members working in the iHeartPodcast Network division say they “have been encouraged to embrace the dynamism of start-up culture without any of the associated benefits.”

They have signed union cards to organize with the Writers Guild of America.

Specifically, The Writers Guild of America, East has called on management to voluntarily recognize the union. iHeartMedia corporate had no comment on the matter. Podcast Business Journal asked the Writers Guild for specific names behind the letter (below); the co-owned publication to Radio + Television Business Report was told to attribute it to “the iHeartPodcast Union.”

CEO Bob Pittman has said during iHeartMedia earnings calls that the podcast division is profitable for the company. The company reported $156 million in podcast revenue through the first nine months of 2021.

The approximately 125-member iHeartPodcast Network Bargaining Committee includes producers, editors, researchers, writers, and hosts based in Atlanta, Los Angeles and New York City.

The iHeartPodcast Network includes shows such as “Stuff You Should Know,” “Fake Doctors, Real Friends,” “The Ron Burgundy Podcast,” and “Disgraceland.”

Here’s the letter the iHeartPodcast Union wrote to management: We, the podcast producers, editors, researchers, writers, and hosts of iHeartMedia, are thrilled to announce that we are unionizing with the Writers Guild of America, East. Months of discussion with our colleagues have clarified some things: First, we love the community we have created at iHeart. We work shoulder to shoulder with some of the most creative minds in the business, who have come to feel more like family. We are devoted and passionate storytellers who take pride in our ability to provide our listeners with entertaining, thought-provoking audio content and, most importantly, companionship. However, during difficult times, we are reminded that while the iHeart Digital Audio Group prides itself on its relative autonomy and ability to adapt to the shifting needs of the marketplace—much like a start-up—we work under the capacity constraints of a legacy broadcast conglomerate. Essentially, we have been encouraged to embrace the dynamism of start-up culture without any of the associated benefits.  Throughout the unprecedented challenges of the last two years, we managed to seamlessly transition to remote work; our adaptability helped the company not just sustain, but thrive during a period of economic uncertainty and social unrest. During team calls, town halls, and official email communications from leadership, we are frequently reminded of the financial gains that we helped make possible. Bob Pittman, CEO and Chairman of iHeartMedia, reported during last month’s quarterly earnings call that Digital Audio revenue increased by 77 percent compared to 2020. Our division’s significant growth was “driven primarily by continuing increases in demand for digital advertising and the continued growth of podcasting,” where revenue is up 184 percent compared to 2020.  Unfortunately, those gains have not reached the creators working round-the-clock to keep our audience of more than 30 million monthly listeners actively engaged. With hundreds of shows across all categories and genres, many of us are doing the work of multiple employees, and the huge volume of content we are responsible for is not met with equitable compensation. Furthermore, we lack transparency in workplace decision making, meaningful initiatives toward diversity and inclusion, fairness in managerial relationships, and clarity in divisions of labor. While we are proud to be an essential part of iHeartMedia’s success over the past few years, we are keenly aware of significant internal pay disparities between similarly positioned individuals within the company. And across the board, iHeartMedia’s overall compensation and benefits standards are wholly insufficient when compared to the greater podcast and scripted audio market.  Due to these working conditions, the creators of iHeart’s podcasts have banded together in order to help determine the best path forward so that iHeart can remain competitive, retain existing talent, and attract new voices to the network, all while creating a more equitable, transparent, and democratic workplace. Key elements of these goals include, but are not limited to:  Appropriate compensation and benefits
Accountability mechanisms regarding diversity and inclusion efforts
Manageable workloads and appropriate staffing for shows
Clear paths for advancement and standardized job descriptions
Job security  We ask that iHeart leadership voluntarily recognize our union, and we look forward to working with our company’s leadership throughout the bargaining process to reach these objectives. In doing so, we can ensure that iHeart’s growth remains sustainable and that we retain our position as an industry leader.  

 

Lowell Peterson, Executive Director of the Writers Guild of America, East, added, “We are pleased to welcome the storytellers at the iHeartPodcast Network to the Guild. A union is vital to  ensuring podcast workers are able to build sustainable careers in an industry where their contributions have been essential to the sector’s continued rapid growth.”

 

NEW YORK — Hearst Television‘s Senior Director of Finance, based at the company’s New York City headquarters, has been promoted to Vice President.

Earning the new role: a 31-year finance veteran at Hearst Television.

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When it comes to hot topics in the video entertainment world, SVOD is perhaps tops.

For 2022, Deloitte predicts that with U.S. and global streaming services continuing to expand, the amplified competition “is creating abundant consumer choice and accelerating churn.” As a result, Deloitte predicts that in 2022 at least 150 million SVOD paid subscriptions will be canceled worldwide, with churn rates of up to 30% per market. Is this an opportunity for over-the-air TV?

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A “deluge’ of ads from expanded legalized sports betting and the return of midterm political ad spending in 2022 are expected to aid U.S. broadcasters’ rebound from the pandemic.

That’s the key conclusion from S&P Global Market Intelligence Senior Research Analyst Justin Nielson, who works in the Kagan arm.

Just how rich will spending in the 2022 midterm elections be? And, is legalized sports betting truly the dollar magnet companies such as Audacy perceive it to be?

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Broadband iTV Inc., the Austin, Texas-based company that considers itself as one of the pioneers of video-on-demand, has filed a dismissal of its patent infringement lawsuit against DISH Network LLC relating to video-on-demand, set-top box and related technologies.

In a brief statement, BBiTV CEO Clifton Kagawa said, “We are pleased to have the litigation completed and are proud of BBiTV’s patented technologies. BBiTV developed and owns a portfolio of more than 70 issued U.S. patents, comprised entirely of technologies developed by BBiTV inventor and Chief Technology Officer Milton Diaz Perez (pictured, top left), based on his work over several decades. BBiTV developed the underlying technology that all of its patents were derived from, and BBiTV has not acquired any of its patents from third parties,” explained Kagawa.

BBiTV is represented by lead counsel Robert Kramer and his team at the law firm Feinberg Day Kramer Alberti Lim Tonkovich & Belloli LLP.

FROM THE RBR+TVBR ARCHIVES:

Pioneering VOD Firm Wins ‘Patent Constructions’ Lawsuit Adam Jacobson A company that considers itself to be one of the pioneers of video-on-demand technology has claimed a small victory in its fight against AT&T, DirecTV, Dish Network and Amazon for copyright infringement of four patents covering streaming media innovations specifically tied to VOD services using the set top box and mobile app technology. A VOD Pioneer Files Another Patent Infringement Suit RBR-TVBR A company that considers itself to be a VOD pioneer in December 2019 filed a patent infringement actions against AT&T, DirecTV and Dish Network — actions that involves four patents covering streaming media innovations specifically tied to VOD services using the set top box and mobile app technology. Now, this same company has sued Amazon. A VOD Pioneer Slaps AT&T With A Patent Infringement Suit Adam Jacobson A company that considers itself to be one of the pioneers of video-on-demand technology has filed a patent infringement action against AT&T — an action that involves four patents covering streaming media innovations specifically tied to VOD services using the set top box and mobile app technology.

He’s the head of Forever Communications and once was known for his role leading Keymarket Communications.

Now, he’s giving a sizable sum to a Pennsylvania private university for the creation of a state-of-the-art media center for students aspiring to achieve success in the fields of radio, video, podcasts, live streaming, and other forms of broadcasting.

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In a deal that’s just been consummated and filed for approval with the Commission, Salem Media Group is adding to its properties in Tampa-St. Petersburg by agreeing to acquire a Class B AM radio station in the market.

The facility, licensed to Brandon, Fla., will help Salem bring a third radio brand to the second-largest market in the Sunshine State. It comes with an FM translator.

And, if these call letters sound familiar, it is because Salem spun the AM and FM translator to this party just two years ago.

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A Class A digital TV station serving the Nation’s Capital, owned by Sinclair Broadcast Group, has deployed NEXTGEN broadcast transmissions, making it the first facility in the market that’s home to the FCC.

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WASHINGTON, D.C. — As previously reported, the filing window for applications for new noncommercial educational FM new station construction permits closed on November 9.

Some 1,282 applications were received; all were reviewed to identify singletons — applications that are not mutually exclusive with any other application filed in the window and can be accepted for filing. Some had defects, the Media Bureau says. And, those defective singleton applications have been dismissed.

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In August, the NAB; Multicultural Media, Telecom and Internet Council (MMTC); and the National Association of Black Owned Broadcasters (NABOB) filed a petition for review with the U.S. Court of Appeals for the District of Columbia Circuit challenging a FCC order mandating disclosures for foreign government-sponsored programming.

On Wednesday (12/8) the FCC’s Media Bureau, led by Michelle Carey, issued an Order denying a stay petition filed by the three groups — a move that only furthers growing tension between the nation’s largest broadcast media advocacy group and the agency now officially led by Jessica Rosenworcel.

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In what some may call a direct admonition of Elliot Evers‘ “CXR Radio Station Trust” and its lobbying efforts to the FCC conducted by respected communications attorney David Oxenford, the Chief of the Media Bureau has ordered the divestment of two FM radio stations in Florida to transpire no more than 60 days past the current deadline date of December 17.

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Tournament Town has turned the page on how local broadcast television can be distributed and received by viewers.

Thanks, in part, to broadcast data network builder BitPath, the NEXTGEN TV train has rolled into Greensboro-Winston Salem. And, the market debut for NEXTGEN TV involves Nexstar Media Group, Sinclair Broadcast Group and Hearst Television.

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Until August, he was Chief Marketing Officer at Publicis-owned Epsilon. Earlier in his career, he spent some 3 years in a similar role at what is now TEGNA Marketing Solutions.

Now, he’s the CMO for a SaaS provider working with broadcast media in the digital realm.

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“As we reach the end of 2021, advertising growth is showing much faster expansion than previously anticipated, driven primarily by growth in the U.S., U.K. and China.”

That’s the highly optimistic conclusion of distinguished Global President of Business Intelligence at groupM, Brian Wieser, who recently appeared on the InFOCUS Podcast, presented by dot.FM. 

Where do television and audio advertising measure up? He’s crunched the numbers and has some intriguing conclusions. For audio industry players, the future isn’t so bright.

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