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WLW’s Scott Sloan Molded a Career From Shock Jock to News/Talk

After a successful deejay career, Sloan eventually made the jump to talk. He had been impacted by the Loop out of Chicago with Kevin Muller and Gary Meier. 

Jim Cryns



Scott Sloan was a jock at the old WQFM in Milwaukee, a poster child for rock stations at the time. 50,000 Watts of Alcohol and Drugs could have been the station’s tagline for promos.

“I think part of the job requirement was to be coked-up,” Sloan said.

(Notice, I didn’t say he was joking.) 

Sloan attended Bowling Green State University, a public school in Ohio. He can be heard daily on 700 WLW in Cincinnati from 9:00am-noon. 

“I stumbled into radio like everybody else. But I took it very seriously,” Sloan said.

In college, he had an arduous routine. First, Sloan did overnight work, then went straight to WBGU, his college station, for a morning shift. 

“We had no idea what we were doing. We tried to figure it out as we went along. Howard Stern was impacting radio.”

After a successful deejay career, Sloan eventually made the jump to talk. He had been impacted by the Loop out of Chicago with Kevin Muller and Gary Meier.  

“I had a lot of respect for Steve Dahl,” Sloan said. “He always showed up, put in the work. When you’re on the air, it’s supposed to sound like you’re not working. But you are.”

Sloan explained as a show host, you’re prepping all the time. But that’s if you intended to be any good. 

“I think you’re always looking for stuff to present. You should always be you. If you’re an asshole at home, be an asshole on the radio.”

Sloan said regardless of how you present yourself on air; you tend to become your character. 

“Where we get stuck is when we try to change lives,” he said. “What happened to entertainment? We’re so full of the ‘Gotcha’ culture, people looking to trip each other up.”

As a parallel, Sloan said it’s the same thing standup comics are going through now, facing restrictions imposed by a society that has suddenly changed its collective mind.

“We’re not brain surgeons,” he said. “We’re not the brightest bulbs. I know so many people in this business that have failed miserably. If some people are antisocial, they can hide behind the microphone. If you’re a well-rounded person and your show is successful, people will try to emulate you.”

Chicago radio knew how to get it right, Sloan said. The Loop was always entertaining. Sloan explained on his station that he could take lessons from those jocks, make mistakes and learn. It was fun.

“When I started, I wasn’t good,” he said plainly. “I was kind of making it up as I went along. You may start out with no listenership, but when you work in a cluster, you kind of know that going in. You’re either the big dog, or you’re the little dog working for the cluster.”

Sloan said It gives you an amazing sense of freedom, knowing you can learn without all the pressure. If people are paying attention to you, you have an opportunity to work with a blank slate. 

“You’re not as important as the money-makers. You can play the underdog when you’re figuring out your act.”

He met his wife Michelle at Bowling Green, studying alongside each other. Sloan said his wife went into television and, between the two, always landed good jobs. 

“It’s tough in this business to find a wife who understands the business because she’s in the business,” Sloan explained. “When my kids were young, we were forced to have a lot of ‘staycations.’ I remember filling the car with kids and gear, and when we were literally pulling out of the driveway, I got a call that the space shuttle Columbia had exploded. We’re going wall to wall with our coverage as we were still one of the few live stations. I looked at my wife, and she knew I had to go to work immediately. Vacation over. Michelle understood. She got it. How many spouses would take it that well if they didn’t know the business?”

Sloan has been married to Michelle for 30 years. He’s made use of that longevity on the air. 

“You have to roast your wife, have a sense of humor if you expect to make it for any length of time,” he explained. “One of the most popular segments on my show is Real Estate With My Wife. She works in real estate now, so I guess it’s kind of a commercial for her business, but I’m not paying for that shit. It’s too expensive at our station.” Michelle leads the show with personal information relating to her and Scott. 

“Our relationship is a platform for jumping off,” he said. “Recently, she got a $700 haircut. By that, I mean by the cut, doing tons of other things I don’t understand. That’s divorce material. I made the argument on the air that she was doing it to impress other women because guys don’t care that much about hair. The phones went crazy.”

Compared to when Sloan started, job descriptions around the stations have changed. “Program directors these days do some paperwork. They’re stretched so thin they don’t have time to coach talent or manage the station. Everyone is stretched, and it’s sad.” 

Early influences like Stern and Rush helped Sloan focus on his own presentation. 

“I liked Rush, but I didn’t listen to him that much. I’d listen to him driving in, but I think he became too self-important. Everybody evolves. Some people have so much reverence for the man it’s elevated to the point of ridiculous.”

Sloan said veteran broadcaster Bill Cunningham, who can be heard on WLW, is  probably one of the most emulated talkers. “Hannity took what he does right from Bill,” Sloan said. 

Sloan said he doesn’t recall being scared when he recalled his first time on the air. 

“If you’re not the main show, you don’t have to be that good. You’ve got that buffer. I was doing sports from 6-8,  and nobody was listening. I was ‘Scott the Sports Idiot.’”

Sloan said he had nothing to lose since nobody was listening to his show. He’d try a different take. 

“I started calling sports bars,” Sloan said. “The bartender would ask why I was calling a sports bar.  I told them I didn’t have any listeners, and I figured people who talked about sports were in the bar. That’s why I’m calling you.”

Auditions on the radio are part of the gig. Sloan recalled going to Toledo in an attempt to land a talker job. The green light came on, and they told him to ‘go.’ 

“There were all these programming guys standing around,” Sloan explained.   “I remember thinking it was important to avoid making eye contact with those guys. I just went into my own zone. I actually put my feet up on the board. I think they thought, ‘well, this guy is comfortable.’ I guess I fooled them. I didn’t think I had that much to say.”

Sloan said he’s a regular guy who shows up for his show in jeans, and a shirt. 

“I don’t get the talkers who show up in a suit and tie like they’re working at a bank. I’m supposed to have reverence for these guys?”

On the air, Sloan deals with the listener’s insanity. He offers a blunt assessment of the situation today.

“Politics today is about how much we can kiss ass,” Sloan said. “I’ve always voted Republican, but I don’t recognize the party anymore. America is in a spot right now; everyone is so serious. Always more of the same, and it’s a self-fulfilling prophecy.”

He said every show is different, but it’s always live and local. “My role is to take the news that morning, open the phones, and get guests. We have Bill Cunningham from noon to 3 in the afternoon. He is such an incredible guy. He does it in a tongue-in cheek-manner. I think he’s the most entertaining guy in the industry. When I watch his show, he’s the Harvard of talk show host. I figure compared to him; I should be working at Taco Bell. We don’t need, and nobody could be, another Bill.”

Sloan believes hyper-local is the way it should be. 

“If I’m driving from Milwaukee to Nashville, I don’t know what they’re talking about. I don’t have a reference point because I’m not from those towns,” Sloan said. “And I guess that’s how it should be as long as it makes sense to the local community. Cincinnati knows what I’m talking about, even if Cleveland doesn’t.  At WLW, we don’t take ourselves too seriously. We don’t have over-the-top characters like wrestling.”

Sloan said things will change, as they always do.

“Someday, somebody will come along and alter everything. The way hosts present. When Stern came on the scene, everybody was cursing, doing prank phone calls. He was amazing. Then the Morning Zoo went away. Something else will come along and shake up the industry. Then somebody will rush to be like them. It’s like The Simpsons. After that show came out, every network had to get an animated show.”

Sloan expressed his frustration with some of the technology we’ve integrated into our daily lives. 

“The human brain has only so much hard drive. If I have to remember one more password, I don’t know what I’ll do. I’m an inch deep and a mile wide. I know just enough to get myself into trouble. I didn’t learn anything until I left college. It’s not the college; it’s the money-grubbing college industry. You mean to tell me I can spend 100 grand on a degree in advanced puppetry, but there are no jobs in puppetry? Sesame Street isn’t hiring. I can’t find a job, so I’m living in my mom’s basement for the rest of my life?” 

On the air a few days ago, Sloan said the Trump Mar-a-Lago thing pissed many people off. Sloan said everybody’s first impulse was thinking their side was right. 

“With the assault on the FBI building in Cincinnati, the Federal building was directly behind our old studio. We saw that building every day. So I said this “Gravy Seal” was going to shoot through bulletproof glass with a nail gun? With reaction from the callers, you would have thought I was the antichrist. They said a Trump supporter wouldn’t say that. Here’s the problem. The same people that hate the FBI don’t recall they are the same people Comey and the FBI were investigating.” 

Sloan said we’re so into our own silos we won’t talk to anyone who challenges us. He explained that’s a sign of weakness.

 “People believe in things when it’s convenient for them. They chant ‘Defund the FBI,’ but didn’t you just call yourselves the party of Law and Order? We look like crazy people. We treat crazy people like they’re on par with the rest of us. We’ve given the crazies a voice, a sense of importance. Nothing against Jerry Springer, but he did open a door.” 

Scotty, Scotty, Scotty.

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Conservatives Latch Way Too Often Onto Cultural Figures

But, as talk show hosts, and conservatives, we seem to too often try to latch onto a cultural figure we think is ready or willing to “fight our fight.”



We’ve been watching in real time the fall of one of the most creative Americans of this generation: Ye West. A.K.A. Kanye West, who has recently been embraced by conservatives. 

It’s been clear for weeks that Ye has been in a weird place and has been spiraling emotionally and mentally. Things came to a head on Thursday, when in an interview with Info Wars’ Alex Jones, Ye went off on several antisemitic tangents, including this line: “Well, I see good things about Hitler, also. Every human being has value that they brought to the table, especially Hitler.”

The actions are strange (covered in a black mask during the interview). The words are gross (stark antisemitism).

The point of this column is not to try and dissect the mental state of Ye West. That’s a fool’s errand.

But, as talk show hosts, and conservatives, we seem to too often try to latch onto a cultural figure we think is ready or willing to “fight our fight.” Conservatives know Hollywood, Corporate America and Media are mostly stacked against them and their values, so when someone appears to step into their corner of the ring, we fall for them head over heels. We end up like the “soft six” who just scored a date with a “ten.”

It’s pathetic. And Ye West is our latest example of that. 

Whether it’s Ye, Elon Musk or even Donald Trump. No, I’m not putting them all into the same boat by any stretch, but there has been a similarity to each of their purposes to conservatives. Kanye would push MAGA and conservatism in Hollywood and Black culture. Elon would save us from the Big Tech war against free speech. And Trump would just, well, save us in general. Or something. 

We’ve put far too much stock into all of these individuals, at different levels and for different reasons. But we’ve done it. And admitting we were wrong about it in many respects is a good place to start. 

Looking up to individuals to singularly win cultural wars is a losing proposition. It’s all of us. It’s you. It’s me. Donald Trump certainly can play an outsized role. Elon Musk can help the cause. Ye West, nah. But you get the point. 

The reality is that we can’t search and hope for that God-like figure to solve the problem. Swinging the cultural pendulum from the left back to the middle won’t be fixed in one day, or one year, and it certainly won’t be swung back by one person.

In recent weeks and months, there have been cult-like beliefs from many in conservative media that any of the aforementioned individuals would solve our problems.

They won’t. They can’t. And we’re doing a disservice to our listeners to lead them in that direction. First off, worshiping individuals it’s everything conservatism is against. Our ideas are bigger than a singular individual and it sells ourselves and our listeners short to stray from that thought.

While the Ye West debacle in recent weeks has been a glaring example of that kind of mistake, there are certain to be others on the horizon. Let’s not make that mistake again. 

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Christopher Gabriel Isn’t Crazy About Politics, But Is Crazy About Making People Laugh

“We’ve been number one in  Fresno for the past 19 months, one of the top stations in the state. We must be doing something right. When we’re not doing news, we’re light-hearted.”

Jim Cryns



Talk about conflicted youth. Christopher Gabriel grew up a couple of miles from Wrigley Field, even though his father was a devoted fan of the White Sox.

“My dad was a southside guy,” Gabriel said. “I was a White Sox fan like him. My mom was the anomaly, a Cubs fan, but now she’s a Philly fan. We had a divided household. I was in the first row in the upper deck for the last game at Comiskey. It was gut-wrenching saying good-bye to it.”

Yup. Conflicted.

As a kid, Gabriel watched Dick Allen in the red stripe era Sox uniforms. “I saw Allen hit one so far up in left field, it hit the lip of the roof before flying over and out,” Gabriel said. “That’s the kind of power Allen had.”

Gabriel was a basketball standout in high school, recruited by several schools including Tennessee. He had a lot of connections with the school. His uncle attended Tennessee, but he ultimately didn’t think the academic program was right for him.

He said the film Hoosiers was emblematic of everything he was. “I think it mirrored everything I could have been if I’d stayed with basketball. I always knew I had the talent but admittedly didn’t put in the necessary effort. I should have stayed there. At the same time, I never would have had the other amazing experiences in my life if I had stayed.”

His father was a shrewd businessman. Living in the Chicago area, along with McDonald’s founder Ray Kroc, his father  recognized the promise of the Golden Arches early.

“It cost 100 thousand dollars in liquid cash to get into a McDonald’s franchise back then,” Gabriel said. “My father had 9 thousand, far short of the money he needed. He kept borrowing more and finally Ray Kroc put up the difference himself. When my dad was concerned about how he was going to be able to pay Kroc back, Kroc just told him to pay it back by giving back to the community.”

Wow. Good deal for the Gabriel family.

Gabriel’s radio career  has encompassed both sports talk and news talk, from Fargo to Fresno. He is the host of Fresno’s Morning News on KMJ 580 AM/105.9 FM and has a ton of fun on his show. He’s not crazy about politics, but he’s passionate about his opinions.

“When I started on this show, I wanted to make people laugh on their morning commute,” Gabriel explained. “It was my goal to keep people in their car to hear the end of a story. Deliver heart-wrenching stories. I think we do that. We’re interesting, engaging, funny. We take the work seriously, but we don’t take ourselves too seriously. It’s a fine line.”

Gabriel said there’s no screaming on his show, no agenda, no attempt to make listeners lean a certain way. “We’ve been number one in  Fresno for the past 19 months, one of the top stations in the state. We must be doing something right. When we’re not doing news, we’re light-hearted.”

Gabriel did his homework before accepting the job.

The story goes like this; Gabriel had been working at another station. They canned him despite his being responsible for raising most of the revenue the show generated. He refused to play the game.

“It was the only job I ever got fired from in radio,” Gabriel said. “The reason–I wasn’t a cheerleader. I told them I’d rather be fired than become a cheerleader for anyone. I told them I wasn’t the right fit. They eventually agreed.”

KMJ program director Blake Taylor was familiar with Gabriels’ work at the previous station.

“I don’t know how he got my phone number, but the same day I was let go, he called me,” Gabriel explained. “Blake told me he was a fan of my work and wanted me to do guest-hosting. After months of guest-hosting, he insisted one day he was going to hire me. Five years later an opening came along and I had two interviews. I turned it down twice. When they offered the job a third time it made me think perhaps they really wanted me.”

If you’re keeping score at home, it was basketball, theater, and then radio. Here’s the theater part. In high school, he met Regina Gordon, who ran the theater department.

“She grabbed my arm in the hallway and asked me to audition,” Gabriel said. “I was open-minded in school. I was never afraid to walk the line between all groups of kids. I didn’t hang out with only one group. It wasn’t like I only hung out with jocks or theater kids. I didn’t give a damn about sitting at a popular table.”

After Regina Gordon’s interest in Gabriel’s possible acting future, he was working at the college radio station. A temporary wall had been put up in between the radio studio and the theater office.

“Someone in the theater office would bang on the wall when they felt I got too loud on my show,” Gabriel explained. “The banging would ruin my show. I got so pissed, I burst into the theater office and was raising hell,” Gabriel said. “The girl who had banged on the wall was apparently impressed with my anger and said I’d be great for a part they were looking to fill.”

A sign? Probably. It gets better. At USC, he studied under John Housman. Yes, the John Houseman.

“He told us stories about working with Orson Welles,” Gabriel explained. “Mr. Houseman was one of the greatest people I’ve ever met, a classical theater guy. I was on campus reading my lines for Barefoot in the Park. It was hot as hell and he was dressed in a tweed jacket and bow tie, just like he would be in the film, The Paper Chase. He saw the script I was reading and seemed dismissive. He grabbed my script and said, ‘commercial crap Mr. Gabriel.’ I’ll never forget, he walked 30 feet, turned and said, ‘Don’t ever forget. Commercial crap pays the bills.”

During Gabriel’s first year of theater studies he was starting to get it. Understand the craft, as thespians say. One day John Houseman took him aside and explained it to him this way:

“He said I was talented, but raw. He said I needed a lot of work but believed I could become a good actor and ‘join him on the boards.”

That’s such a thespian thing to say, but also greatly encouraging. In order to do that, Gabriel would have to give up basketball. He did. 

“I was going to be a walk-on at USC, and I realized the theater season was almost exactly the same duration as the basketball season. One of them had to go.” Basketball bit the dust.

Gabriel takes time to talk to theater groups and tells them a simple truth–if they want to pursue acting, they have to be dedicated. Work as hard as they can. He tells them he’s been in 105 plays in his career, but auditioned for more than a thousand.

He was a stellar athlete, but now his acting talent was gaining recognition. Mitch Albom went to see him in the play he penned, Tuesdays With Morrie in St. Paul, Minnesota. The stage play was adapted from Albom’s hugely successful book of the same name.

“Mitch Albom came to see me in Tuesdays with Morrie in St. Paul,” Gabriel said. “He liked the work and came backstage after the show. He said he’d like me to do another play he’d written. I thought he was bullshitting me, just being nice.When Mitch went back on the air on WJR in Detroit, someone told me he’d said he’d attended the best production of Tuesdays with Morrie he’d ever seen. That was our show.”

The accolades just kept on coming.

Gabriel worked with a director in Minneapolis by the name of Don Stolz. He ran the Old Log Theater, the oldest continuously run theater west of the Mississippi.

“He was a WWII veteran and was a theater major at Northwestern,” Gabriel said. “The guy who was running the Old Log once told him if he ever wanted to take over the theater, to send him a dollar. Stolz sent him a dollar and ran the theater for 50 years. He once told me, ‘You know what my idea of success as an actor is? You get that paycheck every Thursday. You get paid for doing what you love to do. I’ve always seen that as a critical message.”

Months later, Gabriel got a call from Albom. Turns out Albom was being sincere, and he wanted Gabriel to replace a guy in his play, Duck Hunter Shoots Angel.

“It’s a play about a couple of knucklehead brothers in Alabama who go duck hunting and actually wind up shooting down an angel,” Gabriel explained. “After a while, I told Mitch as much as I loved doing the show, I was burnt out. Mitch told me he thought I’d be good in radio, a good talk show host. He essentially pushed me into this business.”

Another door opens for our hero.

Gabriel had what could be called an apprenticeship at KFAN with Doug Westerman. “They didn’t need anyone on-air, but they were talking about starting a news-talk station,” he said. “Doug told me they were going to need someone to screen calls,” Gabriel recalled. Gabriel was apprehensive. “I thought I’d done too much in my career to start that low. Answering phones. I really didn’t know any better though so I asked him if I could have the weekend to think about it. Doug Westerman is a big and burly guy with a quick trigger. “F***that,’ Westerman screamed, ‘I need an answer now.’”

Whether Gabriel was intimidated or recognized a good opportunity when he saw one is only known by Gabriel himself. That’s where he started working with Pat Kessler, a TV political reporting legend in Minneapolis.

“Pat was like an older version of me,” Gabriel said. “He was a  real newshound. Pat was doing some speech on the air and I recognized it as the St. Crispin’s Day speech from Henry V. He paused for a moment so I chimed in with several lines and quickly felt I’d made a huge mistake.

“At the commercial break I thought I’d just blown this new career, and was anticipating Pat yelling at me. Instead, he loved it. He told me to go crazy, to create characters for his show. I did liners for the show as Kim Jong-il. There wasn’t a ceiling. He gave me the latitude to create. He allowed me to grow quickly. I couldn’t have asked for a better pro to learn from. And Doug, he is simply the man who gave me this awesome career. I’m forever grateful to him.”

Throughout his stage career, Gabriel has worked alongside some big names like Julie Harris and James Earl Jones. He said he was incredulous when he learned he’d be working with James Earl Jones.

“The first time I saw him I introduced myself and said, ‘Hello Mr. Jones.’ He said, ‘Call me Jimmy.’ I thought he had to be kidding. How the hell do you call James Earl Jones, ‘Jimmy?’”

With actors like Julie Harris and James Earl Jones, Gabriel recognized how much they cared about and respected their work. For them, it wasn’t about celebrity, it was about the craft, the work. They were so sure of themselves.

Gabriel is the father of two daughters. He was thrilled when one of their school principal’s insisted the students practiced their interpersonal skills.

“He had the students shake hands, make eye contact with each other,” he explained. “I saw it as an attempt to counter the phone culture. It forced the girls to communicate with aunts and uncles and be present. I’m grateful for his efforts.”

While he concedes no child is perfect, including his own, there was one incident he felt should be brought to my attention. When one of his daughters was 15, she sent Gabriel a text message.

“It began, ‘Hey Bruh.’ I wrote back, ‘Hey Bruh? Do you think this is your boyfriend?’ I told her ‘Here’s the thing. As your grandpa would certainly tell you, if you want to make it to 16, don’t ever text me ‘Hey Bruh’ again.”

In yet another Forrest Gump-ian moment, Gabriel worked with Andrew Zimmern, the host of Bizarre Foods on The Travel Channel.

“A lot of people don’t realize he was homeless and a drug addict,” Gabriel said. “He turned his life around and became an award-winning chef. He was a food critic on television and is a good friend to this day. He always made me feel important.”

Gabriel said when Zimmern visited a city, he didn’t want to eat in the heart of the city on the main street. The popular restaurants. Instead, he wanted to eat at the restaurant on the street behind the street. The family-run joint with real recipes.

“It’s kind of like how I approach sports,” Gabriel said. “I don’t care about batting averages, I look at the nuance and depth.”

You know, the sport behind the sport.

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BNM Writers

Are Fast Food Sandwich Stories News or Free Advertising?

The majority of these stories that make air seem to involve chicken but even then, hiding behind the latest “sandwich wars” justification seems a bit thin.

Bill Zito



Scarcely a week goes by where we don’t have an opportunity to watch, read, or listen to a “news” story concerning the latest menu item introduced or returned by a chain restaurant or fast food outlet. Yes, “news” is in quotations because I question just how this type of information finds its way into a legitimate rundown.

I’ve always wondered about this and nobody has ever successfully explained, argued, or come close to justifying this practice is legitimate. It’s advertising without the commercial spot break and I don’t know why we continue to do it.

First, let’s lay down the disclaimer that this is no criticism or finger pointing against any particular food, franchise, corporation, or drive-thru operation or employee. Additionally, no blame or negative evaluation is to be inferred against any news station, outlet, publication or staff member.

Frankly, you’re (we’re) all culpable and equally to blame.

I have sat in the control room and watched as a fast-food restaurant graphic popped up in between the anchor team or over the solo anchor’s shoulder as the prompter rolled out copy I myself would fight not to write.

And yet there it is, Murrow and other award-winning journalists enthusiastically telling us about the new chicken sandwich this place is rolling out next month or the latest two-for-one offer at that place if you go and eat there on a Tuesday.

“It’s their new olive burger…now with more olives!”

Actually, the majority of these stories that make air seem to involve chicken but even then, hiding behind the latest “sandwich wars” justification seems a bit thin.

So, again I ask why?

What makes this information suddenly become part of an article or news copy that costs a business nothing and not an ad campaign they should be paying for?

Seriously, we’re at the point where the lines have been blurred by mayonnaise or special sauce or two kinds of lettuce or several kinds of cheese if we’re really lucky.

I am on a soapbox here but not on either a pedestal nor an altitudinous mare. In other words, I myself have tasted the forbidden fruit. Often that fruit has come in the form of a free breakfast sandwich, flavored coffee, pizza or bacon double cheeseburger that found its way to the newsroom before suddenly becoming a topic discussed on the air.

Hey, I can’t review it if I don’t try it, right?

Well, yes and mostly no. I’m not advocating for it and unless I’m being compensated to extoll the wonder that is the addition of guacamole or coleslaw it’s not getting into my headline set.

On radio, the talkers can do it all they want. They’re about other stuff like fun and music and nobody is calling them out on credibility.

The newsroom is different.

When an individual does something good we go to cover it and a business, large or small should be afforded the same courtesy. So many fast-food chains and restaurant franchises do great things for charities and local people in-need and that is part of what we regularly like to showcase.

We get press releases, sometimes distributed as “news releases” from the food chains letting us know about the new offerings. “We’ve Added Wings!” This is not an ad copy, it’s meant to get in our shows and someone, somewhere decided this is okay and not to be questioned.

I tend not to read those memos that say, “don’t ask”.

In a different direction, there are legitimate incidents, developments and news stories that often must go through a screening process because the business involved is a paying sponsor or advertiser for news programming.

I’ve had and seen accurate and justifiable copy stricken, “massaged” until unidentifiable or outright killed because somebody’s commercial ran during the show or one of the dayparts.

No naiveté here, one understands the concern. However, if a pizza joint is facing a class action sexual harassment suit and good journalism has been practiced do we run from it because they’ve bought air time or worse yet have now added cilantro to the cheesy-bites?

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