Connect with us

BNM Writers

Ryan Wrecker is Embracing Being a Hired Gun…For Now

Wrecker has found the keys to being a successful fill-in host despite sometimes not living in the city of the show he’s hosting.

Jim Cryns

Published

on

Getting fired from any job is unpleasant. However, if you get canned from Walmart, 100,000 people aren’t going to hear about it that morning. But, when you’re shown the door in the radio business, you can bet word will get around—fast. 

Veteran talker Ryan Wrecker said that growing up in Detroit, he recalls one of his favorite programs, The Drew and Mike Show, learning of their imminent departure amid an air shift.

“I’ll never forget hearing that show,” Wrecker said, who happened to be monitoring the station at the time. “All the local TV stations were reporting that the station hired a new morning show while the show was on the air. Drew told his audience ‘The show is not a charity. If they don’t want me around, then they don’t have to be forced to pay me.”

Wrecker was a loyal listener of the show and said he recorded a lot of them. “The Drew and Mike Show was legendary in Detroit. I guess they were a Zoo format, but a little different.” 

Drew Lane still does a podcast today, and his numbers are fantastic.

“Drew is one of the greatest personalities I’ve ever listened to,” Wrecker said. “Of course, I didn’t know that at the time, but I was learning so much from him.” His co-host Mike passed away a few years ago. They had immense ratings success, Detroit’s most listened to program.

Wrecker said he was one of those kids who had the Fisher-Price cassette recorder and listened to WRIF in Detroit when he was ten. Detroit is his home. He attended Central Michigan, which Wrecker calls one of the best radio programs in the state. 

“It was one of those curricula that let you in when you were a freshman,” Wrecker said. “Michigan State also had a good program, but you really couldn’t get deep into practice and production until your junior year. I knew as a freshman specifically what I wanted to do, and that was broadcasting.”

There are many benefits to going into the program immediately as a freshman.

“You get your hands-on experience, going into everything raw. You can make your mistakes early on, and nobody notices. The best part is you don’t get punished for your mistakes.” 

“I was able to get my reps in; at the same time, I could learn in a more natural way. Not so much coaching but trial and error. You’re doing what you’ve heard, mimicking people you fell in love with on the air. I don’t think listeners really get how much work goes into the job. You might not sound like the person you were emulating, but there’s always more work to do.” 

After college, Wrecker joined a classic rock station in Lima, Ohio. WUZZ.

He started with an afternoon shift, then moved to mid-day and eventually mornings. Like most things in radio, a lot of his career began with a seismic shift in the landscape. 

“We had a syndicated show out of Grand Rapids, and the decision was made to go local,” Wrecker explained. “They had me program the station and move to mornings. It was a four-hour solo show. I’d do three talk segments in an hour and play lots of music. It became quite a ratings success.”

Tiny Lima, Ohio, has experienced more than its share of notoriety. 

The television show GLEE was fictionally based in Lima. The town kept sending the production team props from Lima to be used in the show.

“If a radio station sent them a sticker, it would end up on the bumper of a car in the show,” Wrecker said. “The town had a local contestant on So, You Think You Can Dance. I guess it’s a pretty popular small town. We did a charity bike run with Dee Snider of Twisted Sister in 2010 for the March of Dimes Bikers for Babies Ride. We actually changed the named Cridersville to Snidersville for a day. It was awesome. Dee came in for a few days, he actually co-hosted the morning show with me, and we played heavy metal and hair all morning.” 

I started out this piece referring to how people can get fired from doing something they love, and after a while, that can be rather devastating. In May, Wrecker was released from KMOX in St. Louis. When I asked him if he held any animosity toward the station that fired him, I was surprised when he said he didn’t. 

“I didn’t take it personally when I got fired from KMOX,” Wrecker said. “I had a feeling things were not going right. The station was moving in a different direction and is in a transformation. Knowing this, I tried to move to a better fitting job in the cluster, which ultimately didn’t happen.”   

I know it’s smart not to bite the hand that either feed or fed you, as you don’t want to look like ‘that guy.’ However, if you bad-mouth a station, there’s a 100 percent chance every other station will hear about it.

“KMOX has such a great history,” Wrecker continued. “They have always had a vision as to where the station was going.”

For now, Wrecker is filling in for station hosts where he can, a hired gun, so to speak, at least on the firing range he loves. Until the new job offer, it’s one day at a time.

“I’d love to be a permanent host, for sure,” Wrecker said. “I’m still trying to figure out what that gig looks like. The way the talk landscape is today, I may be waiting a long time. I’m at the mercy of someone leaving a job, maybe starting that big talk gig in the sky.”

I focused on Wrecker’s recent fill-in gig in Milwaukee only because that was his most recent job. I asked Wrecker how he keeps word out there that he’s available. 

“I got in touch with Ryan Maguire, the director of content at WTMJ in Milwaukee,” Wrecker said. This was earlier in the year after KMOX. 

“He said they didn’t have anything but to send my tape. I sent him a couple of talk segments I’d done.”

Maguire liked the tapes enough to move the discussion ‘upstairs’ to  Steve Wexler, WTMJ’s vice president, and market manager. They agreed to bring Wrecker in for some fill-in work in early August.

Maguire told Wrecker to ‘be himself.’ He knew what Wrecker sounded like, and knew he’d be a good fit for Milwaukee, as long as he did that. 

“That doesn’t mean I couldn’t fill in for someone I really wasn’t a good fit with. Either way, I’m not going to change too much about the show.”

As the stations will do, WTMJ paid for everything during Wrecker’s fill-in period. They put him up at the boutique hotel. He was issued an Uber account to get back and forth from the hotel to the studios. 

“I got meal gift cards from Mo’s Steakhouse,” he said. “You tend to eat well every night, but you’ve got to be careful you don’t eat too much and pay for it on the air the next morning.”

In Milwaukee in August, it is almost a requirement to hit the Wisconsin State Fair. Wrecker did. “You’ve got to have self-control when you go there. It’s a whole different type of food. Much of it is fried and on a stick.” 

I wondered how a fill-in host prepares for a show in a town they’re not overly familiar with. Or at least a place you haven’t visited in a while.

“You’ve got to realize you’re not an expert on the city you’re going to,” Wrecker explained. “You do have to conduct some research. Perhaps get a better idea of how to pronounce nearby city names. Bone up on news that has affected that area. With Milwaukee, I was able to talk about the freshly announced Republican National Convention coming to the city in 2024.” 

Being more selective with your topics is part of Wrecker’s thinking. He said the RNC story was more universal, but you must keep your eye on the local news. 

“I don’t want to go into a city and try to sound like I know everything. The audience can tell if you know what you’re talking about. If you don’t feel comfortable with handling a story, omit it. The audience may question why you’re not talking about certain things. I think that’s better than spouting off about something I don’t really know.”

Wrecker said listeners would be forgiving if you make a mistake, but they can correct you if they feel they should. 

“But they don’t hate you for the mistake,” Wrecker said. “I’ll try some calls if the lines are open. In my experience, that hasn’t been a problem. When you fully know a topic, it’s okay to open the phones. Even in Milwaukee, I knew I could talk about the FBI going into Mar-a-Lago. Of course, people were talking about it non–stop. Then there are topics where I can see both sides. I like to get calls that offer different viewpoints. Sometimes it works, sometimes it doesn’t.  But if you’re onto something, you’ve got to prime the pump like crazy.”

Wrecker has learned part of his success has included making himself somewhat of a target on the air.

“I can maneuver a topic, make myself the good guy or bad guy on a subject. An audience will have a certain feeling about you and your stance. They’ll try to find a way to feel something about you. I may come in and tell the audience what a cheapskate I am, just to get the juices flowing. It might be funny, it might be tongue-in-cheek, but it’s a connection with them in some way.”

He said he’s always authentic, but Wrecker will certainly try to exaggerate things to make it funnier. 

“I think to myself what can I do to make a situation more entertaining? For example, I might tell a story where it’s not technically the exact way it happened, but I don’t let the audience know. I think they can tell when I’m making something up or doing a bit. They understand I’m trying to open things up.”

Constant moving in the business clearly strains emotions and family life.

“When you have a family and kids, making more money is always appealing, Wrecker said. “It’d be nice not to have to worry about money. I feel bad for my wife and the prospect of moving again. I have two kids, and I don’t like to think of them having to make new friends. It’s not appealing. You start to think there must be a more stable way to handle those things.” 

I asked Wrecker if there was a possibility to go into management and give up the microphone. 

“It’s not far-fetched to see me going that route. When I was in Fort Wayne, Indiana, I had a GM that wasn’t that good,” Wrecker said. “In a way, that spoiled me for future GMs. The hard part about programming is you become so obsessed with the station and the product. It becomes an around-the-clock job. Sometimes it’s not sustainable.” 

If he was programming his station, Wrecker said a PD must have intuition, a barometer of what works, and perhaps a small crystal ball.

“You can’t manufacture a successful team,” Wrecker said. “All you can do is bring people to the same table and hope for the best. You can’t force it. If it doesn’t happen organically, it probably isn’t going to happen.”

But how can you know? If only there were a clever way to determine if a team could work well together.

“I think they should hold auditions the way they handle speed-dating,” Wrecker said. “Let them meet and talk for 10 minutes at a pop, then move to the next table. See if they have any chemistry.”

I would be surprised if Fox weren’t working on that show at this moment. 

Continue Reading
Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

BNM Writers

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.”

Published

on

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. 

Continue Reading

BNM Writers

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

Published

on

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.

Continue Reading

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

Published

on

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?

Continue Reading
Advertisement

Advertisement

BNM Writers

Copyright © 2022 Barrett Media.