More WIP Drama Part 2

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But anyway, all right, so I haven't even listened any

of this Howard audio to break it down.

So here's what we're gonna do.

Let's get to part two of this.

So let's put this one in the can

and move on to part two of this.

I didn't expect to go on for 10 minutes

about whatever the hell I just went on about.

But actually I was explaining to Greg,

who is the morning guys, part of the morning show

in Philadelphia.

And I think Philadelphia is like the only like

northern place that I'd ever be like,

yeah, I'll go back there.

Cause again, radio matters and it will probably matter forever.

But watching these people beef with each other

over like whether or not radio still matters, it does.

I'm not gonna sit here and shit on the industry, I'm in.

Do I think it's as healthy as it was 35 years ago?

No, but times change and you have to evolve.

I work for a company that's got the number one

fucking app, the I Heart Radio app is a great app.

And I'm not just saying that because I work for the company,

I don't get paid extra money to come out and say,

hey, the I Heart Radio app is great.

I don't get any of that.

What I end up like, but like I use it every day

cause every radio station you could ever imagine is on there,

every podcast you could ever imagine,

you could set presets on the app.

So like it's one button and you're there,

it's not like a buffering situation.

It's actually pretty remarkable.

It's a great app.

So like I got, I'm doing a commercial

for the I Heart Radio app.

I'm officially a shill.

But like my number one preset is Detroit's wheels, right?

And here you go.

I hit the button, Detroit's wheels now.

And instantly, there it is.

Oh wait, I want to hear American top 40 classic.

It's, I know it sounds ridiculous.

Here's got rock.

My point is, and I know it sounds ridiculous to say,

oh, you get all the amenities of your car radio, but you do.

That's right there in your pocket.

So like they've got the right idea about a lot of this shit,

where I disagree with the, the approach is,

if you're going to put people on on the morning,

you just got to fucking talk, man.

You got to give them a reason.

They have to be the reason or you have to be the reason

that the people are tuning in in mornings.

If you still want to play music on the radio

in the mid days and the afternoons, that's fine.

Cause I don't think anybody's tuning into your afternoons.

I learned this the hard way in St. Louis.

Those old folks that listened to the radio

would listen to KC 95 that probably make up a large portion

of their super sexy six plus ratings are old people.

So they're going to just listen to the radio.

But when you're trying to get the younger people in,

which is what these radio companies all crave,

they all crave that 18 to 49, that 25 to 54 male, female,

persons, doesn't matter.

When they all seek this, what you're going to have to do

is do shit in the morning that's interesting

and fun and music, I'm going to do that.

And nowhere does that do that.

And I think we're learning that and who knows?

But I am not a believer that radio is dead.

Because like in the, in the traditional sense,

there's, it's not, it's, I'm not even going to say

it's not doing well, but it's in the traditional sense

of, you know, turn on a radio, maybe not.

But the shit you're providing on the radio is available

in the same way that the Joe Rogan podcast is.

It's available.

It's just a different outlet to get it there.

But it's available in the same way podcast form YouTube.

Well, that's it.

So it's one extra step to get it to the people

and you need them to listen to your radio station.

But there are far too many radio signals out there

for them to die.

The industry is not dying.

It just evolves.

Look at me shilling for radio, shilling for the I heart radio app.

Who am I?

I'm a monster.

Anyway, how do I even look myself in the mirror?

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and let's listen to more of this Howard audio.

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All right, so let's see.

Now I just sound like I'm doing seminars.

I'm like radio seminar guy.

Like, hey, welcome to the judge in this radio seminar.

Everybody welcome in.

All right, let's see here.

Let's see what else Howard has to say.

So the television stations, the local TV stations,

that's where they run so much news.

They try to generate more revenue.

It's the same news every hour.

But, and who knows when AI is going to take over?

I'm telling you, there's stations in America

that I know this that are experimenting with AI.

I also love how definitive Howard is on shit

that a lot of people know.

Like, I like when you guys say I'm telling you,

it's like listening to my dad.

It's a very old school dad thing to be like,

hey, I'm telling you, like, I know you're telling me.

I mean, we all know this already,

but you're the one telling me, thank you.

Again, I say this with peace and love

because Howard's my guy and I adore him.

With host, with AI and host.

And again, I don't know if he talked shit about me

when I was there or not, but I loved that guy

and I loved having him on.

And he was fun.

And he, like, he knew how to play the character,

but the character was probably 98% real.

And the extra 2% he knew how to ham it up,

but he was great.

But let's see here anyway.

Yeah.

And television stations doing the same thing.

Yeah.

That's my point.

The times have changed.

So it's all and they try to, you know, put a band-aid on it.

If you want to tell me that radio is dying,

then you can't look at the fact that media beef stories

get this kind of attention and say it's dying.

Because obviously there's something there.

Like, is the content as good as it used to be?

No, is the talent as good as it used to be?

No, because it used to require talent to get these jobs.

It doesn't anymore.

You know, there was a different kind of skill set

and talent you needed to possess at that time.

And that's not the case anymore.

I mean, you give somebody a microphone and they go,

now, sometimes it produces some really talented people.

And other times it just produces slap-dicks

that glom onto the rating system

and the station they're on and they get numbers.

And they're put some lipstick on it

and make it look good.

And it's just, yeah, I'm going to spend more time with my family.

And I'm going to, you know, come on now.

Hey.

I love how I say, hey, me look, look,

nobody wants to spend more time with their family.

I love how he's not wrong, but I fucking love him.

I love him. I love him. I love him. I love him.

I'm going to tell you this.

Anybody that's quoted when they leave somewhere

that says they're going to spend more time with their family,

and they might have a great family.

And I'm not questioning their family.

They supported their family by being at that place.

They got fired.

Yeah.

I don't know if he's, look, he's not wrong.

He's not wrong.

When people leave these situations

to spend more time with their family,

generally speaking, they couldn't get happy

in the situation they were in.

Like, I want to say that what's his name?

John Marx left because he, you know,

he wanted a better schedule to be around his family.

I'm not debating that that could be true,

but he also left for a job that paid him money.

Like, I would imagine he got paid more money

to go to the little upstart Philly Sports thing.

And obviously now he's back on the radio

so that money wasn't good enough.

That's it.

I want my family.

They got, they got, they got, they got, they got,

they got, they got, they got, they got, they got,

and you're opinion.

And you know what?

And I hope that, I hope everybody, you know,

spends, has dinner every night of the week together.

I mean, it's just, but that's how our rate is.

Well, I don't know why I find Howard so charming.

Like, I know he's, like, he's, his character on the radio

is this kind of sleazy kind of, not sleazy,

but just an asshole, you know, and that was his thing,

but I don't know why I love this guy so much.

And he always looks so smooth.

Like his hair is fucking perfect.

He's like, where wolves of London,

like in his hair was perfect.

And what, when did you think WIP was at its height with talent?

That's hard because I was there full time for 25 years.

We got, we grew and we got better.

We kept on, the level kept on rising,

but that probably ended 10 to, 10 to 15 years ago.

We're kept on rising.

So in that, I'm going to include myself in there

because 10 years ago I was already gone.

I wish you would have said, once Josh and I slept,

that was the end of it.

From 86 when I did the first show,

and it's not just me, because obviously people there

had to be good too, and everybody had to make that station

or help that station being successful.

But from 86 to like 2010, 2011ish,

I think my last day full time, and I did the first,

I did the first year on FM too.

I think was 2011.

I think was 2011.

And then Josh and I got there at the end of 2013,

and he kicked ass.

But then after that, the rest of those sons of bitches

didn't do a damn thing.

And they were, I mean, things were really pretty good

in that whole period of time.

They also, they also had no competition

for the most part.

It was a different world ratings were different.

So were they super talented guys,

or was it catching someone of a break?

I think two things can be true.

For whatever reason, it wasn't the same,

whether they wouldn't pay the host,

they wouldn't pay the management,

they wouldn't pay people the same kind of money

and money never, and they're not the only company.

Now, and to be fair, howard left the air

because he wasn't getting numbers anymore.

Like, I mean, he leaves that out,

but his numbers were not very good.

That's why they whacked.

Do you think they wanted a whack a guy

that was a legendary figure?

No, but he made a lot of money

and he wasn't generating the money.

Angelo made a shit ton of money,

but he also generated a lot of money.

But he that's like that.

Companies all over America are like that.

And, you know, with the way things are going.

So, but I guess I don't know what the height was,

but somewhere when it started to grow from 1986

into like the 2010s,

there was some really good,

there was some really good radio there.

There was some really good radio.

I would know for me, my first thing with Odyssey was,

I left the company, I left the Mighty 1090,

that's where Wolfman Jack all started back in the day.

And I was doing that L.A.

Wolfman Jack, boy, there's a guy that goes back to you.

He put the mornings and I actually did more.

I never met him, but I know Jesus.

This guy's going to talk about how his numbers were better.

Bro, like, and that's why I hate listening to dipshits.

Like, is he going to be like,

hey, my ratings are better than Wolfman Jack?

Well, Wolfman Jack was a fucking disc jockey

playing 50s records, bro.

Like, what are we doing here?

Like, some of these guys are so delusional.

Yeah, well, that's this was in like over in Mexico,

it went all up the coast.

So I knew then I had just left and I got a $400,000 contract

from Odyssey to go over across the street.

My man wants to swing his dick a little bit.

Like, they paid me $400,000.

Any number that guides like this throw out

about how much money they were making,

basically like cut the shit in half too.

I find that hard to believe that someone was like,

here's $400,000.

Now, this was back in the day when sports radio still had some pop

and there was some money, but I'll question that

that they were going to pay a guy $400,000

to do sports radio in San Diego.

I said, wow, okay.

So it was the highest I had ever made any kind of money

in radio.

And so I go over there and sure enough,

within a matter of six weeks, they go like this.

Listen, we're going to send you to Boston and E.E.I.

And I was like, okay, that's kind of around my neck

and a woods up from Connecticut.

And so I had a three year contract on the table there.

It was going to, nobody, I don't believe Dan Silly

or ever did anything of significance at E.E.I. either.

Do that.

And all of a sudden, all the people started saying,

now we can't pay $400, we can't do this, we can't do it.

Oh, that's the thing.

Once you start making actual money, they can't pay anymore.

That's the key in life, especially in this era.

You got to find ways to supplement your income

with other stuff in radio.

But once you start getting those big contracts,

and now for me, I told you, I would,

I've never lied to you guys about anything on here.

And you know that.

They paid my ass $150,000 to go to St. Louis.

And that's a pretty high end.

I'd say $150 grand for radio now is probably pretty high end.

And when you're not generating, like you're going to get bumped.

But if you're only making $75, it's a lot easier

to keep you around, you know?

To that, and it started like in 2019,

when they started just chopping heads,

where they just started like.

Yeah, you know that part of it's sad.

I'm not happy about that.

I'm not happy about anything.

I'm not happy that I said what I said,

and all of a sudden, who knew it was going to reverberate

for, and it's still reverberating a couple of weeks

and you're bringing this shit up too.

But I can love him.

It's just, I'm not happy that it's the way it is now.

But I just, I'm looking at it as fact.

Anything you are, I'm allowed to have an opinion.

Anything you regret saying?

This is the world's smartest hold on.

Got a commercial plane here, but I love Howard.

I just enjoy him thoroughly.

Let me see how we turn this back on.

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