Deion Broxton

Use the right tools for the right reasons. 🧰 I put together this illustration as a way to oversimplify the current digital toolbox available to broadcast media companies today. While the real world is way more complex than what I can fit into a single illustration, I believe this can help guide intentions when thinking about all of the tools we have. If you are building a plan to better utilize a tool in the toolbox I think it's important to start with a plan of "why". What does this tool/platform truly do for you? Does it fall into an area of control, monetization and direct relationships with your true customers? Or does it fit in an area of little control and little monetization, but is good for reaching potential new customers? Again, I know this is an oversimplification. Would love to get all of your thoughts and continue to modify this. #media #broadcasting #radio #news #digital

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It would appear that the “new realities” public radio has been discussing for years have arrived, and they have our full attention. Audiences are down in most places, deficits are mounting and staff are being cut, and the editorial heart of our news coverage is in question. As Programming leaders, the question of the moment is, “what now?” We can “admire the problem,” or we can act. On April 24 at 2p CT, Paragon and Listen Again Tomorrow want to start a conversation - ideas for "what now". What meaningful steps can the programming community take individually and together to respond to this new reality? RSVP at listenagaintomorrow at gmail We imagine April 24th as the first of three sessions - earning back the core, new things for new audiences, and scalable/sustainable digital. If you’d like to join this first conversation, send an email to listenagaintomorrow at gmail with the subject line “what’s next,” and a topline response (2-3 sentences) to the question below. We’ll pick 2-3 responses to highlight and discuss on Zoom. Space is limited (because Izzi has a cheap Zoom plan), so RSVP soon. Question for April 24 - How might we (as stations, NPR and other content providers, and as leaders shaping the culture of our organizations) earn back 50% of the audience most stations have lost in the past few years? What this is NOT - a sales thing for Paragon and Listen Again. We’re interested in ideas about action, not pitching work. We will also not be directly discussing the Berliner essay. We look forward to thinking and evolving together. Izzi Smith, Listen Again Tomorrow (listenagaintomorrow at gmail) Mike Henry, Paragon

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Facilitating – so much more than just managing a meeting. With my Community Broadcasting hat on, I recently spent the day being ’facilitated’. Bryce Ives had the challenge of leading a bunch of talkative diverse humans in an important discussion about the future of media, and boy did he do a great job! It got me thinking more about the art and skill of facilitating productive gatherings. Facilitation is a dry word to describe a process that is really quite magical. You have heard of 'cat herding'. Wrangling humans - particularly large numbers of humans - is even trickier! You might be thinking, how do I do that? You might even be terrified to try that for the first time. Learning at the feet of some inspiring facilitators (hello Heidi Martin, Kevin Nuttall, Randall Pearce, Paul Taylor, Nancy Hromin, Kate Chaffer and many more), here are a few tips if you find yourself in the facilitation hot seat for the first time: Be crystal clear about the outcome.🎯 What are you here to do? State it up front, test it with everyone, revisit it as the session goes on. There is nothing more dispiriting than a gab fest with no outcome. Bite sized chunks are your friend. 🧩 Plan the session ahead of time and don’t try to squeeze in too much. Imagine the session like you are giving directions – first you go here, then you go there. After a series of steps you get to the outcome. Try walking and talking. 👨🏼‍🦽 If ever I need ideas, I walk. Taking a stroll with a partner is a relaxed way to have a chat. Send your participants in pairs for a trot around the block and be surprised at what they come back with. Keep it pacey and upbeat. 🙂 Dwelling too long on anything is the enemy of good facilitation. ‘Hit it with pace’ as my favourite Bachelor used to say. Respect the group's time and energy. ⏱️ Keep an eye on the clock and check in on energy levels as you go. And beware the dreaded ‘afternoon slump’ - not even the mints will get you through that! Bonus tip – if you are wanting to upgrade your facilitation skills, enrol in Waterfield’s 'Rapid Consensus' course and thank me afterwards. 🙏🏾 I'd love to hear more of your best facilitation tips in the comments.

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What is NIL? Is it cheating like Urban Meyer claims? Watch this explainer by Mike Dyer that I animated.

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TV news directors and hiring managers, we need to talk. As a frequent reference, I’ve spoken to many of you over the years.  If you’re not taking the opportunity to make a solid connection, you’re missing out on another potential employee. I’ve had great conversations with newsroom leaders from across the country. The best among them conversed well and asked me thoughtful questions. Some even became friends! Of course, not all have been memorable. One news director told me he didn’t see my coworker (and friend) as a main anchor. Another rushed me through the conversation and didn’t try to engage at all. From what I learned later, these were very accurate snippets of the atmosphere at those stations.  There is a great value in listening and not just throwing out your own personal news manifestos. No one cares anymore. Just have a chat - and if you do it right, maybe another good employee will be incoming. 

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Today is my LinkedIn birthday. 2 years ago I decided to stop listening to a voice I had in my head. I’ve always wanted to create content and share with others what I’ve learned in the broadcasting industry. But this voice kept repeating: “You don’t have anything interesting to say, people won’t pay attention”. “F*ck it, I am going to do it anyway and see what happens”. I said on April 30th, 2022. Today, 2 years after, these are my results: - 731 continuous days of posting. - 790 posts in total. - Over 7.3 million impressions. - More than 4 thousand shares. - 18,500+ followers. - A YouTube channel with over 25,000 subscribers. - A newsletter with over 3250 subscribers. - Many, many new friends and contacts. I can only say 3 things to you: 1. THANK YOU! 2. Stop paying attention to the voice in your head that tells you not to do what you always have wanted to do.  3. Figure out what consistency means for you, because consistency is a super power.

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TDious Experiences volume II: The Remote Broadcast Production Technical Director [Part 1: Mobile Unit Setup] Ask any 5 Technical Directors (TDs) to describe their role leading up to a live broadcast production and you’ll get anywhere from 5 to 50 different answers. That’s because the role has a number of seemingly dissimilar responsibilities that, in any other occupation, might be split among several different people. For example, a concert pianist generally doesn’t have to tune their own piano, assign the notes to the keys, build the conductor’s podium, compose the transitions from movement to movement, then ultimately play a three hour concerto on that piano nonstop, simultaneously monitoring each note on the piano offline to ensure tonal quality while performing LIVE before an audience of millions! Actually, that’s probably not the best analogy; a piano only has 88 keys. The world’s most popular Video Production Switcher, the Grass Valley Kayenne panel & K-Frame, has 1,326 buttons (or “keys”), 6 knobs, 4 fader bars and a joystick. The pianist in this scenario has the luxury of concerning themselves only with their ultimate performance. Everything else is taken care of for them. Not so for a remote TD. If it’s going to be a visual element within the show, it ultimately passes through the TD in one way or another. Video that will be mixed into the production itself must pass through the TD’s video switcher, while other signals, such as video going to monitors in the control room, can pass directly via the router. The router of a television mobile unit is the signal distribution core for any production. Any video or audio source that is going to be part of the production must exist within the mobile unit’s router. The TD is responsible for ensuring the correct video lands in the appropriate place in production monitor wall, its layout determined by the producer & director, as well as video switcher and all router control points in the control room. This is the part of the engineering setup that takes the most time to accomplish. The Engineer in Charge (EIC) is the sole manager of the router grid. It is critical that all inputs to the router and outputs from the router be managed by one individual. From there, especially in the IP world of media transport, every department has the ability to manage their own routing needs. It’s at this point that the TD can finally begin to focus on building out their “piano.” This begins with switcher input & output (I/O) documentation. Traditionally this is generated by the EIC, but with the increased flexibility offered in the IP world, this becomes a joint effort between the EIC, the TD and a dynamic document, such as a shared Google Sheet. In Part II I’ll delve into the mindset of the TD as they begin laying out sources for the production on the video switcher’s panel, as well as some important things to keep in mind when doing so. If you have Qs, thoughts or ideas for future TDious posts, drop a DM!

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Would you want a "digital resurrection" of your lost loved one? Check out our latest Media Minute from KMOX | Audacy and Julie Smith

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Is Kansas getting ready to compete with neighboring states offering film & TV tax incentives? 👀 Filmmakers are currently urging legislators to pass the Film Tax Credit Bill in Kansas. The bill would create a Film and Digital Media Production program, offering a sales tax exemption and non-refundable tax credits to qualifying production activities in the state. Educational and economic development programs to incentivize and promote the growth of the film production industry in Kansas would also be established. Some details from the proposed bill are: ➖ Program funding of $12 million dollars annually, of which $10 million would be allocated to film & TV tax credits with $2 million funding workforce training & educational funds ➖ 30% transferable tax credit on eligible spend ➖ Potential uplifts available for multi-film deals, television series, high budgeted projects, investing in local infrastructure, and projects hiring 50% or more Kansas residents  ➖ Initial application required The approval of this bill will certainly help Kansas lure film and television productions to their state, in addition to creating more jobs, expanding workforce development in the industry and aid in promoting tourism. DM me for more information, and follow me for future tax credit and incentive updates! #filmproduction #filmmaking  #filmmakers #accountants

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If you're looking to sabotage your broadcasting career, here's how: - Never take a break. - Start by ignoring feedback. - Avoid networking at all costs. - Be rude to show your toughness. - Brush off your mental health issues. - Stop learning and developing new skills. - Make it a habit to arrive late for your shows. - Never lend a hand to others in their career journey. - And finally, never ask questions to avoid looking ignorant. Sure, it's easy to slip into these habits. But remember, the choice is yours. Don't be the architect of your own downfall. What are some other ways to ruin a broadcasting career? Share your thoughts. - - - - - 3260+ received my newsletter earlier today. Join them for free and be part of "The Ministry of Broadcasting". Click in the link below: https://drp.li/eUakQ

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FCC: TV Stations Can Team Up for Broadcast Internet https://lnkd.in/eB2pHUKt FCC "This decision would help ensure that broadcasters and other innovators have the flexibility to generate the scale and geographic footprint—both locally and nationally—that may be necessary to support certain Broadcast Internet services without being subject to regulations unrelated to the provision of such services," For the last several years I have been working to create a new Innovative Broadcast Services that can Complement the Nations' 5G wireless networks. https://lnkd.in/eNK5Q7xb On December 10, 2020, the Commission released a Report and Order in its proceeding to encourage the provision of new and innovative Broadcast Internet services enabled by ATSC 3.0 — the “Next Generation” broadcast television standard often referred to as Next Gen TV — that can complement the nation’s 5G wireless networks.  The rule revisions clarify and update the regulatory landscape in order to foster the efficient and robust use of broadcast spectrum capacity for the provision of Broadcast Internet services consistent with statutory directives.  #FCC #ATSC #D2X #4F #Complement #Spectrum #Sharing

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Ten years ago today Bell Media pulled the plug after only seven months on its only experiment in a new format for national news. The rise and fall of #KNLive taught me a lot about innovating in large legacy media organizations. Among the lessons: 1. Hire hard working restless people who want to prove something. 2. Lead with an understanding of mission and 'voice'. 3. Be brave in creation. You can easily abandon what doesn't work. 4. Don't show the world the work until you're comfortable. Not polished or even confident, just comfortable. 5. Manage and engage those in the organization threatened by innovation. 6. Build and nurture corporate alliances. 7. Legacy models will seek to self-preserve in a crisis. 8. When hard choices need to be made, make them quickly and fairly. 9. Fall in love. 10. Be ready for heartbreak.

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A story pitch is the internal sales pitch for your story. It should be brief, provide key details, and show how and why you should do it. We just finished a 20-minute-long training session on pitching stories. I emphasized that reporters should take the process seriously. When reporters do more advance work, their stories usually come through and are almost always more interesting. When you've done more advance work, you often have more time to develop characters and get more creative. We discussed how to find, frame, and pitch story ideas. We file pitches in News Desk, a companywide online system that's used for planning, newscasts, and other purposes. When our reporters file their pitches, they can also upload documents, photos, and video that helps us have a better understanding of the story and the best ways to cover it. There are a series of basic questions journalists should ask to determine if they have a good story. Why should we care, and why do the story today? A timely story may have happened within the last 24 hours, will unfold that day, or perhaps there's a new exclusive angle to an ongoing story. Who is impacted? How many, where are they, how much are they impacted? How can you show that impact and who will talk about it? What will we see? Sometimes, you don't know until you get there. But often you have an idea of the key elements of a story and how you may be able to use them when you pitch the story. If you do brief pre-interviews, you'll have a better idea of what you'll see and how you can use that to tell your story. What's the story? Don't get lost in data, reports and official soundbites. Yes, those are needed sometimes, but hearing from 'real people' and having them show us how something impacted them is always an important part of a story. Interesting characters, emotion and action - interactions between people, people and their surroundings, etc., - are all important elements of a good tv story and will help sell your story. Our station is also focused on advocacy and solutions, so we always look for those angles, too. This wasn't a training session about storytelling. We're emphasizing that, too. But one of the challenges facing many reporters is figuring out how to get out the door with the best possible head start on good stories. In many cases, that depends on how much time and effort was invested in the pitch.

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If you want to be a great #podcast host, my friend Lee Schneider has a terrific program that can help you! He's a savvy podcast vet, intelligent and great guy and he's a former writer on the 1980s hit cartoon, ThunderCats! He's got it all! 😀 Check out the link below to find out more information about his program! #podcasting #podcasts

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What podcasts are you listening/Watching? I'm wanting to find Podcasters and figure out what their hardships are. What bumps are in the road for a podcast? Thinking about adding Podcasting to my list of what I can do as a company... Thoughts?

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Details in the Audacy/Cumulus rollup -- • The little-mentioned “radio guy” flying under the radar in this deal. • What Soros buys after they rollup Audacy and Cumulus. • Why Cumulus will force Soros to revert to a hostile takeover. • Is this a political play by Democrat Soros? • What happens to the forced spinoffs? https://lnkd.in/e3mdXPKt

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In terms of how the storytelling product is for those who are entering their first news market, I think a lot of us who've been out of college before COVID didn't realize how journalism students learned how to write, shoot and edit during the pandemic. At least those who were experienced in the journalism field, had a strong or a way better background on how to write, shoot and edit unlike those college students who were navigating how to do journalism during an actual pandemic, just like the rest of the news industry. Also, you don't write, shoot or edit every semester you're in college. I volunteered through my mass communication school to do events so I can get hands on with a camera my first semester of college. Most mass comm students at my alumni didn't touch a camera until second semester of your sophomore year. So I imagine that those who went to school during the pandemic will get better overtime but it's going to be tough for them and those who are in college now, will be just fine as things are still getting back to a sense of normalcy in mass comm schools. The big cause of people not being interested in journalism is MONEY. As a first generation college student who before I went to college, was sleeping on deflated air mattresses with holes using it as a layer between me and the floor 12 years ago, I was used to not having any money. My first two gigs in the Richmond, VA market I was making $10 an hour as a part-time editor and either $32-35k at my first full-time job as a photog. Too broke to really go far outside of Richmond unless I planned a year in advance and made too much to get food stamps or any government assistance. If I didn't start my news career ten minutes driving from my mother's trailer, who knows if I would still be in news today. I had to Doordash before I worked a 2:30pm-11:30pm shift before the pandemic started. Richmond is a market that hovers in the mid-50's and when I got my first Baltimore TV job, I was making 45k. Baltimore is a market that usually hovers in the mid-lower 20's. To me at that time as someone who wasn't used to making a lot of money, it was a big jump in the pay I was getting. Of course, when you move to a bigger city, the more expensive everything gets. It wasn't until I got to my second Baltimore station, my fourth station, where I'm finally making a livable wage and that came after earning a raise being at a union station. I'm worried about the current talent pool of future journalist because we're always in need of great journalist, but the salaries at most TV stations doesn't balance out with the need for every day living essentials we have to have. I knew that starting out, you're not going to make that much money in journalism. Many professors said that while I was in college. But you can't expect people to take jobs in news when they're trying to combat the effects of inflation, especially on student loans and trying to have every day living essentials.

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Inland accents are related to the northern cities’ vowel shift, which leads to unique pronunciations of a variety of vowels. Read the full article: Different Accents in the United States ▸ https://lttr.ai/AS50r #voiceovercompany #voiceoveragency #voiceovermarketplace #EnglishNarration #Accents #Dialects #AmericanEnglish

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