Mike Marino

Mike Marino is a veteran Program Director, Consultant and Talent Coach. He programmed stations in major markets, including Los Angeles, Houston, Las Vegas and Cincinnati. For 20 years his company has been consulting and providing content for hundreds of morning shows in markets large and small.  The majority of his affiliates are top ranked in their core demos. As a programmer, he was a pioneer of two formats--Rhythmic AC, and Modern AC which now has evolved into ALT (alternative). He recently became affiliated with Benztown.

1. You’ve been consulting various stations for over 20 years now—congrats! What was the impetus to make the move from local programmer to the consulting world?

I launched my business at the time I was programming KHHT( Hot 92.3)/Los Angeles. I also created a world of prep and content, TheBitXChange (now The Rooster) which was well received by morning talent in hundreds of markets. Coaching talent, guiding programmers and GMs was a logical step for me. I am certainly known for offering my opinion, solicited or not. That said, being a coach also makes me a better manager, and person. I always learn from others, who I hope, feel enlightened by having me around.

2. Back in the day you were in the trenches for some great radio “battles.” Does any particular win in a particular market especially stand out for you?

Each gig has its own market battles. But, sure, the pre-Clear Channel/IHeartMedia KMEL-KYLD war in San Francisco was certainly memorable. I ended up on both sides of it, witnessing it from two different battle lines. I’ll save the talk of tactics for another time. I may add, our side won many battles, though the war continued until the two stations merged under one owner.

We launched KMXB (Mix 94.1)/Las Vegas which created tension in the market, inside and outside the building; the same for HOT 92.3 in Los Angeles.

Consulting, transforming KJHM (Jammin’ 99.5)/Denver into a respectable brand (with its highest ratings ever), and watching competitors react was a lot of fun, although success can be fleeting on a limited signal. The product must consistently remain top of mind, otherwise the meters disappear.

One ‘battle’ that gets forgotten (not by me) was the onslaught of venom slung both ways in Cincinnati during the Q102 vs. Jacor Communications escapades in the mid-late 1990s. It began long before me. I entered the firing lines mid-war and was immediately initiated with a new format competitor, after the loss of a morning show, anti-Q billboard campaigns and the joy of castration pics online (as Jacor owned Q102 web domains.). Heck the stations operated in the same building. That was an interesting time and a definite learning experience as well.

To this day, former competitor Randy Michaels and I are solid.

3. Talk about programming the early days of the Modern AC format.

My Rhythmic station was purchased (by American Radio Systems) and flipped to Mod AC. Mere months into my programming gig we segued from R.Kelly “Your Body’s Calling” into ’Til Tuesday “Voices Carry.” Being a musicologist, I embraced it and gladly assisted the launch of other ARS/CBS stations across the country. Greg Strassell and John Gehron did their research and knew that KMXB Mix 94.1 would succeed. And it did, and has to this day. I was fortunate to be on the front end of it.

In my opinion: Today’s ALT radio is the current day Modern AC. Recurrents and Gold led the way for Mod AC until the currents were strong enough to carry the format. With ad agencies requiring female demos, and with Nielsen being, well, Nielsen, ALT radio has embraced a similar music programming path.

4. Likewise, you were very involved as the Rhythmic AC format developed. How is that format doing in your opinion in 2022?

A lot to unpack here. The format is strong for a variety of reasons (feel-good memories of R&B/Classic Hip Hop; the lack of compelling current sounds; and of course the greater number of active meters 35-54).

That said, Rhythmic AC varies greatly from market to market, PPM vs Diary. Brand expectations must be considered when attempting to tweak a station known for, say, Jammin’ Oldies. And yes, there is a demand for 70s, 80s, 90s Rhythmic Gold, especially in diary markets.

In addition, there is a certain amount of ‘maintenance’ required to maintain a successful Rhythmic AC. (Entertaining air talent is extremely helpful.) Knowing the ‘life cycle’ of the music is important. Some sounds last seemingly forever, while others are novelty and fade away.

Props to JB in Las Vegas, Todd, Eric and crew in Chicago, Don Parker and crew in Sacramento for consistently getting it done.

5. Talent coaching is a real art. What is the mindset when you begin a new adventure with a new client?

Full disclosure: I don’t pitch my consulting as often these days. I will not offer my services if I cannot set aside the time and attention necessary to deliver on a promise to help improve their on-air performance.

Whether or not I feel I can succeed with a certain personality begins with learning the goals and expectations of the talent, and his/her managers. Some shows need a staff change, others need content and delivery tweaks. It all begins with “what’s required,” in terms of ratings, revenue and delivering on brand expectations.

6. What’s your approach when you’re called in to coach a well-established, long-standing show?

Same here. What are the requirements and expectations for the show?

I’ll add that with my background, I can relate and debate with the biggest personalities. I strive to motivate each talent to work smarter to achieve their stated goals.

One-to-one: I want to know what lights a fire inside each air talent.

7. Talent is now taught to execute in a PPM world. If you could, how would you improve how ratings are measured?

Beyond increasing sample size? I wish I knew the answer. I’d be hanging with Joel Denver in Malibu.

If we’re sticking with meters, let’s increase the number of panelists.

Wearables, 75% before the end of the year? Great, but only 60,000 meters for the entire country?

Maybe we can convince Elon Musk to buy Nielsen, from the people who just bought Nielsen.

8. Morning show prep services can be invaluable. When you created The Rooster, what did you see that there was a great need for that wasn’t already “out there?”

My thought process from day one was ‘coaching through content.’ We created a service that guides you towards the most compelling (and actionable) content, every weekday. Much of this mindset developed from speaking to the most popular morning hosts in many of the biggest markets.

Other services may aim for the laugh. With The Rooster we focus on relevance and relatability.

The Rooster website was created with the same mindset: our ‘Top 10’ includes the biggest daily stories, and the Bookmark section allows talent to save certain (relatable, but evergreen) stories for another day.

Important Note: Winning talent knows what to DO with the content we provide. And I’m happy to share that the majority of our affiliates are ‘tops’ in their core demo.

9. What was the thinking behind joining forces with Benztown?

After 20 years it was time for a change. I sensed that Dave ‘Chachi’ Denes and Masa Patterson can match my passion for greatness, and success.

10. What advice would you give someone who is just beginning their radio career?

From what I can tell, the concept of starting at the bottom is foreign to Gen Z. So, I’d recommend first creating your own brand on social media.

What do want to be known for? Showcase your storytelling (your entertaining personality) to a broad audience.

Building a strong (and loud) fan base positions you (a potential talent) for a better radio gig on day one.

Branding yourself on the socials while learning the craft of radio? Seems like a win-win. A versatile talent is more valuable in the long run.