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Denise Nakano Transitioned to Radio At the Perfect Time

“I told a few people about my broadcasting dreams. I knew early on I had to take a lot of steps to get there to break out in a highly competitive field.”

Jim Cryns




You don’t have to be Beau Brummel or Coco Chanel to grab a coffee and drop yourself in front of a microphone. Jeans, shorts, a hoodie are just fine. Whatever floats your fashion boat. After 25 years of the necessity to choose just the right outfit, constant fixing and futzing with her hair, putting on all the makeup, smiling for the camera, Denise Nakano had her fill. That’s a lot of preparation for what radio broadcasters can forgo entirely.

Sorry radio pros, you know it’s true.

“I don’t have to worry about how I look all the time and that’s a huge thing,” Nakano said. “Half of being on television is your appearance. You have to wear the right outfit, make sure your makeup is right. I don’t have to worry about that anymore. Burden lifted. On the radio I  can just be myself. I’m always myself, but now I don’t need fake eyelashes. I can dress comfortably.”

Nakano has been recognized with a national Edward R. Murrow Award for best documentary, and with seven national and regional Emmy Awards for breaking news, investigative reporting, and for her coverage of the heroin epidemic in Philadelphia.

She joined KYW Newsradio in the summer of 2020 coming from NBC10, where she anchored and reported for 17 years. Nakano left on top of her game after covering some of the region’s biggest stories, including the deadly Market Street collapse, an Amtrak train derailment, and Superstorm Sandy.

After leaving television Nakano was looking forward to relaxing, walking the beach, and spending time on the Jersey Shore.

Yes, Snooki’s Jersey Shore.

“It’s an hour from Philly and you feel you’re a world away when you go there,” Nakano said of the Jersey Shore.

Starting as a KYW part-timer, management asked if she wanted to go full time, she said yes. “We only have six full-time anchors here. Somebody retired early and I got the chance.”

KYW originated in Chicago before moving to Philly in 1934.

“It was a shock to learn the multitude of things I have to do every minute in the studio,” she said. “I work the board, handle the  audio, pivot from a reporter here to a reporter there. It takes eight people to do the same job in television that one person does in radio. There was a radio veteran reporter who was asked to come in and work with us at the station. He came in and with everything that was required of the anchors. He left after two days.”

Nakano left television in the middle of the pandemic saying it was just the right time to make a change. “I was tired of working weekends, the grind. Everything that presents itself when you’re in this business,” Nakano said.

On the radio, Nakano said there’s a rush that comes with the notion there’s nobody there to catch you if you fall. “If you mess up, press the wrong button, you have to recover. I am forced to erase that mistake from my mind and move forward.” Damn the torpedoes.

Personally and professionally, Nakano said she has more freedom on radio than she did in television. She has more control of how she presents herself. “When I first started on radio I used to have knots in my stomach. There was so much to do.”

In a television career that lasted a quarter of a century, Nakano said she recalls a lowpoint. “I was assigned to cover the arrest of Snooki (Nicole Polizzi) from the MTV reality show Jersey Shore. I was like, ‘Are you kidding me?’ That’s our lead story at 11:00pm?”

Yes. What Snooki is doing is of grave importance to the American people.

Nakano admits she watched the show on occasion, but never thought there’d be a need for her to cover it. Apparently Snooki was busted for public intoxication and what Nakano called ‘other silly things.’ In other words, just another Tuesday for Snooki.

Her mother was born in Chicago and moved to Inglewood, California when Nakano was just six months old. The woman must have suddenly realized she was free to go to a better climate.

Did the 15 year-old Denise Nakano have her life planned out in her head to go into broadcasting?

“In fact, I was 13 when I decided media would be my future,” Nakano said.

Growing up in LA, Nakano said the radio and television were always on in her house. Even if it was just as background. She never deviated from her goal to be in the media, not even in her mind.

“I don’t think my friends had that same vision for their lives. An unequivocal idea of what they wanted to do, and I guess I was unusual in that way. In broadcasting I heard and saw people I felt I could relate to. Something within my reach. “My dad was an especially big listener and watcher. He was very old-school and liked to leave the TV on when we left the house to make it sound like somebody was home.”

Is it strange for a very young person to know what they wanted to do in life with such certitude?

“I told a few people about my broadcasting dreams,”  Nakano explained. “I knew early on I had to take a lot of steps to get there to break out in a highly competitive field. I knew it would be difficult but also knew if I took little deliberate steps, I could do it. It worked out for me.”

You could say that.

Nakano is fond of radio history. How it’s woven into the fabric of our country.

“I find the ‘no net’ thing more of a challenge than anything. I tell myself I can do this. It’s a huge multi-tasking feat. I told myself I was going to master this, mostly because I had no other choice.”

The young woman with the iron-clad commitment to a career in broadcasting attended the University of the Pacific in Stockton, California.

“I started in college radio, an AM news and talk NPR station KUOP.”

When she’s not delivering news or talking, Nakano keeps busy. “I like to cook, scuba dive. I like to be a well-rounded person. Do things that make me happy. My pandemic project was learning how to do stained glass,” She said. “I watched a lot of videos on YouTube, it was something I always wanted to do. Recently, I created a huge tree of life that hangs in my windowsill.”                                                                                                                              

Just last week, Barrett News Media recognized Nakano as one of the country’s best major market midday shows.

“I was pleasantly surprised. Thats’ the great thing about our job. We have a license to talk to different people, pull information.”

Her career has spanned the country, taking her to newsrooms in Sacramento and Chico, California; Syracuse, New York; and Seattle.

As a broadcast journalist, Nakano tells people she has the best job in the world. “It’s the one job where I get to meet new people and learn something new every day.”

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BNM Writers

Market Still Finding 2023 Footing

After some rigorous data analysis, the thoughtful, numbers-based host was able to formulate some potential conclusions.

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While it’s hard to imagine 2023 being as painful for investors as 2022, experts still cannot say for certain we are destined for blue skies ahead. Many in the media are starting the year by sifting through the stock market tea leaves; trying to figure out what historical data can tell us about probabilities and expectations for the next twelve months.

Some think the United States is poised for a market rebound, while others remain quite bearish, feeling that negative policy implications have yet to be fully realized.

Peter Tuchman of Trademas Inc. joined Neil Cavuto on his Fox News program Friday, to offer his thoughts about where the American stock market might be headed in light of the newly-divided United States Congress.

“Markets have a sort of a gut of their own,” Cavuto opened. “Today’s a good example. We’re up 300 points, ended up down 112 points. What’s going on?”

“Markets don’t like unknowns, and markets need confidence. The investing community needs confidence,” Tuchman said. “And I think it’s going to take a lot of work to rebuild that. And as we saw the other night with what went on in the House, it feels like people should get busy governing as opposed to all this posturing.”

Six months ago, Tuchman didn’t have a solid feel for the direction of the market. And just two trading weeks into the year, he still doesn’t believe any real trend has been established.

“The market has yet to find its ground. It’s yet to find its footing,” Tuchman told Cavuto. “And still, even coming into 2023, the first week of trading we have not found our footing. We have come in on a couple of economic notes that were a little bit positive. We opened up with a little bit of irrational enthusiasm. By the end of the days we were trading down.”

Meanwhile, some financial outlets, such as CNBC, have dug into the data showing what a market rise during the year’s first week – such as what we experienced this year – potentially means for the rest of 2023. They published a story last week with the headline, Simple ‘first five days’ stock market indicator is poised to send a good omen for 2023“.

On an episode of his popular YouTube program late last week, James from Invest Answers dug into 73 years of stock market data, to test that theory and see if the first five days of yearly stock market performance are an indicator of what the market might do over the full year.

“Some analysts pay attention to this, the first five trading day performance, can it be an indicator of a good year or a bad year,” James began last week, “I wanted to dig into all of that and get the answer for myself. Because some people think yes. Some people swear blind by it. Some people think it’s a myth or an old wive’s tale. Some people think it’s a great omen.”

After some rigorous data analysis, the thoughtful, numbers-based host was able to formulate some potential conclusions.

Based on James’ analysis…

If the gains from the first five market days of the year are negative, the market rises 86 percent of the time over the full year, with an average gain of 6%.

If the first five days are positive, the market increases 92% of the time, with an average yearly gain of 16%.

Most importantly, in this year’s scenario, where the first five days saw a jump of more than 1%, the market traditionally ends positive for the year 95 percent of the time. Those years see an average yearly gain of 18%.

“Is it a good omen, does it look bullish?” James asked. “Well, yes, based on history. But remember, there are factors like inflation, interest rates, geopolitical turmoil, supply chains, slowing economy. All that stuff is in play. But history also says that the market bounces bounces back before the market even realizes it’s in a recession. That’s an important thing to know.”

On his Your World program, Cavuto wondered if the recent House speaker voting drama has added to the uncertainty facing markets.

“Historically, Wall Street definitely is a bit more friendly to a Republican administration,” Tuchman said. “We’re in new ground, there’s no playbook, Neil. And I went over it with you the last time. There’s no playbook for coming out of a pandemic. No playbook for what’s gone on over the last two and a half years. Let’s think about it. March 2020, the market sold off so radically. We had a rally of 20 percent in 2020. 28 percent in 2021, in the eyes of a global economic shutdown due to the Federal Reserve’s posturing and whatnot.

“And now we’re trying to unwind that position. In tech, and in possible recession, and inflation and supply chain issues. So, there’s no way historically to make a judgment on what the future looks like in that realm, let alone what’s going on in the dis-functionality of what’s happening in Washington. I would like to disengage what’s going on in Washington and try and rebuild the confidence in the market coming into 2023.” 

So while the data might indicate a strong year ahead, the fact is that many analysts still won’t make that definitive call amidst such economic turmoil gripping the country. 

Along with U.S. markets, they remain steadfast in their search for solid footing.

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BNM Writers

Does Radio Need A Video Star?

If there’s revenue attached, the debate is over. If there isn’t a deal on the table, and there aren’t already orders to monetize a video stream, it’s likely coming soon.

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Last week numerous stories about using video with broadcasting or audio podcasting became a hot topic of discussion.

A Morning Consult poll found that 32% of Americans prefer podcasts with video, compared with 26% who like just audio better. Among podcast listeners, 46% said they favor them with video, compared with 42% who said they would rather listen without video. It’s worth noting that these are podcast listeners, not radio listeners.

Video has become the latest trend in audio. Almost everybody is trying to do some form of video. Many shows already stream online. A few others simulcast on a television or cable channel. It seems nobody believes in pure audio anymore. It’s a wonder everybody didn’t go into television instead of radio.

Before everybody else starts adding webcams in the studio, it’s worth weighing the reasons to move ahead versus slowing down.

The first person to realize they could use video of their show may have been Howard Stern. In June 1994, Stern started a daily half-hour show on E! network, featuring video highlights from his radio show. Stern added slick production values and faster pacing on the E! show.

Don Imus started simulcasting on cable during the same month. It’s possible others that I’m not aware of started earlier.

Stern’s E! show made sense. It answered the most common questions people asked about the show, in addition to what’s he really like; the first questions people usually asked were: 1) Are the women really as good-looking as he says? 2) Do they really take their clothes off? The E! show answered those questions. In addition, it gave a backstage glimpse of the show.

The same month Stern’s E! Show began, Imus began simulcasting his show on cable networks. I would have feared losing ratings. In fact, Imus’ program director did!

I spoke to my long-time friend and colleague Mark Chernoff (Current Managing Director of Mark Chernoff Talent and on-air talent 107.1 The Boss on the NJ Shore, Former Senior VP WFAN and CBS Sports Radio, VP Sports Programming CBS Radio) about the impact simulcasting Imus’ show had on WFAN. Chernoff may have the broadest range of experiences with simulcasting radio programs with video. 

Imus began on CSPAN but shortly afterward moved to MSNBC. Chernoff told me: “When we started simulcasting Imus, I suggested we’d lose about 15% of our radio audience to TV, which we did.” Chernoff added that there was a significant revenue contribution and that the company was content with the trade-off.

WFAN had a different experience simulcasting Mike and the Mad Dog on YES in 2002. “In this case, TV was helpful, and we increased listenership,” said Chernoff. WFAN also benefited financially from this simulcast.

Imus was on in morning drive while Mike & the Mad Dog were on in the afternoon. Keep the era in mind, too. Before smartphones and high-speed streaming, it was not uncommon for people to have televisions in the bed or bathrooms and have the tv on instead of the radio as they got ready for their day. In the afternoon, fewer people would have had video access in that era.

Ratings measurement moved to Portable People Meter (PPM) by the time WFAN started streaming middays on its website. Chernoff reported streaming had no ratings or revenue impact – positive or negative – on middays. However, the company did provide an additional dedicated person to produce the video stream.

The early forays into video by pioneers such as Stern, Imus, and Mike & the Mad Dog are instructive.

There are good reasons to video stream shows. Revenue is a good reason.

If there’s revenue attached, the debate is over. If there isn’t a deal on the table, and there aren’t already orders to monetize a video stream, it’s likely coming soon.

Another good reason is if the video can answer questions about the show, as the E! show did for Howard Stern.

On the other hand, audio companies are going to throw a lot of money at video, based on the notion that it’s what they “should” do because:

  • It’s the latest trend. Being late on this trend is different from missing the Internet or Podcasting. Industries already revolve around video; television and film come to mind.
  • Podcast listeners like it (by a slight plurality).

Before turning on webcams, see what viewers will see. The studios at many stations I’ve worked at were better not seen. Considerations include; the set, lighting, wardrobe, visuals, and a plan.

Too many video streams of studios feature the fire extinguisher prominently in the shot or the air personalities milling about during terminally long breaks.

Before going live, watch the video with no audio. Is it interesting? Compelling? Does the video draw you in, or is it dull?

With program directors now spread so thin handling multiple stations, a dedicated person to oversee streaming should be a requirement for stations streaming shows.

Other considerations:

  • How could this help us, and how could it hurt us?
  • How does the video enhance the show?
  • Will personalities do their radio show or perform for the cameras?
  • What production values are you able to add to the video?
  • What happens during those seven- eight-minute breaks if it’s a live radio show (vs. a podcast)? What will people streaming video see and hear? Does everybody on the show get along?

Do you have revenue attached? What do you expect will happen to the ratings?

WFAN earned significant revenue for two. Therefore, the company wasn’t concerned when the ratings took a hit for the first one and were surprised when they helped the second one. They didn’t see any impact on ratings or revenue the third time.

After all the budget cuts and workforce reductions over the past decade-plus, before audio companies invest in video, shouldn’t we get: people, marketing, promotion, or research monies back first?

Most of us decided to get into radio (or podcasting) instead of television or film. There’s a reason they said, “video killed the radio star.”

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BNM Writers

Streaming Platforms Cannot Be Forgotten By News/Talk Program Directors

BNM’s Pete Mundo writes that if you’re a News/Talk program director, you run two radio stations and what comes through the streaming platforms.





If you’re a News/Talk program director, you run two radio stations. Didn’t you know that? Oh. Well, you do. 

I’m not just referring to our over-the-air broadcast but also what comes through our streaming platforms. Alexa, Google Home, apps, computers, etc., are all streaming platforms of our radio stations, which for most of us, are airing different commercial inventory than what is coming through the radio.

I understand none of us are unnecessarily looking to add to our plate, but our streaming platforms are the way we are getting more people to use our product. So neglecting, or forgetting about it, is a bad business decision, especially in the talk space. 

Across all clusters, talk radio is far more likely to have high streaming use when it comes to total listening hours. Listeners are more loyal to our personalities and often can’t get the AM dial in their office buildings during the day, or even if they can, they don’t want to hear our voices through static, so they pull up the stream. 

It’s never been easier to listen to talk radio stations, thanks to our station apps and websites (although welcoming some sites to the 21st century would be a good idea). So, given the challenges many of us face on the AM band, why not push our audience to the stream and make sure the stream sounds just as good as the over-the-air product?

The tricky part in putting together a quality stream sound is trying to balance what ads are programmatic, which ones are sold locally, where is the unfilled inventory and what is filling that gap?

And unlike your over-the-air product, where you can go into a studio, see what’s coming up, and move inventory around, that technology is not available in most cases. So yes, it’s a guessing game.

But as the talk climate continues to change, the best thing we can do to build our brand and trust with the next generation of talk radio listeners is to find them and engage them where they are, which may not always be next to a physical radio. That will be on a stream. How do I know that? Because if they have a smartphone, they have (access to) the stream.

Of course, the over-the-air product remains the massive revenue generator for our stations, as in most cases, the streaming revenue is not close to comparable. But then, if we look years down the road, that will likely start to change. 

To what degree? That’s unknown. But double-digit growth on an annual basis should not be out of the question when it comes to stream listening. It should be a very achievable goal, especially in our format. So our listeners who are P1’s, love the station and want to consume as much of the content as they can, can be on the AirPods in the gym, desk at work, or in their home office and listen to our radio stations. 

Heck, with Alexa and Google Home, they don’t even have to turn a dial! They just speak. So if they’re there, let’s keep them there.

There are simply too many media options today to lose our listeners due to sloppy streaming quality that makes us sound like a college radio station. Instead, listeners, who find us there should be rewarded with a listening experience that is just as high-quality as what they would get on the AM or FM band.

And if we play our cards right, it will be better, serving the industry incredibly well through a new generation of listeners.

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Barrett Media Writers

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