Whoopi Walked In and the Audience Walked Out: Fame Isn’t the Same as Fit

WKTU, New York just celebrated a milestone 30^th birthday in the format.  You may not remember, but part of that history included having Whoopi Goldberg as its morning host.  When I listened back then, it was one of the most confusing radio shows I’d ever heard.  As fate would have it, I met Jim Ryan, who put Whoopi on the brand, and mentioned that I never understood the show, which did not work.  Over the years, Jim and I have talked about this.  I turn Planet Reynolds over to him this week for this excellent analysis explaining why and what’s to learn from that.  This article first appeared in the terrific Barrett Media.  I found it incredibly interesting, so I asked Jim to share it here, too.

What’s your brand?

Very often, the best lessons come from situations that didn’t work out as planned. Twenty years ago, while I was at Clear Channel (now iHeart), we believed talent was the key to making radio a meaningful companion. At the time, Elvis Duran was dominating in New York and expanding into other markets, while Delilah was a staple on our AC stations. Sean Compton, who was handling talent acquisition, wanted a household name for female-targeted morning radio. The decision was made to sign Whoopi Goldberg.

We launched the show with great fanfare across major affiliates like New York, Chicago, San Francisco, and Philadelphia. Whoopi was a rare EGOT (Emmy-Grammy-Oscar-Tony) winner; it seemed logical that an award-winning household name would be a hit in morning drive.

However, a disconnect emerged. While Whoopi had a storied career, including her acclaimed role in The Color Purple, much of the radio audience expected to wake up with the comedian they loved in Sister Act. Her vision for the show was more aligned with what she does today on The View. Sitting in the studio most mornings, I saw firsthand the audience wasn’t expecting that direction. Despite the great interviews and funny moments, the show struggled. We learned that in a nine-minute listening occasion, you must be true to your brand. The constant listener calls referencing Sister Act were a reminder that while Whoopi was incredibly talented, that alone wasn’t enough to deliver the expected ratings success.

Regardless of the show you produce, you must ask: “What is the listener’s expectation?” and “What is my brand?” Just as you wouldn’t expect Stephen A. Smith to host love songs or Delilah to act like a shock jock, every successful personality has a defined brand that sets a clear expectation for the audience.

What is your brand? What is the basic plot of your show? If you are part of an ensemble, what is your specific role? Once you answer these, you must run all content through that filter. If you are a “funny” or “feel-good” show, certain topics like politics might be off the table. Conversely, shows like The Breakfast Club thrive on strong opinions. Another example was Mike and the Mad Dog who launched WFAN as the first sports station in America; the show’s success relied on the specific conflict between Mike and Chris. They knew their roles and fulfilled listener expectations every day. Howard Stern, once a “shock jock”, has enhanced his brand to become one of the greatest interviewers in media today. But he uses that brand to be able to ask the questions that nobody else dares to. And gets away with it.

I have worked with many shows where the personalities are unsure of their roles or their on-air relationships. In successful long-running television shows, the audience knows exactly how each character will react. From I Love Lucy to Seinfeld to Everybody Loves Raymond, character friction drives the content.

If you are part of an ensemble or overseeing one, take a minute to ensure each character is clearly defined. Over time, co-hosts can adopt similar mannerisms or opinions, and a re-evaluation becomes necessary. If the friction between characters disappears, so does the drama and the show becomes boring. Long-running shows like Elvis Duran and Dave Ryan have successfully changed co-hosts to stay relevant. The late Kidd Kraddick was so obsessed with show evolution that his program has remained at the top of the ratings for years even after his passing.

Radio shows are only on the air for 20 hours a week, but a strong brand stays with listeners long after they tune out. People think about Howard Stern, Charlamagne tha God, Delilah, and Elvis Duran well beyond their broadcast times.

So, what’s your brand?

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