Monthly Archives: December 2017

The Daily Katz – I’m Batman!

The Daily Katz – Cat Man Do “Simon’s Cat”

You can’t sleep with a motivated cat!

The Daily Katz – Bad Kitty

Songwriters get tips on how to beat the odds

By Russ Corey Staff Writer

Last Updated:July 29. 2006 12:00AM
Published: July 29. 2006 3:30AM

 Lonnie Sill, of the Sill Music Group (left), and Frank Radice, a vice president with NBC, listen as Randy Wachtler, of 615 Music, talks about music in TV shows.

FLORENCE — Songs are pitched almost daily to people in the music business in places like Nashville, Tenn., but only a fraction of them are ever recorded.

A panel of experts offered some advice for songwriters who want to try to beat the odds and write a hit song.

“How To Get a Song Cut” was just one of three panel discussions presented during this year’s Songfest, an event sponsored by the Muscle Shoals Music Association in conjunction with the W.C. Handy Music Festival.

TVWeek In Depth Making the Most Out of an Award Win By Allison J. Waldman

“I think if you don’t make use of an award in your marketing you will miss a number of opportunities,” said Richard Goedkoop, a professor of communication at La Salle University in Philadelphia and author of the book “Inside Local TV News.” “Mainly to tell your customers, clients and end users, see how good we are, that’s why you should consume our content. And that can translate into increased sales in the long run, if the marketing itself is effective.”

The marketing of an award is not something that can be done without careful consideration. In some instances there are rules about how an award can be advertised. “You need to know what those rules are first, but you can use it to point the finger at yourself and say, ‘Look, we’ve been recognized for excellence in this field by our peers and that’s why you should pay attention to us,’ ” said Frank J. Radice, a former promotion executive for NBC as well as a past president of the National Academy of Television Arts & Sciences, which hands out the News and Documentary Emmys, among others.

News organizations and TV stations that win Emmys can use the image of the statuette in a variety of media, including print, on-air, online, outdoor, newsletters and magazines. Radice also mentioned a new way to announce a victory that’s perhaps the most significant new development in award marketing — social networking. “It will be the most important way to use awards right now because, quite honestly, it’s all about word of mouth. If you can use it in a Facebook page or in Twitter, then you’re going to get more bang for your buck,” said Radice.

Snagging a major award can carry clout in the short term, but if a station or news outlet isn’t delivering on a consistent basis, the award designation won’t matter much.

Paul Conti, assistant professor of communications at Empire State College (SUNY), was news director at Albany’s NBC affiliate WNYT-TV before he joined the faculty. Under his leadership, WNYT’s news operation was No. 1 in the Albany-Schenectady-Troy market (DMA rank 57) for years, and he was a regional Emmy winner.

“Winning awards can help build credibility with viewers, but it is not of singular importance,” Conti said. “It is one element of creating a TV journalism persona. A successful news operation that employs people who win such awards can use that as a marketing advantage. But in my experience, a third-rated station that is not successful by any measure you wish to assign that word will not become successful just because staff members were given that kind of distinguished credit. Organizations used to sink big dollars into entering some of these contests. It does not happen with much regularity now.”

Doug Spero, professor of mass communication at Meredith College in Raleigh, N.C., took the opposing view. “I used to be a news director and never once hired or didn’t hire someone based on them having or not having a specific award. I don’t mean to dismiss the value, but, professionally speaking, I don’t put much weight in them.”

Spero recognized the value of an Emmy or a Peabody for promotional purposes, but questioned how rare it is to win an award like that today. “Years ago they were worth a bit more, but now they are green stamps. If you really want an award somewhere, you can go out and find one. Now that being said, I do think it is good for the industry. It encourages competition and ownership in the product. But I don’t think they hold a lot of weight.”

Having been on both sides, Radice has a unique point of view. When asked what tips he would give to a promotion or sales department to market a winning show or personality, he said, “First thing, if you’re nominated for an award as important as a duPont, a Murrow, a Peabody, an Emmy you have to get the message out — in advertising. If you’re television, you do it on-air. If you’re in print, put it in the publication. You advertise. You promote the fact that you’ve been nominated and you use that to extend your brand. That’s step one.”

The second step would be campaigning for the award, he said, such as through “For Your Consideration” advertising that reaches award voters.

For the third step, he said, “You have to take advantage of secondary platforms, that is, not just the platform that you’re on. If you’re a television channel, you want to tell people on the secondary platform, ‘Look at us, watch us.’ You do that on multiple platforms. Everything right now is 360; you need to be advertising and promoting in a 360-degree way. That’s on air, on cable, online, social networking, even on the radio and outdoor.”

An example of a campaign that succeeded in the kind of saturation exposure using an Emmy win to drive awareness was the promotion for Showtime’s “Inside the NFL.” In the on-air commercials, the different stars from the show all coveted taking the Emmy award home with them, like it was the Stanley Cup. Radice recalled that Showtime called him before filming the ads to be sure that it was all right with NATAS.

“I said absolutely, and I was blown away by the final execution. It was the most effective use of an Emmy award win by any group I’ve ever seen,” said Radice.

For a PBS program like ITV’s “Independent Lens,” the marketing of award wins is essential, according to series producer Lois Vossen.

“Industry awards are important because they help establish careers and can help the producers secure funding for new projects. Winning one of the major journalism and news and documentary awards such as a Peabody, Emmy or duPont Award adds cache to the work and validates the filmmaker,” Vossen said.

“When ‘Independent Lens’ won the Best Documentary Emmy Award our first and again our second season on the air, it validated the series and sent a clear message that we were presenting programs of the highest caliber and the additional Emmy, Peabody, duPont and other awards and nominations our films have received since then add to that message,” she said.

The idea that award marketing will generate sales revenue, however, remains a specious claim.
“I don’t think that the promotion guys are going to look at promoting their nominees with an eye toward having it generate revenue,” said Radice. “But I do believe that you can influence sales by showing the sales community that you’re the organization that is deserving of the awards, that’s why you’ve gotten nominations and awards, and those are the people you should be putting your money behind. It’s not an out and out, go get money because you won an award, but there’s certainly some of that at play.

Rockin’ at 30 Rock: NBC Agency’s Frank Radice brings showmanship to network news

By Anne Becker — Broadcasting & Cable, 4/30/2006 

There are 18 guitars in Frank Radice’s 18th-floor office at 30 Rock in New York. And rock he has, both on stage and in the television news and promotions industries for three decades. Radice—or “Rock ‘n’ Roll Radice,” as he was known in his early days as a producer at ABC News—has shaped news production and promotions at ABC, CNN, CBS and NBC. Now, as senior VP, advertising and promotions, The NBC Agency, Radice is exercising his flare for entertainment.

An accomplished musician, having studied guitar since age 10 and jammed with the likes of Steven Tyler, Radice credits a series of serendipitous encounters with shaping his varied career. “When things happen to you in your career that are bigger than what you’re doing, those are the milestones that allow you to go further,” he says. “Most people only have that happen to them once. I’ve had it happen to me a number of times, and I consider myself the luckiest guy.”

You’re Nobody ‘Till Somebody Kills You

You’re Nobody ’til Somebody Kills You, is a forthcoming film directed by Spike Lee‘s protege Michael A. Pinckney, founder and Managing Director of Black Noise Media, a production house based in New York City[2]. The film began production in May 2007, however its release was delayed until 2011 for unknown reasons.”You’re Nobody ‘Til Somebody Kills You” is currently slated to premiere at Brooklyn‘s Williamsburg International Film Festival dubbed “WILLiFEST” on September 23, 2011. Doug E. Fresh, Big Daddy Kane and Ed Lover make appearances in “You’re Nobody ‘Til Somebody Kills You,” which stars James McDaniel (NYPD Blue), Michael K. Williams (“The Wire” “Boardwalk Empire“), Michael Mosley (“Law & Order“) and Nashawn Kearse (“The Sopranos” “Entourage.”). Post production by Definition 6, NYC.

 Co-EP, Jon Accarrino.Director, Michael Pinkney.Live it Up Host, Donna Drake & Me At the Williamsburg International Film Festival (Willlifest) World Premiere


The Daily Katz -Cat in the box

A Low-Key Transition for ‘Today’ Hosts

June 28, 2012, 9:56 AM76 Comments
A Low-Key Transition for ‘Today’ Hosts

11:54 p.m. | Updated On Friday morning, Savannah Guthrie is scheduled to be sitting beside Matt Lauer on the “Today” show — and once again, NBC’s ability to pull off talent transitions will be put to the test.

Ms. Guthrie is expected to succeed Ann Curry on “Today,” a hugely popular but now highly vulnerable morning show that is a profit center for NBCUniversal and its parent company Comcast.

Ms. Curry tearfully announced her forced exit from the “Today” co-host chair on Thursday morning, ending one phase of the network’s plan to reinvigorate the show and beginning another phase that involves Ms. Guthrie and possibly other changes to the cast.

Ms. Guthrie has been a co-host of the 9 a.m. hour of “Today” for a year. As of Thursday evening, she had not signed a contract to become the co-host of the 7 a.m. and 8 a.m. hours, and NBC had not confirmed that she would be taking Ms. Curry’s position on the show. But those moves are seen as inevitable by people inside NBC, as evidenced by the fact that she was set to fill in for Ms. Curry on Friday.

Those people, who insisted on anonymity because they feared losing their jobs for discussing internal deliberations, said Thursday that the priority now was protecting Mr. Lauer and Ms. Guthrie from the wrath of Ms. Curry’s fans, thousands of whom posted angry comments online after her announcement.

For that reason, Ms. Guthrie’s promotion will be introduced relatively quietly, with little of the fanfare that accompanied Ms. Curry’s elevation to the role one year ago or Meredith Vieira’s arrival in 2006. The change probably will not be announced on the show until July 9, according to one of the people.

“They’re not going to do themselves any good if they blow it out,” said Frank J. Radice, a former NBC executive who ran the marketing campaign for Ms. Vieira, who succeeded Katie Couric at that time.

NBC made the most of that transition, complete with a theme song called “It’s a New Day Today” with a “Welcome Meredith” airplane banner that was flown around the island of Manhattan. But this time, given Ms. Curry’s sudden and awkward exit, he said the smartest thing would be “not to draw attention to a change in anchors but to let that change in anchors just happen.”

NBC seemed to do that on Thursday, scheduling only a few minutes at the end of the show for Ms. Curry’s announcement. “This is not as I ever expected to leave this couch,” Ms. Curry said, indicating to viewers that leaving was not entirely her choice.

Ms. Curry will become the “anchor at large” for “Today,” a roving correspondent role that was offered to her more than a month ago by executives in an effort to move her off the morning show, which is under recent ratings pressure from ABC’s “Good Morning America.”

That show beat “Today” for several weeks in April and May, but “Today” has won for the last four weeks, giving the show a dose of confidence ahead of the Summer Olympics, which NBC will televise in four weeks.

In the past, NBC, and in particular its news division, prided itself on seamless handoffs like Ms. Couric to Ms. Vieira and, a few years before that, from Tom Brokaw to Brian Williams as the “NBC Nightly News” anchor.

But Thursday seemed like a divorce more than anything else, and it brought to mind the entertainment division’s botched transition involving Jay Leno and Conan O’Brien in 2010, one that has left Mr. O’Brien bitter.

In that case, however, Mr. O’Brien left NBC and wound up with a new late-night show on the cable channel TBS. In this case, Ms. Curry is sticking with NBC and is picking seven staff members to work with her on news reports and special projects.

Steve Capus, the president of NBC News, said in an internal memo on Thursday that “this was not a farewell from “Today“ for Ms. Curry. “Ann’s reporting will be showcased on ‘Today’ as well as all other NBC News broadcasts,” he wrote. “Outside of the confines of the studio, she’ll have more freedom for those pursuits.” His memo concluded with the words, “Simply put, she is the absolute best person for this job.”

Brian Stelter writes about television and digital media. Follow @brianstelter on Twitter and

The 3 Fastest Guitar Players You will ever see!


This YouTube clip just might be one of the greatest guitar moments in history. It features Washington DC’s Danny Gatton, England’s Albert Lee and Nashville’s Vince Gill playing the song “One Way Rider.” Be sure to pay extra attention around the 3 minute mark. Great back-to-back guitar solos by all three guitarists.

Danny Gatton sadly died by his own hand before the rest of the world got to know him better. I heard him when I was a player in D.C. and even taught his former manager a thing or two on the bass guitar. Gatton’s music will live on in clips like this.


Frank Radice

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