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Thursday, Nov 26, 2009
After replacing a high-profile exec, Clear Channel, the 800-pound gorilla of the entertainment industry, suddenly faces a lot of banana peels.
Aug 7, 2002 | It's becoming harder and harder to stay the course at Clear Channel Communications. The multimedia and entertainment giant is the world's largest radio broadcaster, concert promoter and outdoor advertising firm, as well as a major player in the American television business. In the last year, however, Clear Channel -- well known for its hardball tactics -- has been hit with numerous antitrust lawsuits, petitions to the Federal Communications Commission and pending legislation on Capitol Hill.
The recent distractions have became so intense that Clear Channel executives have been trying to silence some of the static. Most recently, Clear Channel president Mark Mays sent out a companywide e-mail assuaging employees, urging them to "stay the course."
Yet two weeks ago Mays was the one who abruptly changed course when he announced that Randy Michaels, the powerful and controversial chief of Clear Channel's radio division, was stepping aside to take over Clear Channel's new technologies division.
Mays claimed the move had been planned for a while, but observers, noting that no replacement was lined up to run the revenue engine that drives the $8 billion company, concluded the move may have been an abrupt one. Investors quickly punished Clear Channel. During the two days after the Michaels announcement, Clear Channel's stock lost 25 percent of its value, before rebounding somewhat. These days the stock, battered by a radio advertising recession and a sinking concert business, trades at around $24. Two years ago it flirted with $100.
While the stock languishes, Clear Channel has always enjoyed the respect of Wall Street analysts, and for good reason. During the 1990s, Clear Channel "was the best performing stock on the New York Stock Exchange," according to Randall Mays, the company's chief financial officer. (He and Mark are both sons of Lowry Mays, Clear Channel's chairman and CEO.)
Its relationship with the Street may be sound, but it's going to take more than jettisoning Michaels to repair Clear Channel's relationship with the music industry, which insiders say has been poisoned for several years. That strain became impossible to ignore since Clear Channel, thanks to its iron grip on the radio and concert business, is "the most powerful force in the music industry today," says Mike Jacobs, who ran his own record label, Way Cool Music, and helped get Blink 182 signed to MCA Records. He's now retired from the music industry.
Today, thanks to a $30 billion buying spree triggered by the passage of the Telecommunications Act of 1996, which virtually eliminated the limits on how many stations any one broadcast group could own, Clear Channel and its $8 billion in annual revenue ranks alongside NBC and Gannett among America's largest media players.
Aside from its stable of approximately 1,225 radio stations operating in 300 markets ("It's mind-boggling when you think about it," notes Credit Suisse First Boston broadcast analyst Paul Sweeney), Clear Channel also dominates the live entertainment business in North America. It owns, operates or exclusively books 135 amphitheaters, arenas, theaters and clubs, as well as controls the most powerful promoters, and buys entire tours from superstar acts like Madonna, 'N Sync and U2. Last year Clear Channel's promoters sold 27 million concert tickets, according to the live entertainment trade magazine Pollstar. The second largest promoter, House of Blues, sold just 4 million tickets.
"They're the 800-pound gorilla," adds Doc McGhee, KISS's longtime manager. "The jury is still out whether they're good for the music business." Insiders grumble that since Clear Channel's rise, especially over the last two years, concert ticket sales are down by double-digit percentages, as are CD sales. Radio listenership, particularly among teens, is also down dramatically.
But it's more than a question of dollars and cents. Not shy about using its radio and concert leverage, Clear Channel has won a reputation for its at times graceless power grabs, with artists and record companies often caught in the middle.
"It's not just how big and powerful they are, but how they do business, the arm-twisting," says Jacobs. "I had more bare-knuckles experiences with Clear Channel than any of the others."
"I think they're bullies and they leverage to the extreme," adds Tony Dimitriades, Tom Petty's longtime manager. (Dimitriades is also a partner in JamSports, which is currently competing with Clear Channel Entertainment for the rights to promote the American Motorcyclist Association's Supercross Series in arenas across the country.)
Even some musicians, who depend on Clear Channel's radio airplay and concert bookings to sustain their careers, are speaking out. Just this month, classic rocker Steve Miller, a staple of the summer concert season for years, complained about Clear Channel in the pages of Billboard magazine: "As the 1990s went on, Clear Channel came in, and things started getting real crazy, real quickly. I looked up one day and said, 'Who are these guys doing 11 of my shows?' Then it was 19, then one year it was 38 of 42 gigs. But the money wasn't good. I'm not talking about profits; I'm talking about where it was coming from. I don't like the way they run their facilities, and I don't like the way they treated me as an artist. Their lack of a sense of humanity is shocking."
For now, several record executives are cheering Michaels' departure. "It's the best thing that could've happened to all of us," says one senior label player. "He had no compassion for trying-to-break artists. He was all about milking the record industry for more money."
"Randy Michaels screwed up through his relationship with record companies, that's why Randy's gone," says one independent record promoter, who requested anonymity. "The way they dealt with the record industry was shameful. And that noise became a political issue."
One label source reports that in recent weeks Michaels, accompanied by Mark Mays, made the rounds and met with record company presidents, where Mays witnessed firsthand the level of discontent. "He saw it and flushed Michaels out."
A Clear Channel spokesperson declined to comment for this story.
Michaels was clearly a popular target. He was the public face of an unmatched radio behemoth that at once cut jobs and promoted ever more raunchy radio stations -- Houston's KTBZ-FM Web site boasts topless "Babe of the Day" photos.
"Was it all Randy's fault? No. But he was a lightning rod for controversy," says Robert Unmacht who used to edit the radio trade publication M Street Journal. He says Michaels deserves more credit for keeping the quality of Clear Channel's radio product up while the company's corporate office continued to cut funding. (Inside the industry, Clear Channel's often referred to by its other name, Cheap Channel.)
Michaels was a shock jock with an assumed name before he became the most powerful person in radio. In an interview earlier this year, he was philosophical about his critics. "We've created an amazing amount of change in a very short period of time and change is hard for all of us. We've probably rattled more cages than anyone," he said. "Do I like that? No. Do I think our intentions are wonderful? Yes. Do I think I'm a nice person? I do. Do I wish everyone agreed with me? Yes. But I don't know if that's possible."
The bottom line, says one radio veteran who's known Michaels for years, is "he likes to fight with people." He got into a well-publicized pissing match with the publisher of an industry trade publication, Inside Radio, even setting up a mock InsideInsideRadio.com Web Site, complete with a caricature of a man with his head up his ass. Dueling lawsuits were filed, and just days after Michaels' exit as Clear Channel's radio chief, the final suit was settled, with Clear Channel agreeing to purchase Inside Radio for an undisclosed sum.
The problem for Clear Channel is that others are also fighting back. While the company's outdoor and television operations quietly conduct their profitable businesses in relative obscurity, the music and concert side continue to create controversy. Most of the dust-ups surround allegations that Clear Channel has driven up the cost of independent record promotion by cutting exclusive deal with indies in order to pocket more money for itself, and that its radio stations reward acts who do business with Clear Channel concerts, as well as punish those who did not.
"They basically have a monopoly that controls access to artists," adds one of radio's most influential programmers. "That's a lot of juice and they're not afraid to use it. And that's their problem. If they were more conscious about it, things would be fine. But they're not. Sometimes unbridled success creates an attitude of hubris, of 'We can do anything we want to do.' But when you start telling performing artists, 'If you don't perform in our venues they won't get [radio] airplay they need,' that's crossing the line."
Answers Clear Channel's Brian Becker, CEO of its entertainment division, "Our policy is absolutely clear: We don't offer or take away airplay for concert properties. Period. It's illegal."
