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The branded journalist: how journalists pursuing hosting are gambling on a brand to get a piece of the media landscape
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The branded journalist: how journalists pursuing hosting are gambling on a brand to get a piece of the media landscape
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Content
THE
BRANDED
JOURNALIST:
HOW
JOURNALISTS
PURSUING
HOSTING
ARE
GAMBLING
ON
A
BRAND
TO
GET
A
PIECE
OF
THE
MEDIA
LANDSCAPE
by
Claudette
Tramble
Rogers
_________________________________________________________________________________________________
A
Thesis
Presented
to
the
FACULTY
OF
THE
USC
GRADUATE
SCHOOL
UNIVERSITY
OF
SOUTHERN
CALIFORNIA
In
Partial
Fulfillment
of
the
Requirements
for
the
Degree
MASTER
OF
ARTS
(SPECIALIZED
JOURNALISM)
December
2012
Copyright
2012
Claudette
Tramble
Rogers
i
Dedication
I
dedicate
this
thesis
to
my
family,
to
the
faculty
at
USC
Annenberg,
and
to
professionals
of
the
entertainment
industry
who
have
done
nothing
but
believe
in
me
and
support
my
dreams
when
no
one
else
would.
To
you,
I
am
forever
indebted.
ii
Table
of
Contents
Dedication……………………………………………………………………………………………..………..........i
Abstract………………………………………………………………....…………………………………………...iii
The
Branded
Journalist………………………………………………………………………………………...1
Bibliography……………………………………………………………………………………………………...23
iii
Abstract
The
television
hosts
of
today
face
a
challenging
media
landscape.
Many
people
label
a
host
as
the
“face”
of
a
certain
show,
unaware
of
how
the
world
of
hosting
has
changed
drastically.
There
are
two
types
of
hosts.
The
first
type
is
host-‐journalists
who
have
experience
in
journalism
and
are
transitioning
into
hosting.
The
other
type
is
celebrity-‐journalists
whose
strong
level
of
fame
has
allowed
them
to
pursue
hosting.
When
hosting
originated,
television
personalities
were
limited
from
pursuing
other
jobs
due
to
the
contractual
limitations.
Now
unbound
by
a
contract,
today’s
host
must
be
able
to
transcend
multiple
platforms
and
garner
exposure
across
multiple
demographics
from
stay-‐at-‐home
moms
to
media
savvy
teenagers.
The
top
hosts
wish
to
build
media
empires,
which
consist
of
multiple
projects
including
endorsements,
shows,
books,
appearances,
and
production
companies.
As
a
result,
most
host-‐journalists
must
brand
themselves.
Through
branding,
hosts-‐
journalists
desire
to
maintain
their
journalistic
side;
however,
it
becomes
difficult
to
do
so
when
protecting
a
business
takes
precedence
to
protecting
the
human
interest.
This
thesis
wishes
to
shed
light
on
the
business
side
involved
with
developing
the
brand
of
a
host
and
the
complications
of
journalists
desiring
to
pursue
hosting.
Hosts
must
be
strong
businessmen
who
not
only
know
how
to
use
their
brand
in
the
most
lucrative
way
but
protect
themselves
from
losing
everything
from
one
single
business
slip.
That
just
happens
to
come
at
the
cost
of
their
journalistic
integrity.
1
For
journalists
who
spend
their
lifetimes
devoted
to
defining
their
authentic,
critical
voice,
it’s
perplexing
as
to
how
a
brand
is
supposed
to
now
fit
into
creating
a
journalistic
identity.
Journalists,
specifically
those
wishing
to
pursue
hosting
and
building
multiplatform
empires,
feel
the
pressure
to
brand
themselves
and
convey
a
certain
image
to
the
public
to
remain
competitive
in
the
media
landscape.
According
to
former
journalist
and
editor
of
Buzz
Media
Allan
Mayer,
who
left
his
strong
journalism
ties
for
public
relations,
the
two
aren’t
even
in
tandem.
“The
journalism
that
I
went
into
was
40
years
ago
doesn’t
really
exist
anymore.
Certainly
the
values
[required]
are
contradictory
[to
what
it
takes]
to
be
a
good
journalist.”
Mayer
says
the
reason
for
becoming
a
journalist
was
to
feel
independent
from
an
agency,
but
today’s
journalist-‐gone-‐host
has
to
worry
about
survival.
“To
be
successful
as
a
young
journalist
now,
you
have
to
become
a
brand.
One
of
the
reasons
I
loved
being
a
journalist
[was
that]
I
didn’t
have
to
do
any
of
that
stuff…I
was
thrilled
I
didn’t
have
to
worry
about
the
business
side
and
could
just
do
my
thing.”
(Mayer
2012)
For
host-‐journalists,
young
journalists
who
desire
to
host
and
build
media
empires,
the
focus
is
divided.
Host-‐journalists
wish
to
maintain
their
journalistic
credibility
but
build
a
media
empire
in
addition
to
their
role
as
host.
These
empires
are
composed
of
various
business
deals
from
authoring
books
to
launching
product
lines.
They
hone
in
on
a
brand
that
diversifies
their
business
across
the
platforms
of
publishing,
new
media,
television,
and
radio.
By
managing
both
a
business
and
journalistic
identity,
it’s
difficult
to
determine
how
much
of
a
journalist
these
host-‐
journalists
can
be
since
their
ultimate
job
is
to
protect
their
business.
2
On
the
flip
side,
celebrity-‐hosts
are
celebrities
who
use
their
fame
as
leverage
in
building
their
empires
and
use
strong
branding
to
garner
more
reporter-‐like
roles.
It’s
a
gray
area
where
both
celebrity-‐hosts
and
journalist-‐hosts
are
undoubtedly
building
empires
but
whether
either
of
these
identities
can
call
themselves
journalists
by
any
means
remains
the
striking
question
at
hand.
The
change
in
priorities
for
a
host-‐journalist
is
shocking.
How
an
individual
can
remain
a
purveyor
of
the
truth
and
a
branded
entity
doesn’t
piece
together
seamlessly.
Mayer
says
they
are
two
contradictory
ideas.
By
branding
oneself,
host-‐
journalists
begin
to
sound
more
like
publicists
than
storytellers.
However,
Nancy
O’Dell,
host
of
Entertainment
Tonight
who
has
a
background
in
news,
believes
she
is
as
much
a
reporter
as
she
is
a
brand.
(Mayer
2012)
“Where
do
I
want
to
be.
[How
do]
you
brand
yourself
to
get
there….”
Those
are
the
questions
host-‐journalist
O’Dell
asks
herself
when
thinking
about
her
brand.
Surprising
words
to
hear
especially
when
journalists
spend
a
great
deal
of
their
life
focused
on
the
subjects
they
write
about
rather
than
themselves.
But
Nancy
O’Dell,
like
many
other
reporters,
has
changed
since
her
reporting
days
in
the
field.
According
to
nancyodell.com,
O’Dell
graduated
suma
cum
laude
from
Clemson
University
and
reported
in
local
news
for
more
than
twenty
years.
She
has
worked
for
WPDE-‐TV
and
WCBD-‐TV
in
South
Carolina
and
WTVJ
in
Miami,
Florida.
During
her
stint
on
Access
Hollywood,
she
also
contributed
to
Dateline
NBC
and
the
NBC
3
News.
Now,
as
host
of
a
national
entertainment
news
show,
O’Dell
has
a
brand
to
consider.
“You
don’t
know
what’s
going
to
sell,
[but]
you
have
to
keep
trying.”
(O’Dell
2012)
O’Dell
has
authored
a
line
of
memory
books,
hosts
several
television
shows,
oversees
a
furniture
line,
contributes
to
various
magazines,
acts
as
spokesperson
for
a
hair
care
product
line,
has
launched
her
own
photo
album
line,
and
has
been
slated
as
an
executive
producer.
(Michon
2012)
O’Dell
claims
to
stay
true
to
her
reporter
roots,
but
how
can
O’Dell’s
reporter
instincts
be
present
when
her
focus
seems
to
be
on
“selling”
herself
through
various
vehicles.
With
that
level
of
marketability
comes
a
brand
that
must
protect
itself
with
the
right
publicity,
proper
management
team,
and
continual
promotion
across
platforms.
When
a
brand
begins
to
sound
like
a
press
release,
the
antithesis
of
what
is
studied
in
journalism
school,
how
can
anyone
stay
true
to
his
or
her
roots.
Meryl
Michon
is
the
Senior
Production
Executive
for
Nancy
O’Dell
Enterprises,
the
company
that
oversees
all
of
O’Dell’s
projects
besides
Entertainment
Tonight.
She
has
worked
in
numerous
roles
over
her
twenty-‐four
year
career
working
in
the
capacities
of
directing,
producing,
and
writing.
Her
background
in
news
is
extensive,
working
for
such
programming
as
20/20,
Fox
News,
and
CNN.
She
has
overseen
O’Dell’s
projects
for
the
last
two
years.
O’Dell’s
list
is
exhausting
with
work
in
various
forms
of
media:
home
design
product
lines,
4
Red
Carpet
Specials,
Co-‐Host
of
telethons,
charity
work
for
Toys”R”Us,
author,
Executive
Producer
for
Celebrities
at
Home,
and
contributor
to
Parent’s
magazine.
Michon
says
O’Dell
works
for
Entertainment
Tonight
from
9AM
to
6PM,
but
says
O’Dell
works
around
the
clock
for
the
show
and
contributes
a
much
larger
amount
of
time
than
ten
hours
a
day.
Michon
is
“amazed”
by
how
O’Dell
balances
all
her
projects,
yet
it
doesn’t
seem
humanly
possible
to
be
as
involved
as
Michon
says
O’Dell
is
given
the
amount
of
hours
in
a
day.
(Michon
2012)
O’Dell
was
not
clear
about
her
brand
and
the
passion
behind
it.
Much
like
Michon,
O’Dell
enumerated
her
various
projects
but
never
defined
what
her
brand
is.
Michon
says
,“Everybody
wants
a
piece
of
Nancy.”
She
goes
on
to
say
that
O’Dell
is
sought
out
for
many
of
the
listed
projects.
O’Dell’s
brand
appears
to
be
attractive
to
various
companies,
yet
O’Dell
is
unable
to
define
her
brand
beyond
listing
her
different
business
deals.
Her
brand
sounds
like
a
press
release
rather
than
an
authentic
representation
of
who
O’Dell
is.
Michon
does
not
define
how
extensive
O’Dell’s
involvement
is
with
her
other
projects
but
reiterates
O’Dell
“has
a
gift.
She’s
authentic
and
has
a
passion.”
She
emphasizes
that
O’Dell’
“is
“involved
with
every
step.
She
puts
in
her
two
cents”
though
she
does
not
say
what
O’Dell
specifically
does
for
her
other
projects.
It’s
unclear
how
extensive
O’Dell’s
involvement
is
with
her
other
projects
when
so
much
time
is
devoted
to
Entertainment
Tonight.
(Michon
2012)
5
When
compared
to
reporters
like
Barbara
Walters,
who
Michon
has
worked
with,
she
says
the
path
has
not
been
as
nearly
as
difficult
for
O’Dell.
“It’s
much
easier
for
Nancy.
Barbara
had
to
fight
her
way.
Barbara
worked
so
seriously.
[It
was]
a
different
world.
It
was
a
man’s
world.”
Michon
sheds
light
on
the
pioneering
time
for
women
reporters
who
were
trying
to
break
into
network
anchoring,
a
realm
dominated
by
men.
According
to
Michon,
it
was
more
difficult
to
become
a
woman
reporter
in
any
market,
unlike
today
where
women
have
more
opportunities
to
“report”
given
the
different
types
of
vehicles
brought
on
by
new
media.
Ken
Lindner
says
in
his
book
New
Broadcasting
Realities
that
there
are
more
opportunities
to
report
now
more
than
ever.
“Individuals
in
broadcasting
are
operating
in
a
world
of
reduced
revenues
and
budget…
Yet
never
before
have
more
newscasts,
as
well
as
entertainment,
pop-‐culture,
magazine,
reality-‐based,
and
game
shows
been
produced.”
(Lindner,
New
Broadcasting
Realities,
Introduction).
Hosts
don’t
have
to
come
from
a
reporting
background.
Look
at
Lindner’s
client
Mario
Lopez,
whose
background
is
purely
in
acting.
Mario
Lopez
is
considered
a
celebrity-‐host
who
is
building
his
media
empire
from
his
strength
as
a
celebrity
figure.
Lopez
is
most
known
for
his
role
as
AC
Slador
on
Saved
by
the
Bell
and
continued
with
small
acting
gigs
after
the
ending
of
the
show.
He
then
starred
in
Dancing
with
the
Stars
as
a
contestant
and
was
catapulted
back
into
fame.
When
he
approached
Lindner
about
his
dream
of
hosting
Extra!,
Lindner
choreographed
the
steps
for
Lopez
to
achieve
it.
6
It
is
not
the
first
time
non-‐reporters
have
broken
into
hosting
and
anchoring.
(Lindner
2012)
Phyllis
George,
titleholder
for
the
1971
Miss
America
Pageant,
was
named
anchor
for
CBS
News
in
1984.
Journalists
were
appalled
that
her
face
and
fame
landed
her
the
job
of
anchor,
a
position
reserved
for
someone
of
high
journalistic
achievement
and
integrity.
People’s
Jane
Hall
shined
light
on
the
criticism
facing
George.
Hall
found
George
to
“clearly
[be]
more
[of
an]
expert
at
family
affairs
than
foreign
affairs”
when
analyzing
her
reporting
abilities
on-‐air
and
mentioned
how
critics
referred
to
her
as
“the
newscast
equivalent
of
fast
food.”
In
the
article,
George
was
claimed
“to
have
great
energy
and
on-‐camera
skills.”
(Hall,
As
CBS’
New
Morning
Star)
However,
George
resigned
eight
months
later
and
Bob
Wisehart
of
McClatchy
News
Service
said
it
was
because
colleagues
“sniped”
at
her
lack
of
journalism
experience.
(Wisehart,
Poor
Phyllis
George)
Kenneth
Clark
of
the
Chicago
Tribune
said
George
did
not
see
eye-‐to-‐eye
with
her
co-‐anchor
on
“journalistic
style”
and
that
may
have
been
another
contributing
factor
in
leaving.
When
George
asked
during
an
interview
for
convicted
rapist
Gary
Dotson
to
hug
Cathleen
Webb,
who
alleged
that
Dotson
had
raped
her,
she
was
attacked
by
critics.
This
illuminated
the
ramifications
of
hiring
a
personality
who
did
not
have
adequate
journalism
experience
for
the
job.
(Clark,
Phyllis
George
Resigns)
7
People
like
Ken
Lindner
and
Annie
Roberts
say
for
celebrity-‐hosts,
it’s
only
a
foot
in
the
door
and
does
not
necessarily
lead
to
a
long,
successful
career
in
hosting.
One
has
to
prove
he
or
she
is
talented.
Ken
Lindner
says,
“[It’s]
hard
to
determine
the
right
path
to
becoming
a
host.
Winning
could
come
in
the
form
of
being
a
bachelor.
However,
only
if
you’re
talented
will
it
last.
It’s
a
foot
in
the
door.
Just
because
you’re
great
in
one
area
does
not
mean
you
can
transcend
in
others.”
(Lindner
2012)
For
Roberts,
it’s
all
in
the
fit,
whatever
your
background
may
be.
“For
me,
it’s
finding
the
right
voice
for
our
network
and
that
can
come
in
many
shapes
and
sizes.
That
can
be
someone
who
has
a
million
Twitter
followers
…that
could
be
someone
who
has
hosted
their
own
YouTube
show
for
the
last
5
years
and
have
really
homed
in
on
what
their
point
of
view
is.
It’s
really
about
finding
that
person
who
is
the
right
fit
for
the
right
show
at
the
right
time.”
(Michon
2012)
For
many
journalism
veterans
like
O’Dell,
it’s
“hard”
to
see
celebrity-‐hosts
take
a
job
that
host-‐reporters
have
worked
for.
Actors
like
Mario
Lopez,
Elisabeth
Hasselbeck,
and
Kelly
Ripka
have
burst
onto
the
hosting
scene
but
have
not
attended
journalism
school
nor
have
local
market
experience.
They
are
roles
that
demand
strong
interviewing
skills
that
O’Dell
thinks
can
only
be
mastered
by
a
journalist.
Mario
Lopez
hosts
Extra!
while
Hasselbeck
is
one
of
the
hosts
on
The
View
and
Ripka
hosts
Live
with
Kelly!
O’Dell
says
sometimes
these
actors
and
actresses
fit
the
job
well.
Other
times,
she
claims
the
lack
of
reporting
experience
is
obvious
8
when
these
hosts
can
read
the
teleprompter
but
not
interview
well,
as
in
the
case
of
Phyllis
George.
(O’Dell
2012)
Both
Michon
and
O’Dell
say
O’Dell
“goes
beyond
the
teleprompter”
meaning
her
talent
is
multifaceted
and
more
than
a
face.
Michon
claims
that
there
are
many
in
this
industry
who
are
talking
heads
and
uses
the
word
“twinkies,”
a
term
coined
by
her
friend
and
reporter
Linda
Ellerbee,
to
describe
hosts
who
do
not
maintain
longevity
in
her
opinion.
In
her
eyes,
O’Dell
is
not
a
talking
head.
“[She
is]
involved
and
instrumental.
She
gives
it
her
all.
[She’s]
a
different
breed.
Can’t
compare.”
It’s
hard
to
verify
whether
Michon’s
words
have
substance
or
are
empty
words
of
flattery,
but
Michon
labels
O’Dell
as
a
reporter
not
a
host.
“There’s
a
difference.
Nancy
is
above
all
a
journalist…she
comes
from
news
and
has
longevity…She
makes
decisions
on
her
own…Nancy
has
done
research
and
studied
everybody
[that
walked
the
carpet]
at
the
Emmys.”
O’Dell
treads
a
fine
line.
With
someone
who
comes
from
a
news
reporting
background,
she
is
identified
as
a
celebrity
now
that
she
hosts
a
nationally
syndicated
entertainment
news
show.
However,
O’Dell
and
Michon
both
reiterate
that
she
is
a
journalist
first
and
foremost.
(Michon
2012)
With
the
rise
of
new
media,
today's
hosts
can
now
use
social
media
as
an
outlet
to
be
discovered,
thus
diminishing
the
need
to
start
one's
career
as
a
local
reporter.
Some
are
solely
relying
on
a
brand
to
get
them
on-‐camera
job
opportunities
as
anchor
or
host.
“It
is
a
little
tough
when
you
see
a
show,
and
they
9
may
go
get
some
host
who
is
an
actress.
They
don’t
have
that
[news]
background…you
go
wait
a
minute…they
don’t
have
the
experience…Sometimes
they
do
an
incredible
job.
Other
times
you
really
notice.”
O’Dell’s
perspective
raises
an
important
question
about
hosting
as
to
whether
hosts
should
come
from
a
news
background.
They
can
present
themselves
as
experts
of
their
chosen
field
and
oftentimes
haven't
even
attended
journalism.
(O’Dell
2012)
Celebrity-‐host
Ryan
Seacrest,
who
has
hosted
numerous
entertainment-‐
based
shows
and
changed
the
hosting
landscape,
recently
expanded
upon
his
brand
by
corresponding
a
non-‐entertainment
related
event.
Seacrest
hosted
segments
from
the
London
Olympics
this
summer,
part
of
NBC’s
attempt
to
legitimize
him
as
a
reporter,
as
well
as
a
host,
and
to
cross-‐brand
E!
Network
and
NBC.
Critics
of
the
Los
Angeles
Times
lambasted
him
for
his
Olympic
coverage
on
The
Today
Show.
Seacrest
was
not
only
targeted
by
critics
for
replacing
Akram
Khan’s
choreographed
dance
tribute
to
the
2005
London
bombing
victims
with
a
disappointing
interview,
but
McNamara
called
Seacrest’s
brand
“the
brand
of
blandocity.”
For
a
career
that
hinges
on
the
strength
of
his
brand,
the
article
undeniably
swung
major
hits
to
a
brand
which
was
further
enervated
by
the
comment
“…[Seacrest]
is
neither
artist
nor
entertainer;
he
is
certainly
not
a
journalist.”
For
someone
who
was
looking
to
assert
that
he
could
play
the
reporter
role
when
demanded,
he
failed
not
only
in
proving
he
could
be
a
journalist
but
that
he
was
a
talented
celebrity,
the
foundations
of
his
success.
The
opportunity
was
supposed
to
present
Seacrest
as
a
host
who
10
could
do
much
more
than
entertainment,
but
his
stint
as
an
Olympic
correspondent
showed
the
limitations
of
a
brand
that
seemed
boundless.
No
matter
how
strong
a
brand
may
be,
the
evolution
of
reporter
to
host
may
seem
more
natural
for
an
individual
like
O’Dell
than
Seacrest,
who
is
attempting
to
make
the
transition
from
host
to
reporter.
(McNamara,
Ryan
Seacrest
Scarce)
Many
of
these
host-‐reporters
and
celebrity-‐hosts
look
to
expand
upon
their
single
job
to
create
a
media
empire
which
consists
of
landing
various
business
deals
across
the
platforms
of
radio,
television,
publishing,
and
new
media.
With
one
wrong
move
from
a
host,
many
of
these
brand
empires
can
collapse
with
the
unraveling
of
a
single
string.
One
mistake
is
all
it
takes,
according
to
the
go-‐to-‐guy
for
Hollywood
crisis
management,
publicist
Allan
Mayer.
“I
couldn’t
quantify;
it’s
happened
numerous
times.
You
spend
years
[building
an
empire],
and
it
can
be
destroyed
in
a
single
day.”
Journalists
face
a
very
different
time
in
the
media
place;
brands
are
imperative
for
a
long
career
in
media,
but
Mayer
says
it’s
easy
to
lose
them
if
one
doesn’t
react
well
in
a
state
of
crisis.
“Often
it’s
not
the
accident
or
incident
that
destroys
the
brand.
It’s
the
response…people
care
about
the
future.”
The
role
of
a
host-‐journalist
has
seemed
to
evolve
into
a
more
publicist-‐like
role.
(Mayer
2012)
The
problem
brands
raise
for
host-‐journalists
is
that
they
are
a
message
that
can
then
be
manipulated
by
others.
It’s
a
difficult
change
for
journalists
who
have
11
always
been
free
agents.
When
it
comes
to
branding,
many
parties
are
involved
in
the
crafting
and
maintaining
of
a
brand.
According
to
Jeremy
Tucker
of
the
brand
development
firm
Innovation
Protocol,
brand
strategizing
has
been
around
for
15
years
where
scientific
research
and
statistical
data
are
used
to
determine
the
power
of
a
brand.
His
job
is
to
“articulate
the
core
essence
of
an
organization
or
group.”
Brand
firms
are
now
meticulous
about
studying
the
consumer
and
performing
case
studies
to
determine
the
branding
message
for
a
company.
“We
use
scientific
study
and
are
pragmatic
[about
creating
a
brand]…we
talk
to
people,
study
people…[it’s
about]
who
you
are
and
why
you
matter.”
(Tucker
2012)
That
brand
message
will
then
pass
through
various
vehicles.
The
message
will
come
to
fruition
at
brand
firms,
then
pass
into
the
hands
of
brand
managers
who
will
further
develop
the
brand,
and
then
ultimately
public
relation
teams
and
advertising
agencies
determine
how
the
brand
message
should
be
communicated
to
generate
revenue.
In
Tucker’s
experience,
the
brand
message
tends
to
dissipate
the
moment
PR
teams
manipulate
it
for
publicity
purposes.
More
than
manipulation
of
a
host-‐journalist’s
brand
is
at
stake;
their
journalistic
voice
can
seemingly
get
lost
in
the
hands
of
many.
(Tucker
2012)
Branding
oneself
is
not
the
only
dilemma
facing
host-‐journalists.
Making
sure
the
brand
remains
honest
and
true
despite
the
numerous
parties
involved
is
even
more
precarious
for
host-‐journalists.
In
the
example
of
computer
companies,
Apple
12
marketed
their
product
as
a
unique
experience
adherent
to
the
philosophy
of
Steve
Jobs.
Dell,
on
the
other
hand,
made
their
campaign
about
the
product
and
failed
in
communicating
a
clear
message
to
customers
who
were
seeking
much
more
than
a
machine.
Tucker
claims
that
people
can
see
right
through
someone’s
brand.
The
minute
that
connection
with
the
customer
is
lost,
the
brand
can
deteriorate
quickly.
With
celebrities,
the
process
also
holds
true
but
can
come
at
the
cost
of
a
celebrity’s
career.
Tucker
says,
“Tiger
Woods’
brand
[was]
not
his
talent.
His
essence
made
[the
brand].
His
can-‐do
attitude.”
But
while
he
had
a
very
strong
brand,
involving
into
a
different
person
cost
him
his
career.
“He
turned
into
a
celebrity
rather
[than
remaining
a
person]
and
lost
his
essence…
There
is
no
longer
a
reason
for
the
brand
to
exist.”
Today
it’s
hard
for
host-‐journalists
to
live
without
a
brand.
For
those
with
brands,
any
weakness
in
branding
can
come
at
the
cost
of
his
or
her
career.
As
previously
mentioned
by
Mayer,
he
cannot
even
quantify
the
amount
of
times
how
many
individuals
have
lost
their
careers
because
of
a
single
action
that
tarnished
his
or
her
brand.
(Tucker
2012)
Surprisingly,
branding
is
an
important
element
for
host-‐journalists
to
have,
but
a
reporting
background
is
still
essential
to
become
a
host
despite
instances
where
new
media
talent
has
bypassed
practicing
the
basics
of
journalism.
Annie
Roberts,
Casting
Director
of
E!
Entertainment,
handles
the
selection
process
when
choosing
a
host.
She
scours
through
thousands
of
reels
and
rarely
do
most
men
or
women
get
called
in
for
an
audition.
E!’s
casting
process
has
changed
drastically
13
where
a
candidate
is
not
even
considered
for
placement
on
E!
News
without
at
least
two
years
of
reporting
experience
with
more
favor
given
to
local
reporters.
Roberts
says
the
transition
from
soft
to
hard
news
is
new,
but
she
feels
that
local
reporting
experience
is
irreplaceable
given
the
stronger
emphasis
on
entertainment
law
and
breaking
news
in
entertainment
reporting.
Roberts
has
added
only
two
hosts
to
the
E!
roster
over
the
years,
and
it
has
taken
ten
years.
Roberts
says
these
days,
talent
is
no
longer
enough.
To
be
a
host
on
E!,
you
must
be
able
to
break
news.
These
two
newly-‐added
hosts
were
able
to
break
major
news
stories
unlike
many
others
who
have
applied
to
E!.
(Roberts
2012)
For
Roberts,
she
is
confronted
with
so
many
brands
that
for
her,
branding
has
nothing
to
do
with
who
is
chosen.
At
the
end
of
the
day,
she
is
looking
for
a
fit.
“There
are
not
a
lot
of
hosting
jobs
out
there
so
to
be
super
picky
and
just
[say]
this
doesn’t
fit
my
brand…
I’m
sorry
a
lot
of
us
are
doing
jobs
that
are
getting
us
to
where
we
want
to
be.”
Roberts
last
selected
host
was
hired
not
because
of
her
brand
but
because
she
broke
a
news
story.
“Our
stars
have
to
align.
You
have
to
have
the
right
network
executives
on
board
with
that
talent.
Casting
has
to
be
behind
them.
Talent
has
to
come
in
and
give
a
great
general
meeting…say
all
the
right
things...
In
the
instance
of
one
of
the
girls,
[they]
had
a
job
somewhere
else
and
finally
nailed
some
big
inside
information
and
broke
news
on
a
huge
story.
When
that
happened,
everyone
looked
at
each
other
and
said
we
need
this
girl.
She’s
ready
for
us.”
(Roberts
2012)
14
However,
though
a
journalistic
background
can
be
powerful
on
a
resume,
a
strong
brand
can
also
be
a
tool
of
leverage
for
celebrity-‐hosts
who
have
already
reached
a
certain
level
of
success.
Seacrest
is
a
bold
example
of
someone
who
saw
his
brand
as
a
business
from
his
early
beginnings.
Before
Ryan
Seacrest
signed
on
to
anchor
E!
News,
he
was
hired
to
host
Talk
Soup
according
to
Roberts.
When
asked
to
drop
his
radio
gig,
he
declined
the
offer
because
he
refused
to
part
with
his
routes.
Roberts
says
that
was
the
right
decision
for
Seacrest
in
protecting
his
brand
at
the
time,
but
that
same
success
is
not
promised
to
other
hosts
who
hope
to
remain
selective
when
choosing
hosting
opportunities.
“I
don’t
think
that
you
can’t
take
this
job
or
that
job
because
it
might
not
be
exact
fit
for
what
your
quote
unquote
brand
is…”
(Roberts
2012)
With
the
presence
of
so
many
multiplatform
hosts,
oversaturation
has
become
an
issue
in
the
marketplace.
Critics
say
that
hosts
like
Seacrest
have
become
too
omnipresent
in
the
media
market.
Seacrest
used
his
stint
on
radio
as
leverage
in
landing
his
host
role
on
E!
News,
in
packaging
a
deal
with
Ryan
Seacrest
Productions
and
E!,
in
obtaining
the
host
title
on
American
Idol,
and
in
upstarting
a
network.
Most
would
argue
that
too
much
content
is
coming
from
one
source
and
may
deter
his
original
fan
base
through
so
much
diversification.
Mayer
says
that’s
not
the
problem.
It’s
about
how
much
stamina
the
human
body
can
handle.
“Ryan’s
model
has
always
been
Dick
Clark.
In
the
early
time,
he
was
everywhere,
he
had
radio
bandstand
then
[became
a]
successful
producer.
Ryan
is
trying
to
do
the
same
for
15
the
21
st
century.
He
seems
to
be
everywhere.”
Despite
the
very
strong
presence
of
Seacrest
in
many
forms
of
media,
Mayer
doesn’t
think
Seacrest
has
reached
oversaturation.
Instead,
it
will
become
a
matter
of
health
at
some
point.
“He’s
not
intrusive.
He
has
a
pleasant
persona…It’s
a
matter
of
how
much
energy
he
has.
He’s
heavily
involved.
As
a
manager,
[you]
worry
[he
doesn’t]
run
into
a
hospital.
Over
the
next
few
years,
in
a
shrewd
sense…you
will
watch
him
cut
back.”
(Mayer
2012)
Host-‐journalist
Oprah
Winfrey
is
an
example
of
someone
who
has
built
upon
her
successes
as
a
journalist
to
create
a
magazine,
a
book
club,
a
winning
show,
and
recently
a
network.
Despite
the
success
of
Winfrey’s
multiple
business
endeavors,
OWN
has
fallen
behind
expectations.
Bloomberg
Businessweek
reported
in
May
that
OWN
may
have
lost
$330
million
since
its
launch
in
2008.
An
analyst
told
the
magazine
that
it
was
the
most
"successful
failure
in
television
today."
(Edmond,
Discovery’s
Oprah)
It’s
hard
to
see
where
the
network
could
have
gone
wrong
but
everyone
differs
in
opinion.
Lindner
says,
“A
strong
brand
is
not
enough
to
start
something
as
expensive
and
huge
as
a
network.
It’s
an
endeavor
that
involves
the
support
of
the
right
team
members
and
knowing
where
your
faults
lie.”
Linder
seems
to
be
insinuating
that
Winfrey
is
an
excellent
anchor
and
host
but
not
possess
enough
resources
to
be
a
strong
business
executive.
Lindner
claims,
“Just
because
you’re
a
great
host
does
not
mean
you
can
create
a
network.
Creating
the
name
is
not
enough.
You
can
be
a
great
reporter,
doesn’t
mean
you’ll
be
good
at
anchoring.
Do
you
have
great
instincts?
Do
you
know
the
right
people?”
(Lindner
2012)
16
Brand
agencies
see
the
situation
differently,
laying
blame
on
Winfrey.
Tucker
from
Innovation
Protocol
says
Winfrey’s
network
fell
through
the
cracks
because
she
did
not
stay
true
to
her
beginnings.
For
Tucker,
her
strong
abilities
as
an
on-‐
camera
communicator
were
shelved
away
when
she
elected
to
take
a
behind-‐the-‐
scenes
approach
to
her
network.
Her
brand
dissipated
when
she
lost
the
“essence
of
her
identity:
her
television
show”
that
showcased
her
strong,
unmatched
knack
for
interviewing.
(Tucker
2012)
Despite
OWN’s
failures,
Winfrey
still
topped
Forbes
2012
“List
of
Highest-‐Paid
Celebrities.”
Her
brand
proved
so
strong
that
even
a
$125
million
dollar
drop
in
pay
left
her
empire
untouched.
Winfrey
elected
to
revert
back
to
what
people
wanted
from
her:
her
interviews.
Surprisingly,
people
wanted
Winfrey
the
reporter
rather
than
Winfrey
the
media
empire.
It
is
that
authenticity
and
remaining
true
to
her
journalism
roots
that
is
making
her
media
empire
survive
in
a
time
of
crisis.
(Edmond,
Discovery’s
Oprah)
Winfrey
is
not
the
only
host
to
embark
on
creating
a
network.
Celebrity-‐host
Ryan
Seacrest
has
partnered
with
AEG,
Mark
Cuban,
and
the
CAA
agency
to
create
AXS
TV,
an
entertainment
channel
devoted
to
twenty-‐four
hour
coverage
of
live
events.
Originally
branded
HD
Net,
AXS
TV
is
a
joint
venture
looking
to
give
backstage
access
and
coverage
of
sporting
events,
concerts,
and
all
others
within
the
live
event
category.
Jonny
Snider,
a
member
of
the
corporate
finance
group
at
CAA
who
was
involved
with
the
original
inception
of
AXS
TV,
was
not
coy
about
the
difficulty
of
bringing
aboard
an
entity
like
Ryan
Seacrest.
“Ryan
is
a
very
busy
17
guy…it’s
tough
to
get
him
in
a
room
sometimes,
but
he’s
everywhere…he
has
his
Clear
Channel
deal
for
radio,
his
American
Idol
deal
for
TV,
he
has
appearances
for
E!
the
Red
Carpet
as
well
as
special
events
as
well
as
running
RSP
which
is
his
production
company
that
is
involved
with
the
Kardashians
and
several
other
shows.
He’s
a
real
machine
works
a
tremendous
amount.
His
schedule
is
insane.”
(Snider
2012)
Others
like
Roberts
say
his
ability
to
use
a
single
job
as
his
brand
has
made
him
create
multiple
business
endeavors
from
one
trickling
source:
his
work
in
radio.
(Roberts
2012)
With
someone
who
already
has
such
a
clearly
defined
brand
and
multiple
projects,
it’s
a
precarious
situation
to
partner
with
a
Seacrest.
Especially
when
Seacrest
and
Winfrey
seem
to
be
treading
a
similar
path
in
potentially
overestimating
the
strength
of
their
brand.
Snider,
who
was
also
involved
with
the
Oprah-‐OWN
deal,
says
they
are
two
very
different
situations
and
uses
of
branding.
“This
is
by
no
means
the
Ryan
Seacrest
Channel.
It’s
very
much
AXS,
and
Ryan
is
a
small
partner
in
the
venture.
He’s
actually
kind
of
one
of
the
smaller
partners
of
the
four.
It’s
not
the
Ryan
Seacrest
Channel.
This
is
AXS.
This
is
a
fantastic
partnership
which
we
are
really
excited
about.
I
think
it’s
going
to
succeed.
He
really,
day
to
day,
as
well
as
kind
of
long
term
has
a
very
small
operating
involvement
in
it.”
(Snider
2012)
18
Ryan’s
small
involvement
with
the
channel
may
be
a
win-‐win
for
his
brand.
If
the
channel
is
successful,
his
name
will
be
associated
with
the
channel
and
strengthen
his
overall
brand.
If
it’s
a
failure,
not
much
responsibility
will
reside
on
his
shoulders,
and
his
brand
will
remain
intact.
Despite
Winfrey’s
ill
luck
with
running
a
network,
it’s
hard
to
tell
whether
Seacrest
will
prove
successful
in
this
venture,
especially
since
his
home
at
E!
is
rebranding
itself
as
well.
This
asks
if
the
brand
is
strong
enough
to
coincide
with
the
branding
of
two
completely
different
networks.
History
seems
to
suggest
a
definite
“No.”
Using
Seacrest
to
combine
the
branding
of
NBC
and
E!
failed
when
he
was
a
correspondent
for
the
Olympics.
While
AXS
TV
and
E!
are
to
remain
separate
entities,
Seacrest
will
now
represent
two
separate
networks
and
the
question
will
remain
if
his
brand
is
malleable
enough
for
dual
branding
like
this.
The
beauty
of
Winfrey’s
situation
was
she
was
able
to
revert
to
her
strength
as
an
interviewer
when
the
network
was
heading
south.
Seacrest
does
not
have
a
journalism
background.
Only
time
will
tell
what
would
happen
if
his
brand
ever
began
to
corrode
since
his
brand
is
built
on
celebrity.
For
some
celebrities
whose
brands
began
to
erode,
they
can
lose
everything.
Tiger
Woods
lost
his
entire
empire
because
one
wrongdoing
defiled
his
authenticity.
Tucker
described
him
as
the
all
American
boy
with
an
exceptional
gift
and
a
can-‐do
spirit.
“Tiger
Woods’
brand
is
not
his
talent.
The
essence
of
‘I
made
it;
I
can
do
it.’
It
was
natural
for
Nike
to
want
him.
But
then
he
turned
into
a
celebrity
rather
than
[remaining]
a
person.
His
essence
was
lost
and
appealed
more
to
selling.”
(Tucker
19
2012)
When
reports
revealed
sexual
relations
with
countless
women,
Woods
lost
most
of
his
sponsorships,
and
his
god-‐given
talent
was
not
enough
to
save
his
tarnished
brand.
According
to
“BusinessInsider,”
he
lost
approximately
$22
million
dollars
in
endorsements.
He
lost
the
support
of
such
sponsors
as
Tag
Heuer,
Gillette,
Golf
Digest,
AT&T,
and
Gatorade.
(Goldman,
Woods
Loses
Another)
When
individuals
become
hosts,
they
take
on
that
same
level
of
celebrity
and
scrutiny.
Ken
Lindner
says
a
broken
brand
can
be
mended
if
an
individual
has
not
been
terminated.
“[It’s]
important
to
not
do
what
Tiger
Woods
did.
He
lost
his
sponsorships
but
can
bring
it
back
through
winning.”
(Lindner
2012)
Mayer
agrees.
“If
Tiger
had
won,
people
would
have
forgiven
him.
He
let
his
personal
life
affect
his
game.
That’s
why
people
didn’t
forgive
him.
An
athlete
can
be
a
total
creep,
but
people
will
like
you
if
you
win.
[He
wasn’t]
the
nicest
guy
in
the
world,
and
he
wasn’t
winning
anymore.
He
made
a
situation
worse.
[He]
should
have
been
more
forthcoming.”
(Mayer
2012)
Linder
goes
on
to
explain
that
“termination”
seems
to
have
a
lasting
imprint
on
the
public
and
saving
a
brand
is
only
possible
for
athletes
if
they
stay
true
to
their
original
claim
to
fame:
winning.
“Winning
is
a
good
deodorant.
Key
is
to
not
get
fired.
Resurrection
is
possible
because
luckily
our
memory
is
short.
If
[you]
get
fired,
[it’s]
harder
to
come
back.”
Nancy
O’Dell,
who
is
currently
looking
to
extend
her
brand
in
various
directions,
says
she
wouldn’t
expect
her
fans
to
continue
trusting
her
as
a
credible
source
if
allegations
ever
20
leaked
of
her
having
an
alter
ego,
especially
since
her
entire
brand
hinges
on
being
a
mother
and
furnishing
a
warm,
loving
household
for
her
family.
(Lindner
2012)
For
Matt
Segal,
he
builds
brand
empires
for
“new
media”
celebrities
rather
than
host-‐reporters.
Most
of
the
talent
he
works
with
has
a
strong
online
presence
or
has
developed
a
level
of
celebrity
through
an
expertise
such
as
cooking.
When
he
does
find
talent
that
seems
to
resonate
with
the
online
community,
usually
he’s
baffled.
Segal
is
not
sure
why
certain
brands
are
connecting
with
online
communities.
One
example
is
Elle
and
Blair
Fowler.
Elle
and
Blair
Fowler
are
two
sisters
who
started
a
fashion
YouTube
page
to
pass
the
time
after
graduating
from
college.
The
site
took
off
and
is
now
one
of
the
most
viewed
pages
on
YouTube.
Together,
the
sisters
have
amassed
more
than
242
million
views
on
YouTube
and
have
extended
their
online
presence
onto
other
platforms
such
as
WordPress
and
Facebook
and
are
set
to
launch
a
make-‐up
line.
(Segal
2012)
Segal
has
a
hard
time
understanding
why
two
Southern
sisters
with
giddy
personalities
have
resonated
with
online
viewers.
“I
personally
don’t
get
it.
What
is
it
about
these
girls
that
make
them
resonate
so
well
with
the
online
YouTube
community.
We
just
landed
a
major
brand
integration
with
them,
and
it
is
now
one
of
the
top
videos
on
our
YouTube
partnership
page.
I
think
it’s
because
they
are
authentically
themselves
and
that’s
what
sells.
They’re
them
and
that’s
appealing.”
When
personalities
like
these
connect
with
the
public,
reporters
feel
the
pressure.
21
As
mentioned
earlier,
O’Dell
finds
it
tough
to
see
actresses
who
land
primetime
roles
as
hosts
and
anchors.
When
asked
about
the
possibility
of
losing
her
brand,
she
says
she
aims
to
stay
true
to
herself.
“Don’t
put
yourself
in
the
situation.
You
can’t
be
dishonest
with
the
public.
When
choosing
things
that
are
genuine
to
you,
it’s
hard
to
fail.
The
public
will
read
if
you
are
true
or
false
about
something.
If
I
were
caught…danc[ing],
wild
crazy
on
a
table
at
a
bar,
that
is
not
who
I
am.
[A]
brand
should
be
true
to
who
you
are.”
(Segal
2012)
Before
Winfrey
showed
the
strength
of
her
brand
when
she
topped
Forbes’
“List
of
Highest-‐Paid
Celebrities
for
2012,”
Segal
was
still
championing
Winfrey’s
brand
to
be
strong
despite
the
failing
numbers
of
her
network.
Segal
found
the
strength
of
her
brand
to
be
in
the
other
business
ventures
besides
television
and
says
her
brand
remains
untouched.
“I
still
have
major
brands
dying
to
just
use
the
name
OE,
the
name
of
her
events
group.
I
would
die
a
happy
man
to
have
ownership
of
that
site;
it’s
one
of
the
top
ones.”
(Segal
2012)
Despite
the
failing
numbers
of
her
network,
Winfrey
still
topped
Forbes’
list
and
undoubtedly
proved
the
strength
of
the
Oprah
brand.
Mayer
says
it
has
to
do
with
Winfrey
realizing
what
people
wanted.
“One
of
the
things
about
strong
brands
is…can
let
the
brand
down,
and
it
will
not
crumble.
She
didn’t
get
into
a
huge
scandal…[She]
wanted
to
do
other
things
and
realized
she
couldn’t
do
it.
That
was
long
enough
to
hurt
the
brand
but
not
destroy
it.
It
can
easily
be
reviled.
That’s
the
sign
of
a
strong
brand.”
The
OWN
Network
declined
to
comment
on
Oprah’s
brand.
(Mayer
2012)
22
Host-‐journalists
walk
a
fine
line.
Like
the
preceding
journalists
of
their
time,
they
have
an
audience
to
consider.
For
Mayer
who
is
able
to
access
the
situation
from
a
marketing
and
journalistic
standpoint,
the
glory
years
for
journalism
were
only
a
brief
respite
for
what
journalism
was
always
fated
to
be:
subservient
to
the
interests
of
the
public.
“The
early
70’s
and
80’s
were
a
very
anomalous
time;
journalism
was
high-‐minded.
There
was
an
audience
who
wanted
to
read
serious
issues.
But
if
you
go
back
earlier,
it
was
scandalous.
[Serious
journalism]
was
a
very
temporary
thing.
I
think
the
audience
was
never
really
there
for
the
serious
stuff.”
Unlike
the
journalists
before
them,
host-‐journalists
are
here
to
market
themselves,
not
the
stories
they
write.
Whether
narcissistic
in
nature
or
not,
host-‐journalists
cater
to
a
public
insatiability
for
content.
It
just
happens
to
question
the
purpose
of
these
individuals
who
are
no
longer
watchdogs
for
the
public
interest
but
a
show
ponies
for
public
desire.
23
Bibliography
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Kenneth.
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George
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News.’”
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August
31,
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joyce
Goldman,
Leah.
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10
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June
6
,
2012.
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Ken.
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03/discoverys-‐oprah-‐problem
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AAAIBAJ&sjid=PckEAAAAIBAJ&pg=1217,3731356
Abstract (if available)
Abstract
The television hosts of today face a challenging media landscape. Many people label a host as the “face” of a certain show, unaware of how the world of hosting has changed drastically. There are two types of hosts. The first type is host-journalists who have experience in journalism and are transitioning into hosting. The other type is celebrity-journalists whose strong level of fame has allowed them to pursue hosting. When hosting originated, television personalities were limited from pursuing other jobs due to the contractual limitations. Now unbound by a contract, today’s host must be able to transcend multiple platforms and garner exposure across multiple demographics from stay-at-home moms to media savvy teenagers. The top hosts wish to build media empires, which consist of multiple projects including endorsements, shows, books, appearances, and production companies. As a result, most host-journalists must brand themselves. Through branding, hosts-journalists desire to maintain their journalistic side
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Heels, microphones, and unlikely heroines: comparing the female broadcast journalist in the fiction of Sparkle Hayter and Kelly Lange
Asset Metadata
Creator
Rogers, Claudette Tramble
(author)
Core Title
The branded journalist: how journalists pursuing hosting are gambling on a brand to get a piece of the media landscape
School
Annenberg School for Communication
Degree
Master of Arts
Degree Program
Specialized Journalism
Publication Date
12/11/2012
Defense Date
08/22/2012
Publisher
University of Southern California
(original),
University of Southern California. Libraries
(digital)
Tag
branding,multiplatform,OAI-PMH Harvest,television hosts,television personalities
Language
English
Contributor
Electronically uploaded by the author
(provenance)
Advisor
Murphy, Mary (
committee chair
)
Creator Email
rogers.claudette@gmail.com
Permanent Link (DOI)
https://doi.org/10.25549/usctheses-c3-124931
Unique identifier
UC11291373
Identifier
usctheses-c3-124931 (legacy record id)
Legacy Identifier
etd-RogersClau-1384.pdf
Dmrecord
124931
Document Type
Thesis
Rights
Rogers, Claudette Tramble
Type
texts
Source
University of Southern California
(contributing entity),
University of Southern California Dissertations and Theses
(collection)
Access Conditions
The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...
Repository Name
University of Southern California Digital Library
Repository Location
USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA
Tags
branding
multiplatform
television hosts
television personalities