A cease & desist forced Kansas stations to abandon “The Rock of Kansas” branding. Audacy has owned the “Rock of Kansas City” trademark since 2000.
What We Know Murfin Media launched the “Rock of Kansas” format across five Kansas stations in March: 94.9 KIND-FM (Elk City/Independence), 97.7 KSNP (Burlington), 105.5 KKOY-FM (Chanute), 1340 KSEK/107.9 K300DE (Pittsburg), and 1550 KWLE (Winfield). Moreover, Audacy sent a cease & desist letter citing its longtime trademark on “The Rock of Kansas City” for 98.9 KQRC in Kansas City. By midday today, the stations scrapped all imaging. Currently, hosts are either calling themselves “Today’s Classic Rock Station” or reverting to prior branding like “The Dawg.”
What They SaidNycki Pace, the Murfin midday host and former KQRC personality, posted a lengthy Facebook response to the shutdown. “The handful of people behind this with Audacy KC are petty,” she wrote. Additionally, she argued that Audacy’s legal move was disproportionate: “Audacy taking the time to present a legal issue with The Rock of Kansas (that you can barely hear in city limits) is a joke and honestly embarrassing.” Notably, she accused Audacy of deliberately suppressing her voice in the Kansas City market.
What Remains Unclear Neither Audacy nor Murfin Media has commented on the dispute. It’s also unknown whether Murfin will pursue alternative branding or further legal action to challenge the trademark claim.
What It Means Yeah, basically, you can’t do that—Audacy called them on the carpet for it. Look, direct competition probably doesn’t exist here, but needless to say, Audacy’s protecting their rights, which sits squarely in their domain. That comment button won’t be popular, but Audacy definitely needs to protect what they own. Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.
Friday was a crazy day in the radio business. It started with Damon Amendolara announcing his exit from SiriusXM’s Mad Dog Sports Radio. 104.3 The Score in Chicago was next, revealing changes just before our 5pm newsletter dropped. Then, after dinner, I received an email that Pat Paxton was leaving Saga Communications. All three of those stories appeared first on this website. Some didn’t like that we broke the news.
I realize that when we publish a story, news gets amplified. It creates more attention and reaction to a brand’s decision. But unless our information is wrong, we’re going to stand by what we report. You may not love that answer, but our responsibility is to keep the industry informed. We don’t play favorites, we stick to reporting the facts. Company leaders become nervous when decisions are made. They expect the details to remain quiet. But once news is shared with others, leaders should assume it’s going to get out. It always does.
And that brings me to a key part of this column.
The media industry uses its airwaves to share news, opinion, and comedic banter about the lives and daily happenings surrounding teams, athletes, political figures, actors, musicians, celebrities, comedians, and others in the public spotlight. We expect those high profile folks to just deal with it when they’re the center of attention, but when broadcasters become the news, there’s a code of silence expected from industry trades. Some outlets even comply to protect friends.
Sorry folks, but that memo never reached my inbox. If it did, I’d press delete. Ignoring decisions that affect brands, companies, individuals, and those doing business with them is an unrealistic expectation. To ask for or expect that type of treatment is professionally insulting.
When Cumulus Media recently cut ties with Greg Papa as he was battling cancer, few industry outlets offered opinion or deeper coverage of the story. Some simply wrote two sentences about the news. In my opinion, that’s weak. That’s not covering the news, it’s hiding the news. I expressed my disappointment with how the situation was managed, and called on Cumulus Media CEO Mary Berner to address it. She still hasn’t said a word. Neither has Andy Hobson, Elizabeth Abrams, Deborah Farrington, David Tolley, Steven Galbraith or Carol Flaton. Those are Cumulus Media’s Board of Directors.
When a company’s top brass stands idly by during a mess like this, it suggests they support it. If any of them don’t, they should say so. But leaders often dodge these issues because industry outlets protect them and mainstream newspapers don’t care. I don’t enjoy the additional conversations and headaches that come from elevating sensitive issues but someone has to call balls and strikes. If it can happen to Greg Papa, it can happen to you too.
Having said that, if Cumulus has a strong quarter, promoted someone internally or delivered a ratings win or promotional success, we’d report that too. Depending on the news, I might even write a complimentary column on it. I can be critical of one decision, and complimentary of the next. It’s rarely personal for me, unless someone makes it so. Sometimes you’ll love my commentary. Sometimes you won’t. But if two recognized groups do the same thing, we try to treat them with the same amount of attention. Consistency matters.
Fortunately, hundreds of thousands of people read us each month. Our videos recently eclipsed one million views in a month. Our newsletters reach nearly 50,000 people every morning and evening. Those subscribers include thousands across the world of advertising, TV and streaming companies, radio, podcasting, schools, political offices, sports teams, tech companies, and many others invested in the media business. We have to be fair to everyone. If you don’t want negative news reported, don’t create it. If you want more positive stories told, produce them.
Our mantra is to celebrate, educate and challenge the media business. Whether we’re celebrating, educating or challenging though, depends on the news. I’ve shared opinions many times that folks I’ve done business with would prefer I avoid. Those are the hardest pieces to write. I don’t want to lose friendships or business with folks I like, trust and respect but I won’t have our brand controlled and influenced or our editorial decisions decided by folks outside of our walls. When you own the company and cover the expenses required to run it, you can do that. Until then, I’ll make the final call.
Whether you love my decisions or don’t, I don’t force you or charge you to read our content. You choose to click on it. I’m hoping that’s because you respect our team enough to read the information and absorb our perspectives. If you read us regularly, I’m confident you’ll find the coverage to be honest, accurate, fair, and consistent. I love this business enough to praise its best and call out its worst. If you want us to look away when business malpractice is committed, you’ve come to the wrong place. We won’t do that, so don’t ask. I don’t tell you how to run your business, so please respect how we choose to run ours.
If radio industry leaders can’t be transparent, honest and accessible to an outlet that champions its value, what’s going to happen when they’re facing questions from groups who’d love to see their business collapse?
A Shitty Question
I was in Florida, Ohio, Missouri and California during the past month. While traveling, I was asked if I was involved with the Shitty PD and Shitty Radio Jock accounts on Instagram. The question surprised me, but I answered it emphatically, no.
I’ve run Barrett Media since 2015. Those accounts according to Google launched sometime after 2020-2021. I’ve never run from putting my name on my opinions regardless of the subject. The Shitty accounts can be entertaining, but they are not mine. We have run two pieces on the site previously submitted by the Shitty account, but I don’t have the time, energy or interest in creating content under an alias. Whether you like my style or not, my work always displays under my name.
Quick Hits
Barrett Media is releasing its first Top 20 in Advertising the week of October 5-9. My thanks to the Locked On Podcast Network for signing on as our presenting sponsor of the series. Decision makers, sales managers, and advertising professionals, keep an eye on your inbox for details this week.
The Jason Barrett Podcast is returning in mid/late October. I’m looking forward to getting back behind the microphone and talking with a number of talented people. We’ll start recording conversations in mid/late September to make sure the rollout is strong.
Damon Amendolara is too talented of a host to be on the sidelines. Mad Dog Sports Radio has a different vision for where it wants to go. That’s OK. This isn’t about whether or not they made a good or bad move. I’ve watched D.A.’s career and previously tried to hire him. There are just some people who you know are going to continue evolving and creating impact. Whether he does it on is own or for someone else is the only question.
Saga Communications is losing a talented executive. Pat Paxton is exiting after three-years with the company. Pat was a straight shooter who was passionate about the business. I worked with him for 4-years in San Francisco building 95.7 The Game for Entercom and what I appreciated most, is that even when we disagreed, he encouraged you to take a swing. He had my back often and removed the headaches and interference when things were standing in the way of progress. It allowed me to do some of the best work of my career. Forty plus years in this business is an eternity. Congrats Pat on an outstanding career!
The ‘radio is dead‘ crowd may not want to look at the social media reactions to the 104.3 The Score changes. It kills their narrative pretty quickly. There’s no shortage of passion and interest in The Score’s decision to move on from Mike Mulligan and Marshall Harris.
Aditi Kinkhabwala did an outstanding job interviewing Shedeur Sanders during the Browns-Bills preseason game this past weekend. She was well prepared, listened, asked short questions and moved the conversation forward. Her approach resulted in Sanders offering a ton of insight into his role, mindset, and competition with DeShaun Watson. Preseason football is often a snooze fest with little offered on the sidelines. Kinkhabwala’s exceptional work is ann outlier.
I loved this clip from The Breakfast Club last week. The group talked about YouTube stepping up to secure exclusive content after Netflix began luring popular brands and personalities away from the platform. Charlamagne Tha God sought a thank you for creating a more competitive landscape. It’s hard to argue against him. The show’s move to Netflix definitely made YouTube adjust.
On the flipside, the NABJ‘s decision to give a thumbs down to Stephen A. Smith felt politically motivated. You can disagree with Stephen A.’s opinions and style, but his impact in print, television, radio and digital has benefitted black broadcasters and journalists for decades. He has also done a lot to help the NABJ including taking First Take on the road to HBCU’s. The NABJ said Smith has a recurring public pattern of disparaging public commentary directed at prominent Black women across politics, sports and media. Stephen A. offered a rebuttal on his show, adding that he felt blindsided by the decision. He has every right to be pissed.
A shout out to Alissa Pollack, who was recently promoted to President of MediaBase. Alissa and her husband Robert checked off a bucket list item, spending a week on the road with Shinedown. They traveled with the band from city to city on their tour bus. The highlight was Robert joining the band on stage to play Monsters in Spokane, WA. Talk about an amazing life experience. The videos shared on Instagram were awesome. Well done by Shinedown and Team Pollack.
If you’re not following Bobby Bones on Instagram, start. His videos on content creation are absolutely fantastic. Industry pros will appreciate the reminders, but those in school or teaching the next generation should especially be paying attention. He’s providing great content to use with your next crop of students.
Props to WDAE in Tampa for a clever social post two weeks ago. As the Jayden Daniels #5 saga spilled out everywhere, the Tampa sports station got in on the fun, removing the #5 from their logo on Facebook Well done, fellas.
Condolences to the friends and family of Billy Ray Smith. The former Chargers Linebacker and former drive time co-host on The Mighty 1090 passed away in late-July. Billy Ray and Scott Kaplan formed a dynamic duo and enjoyed a lot of success together during their lengthy run in the market. A celebration of Smith’s life took place this past weekend.
The Associated Press is laying off 20 members of its U.S. based video production staff, moving their jobs to a new hub in India. Angela Fu of Poynter reported the news. Bloomberg is also expanding its presence in India, growing its staff by 30% there in the past three years. iHeart and Cumulus also previously outsourced traffic and billing operations internationally. If the quality of work remains unchanged, it’s hard to argue against the decision. Should the lack of familiarity with the U.S. result in headaches though, expect more negative attention. Time will tell if these groups have made wise choices or not.
Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.
Mike Mulligan is no longer with 104.3 The Score in Chicago. On Friday, the station cut the 23-year veteran along with midday host Marshall Harris as The Score undergoes another lineup change. It’s the third change in two years, following Danny Parkins leaving for FOX Sports in 2024 and Dan Bernstein’s departure in 2025. Change is the only constant in radio, and The Score is not immune from it.
However, Friday’s news regarding the departures of Mulligan and Harris struck a different tone.
After more than two decades with the station, Mulligan had been the morning voice since taking over the daypart in 2008. Eighteen years in Chicago morning drive doesn’t happen by accident. It’s a legacy of success, impact and connection that few, if any, in that daypart have matched.
That’s why this felt different.
Change Is Constant
I was there on day one for Mulligan and Brian Hanley in 2008 when the show was elevated to morning drive following the dismissal of the Mike North Morning Show. I was the lone holdover from North’s program because I decided to stay with The Score instead of investigating other opportunities outside the walls. It wasn’t an easy decision at the time for a 27-year-old who had his first child on the way.
Go with whom I know and am familiar with or stay and start over again.
From 2008 until my departure in 2011, I worked every weekday morning alongside Mike Mulligan, Brian Hanley and Executive Producer Dustin Rhodes, helping build the early foundation for what the Mully & Hanley show would become. It became one of the more successful sports radio programs in the market’s history. It was built on journalism, access and information, with a legacy formed through its impact on the audience.
Yes, the program experienced change throughout the years after I departed. Several people rotated in and out of my former position. Brian Hanley was let go after his contract wasn’t renewed. David Haugh, who worked alongside Mulligan covering the Chicago Bears, entered the show and became a natural extension of its branding.
Mike Mulligan is a Chicago sports media icon. A true sports journalist, his versatility had impact, from "The Sports Writers on TV,'' to the Sun-Times, through a tremendous career @thescorechicago. He has meant so much to my growth @mullyhaugh, for which I am forever grateful. pic.twitter.com/0orawnzNJ6
Change is the only constant in radio. Even with a couple of years left on his contract, Mulligan still departed.
Following the news, my phone exploded. Social media went crazy. Impressions, shares and comments appeared across every social platform. This wasn’t just a random cut. This was an impactful one. Radio is dead, huh?
The Rebound
The challenge now is how The Score rebounds. Over the last 21 years, Mitch Rosen has overseen all this change. He’s been doubted before. But every time, the station rebounded and elevated its game into a new evolution. That’s not a former employee kissing ass to his former boss. That’s just facts.
I see no reason why The Score won’t rebound from these departures because of the leadership surrounding it and more than three decades of equity supporting the brand. But Mulligan can rebound from this, too, because it’s only in his nature.
Mulligan joked with me via text following his departure that he first plans to attempt to erase the sleep deficit that has accumulated over the years in morning drive. After that accomplishment, there are options, and plenty of them, with the audience currency Mulligan owns.
I’ve watched that evolution firsthand.
The same person who shared with me stories of going from covering the public league to Michael Jordan then transitioned from basketball to becoming one of the market’s top insiders covering the Chicago Bears. He evolved from scribe to radio and television, with each step bigger than the one before it.
I expect no different from Mulligan with his next leap if he so chooses to take it.
We’ve seen it already with many top names in the top markets. Sports radio has handed some of its biggest stars to the digital content frontier, only to play catch-up to their reach and impact once they establish and plant their flag.
Could Mulligan begin a Substack and return to his first love of writing? Might Mulligan be an attractive target for digital platforms like 312 Sports, Barstool Sports or CHGO?
Whatever comes next, one thing is certain: Friday’s news was not the end of the story for either Mike Mulligan or 104.3 The Score.
Credibility Is Currency
For Mulligan, 23 years of building credibility, trust and an audience doesn’t disappear because of a business decision. His next opportunity will come with something every media company wants and few can manufacture: a loyal audience that already knows his voice, trusts his work and will follow him wherever he goes next.
The departure of a morning voice who spent 18 years defining the station’s sound is significant. It should be. But The Score’s identity wasn’t built by one person, one show or one era. It was built over decades by many people who understood Chicago sports, understood the audience and understood how to evolve when the industry demanded it.
That’s why this moment can be both an ending and a beginning.
Mulligan leaves with a legacy that gives him options. The Score moves forward with equity and institutional knowledge that gives it options. Both have been through change before. Both have reinvented themselves before. And both have something that cannot be taken away by a Friday afternoon phone call: relevance.
The reaction to Mulligan’s departure proved that.
Radio may be changing. Audiences may be consuming content differently. The platforms may look completely different five years from now. But when a broadcaster can create the kind of reaction that Mulligan’s departure generated, and when a brand can withstand decades of change and still command that kind of attention, there is still plenty of life left in both.
Mulligan will find his next chapter. The Score will find its next evolution. If history is any indication, neither will be defined by what happened on Friday.
They’ll be defined by what they do next.
Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.
For months, conversation around 60 Minutes and Bari Weiss has been dominated by one word: decimated. And honestly, it made sense at the time. When Sharyn Alfonsi, Scott Pelley, and Cecilia Vega were shown the door, and Anderson Cooper chose not to re-up, the instant reaction across the industry was that Weiss gutted a 57-year-old institution before even settling into her chair.
Those fears only grew louder when Weiss tapped Nick Bilton, a magazine writer with zero television production experience, to executive produce the broadcast. On paper, it looked like the final nail. A newsmagazine built on decades of institutional trust was suddenly handed over to someone who’d never run a control room.
Now, though, the dust has settled. And the roster staring back at us looks a lot different than the funeral procession many of us pictured a few months ago.
The New Faces Actually Hold Up
Ariel Levy, Ross Coulthart, Trevor Phillips, Gianna Toboni, and Sebastian Junger are joining the show, with Norah O’Donnell also contributing. Each one brings a real storytelling pedigree, and that matters. I’ve said repeatedly throughout this saga that narrative-driven, character-first reporting is the backbone of what makes 60 Minutes work. It’s never just been about breaking news first; it’s about telling a story better than anyone else can.
Junger built his career on immersive, book-length nonfiction. Toboni has spent years producing investigative documentary work. Coulthart comes from a decades-long investigative journalism background overseas. None of these hires scream “influencer stunt.” They scream reporter.
I’ll admit where I got this wrong. I fully expected Weiss to install her sister, Suzy, somewhere in the correspondent lineup, and I’d already drafted a column ripping that decision apart before it happened. I genuinely believed it would confirm every worst fear about nepotism swallowing CBS News whole.
It didn’t happen. Neither did the doomsday scenario where Weiss stacked the bench with MAGA-friendly personalities or brought in someone like Nick Shirley to chase viral clout over substance.
Reacting to Reality Instead of Fear
So maybe that’s the real lesson buried in all of this coverage. Maybe the smarter approach, when it comes to Weiss and CBS News, is to judge decisions after they’re made rather than spiral over what might happen next. The great philosopher, Seneca, put it well centuries ago: “We suffer more in our imagination than in reality.” Few situations in recent media memory fit that quote as neatly as this one.
That doesn’t mean Weiss and Bilton get a free pass going forward. There’s still plenty of legitimate skepticism to hold onto, and there’s still real “dumbassery,” for lack of a more polished word, worth calling out when it surfaces. Bilton remains an unproven quantity behind the scenes, and running 60 Minutes is a fundamentally different challenge than anything he’s tackled before. Execution, not casting, will ultimately determine whether this era succeeds.
But the preemptive hand-wringing that dominated coverage for months hasn’t aged particularly well. Consequently, it’s worth acknowledging that plainly instead of pretending the worst-case predictions came true anyway.
The correspondent group Weiss has assembled isn’t a retreat from journalism; it’s a bet on a specific kind of journalism. Whether that bet pays off will play out over the coming season, through ratings, through storytelling quality, and through whether Bilton can actually run a broadcast at this level.
Ultimately, though, the crew now in place doesn’t look like a program on its deathbed. It looks like a program mid-transition, with real reporters attached to real reputations. That’s a far cry from the collapse so many of us braced for.
Reports of 60 Minutes’ death, at least for now, appear to have been greatly exaggerated.
Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.
In modern radio, running two distinct formats in the same market is almost standard practice. The real challenge arrives when those stations represent nearly opposite ends of the demographic spectrum. Scott Morello has spent years balancing HOT 96.9’s hip-hop and rhythmic energy against WROR’s classic hits heritage—and making both sing.
His journey wasn’t linear. Morello came up through creative services, then spent formative years in Toronto learning the mechanics of branding on a bigger stage. He eventually returned to Boston, his hometown, now stewarding two of the market’s most important radio properties. We interviewed him to explore how creative chops translate to programming leadership, what it takes to evolve a legacy brand without losing its soul, and why “local” still matters in an algorithm-driven world.
THE ROAD TO THE CHAIR
Morello’s foundation was unconventional. He didn’t start in programming but in creative services—a path that taught him something foundational about how radio actually works. “I have been very fortunate in my career to have worked with some of the best radio programmers—Steve Rivers, John Ivey, Cadillac Jack,David Corey. I learned just by being around these great minds and seeing how they operated. You couldn’t get better branding and strategy training in Boston,” he says.
That immersion shaped everything that followed. “Early in my career they taught me the importance of station branding through imaging: motivating listeners with a station promo, making a deliberate word choice to evoke emotion, and giving the station a feel between the songs. Audio branding builds and reinforces attributes for positioning. It is a powerful tool, and I have a lot of respect for the producers and voice talent who make scripts into meaningful connections.”
Toronto came next—his first programming role at CHUM FM under David Corey. That three-year stretch was transformative. “It was my first programming role, so I learned a lot about blending art and science to create memorable brands,” he reflects. The market also provided real marketing resources. “We had a significant marketing budget which allowed us to leverage TV, billboards, poster boards, streetcar wraps, and other tools to maintain a huge presence in a big media market. It was my first direct exposure to all those channels, so I learned as we went.”
TWO BRANDS, ONE PHILOSOPHY
The real test came when Morello took on two entirely different stations. HOT 96.9 is rhythmic and contemporary; WROR is heritage classic hits. The temptation might be developing separate playbooks. Instead, he found a common thread.
“First, everything comes back to branding, no matter the format or product,” he says. “Deliver on the listener’s expectations, then reinforce those attributes with on-and-off-air marketing. Next, create revenue opportunities that help our clients and partners succeed. It is important to create opportunities that feel natural within each brand.”
The consistency doesn’t mean identical stations. Rather, it means the same diagnostic approach. “I don’t shift between the two identities. The brand is always top of mind for me. Everything passes through that brand filter. When I first got to WROR it took me some time to understand the depth and legacy of the brand, especially since the station had recently shifted musically.”
HOT 96.9: AUTHENTICITY AND ENERGY
HOT 96.9’s positioning—throwback hip-hop with current tracks—seems deceptively simple. In execution, it’s far more nuanced. The station doesn’t dwell in nostalgia. “HOT 96.9 isn’t about when songs came out and what was happening at that time, so we don’t look to keep nostalgia strong. The throwbacks are still relevant today. Look at the list of Super Bowl halftime performers over the last decade, all drawing massive audiences. We play most of those artists on HOT 96.9. Our on-air team talks about current events, not ‘remember when’ moments,” Morello explains.
What truly sets HOT 96.9 apart, though, isn’t the music—it’s the people. “This is the easiest answer: Ramiro, Melissa, and Leroy. They are legendary in Boston. Born and raised here. Ramiro and Melissa have been on the air together for 25 years this month.” That authenticity extends beyond the mic. Leroy has become a trusted voice in the community, adding depth to the morning show’s connection with listeners. “They are the definition of authenticity with deep Boston roots. Plus, their social media extends the show throughout the day with show clips, viral videos, Boston topics, and behind-the-scenes moments.” In an era when streamable music makes every station technically dispensable, personality and local culture become the irreplaceable commodity.
WROR: EVOLUTION WITH CARE
WROR presents a different challenge. The station doesn’t need building—it needs evolution of a brand already woven into Boston’s culture. Morello approaches it carefully. “Like most classic hits stations, WROR has evolved over the last seven years to play songs into the 1990s and 2000s. It really is about playing the right songs that people want to hear and that fit with the rest of the library. WROR is a customized playlist specifically for Boston listeners. Given the audio landscape, local is an important differentiator for radio.”
The morning show matters deeply here. Lauren Beckham Falcone—known on-air as LBF—has been a fixture at WROR since 2011, originally joining the legendary Loren and Wally show before partnering with Bob Bronson. Her new co-host, Adam Chapman—Adam-12—brings a different sonic heritage, having worked at rock station WBCN and alternative WFNX before producing at The Sports Hub. Together, they’re taking a collaborative, non-argumentative approach that focuses on finding the absurdity in current events rather than creating conflict. Producer Aaron Natti, a holdover from the previous show, remains instrumental in the operation. As LBF explained in recent interviews, the goal is to grow the show’s reach by welcoming diverse audiences rather than pigeonholing listeners. “Their producer Aaron works behind the scenes to find topics that connect with our Boston audience, not just off a prep sheet.”
WHAT MAKES THEM WIN
When asked what separates his stations from competitors, Morello points to one thing: “Personalities and strong, clear brands. Both stations must be more than a jukebox. Listeners can get that from an app, so the content around the music is just as important. Talk breaks, contests, sweepers, and songs combine to create the brand.”
Local presence matters too. “Boston is such an active city that it is easy to be local. Connecting with the community is key. It’s not just talking about these great events, showing up for the city is important. WROR has partners with the Pan-Mass Challenge to raise money for cancer research. Last year the PMC raised $78 million! That is huge.”
STEWARDING FORWARD
What strikes you most from interviewing Morello is the absence of complacency. Despite running two successful, profitable stations, he’s still asking hard questions. “Brands need to be nurtured. As the keeper of the brand, I’m constantly asking questions: Did listeners’ needs change? Did the marketplace change? How can we adapt to meet those changes? How can we better position ourselves for now and the future? Are we visible across the right media channels to maintain a leadership position?”
He’s not resting on what his predecessors built. He’s stewarding it, evolving it, and protecting it against erosion. That’s why both HOT 96.9 and WROR remain healthy in a fractured audio landscape.
Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.
It was just over a year ago that Beasley Media Group’s 97.5 The Fanatic elevated Bill Colarulo to become the new voice of afternoon drive. At the time, the former lawyer-turned-sports-talk talent had only been with the station for just over a year. In fact, he had only been in sports media for less than four years. Yet, in the fifteen months since being elevated to drive time alongside Ricky Bottalico, Colarulo has reflected on a year of growth, change and a role that he always desired.
“I work a lot harder now than I ever did as a lawyer,” says Colarulo. “I’m very happy with the first year of the show, but I’m nowhere near satisfied. I want to keep growing. But one year in, I’m really proud of staying true to what we wanted the show to be. Based in real sports talk and genuine opinion as opposed to manufactured debate or topics.”
The basis for being a lawyer is building a narrative around the facts of a case. Turning evidence and rules into a compelling and clear human story. For Colarulo, the foundations he learned while practicing law provided him with a runway for early success in sports radio.
However, he admits the show remains a work in progress even a year later. After serving less than a year as the co-host alongside Mike Missanelli, Colarulo is still learning to adjust as the ‘A talent,’ navigating that narrative-building process and putting in the extra hours to prepare compelling content for the listening audience of Philadelphia. Even in self-assessment, there’s still room to grow.
“We need to find more ways to show our personalities more heading into year two,” explains Colarulo. “Sometimes it’s hard to show that. People think I’m serious, which I’m really just the complete opposite. That’s what we’ve been working on the most. Letting people in to know who we are as human beings and showing that personality.”
Since starting in afternoons just over a year ago, there’s been no shortage of sports happenings in Philadelphia to draw an audience.
Each of the four local professional teams made the postseason for the first time in fifteen years. Philadelphia was also home to the MLB All-Star Game and the World Cup this summer. Then last month, LeBron James took his talents to the City of Brotherly Love.
“We have always been a football city first. The Eagles have always felt like the king. But right now, it does feel like the Sixers are right there with them,” noted Colarulo. “Based on the engagement we’re getting in regard to the program and social media. A lot of people in town are fully invested in the 76ers.”
97.5 The Fanatic serves as the flagship station for the Philadelphia 76ers, as well as the Flyers of the NHL. However, the opportunities to capitalize on James’ arrival in Philadelphia are plentiful, which makes for another adjustment Colarulo is planning to make in his content approach this coming fall.
“This year is going to be pretty balanced between Eagles and Sixers as far as content. Our plan is Eagles in season on days after games. That’s has been and still is my first team. Football is king. But with where the Sixers are and how big of a story it is, we’re going to be talking a lot of Sixers basketball,” said Colarulo. “For the first time ever, it’s going to be very close in balance of Eagles content versus Sixers content.”
Following James signing with Philadelphia, 97.5 The Fanatic rebranded temporarily to 97.5 LeBron. The airwaves were filled with celebration, joy and happiness. It was an opportunity Colarulo felt was a rallying cry throughout the city and in every program on the radio station.
“Make The Switch”
The moment also provided fuel for an initiative that Colarulo started when he took over afternoon drive last year. In an effort to gain traction with his new listening audience, he began a campaign simply called Make the Switch. A promotional campaign in which Colarulo attempted to position the approach of the content on his program compared to his direct competitor at SportsRadio 94WIP.
Now, one year later, Colarulo says the campaign, from his standpoint, has been effective.
“What’s made the campaign effective is how genuine it is. There are a lot of people in the city of Philadelphia who have grown tired of the manufactured and disingenuous opinions just to get phone calls. You can only insult the intelligence of the Philadelphia fan base for so long,” explained Colarulo. “We just want them to know there’s a better alternative.”
What started as a singular mission statement on a singular program has now expanded to every daypart on the radio station. It’s no secret to Colarulo that The Fanatic is very different than when he took over just a year prior.
But with the additions made to the lineup and how it’s currently arranged, Colarulo feels true momentum behind his campaign, especially when LeBron James was headed to Philadelphia.
“It reached a boiling point on the LeBron James signing. We understood at the station that this isn’t about us. It’s about Philadelphia fans. They want to celebrate this. This is a big deal for the city, the Sixers and the fanbase. We wanted to give them a platform to celebrate and enjoy it,” said Colarulo. “The other station did the complete opposite. That’s fine if you feel that way, but it wasn’t about you as a host… That day we felt a huge surge of people who made the switch.”
Defining Success Through Change
Any station or show can have a good day, but the key to making an impact is feeding off the momentum those moments give you. Colarulo learned that very premise during his time working alongside Mike Missanelli, who departed The Fanatic just months following Colarulo’s move to afternoon drive.
Radio is a relationship business, and Colarulo still considers his former on-air partner a friend and one of the names on the Mount Rushmore of Philadelphia sports radio. To this day, he still receives feedback and support from Missanelli before, after and sometimes during shows.
But Missanelli’s exit was one of a number of roster changes the station made over the last year. Jon Marks returned to middays, followed by Sean Brace. Then local evenings went away to syndication, and John Kincade stepped down from morning drive. Just last week, Marks shifted to mornings to co-host alongside Andrew Salciunas, with Ray Dunne elevated from producer to midday co-host with Brace.
“You can only control what you can control,” explained Colarulo, who recently lost his executive producer Sylvana Kelleher after she stepped down last month for personal reasons. “Change is difficult. But the lineup that we have now, it might be the best lineup we’ve had in quite some time.”
Following the announcement of John Kincade departing morning drive, Colarulo says there was never a consideration to shift the program to the morning daypart. The reason, he said, was simple: The amount of growth that the station has seen since Colarulo took over the daypart.
“We’re starting to carve out a solid afternoon audience. Our show is simulcast on NBC Sports Philadelphia. Those viewership figures have significantly increased as well,” said Colarulo. “I look at the data a lot to figure out what’s working and what’s not. But the Nielsen ratings system is extremely flawed. It’s an archaic model. But we’re seeing massive growth in other areas that matter more for a modern audience. There are so many other factors outside of Nielsen.”
It’s a common theme that every new show should be allowed 15-18 months to grow. Then you adjust based on your findings. That’s exactly the plan for Bill Colarulo.
For Colarulo, year two is less about proving he belongs in afternoon drive and more about building on the foundation he and Bottalico have established. The audience is growing, the station has found a new rhythm, and Philadelphia continues to provide no shortage of stories worth talking about heading into the fall.
There will be more change, more challenges and undoubtedly more moments that test the show. But after navigating a rapid rise, a changing lineup and the departure of people who helped shape his first year, Colarulo enters year two with a clearer understanding of what he wants the program to become.
“I’m not satisfied with just competing. I want to win,” stated Colarulo. “I want our station to not just be relevant, but be one of the best sports stations in the country. We have an opportunity to do that.”
Colarulo has already made the switch from practicing law to practicing the art of sports radio. Now, the goal is to make the next switch: turning a promising first year into a lasting presence in Philadelphia sports media.
For Colarulo, that may be the most telling part of the journey. The first year was about establishing himself. Year two is about finding out just how far he can take it.
Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.
Reductions in force (RIFs) are nothing new to the radio business. There was a great deal of consternation over the firing of Greg Papa from Cumulus’ KNBR in San Francisco, considering that he’s dealing with a serious cancer fight. Jason Barrett wrote a long piece on it, and he’s not the only one. Plenty of recent Cumulus employees are now former employees as well, and hopefully they’re in better health than Greg Papa.
Regardless of how the economy and the stock market are doing, radio is in a recession. In the second quarter of 2026, every publicly traded radio company’s revenue was down, except in one case where the radio division was down while overall revenue was up slightly. Cumulus and Beasley were both down nearly 10% in Q2 revenue versus 2026. Urban One and Saga were both down year over year.
Now that Audacy is private, we don’t know how the number two radio company performed, nor do we know about Connoisseur Media, which is also privately held.
Radio Can’t Cut Its Way to Prosperity
Times are tough for our business. As it’s often said, you can’t cut your way to prosperity. Sometimes reducing the headcount is needed, but this has been consistent in radio for a long time and, based on the results, doesn’t seem to be the answer.
Here’s an idea: how about if we prove that radio works beyond the data? Pierre Bouvard and his Audio Active Group at Westwood One have turned out wonderful pieces. The RAB does as well. Yet the revenue keeps dropping.
Why not pick a mid-sized market and have one operator go all out? Personalities on all day, live and local. Even in the evenings. Budgets for promotion and research. Lots of local liaison — in other words, the way radio used to be when it was successful. Maybe the companies contribute a few stations to a consortium, get top-notch folks to run it, and see what happens. I don’t know if it will work, but if cutting, great data, and stories aren’t improving the situation, why not try what lots of radio people already believe?
Next, it may not be publicized, and if I’m wrong, so be it, but I haven’t heard many top folks at publicly held radio companies say, “Our companies aren’t doing well. I’ve made a lot of money, so I’m going to work for a greatly reduced salary and benefit package until we can turn this around. That might save some jobs in my company.”
Executive Tenure and Leadership Change
Perhaps it’s even time for changes at the top. According to Russell Reynolds, which tracks such things, the average tenure of a departing CEO in the first half of 2026 was 9.0 years, up from 7.1 years for all of 2025. Let’s consider the radio industry.
Audacy replaced David Field with Kelli Turner as the post-bankruptcy CEO early last year. Field had been CEO of Audacy (previously Entercom) since 2002 — a span of over 22 years.
Mary Berner is wrapping up her 11th year as CEO of Cumulus. One could blame the first bankruptcy on the Dickeys, but the second one is on her and her management team.
Last week, I celebrated my 72nd birthday. I’m not feeling that old, and I don’t think I look 72, although those of you who know me might argue otherwise (the picture used with the column is 13 years old, so don’t go by that). But even at 72, I’m a few months younger than Bob Pittman, assuming his Wikipedia page is correct. Bob has had a fantastic career, both in and out of media. But he has been at the helm of iHeart for almost 15 years. Notice a trend here?
AM Radio and Nielsen’s Diminishing Role
Every week, we see trade press blurbs about companies turning in AM licenses. That’s why we need AM in every car, because these stations aren’t worth enough to the licensees to keep them on the air. Don’t blame the NAB for pushing this initiative on Capitol Hill. The organization does what its board, mostly elected by broadcaster members, tells it to do. If the priorities of the NAB Board change, the NAB’s priorities will change as well.
Then there’s Nielsen. It seems that the company has let go as many people on the audio side as any group owner. In the meantime, Nielsen and Cumulus keep battling in court. Does this help our industry at all? Can’t something be worked out to the benefit of both sides, rather than to the benefit of their respective high-end law firms?
For that matter, when was the last time you heard about Nielsen doing anything for the radio/audio business? A press release here and there?
You may have read that the RAB, along with NuVoodoo Research, is doing a study of audio account executives. Why isn’t Nielsen involved? We did a similar study at Arbitron back around 2001, on the company’s dime. Go back and look at studies conducted by Edison, Coleman, Jacobs Media, and others, all paid for by Arbitron. Remember the Consultant Fly-Ins? Arbitron paid for it if you could get yourself to Maryland. Perhaps that was a different era, but it showed the concern for making the industry stronger.
I’m not sure any of these ideas will solve radio’s long-term issues, and you may have other good ideas. What I think we can agree on is that the status quo isn’t working.
Let’s meet again next week.
Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.
Typically, when you hear someone say they are “living the dream,” it is the height of sarcasm. Most people saying this are likely doing anything but actually living out their childhood dreams. That’s why when you come across someone like Chuck Armstrong who is actually, honestly living his dream, it’s a story worth telling.
Armstrong is currently serving in a dual role for Townsquare Media as VP, Content Operations and the host and Show Runner for the syndicated nighttime Rock show Loudwire Nights. These two roles fit him perfectly because he is fueled by two somewhat separate but certainly equal passions: the radio industry and Rock music.
Both passions began at an early age. Growing up in what he describes as middle-of-nowhere Kansas, he was heavily influenced by his father’s lifetime love of music. “I grew up surrounded by music and records and hearing stories about my dad seeing Black Sabbath in Kansas City in 1972.”
Moreover, he could pick up KQRC, known as 98.9 The Rock, out of Kansas City where he discovered a love for the medium. “Listening to The Rock led to me developing this massive passion for Rock Radio. I remember listening to Johnny Dare every morning driving to school and frequently being late because I didn’t want to turn the radio off.”
Yet it took a while for Armstrong to realize his passion could also be his career. “It wasn’t until I got to college at Kansas State that I even realized radio or music was a job that you could have,” Armstrong says. In the commons at Kansas State, he saw the college station 91.9 KSDB-FM recruiting students. This became his epiphany. “The guy behind the table said, ‘hey, you want to DJ?’ And it just clicked. Then I realized that of course, people have this job because I grew up listening to it. That changed my life.”
From there, a fairly familiar progression followed. He became Program Director of the college station. Subsequently, he interned at several places including Entercom in Kansas City, which he parlayed into a first job working for the cluster that included the station he grew up on, KQRC. “It was like a dream I never even knew I had. I just love the medium of radio. And it wasn’t just wanting to be on air. It was just wanting to be part of it in whatever way.”
Representing the Website
That desire to be in the business in any way possible eventually led to Townsquare. There, he has worked at the corporate level in a number of different capacities and taken over both host and show runner duties for their syndicated nighttime Rock show Loudwire Nights.
The show was launched in 2014, and Armstrong was part of the team that built out the initial concept. This included working with Kevin Vargas, Program Director at KLAQ/El Paso, and original host Full Metal Jackie.
The goal of Loudwire Nights is to be an audio extension of the website with the same name. “Loudwire.com was not very old when we launched the show, but it had already grown to be a go-to site for Rock fans,” Armstrong says. “That’s a huge part of what we want the show to be as well. The source of information about rock.”
So, while he plays a lot of music each hour, Armstrong wants what comes between the records to be what sets the show apart. “We’re always trying to make sure we’re delivering on what Loudwire has been known for, but in a unique way that connects with the listener and makes them bigger fans of the music, the artists, and the whole genre.”
However, the website does tend to lean toward covering the heavier end of music in the Rock spectrum. Much of this music doesn’t fit well on the radio, a disconnect Armstrong is well aware of. “No one is reading every story on Loudwire.com, or any website for that matter. So, the challenge is how do we give listeners the best of the best on the radio show and leave room to dive deeper on the website. The answer, I think, is coming at it from a fan’s perspective.”
Representing The Fans
If anyone can host the show and represent the fans, it’s Armstrong. Even now, several years into being named the host of the show, he’s still traveling to events and attending an endless number of shows. “I love going to the machine shop in Flint and hanging out with the WWBN-FM family. I love going to the Upheaval Festival in Grand Rapids and hanging out with the WGRD family. I love going to Sturgis and hanging out with the KSKY family,” Armstrong says. “Having the connection of a local show on a national level is nearly impossible. But you can try. And getting to talk to the audience and hearing them say that they listen — that’s the personal outreach that reminds me why I love what I do.”
Another important part of both being a fan and representing the fans is the opportunity to interview artists. Armstrong appreciates having the opportunity to talk with the musicians he loves. Yet the focus remains on delivering for the audience. “I remember growing up being a listener hearing artist interviews, and how cool that was. Now we have access to bring the artists to the listeners, so I want to continue making that connection.”
He takes great pride in presenting interviews on the show. Moreover, he has modeled his approach after the person he grew up listening to, Johnny Dare. “He could have an engaging conversation, and make it relevant, make it funny, make it personal, make it emotional with anybody, whether it was a huge rock star or an actress in a movie that I’ll never watch. I think about that all the time. Especially because it was one of the reasons I was often late for school.”
Representing the Format
As the Rock format lead for Townsquare, Armstrong is responsible for working with all the company’s Mainstream Rock stations. This gives him a broad perspective on the state of the format. And when many others, including MTV who for the first time ever will not have a Video Music Award for Rock, are skeptical, he’s bullish on the music.
“I think the Rock format is healthy. I’m always listening to Townsquare stations and other stations and I’m excited about the music that’s playing and the health of the stations,” says Armstrong. “Specifically in the last couple of years it feels strong and legitimate. There is a good handful of bands that may not be staples yet but have become known quantities for radio stations.”
Typical of his fan-level approach, that opinion is formed by being at shows and seeing how people react. “At so many of the shows I go to for newer bands, like the ones we’re talking about, the crowds are packed in and singing every word,” recounts Armstrong. “Does that translate directly to radio? No, of course not. I understand that. But I do think there’s an appetite for this new music and I do think it can work.”
The difference between Rock and other genres of new music that may be struggling more to build fanbases are the artists’ stories. “I understand all the data that we have access to but I, more than anything, want to hear a good song. Then I want to know the story of the band or the singer. Where they’ve been, what they’ve done,” he says. “It’s cool to have a gazillion streams and I would never discredit that. But listeners care about connection. I think that’s pretty foundational to Rock and you don’t necessarily get that just because an artist has a gazillion streams.”
And that’s where hopefully Armstrong, and other hosts in the format, come into play. “Introducing a band is more than just adding a song. It’s interviewing the artist or having them in the studio,” he says. Additionally, that’s a strength of the format he loves. “I think the hosts on rock stations in general are some of the truest music-loving DJs. And I think that’s always been a very special part of the format.”
Representing the Classics
Don’t take all of that to mean Armstrong only believes in new Rock. “I do think new music is great right now. I think we’re in a healthier place than we’ve been. And I’m excited about that,” he says. “But that doesn’t detract from the incredible and critical importance of playing the artists who got us here, who brought us to the party. Elevating core artists and making them a part of that station.”
He points to how the format celebrated Ozzy Osbourne after his passing a little over a year ago. “There wouldn’t be what we have today without Ozzy. You can easily see how there wouldn’t be this band without Metallica or that band without Soundgarden or whoever. I personally love the connection of what we would call Classic Rock to new music. I think it’s something almost all fans and listeners connect with.”
And with the mention of Metallica, it becomes necessary to address Armstrong’s biggest fandom — his near obsession with the band. “Growing up with a dad and older brother who loved music there was just something about Metallica and pulling out the Master of Puppets CD or And Justice for All or listening to Load with my brother when it came out.”
That has led to a lifetime of fandom including launching his own weekly Metallica radio show. He has attended every special event Metallica has been part of over the years. “Watching this band tour after tour, year after year, just continue to grow and never get complacent or get tired is inspiring.”
Beyond the music, he loves how the band gives back. “Even if I didn’t love Metallica and wasn’t obsessed with them I would think that creating a foundation to just be at the ready to help communities is cool. Who doesn’t love a story about when an artist steps up and helps people in need?” Armstrong says. “That’s just one of the many reasons I think they are the greatest band in the history of the world.”
Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.
My social feeds spent Thursday (aka National Radio Day) full of old studio photos, career throwbacks and heartfelt posts about why radio matters. Stations, personalities and companies all joined in. Honestly, it was nice to see.
But the day is over now. And I keep coming back to one question: how can we make sure we’re still celebrating for many years to come?
We celebrated the right things. Now we have to prove them.
Scroll through enough National Radio Day posts, and you’ll see the same words again and again: local, personality, community, immediacy. Those aren’t just nice sentiments. They’re radio’s real advantages over Spotify, podcasts and every algorithm competing for the same ears.
Still, those words only mean something if they show up on a random Tuesday in October, not just one day in August.
Is your station actually local?
Radio loves to say “we’re local” like it’s automatic. It isn’t. After all, broadcasting from a tower in a city doesn’t make a station part of that city.
So ask the harder questions. Does your afternoon host know what’s happening around town this weekend? Does your station show up at community events, or just promote them? When something big happens locally, does your programming actually change?
I have been commuting lately as I’m back in an in-person 9-5 role for the first time since before the pandemic. Even with Google maps going, I still find myself looking for local traffic updates on the radio. On Thursday there was a massive accident during my commute home. I was impressed that Cat Country 98.1 WCTK/Providence was all over it on-air. Is it a sad world that I’m impressed with a jock immediately addressing something in the market live on-air? Maybe. But it felt SO local in that moment, that my radio nerd heart grew three sizes.
Here’s a test worth sitting with: if someone listened to your station for an hour without hearing the call letters, would they know what city they were in?
Having announcers isn’t the same as having personalities.
Radio also claims personality as an edge over streaming. Fair enough, but only if we’re actually developing personalities, not filling airtime between songs.
Do your listeners know anything real about the people on air? Do they know their opinions, their stories, their recurring bits? Is there an actual relationship with the audience? Or is it just liners and legal IDs with a name attached?
Last week I interviewed Kennedy of Mix 104.1 in Boston. She and her morning show co-host Karson have such a deep relationship with their listeners. It is really worth giving them a listen and hearing their authenticity come through on-air.
If personality really is one of our best advantages, then talent development can’t be the first line item cut when budgets tighten. Instead, it has to be treated like an investment.
Community isn’t a slogan. It’sa collective effervescence.
This is where radio can do something almost nothing else can. It can take an audience that normally exists separately in cars, kitchens and dentist’s offices, and physically bring them together in one place.
You don’t need a stadium-sized event for that, though. A small-market station at the town festival creates the same kind of connection as a massive concert. What matters most is that people show up because of your station. They felt driven to do so by a sense of community orchestrated by you.
If we’re the immediate medium, we need to act like it.
Radio’s oldest bragging right is being live and immediate. But does a station still have permission to break format when something actually happens? Breaking local news, a weather emergency, a hometown team winning it all, a beloved artist’s death… these are the moments radio was built for.
If we don’t sound live and immediate when it counts, then we’re handing away one of our biggest advantages for free.
We need to stop defending radio and start making it worth defending.
Here’s the part I think about most. Radio people spend a lot of energy insisting radio isn’t dead, that people still listen, that we still matter. All of that is true. Even so, the more we defend radio, the more we accidentally suggest it needs defending.
I asked this in a recent column, and I still think it’s the only question that matters: would anyone notice if your station disappeared tomorrow? Would listeners miss the morning show? Would the community miss the charity drive? Would a local business miss the partnership? Would an artist miss the platform?
In the end, that’s relevance. Not a slogan. A real answer to a real question.
Earning the next one
National Radio Day deserves to be celebrated. This industry has built careers, friendships and memories most of us never expected. But the best way to honor radio isn’t posting an old studio photo every August 20th.
The posts are done. Now let’s make something worth posting about.
Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.
Widely respected and accomplished radio executive Pat Paxton is exiting Saga Communications as the company’s Senior VP of Content. The announcement was made internally today at Saga Communications. Paxton joined Saga in June 2023 following a brief break after a 22-year run with Entercom/Audacy. His career stops include time spent in Boston, MA, Houston, TX, Orlando, FL, La Crosse, WI, Sioux Falls, IA, Hungtington, WV and Yankton, SD.
What We Know: CEO Chris Forgy shared the news with company employees via email on Friday. Paxton followed up with a note of his own to thank everyone for their collaboration and hard work. Forgy revealed that Ocala, FL OM Scott Chase, and Clarksville, TN OM Ryan Ploeckelman will co-chair the department moving forward, earning the titles of Group Program Director. Paxton will stay on through Friday, August 28th to help ease the transition process.
What They Said:Pat Paxton, SVP of Content (via an internal note to Saga employees):
Chris was gracious enough to allow me to reach out to you all to say a personal goodbye. I’ve had a long successful career in this business and I’ve loved every second of it. But I’m not as young as I used to be. I’ve been considering this for a few months and given the challenges Chris mentioned in his email, stepping away now makes perfect sense. Scott and Ryan are two of the smartest programming minds out there, so I am 100% certain the transition will be smooth and easy.
Five years ago, after running programming for Audacy for 22 years, I retired for the first time. I intended to stay retired, or at least semi-retired. Then in 2023 I met with Chris, Wayne, and Sam at the Embassy Suites in Detroit. I came out of that meeting thinking I might want to do this again. So I did, and it’s been a pleasure every step of the way. You will not find three more dedicated, compassionate, and insightful people anywhere else in this business.
To our Content Directors. You are the best. No one works harder than you. No one wears more hats than you. And you do it all with energy and passion. I feel blessed that I had the chance to work with and get to know you.
I will miss you all but feel like I’m a better person having worked with each of you.
What Remains Unclear: Paxton didn’t say if he was retiring but after entering the industry in the 1980’s, he has little left to prove. Saga hasn’t shared specifics of how Chase and Ploeckelman will operate moving forward or if their appointments include additional contractual adjustments. Forgy acknowledged in his internal note that the radio industry’s challenges were affecting Saga as well. Whether that will result in additional changes in the future is to be determined.
What It Means: Saga is losing a key programming executive with a strong reputation, a track record of success, and deep knowledge and skill. Chase and Ploeckelman will have big shoes to fill in helping steer the programming department forward through challenging times. For Paxton, is this it? If so, is he ready to turn the page on what has been a tremendous career? Pat’s views on the industry can be better absorbed in this excellent piece written previously by Keith Cunningham.
We wish Pat nothing but the best moving forward and offer our congratulations to Scott and Ryan as they step into their new roles at Saga.
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