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Three Reasons Why Tom Brady May Not Complete His FOX Sports NFL Agreement

John Mamola
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Three Reasons Why Tom Brady May Not Complete His FOX Sports NFL Agreement

How would you define Tom Brady? Hall of Fame football player? Businessman? Broadcaster? A jack-of-all-trades? Whatever you choose, there’s no denying he’s the highest-paid commentator in sports.

This season, Brady enters the third year of a 10-year, $375 million contract with FOX Sports. That’s $37.5 million per year. With 21 games on his schedule, Brady will earn roughly $1.8 million per broadcast. Brady’s services aren’t cheap, costing roughly $20 million more per season than his closest peer in broadcasting.

The NFL on FOX finished second in the late-afternoon window behind CBS Sports last season, despite producing its best viewership since 2015. Now, entering Year 3, Brady and FOX executives continue to face the same question: Will he finish the remaining eight seasons of his contract?

There are plenty of reasons to have doubts.

Conflict Of Interest

Let’s start with the obvious one: Brady is a minority owner of the Las Vegas Raiders. The NFL had to create rules specifically addressing the access he receives during game weeks as a network broadcaster. To his credit, Brady has complied with every NFL rule and regulation. But the optics remain.

Brady is an NFL owner receiving access no other owner at any level would receive simply because he works for FOX Sports. That creates an obvious conflict of interest. Other owners don’t have the same level of access without the opposing team’s consent. Brady gets it because he’s the face of the NFL on FOX.

Sure, the Raiders are terrible. But that won’t last forever.

Because of this, Brady has yet to call a game involving a team he owns. FOX has been fortunate not to face that situation with America’s Game of the Week. When it eventually happens, will the network pull him from the broadcast? I’d doubt it.

At some point, the obvious conflict will become increasingly difficult to mask with league rules and regulations.

Business Over Football

Then there’s Brady’s appetite for business. He dabbles in everything from sports collectibles to fashion and plenty in between. This year, he added investors to CardVault by Tom Brady, a sports collectibles retailer. He has also mixed it up with WWE superstars at Fanatics Fest and agreed to play in a flag football exhibition in Saudi Arabia, although that event ultimately fell apart.

With so many interests outside FOX Sports, Brady clearly likes staying busy in the offseason. He isn’t the typical broadcaster who takes the offseason away from the spotlight. Another way to view it is that Brady is building a post-FOX landing spot.

Even though he makes roughly double what his closest peers earn, his offseason focus often appears centered more on the Brady brand than FOX Sports.

Worth The Admission Price

Then there’s the revenue equation. FOX Sports and CBS Sports face a similar dilemma: Their highest-paid analyst isn’t necessarily better than their second option. Greg Olsen remains an established broadcasting star after FOX Sports moved him out of its top booth. At CBS, Tony Romo’s decline has coincided with J.J. Watt’s emergence as a potential future star.

This offseason, free agency could put Olsen back on the market, where he would likely have opportunities with any network partnering with the NFL. Could he potentially unseat Romo at CBS after this season? That’s a fair question to ask today than three months ago.

More importantly, would FOX Sports allow one of its former top analysts to go head-to-head with Brady? Would the network risk Brady and his massive contract being compared directly with the analyst it once viewed as its number two option?

Likely not. From a business perspective, that wouldn’t be a smart play.

Brady says he still has plenty to prove to himself, his teammates and FOX Sports executives. Hearing that after two seasons in the booth is positive. Hearing it entering Year 3, while making roughly twice what his closest peer earns and with FOX still finishing second, says something else.

FOX Sports currently pays $2.25 billion for its NFL rights package, and that figure will increase following the 2029 NFL season. If FOX remains in second place while paying more than double the market rate for its top analyst, the calls to reconsider that investment will only grow louder.

Tom Brady has never been cut from an NFL job. If these trends continue, this could be a first.

For all the success Brady enjoyed during his football career, there are valid reasons to believe his broadcasting career may not follow the same 10-year path he agreed to with FOX Sports.

The Raiders ownership creates a conflict. His growing business portfolio suggests his interests extend well beyond the broadcast booth. And if FOX continues paying a premium for a number one analyst who isn’t producing a number one audience, the financial equation becomes harder to justify.

None of that means Brady is failing. But eight years is a long time in sports media. Networks change strategies. Talent develops. Rights fees increase. Business priorities evolve.

The question isn’t whether Brady can fulfill the agreement. It’s whether, eight years from now, both sides will still believe they should.

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.

How AM 560 The Answer Built a Listener Event Around Afternoon Host Shaun Thompson

Garrett Searight
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How AM 560 The Answer Built a Listener Event Around Afternoon Host Shaun Thompson

AM 560 The Answer built Shaunfest from a modest afternoon meet-and-greet into one of Chicago radio’s most talked-about live events, and the growth shows no signs of slowing down. What began three years ago as a one-off idea centered on afternoon host Shaun Thompson has since ballooned into an annual gathering that draws well over a thousand fans and has become a cornerstone of the station’s advertising strategy.

The event’s rapid rise caught even its creators off guard. AM 560 The Answer Program Director Marcus Brown recently reflected on how a cautious first attempt turned into something nobody at the station anticipated.

“About three years ago, we were looking for some kind of an event to produce around Shaun Thompson, our afternoon host,” Brown said. “We had no idea what kind of a turnout we’d get the first time. The first venue we chose probably could comfortably seat 300 people. We thought, great, if we got 300 people on a Friday afternoon in September, that would be lovely. That’d be fantastic. And we opened up registrations. The event was totally free. We didn’t charge any ticket prices. We just turned on registrations about six or seven weeks in advance. And immediately, it just blew up. That first year we registered about a thousand people, and probably had about 1,100, 1,200 folks show up, and just blew us away. We just were not expecting it or anticipating it whatsoever.”

That surprise turned into a pattern. Attendance climbed the following year again, and this year’s Shaunfest pulled in roughly 1,400 people, according to Brown. The Program Director credited much of that continued growth to a factor outside the studio altogether.

From Beach Videos to a Bigger Crowd

Thompson’s reach has extended well past traditional radio thanks to a social media habit he picked up about a year ago. Brown explained how that shift has reshaped the audience showing up to Shaunfest each fall.

“He spends about half the year living in Florida, and about half the year living up here in Chicago, and goes back and forth,” Brown said. “And so he started doing this thing when he was down in Florida, where he’d get up in the morning and take a walk on the beach and just record himself talking about whatever happened to be on his mind on that morning. It’s two or three minutes of him just kind of talking about whatever the issue is. And he’d post that up on Instagram and Facebook and on Twitter. That thing just has taken off. I mean, he’s routinely getting 120, 150,000 views per video, and a lot of the people who are seeing that are people that are not in Chicago, are not in our market at all, and are like, who is this guy? What’s this all about? And have begun to kind of connect the dots that he’s a radio talk show host.”

As a result, out-of-state fans who discovered Thompson online have started making the trip to Chicago. Brown said Thompson spent two and a half hours shaking hands and posing for pictures after this year’s broadcast, greeting everyone from longtime listeners to a military veteran who presented him with an American flag.

A Personal Connection That Pays Off for Sponsors

Beyond the fan experience, Shaunfest has become a proving ground for local businesses testing radio advertising for the first time. Brown pointed to that dynamic as a major reason the event matters so much to the station’s bottom line.

“We had a dozen advertisers who sponsored this event and were on site. I talked to almost every single one of them, and they were just blown away by the fact that they were able to have as much traffic at their booth at this event as they did,” Brown said. “We had a couple of vendors who were kind of more retail-oriented sponsors. And there were a couple of guys that had to go back to their truck three or four times to bring more merchandise back to the table because they were selling out.”

That kind of return has convinced skeptical advertisers to keep coming back, Brown noted, since sponsors have told the station directly that their sales depend on Thompson’s endorsement.

Even with that success, AM 560 The Answer isn’t rushing to replicate Shaunfest across the calendar. The station already runs five or six local events annually. Brown said variety matters more than volume.

“I think that’s kind of the important thing — if you just want to do the copy and paste where you’re doing the same event every quarter, every month, it’s not going to work,” Brown said. “So we’ve created some very unique event opportunities.”

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.

The Opportunity Ross Tucker Didn’t Expect: CBS Sports’ Second NFL Booth

John Mamola
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The Opportunity Ross Tucker Didn’t Expect: CBS Sports’ Second NFL Booth

In the aftermath of Tony Romo’s arrest in Wisconsin on suspicion of operating while intoxicated, CBS Sports had several decisions to make. Even today, Romo’s future employment and standing with the company remain fully unknown. A week after his arrest, the network placed Romo on leave and elevated J.J. Watt to its top NFL booth. With Watt moving up, questions remained about who would replace him alongside Ian Eagle in the second booth. Enter Ross Tucker.

“A lot of people in the industry were happy to see someone who took the long, hard road be rewarded with an opportunity like this,” explained Tucker, who has been calling games with CBS Sports since his arrival in 2018. “People want to see hard work pay off. That says a lot about CBS executives promoting from within. That’s why we have such a great culture, because when opportunities come up, they have.”

Following a seven-year career in the NFL, Tucker chose to take the long road to his eventual success. He joined Sports Illustrated as a columnist in 2008 and began hosting sports radio programs on SiriusXM NFL Radio. He expanded his media profile by launching The Ross Tucker Podcast and added analyst duties calling games for CBS Sports Network, Westwood One and others.

Unexpected Opportunity

Because of the years he spent saying yes, building relationships and networking with so many people surrounding the game, the news of his elevation by CBS Sports was met with an overwhelming response.

“I got well over 400 text messages. It was overwhelming on so many different levels. It was really cool to see how many people truly cared,” Tucker noted. “A lot of times in the industry, there could be some jealousy with some who feel they should have gotten the opportunity. But it was cool to see firsthand the outpouring of support. My one wish in media was to call the biggest games possible. This year, I’m kind of there.”

By no means did Tucker ignore the circumstances that created this lineup shift at CBS Sports. Following the news of Romo’s arrest, he began receiving texts about what it could mean for his future with the network. Truthfully, Tucker admits he didn’t look inward at what the situation could mean for him until CBS Sports placed Romo on leave.

Days later, a phone call came from Ross Malloy. The senior vice president of talent, production planning and technology development for CBS Sports and CBS Sports Network.

“Ross [Malloy] called me, and I thought it was fitting. He gave me the opportunity to call my first games with CBS Sports Network in 2018,” said Tucker. “I was already excited about what my increased role was going to be this season. I was slated to call an NFL game every Sunday this season already. Then things changed for obvious reasons, but I’m grateful for the opportunity.”

Working With Ian Eagle

Tucker will share the booth with veteran play-by-play voice Ian Eagle. The two have worked together on at least 20 NFL broadcasts for Westwood One. Their established chemistry likely played a role in Tucker’s promotion to the second booth.

Because of his familiarity with Eagle, Tucker doesn’t feel any added pressure with the new role. The two have called standalone matchups featuring top teams together for years on Westwood One radio. While Tucker admits he may need to brush up on some pop culture references for television audiences, his process and approach likely won’t change. The added spotlight and larger audience should not alter his style.

What remains unknown is how long the pairing will last, which is likely dependent on Romo’s status with the network.

“Based on the conversations I’ve had with a bunch of people, nobody knows, and they’ve only announced Week 1. I think possibly because this is a legal situation, that’s all they’re likely to announce,” said Tucker. “It’s cliché, and it annoys me sometimes when players say it. For me, I’m just so focused on an incredible game between the Bills and the Texans. I’m sure whatever ends up being the situation, I’m going to cross that bridge when it comes.”

As excited as Tucker is for the opportunity he has been granted with CBS Sports, he’s even more excited for his CBS Sports teammate J.J. Watt. In the days following Romo’s arrest, Tucker hosted Watt as a guest on The Ross Tucker Podcast to preview the upcoming season. Tucker says neither he nor Watt were aware that Romo would be placed on leave by the network at the time of the podcast taping. He even admitted that he likely would not have conducted the interview if he knew that news was coming.

However, Tucker admired how Watt took on the role during his first season with CBS Sports, complimenting his approach, dedication and willingness to embrace the grind of the job.

“We communicated a number of times during the season last year. He would always reach out and ask if there’s anything I was seeing with teams I called that he was going to call. He’s on top of it,” said Tucker. “He sits in the front row and takes notes. It’s very clear how important this is to him based on how much time he’s putting in to being the best he can be. You must respect that.”

Navigating Added Balance

Now, as Watt’s replacement in the number two booth, Tucker doesn’t plan on pulling back on any of his other projects. He fully expects to continue producing episodes of The Ross Tucker Podcast every week and calling games for Westwood One radio to keep him sharp.

However, he notes that one element he will be pulling back on is guest appearances on radio stations and podcasts throughout the season. Tucker has annually made himself readily available for every request, with a focus on having fun and talking about football, a passion he has enjoyed for many years. His appearances have taken him from the smallest markets to becoming a top fill-in host for The Dan Patrick Show.

“The two most fun things I do. Calling games is my A. Filling in for Dan Patrick is my B. Because you’re reacting to live stimulus for both,” explained Tucker. “In a game, you never really know what will happen. That’s the thrill of it. When you fill in for Dan [Patrick], there’s an energy and pace to it as well. You react to it on the fly. You can plan what your segment may be, but the whole show could change in a second.”

With Patrick’s upcoming retirement in February 2028, Tucker says he hasn’t thought about the possibility of being the successor to the program. He loves every opportunity he has had to fill in, but stated that any discussion regarding Patrick’s retirement feels so far away.

A Front Office Future?

Although Game 1 in Houston on Sunday remains his sole focus, that doesn’t stop NFL teams from taking a look at Tucker for potential roles within their organizations.

Over the past several years, several NFL commentators and analysts have been sought out by NFL franchises. Matt Ryan departed CBS Sports for a role in the Atlanta Falcons’ front office, while Troy Aikman spent part of this past offseason providing guidance for the Miami Dolphins.

Tucker admitted he has had a couple of inquiries from franchises during his time working in sports media.

“I’ve always been more interested in the front office side instead of the coaching side. I like the contract and business stuff,” said Tucker. “I’ve had a couple of inquiries over the years. One was a little bit further down the road than the other. Ultimately, that would be a big decision because I love what I do now. It would be really hard to leave something you know you love for something that you’re not sure how you’d feel about it.”

For Tucker, that decision may come again at some point. But for now, there is no reason to look beyond the opportunity sitting directly in front of him.

After years of saying yes, building relationships, calling games wherever the schedule took him and continuing to find ways to make himself valuable, Tucker has finally reached the moment he spent much of his media career working toward.

On Sunday in Houston, Tucker will step into the CBS Sports booth alongside Ian Eagle with a national audience watching. The circumstances that created the opportunity may be unusual, and the uncertainty surrounding how long it will last remains real. But none of that changes what Tucker has earned.

The long road brought him here. Now, he gets the chance to show everyone why he was ready for 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.

Why Radio’s Breakup With Nielsen Might Be Good for Programming Decisions

David Hill
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Why Radio’s Breakup With Nielsen Might Be Good for Programming Decisions

Cumulus and Nielsen are fighting it out in federal court. Notably, Cumulus won an injunction restricting Nielsen’s policies. Subsequently, an appeals court strengthened its position. When Cumulus’s contract expires, the question of whether it can retain national ratings access remains unresolved.

It’s a fascinating legal battle. However, it’s not the real story. The real story is this: Did sales pressure around Nielsen metrics sometimes make programming conversations harder than they needed to be?

For twenty-five years or more, Adults 25-54 became the currency national advertisers bought. Agencies ranked stations on that metric. That’s business reality, not a programming crime.

Good programmers always understood the difference between chasing a number and serving an audience. They knew their actual job was building a product people loved, and the ratings would follow.

But here’s what the business model created: pressure. Indeed, sales departments needed to defend CPP and ranker performance. When a PD defended a programming decision to sales or corporate, that demo became the proxy argument.

Perhaps a song didn’t test well with 25-54. Maybe a personality hire looked good to younger listeners. Alternatively, it tested softer with the target. These conversations happened regularly. Even for sharp programmers who knew better, that sales pressure created friction. It made defending good radio harder than defending what looked good on a ranker.

Importantly, it wasn’t that radio stopped caring about great content. The business model simply created competing incentives.

What Changed Outside the Building

Radio’s real problem wasn’t programmers. The proof model radio offered advertisers became obsolete. For decades, 25-54 was how radio proved value. Agencies bought it. National CPP worked because that’s what the market valued.

Subsequently, digital competitors showed advertisers something different: individual behavior, click-through, attribution, and actual ROAS. Spotify shows engagement and return rates. YouTube programs for watch time. Google and Meta show exact return on spend.

Once advertisers saw these options, radio’s answer sounded incomplete. Specifically, radio was still saying: “We’re No. 2 with Adults 25-54.”

The Real Opportunity

Here’s what the Nielsen breakup offers: freedom from sales pressure. Furthermore, it removes complications in programming conversations.

Right now, a PD says: “This content is genuinely good. Listeners love it. We should do more of it.”

But if sales pushes back with 25-54 data, the conversation changes. The PD must defend the creative choice and the business case. That’s friction. Even smart programmers feel it.

Without Nielsen as the primary ranking metric, something shifts. That demo no longer serves as sales’ default argument against programming calls. Consequently, PDs get a cleaner line to the real question: “Is this good radio?”

That’s not a criticism of programmers. Additionally, it’s recognition that the business model created competing pressures. Remove one lever, and conversations become simpler.

The Freedom Play

The Cumulus/Nielsen fight matters legally and financially. The real opportunity, however, is simpler. Consider this scenario: National ratings stop being the primary ranker. A PD doesn’t have to defend programming calls against 25-54 performance. As a result, the sales pressure that sometimes skewed thinking disappears.

Good programmers didn’t need that friction removed to do their job. They never did. Yet removing it makes conversations easier. The pitch becomes: “This is great radio,” not “This is great radio and here’s why the demo data is off.”

The Cumulus/Nielsen fight might be giving radio exactly what it needed: a business reason to stop using demographics as the default proxy for programming excellence.

The real win isn’t the court decision. It’s getting programming conversations back to what they should’ve always been about: making great radio.

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.

Salem Media’s Handling Of Charlie Kirk’s Death Deserves Praise One Year Later

Garrett Searight
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Salem Media’s Handling Of Charlie Kirk’s Death Deserves Praise One Year Later

Tomorrow marks one year since Charlie Kirk was shot and killed at Utah Valley University, and few companies in this industry feel that anniversary the way Salem Media does. The company had spent years building The Charlie Kirk Show into one of the crown jewels of the Salem Podcast Network. It had also just expanded the program across Salem Radio Network, handing Kirk the afternoon affiliates once carried by Dennis Prager. Then, in an instant, the host was gone — killed in public, with video that spread online before Salem’s leadership could even process what had happened.

There’s no manual for that. Losing a syndicated host to a contract dispute is difficult enough. Losing one to an assassination that millions watched unfold on their phones is something else entirely. Every executive at Salem had to mourn a colleague while also running a business that depended, in real and immediate ways, on that very person.

Nobody could have gotten this perfect. But Salem came about as close as a company reasonably could. It walked a genuinely difficult line, balancing unfathomable grief against legitimate business obligations. And it did so without ever losing sight of Kirk’s family, his audience, or the legacy he’d spent a decade building.

Steady Leadership Through an Impossible Year

Salem’s leadership team deserves serious credit. David Santrella, Phil Boyce, Allen Power, and Tom Tradup didn’t have a playbook sitting on a shelf, so they built one under pressure. They kept The Charlie Kirk Show on the air through a rotating slate of guest hosts, starting with Vice President JD Vance in the days right after the shooting.

From there, they worked alongside Erika Kirk and executive producer Andrew Kolvet as the program found a longer-term shape. That transition could easily have looked chaotic from the outside. Instead, it looked deliberate.

Meanwhile, the rest of Salem Radio Network kept moving. Affiliates didn’t lose programming. Sales teams didn’t lose inventory. Listeners didn’t lose a daypart they’d come to rely on.

That continuity mattered for Salem’s bottom line, sure, but it also mattered for an audience that needed something familiar during a genuinely destabilizing moment in the news cycle.

Honoring Kirk Without Freezing in Place

This is where most companies stumble. They either move on too fast and look callous, or they freeze completely and let the business erode around them. Salem avoided both traps.

Tomorrow, the company airs a tribute special across Salem Radio Network, Salem News Channel, and Townhall, narrated by Mike Gallagher, Larry O’Connor, and Alex Marlow, with an appearance from Larry Elder. CEO David Santrella called the situation “deeply personal”, and that framing tracks with everything Salem has done over the past twelve months. For a lot of people inside that building, this loss was personal, not just professional.

Still, Salem never let mourning become an excuse to sit still. The company found new hosts, protected its affiliate relationships, and kept its podcast network running at a level Kirk himself would probably recognize. That balance is hard to strike under normal circumstances. Under these circumstances, it’s remarkable.

There are difficult situations in this business, and then there’s this one. Salem Media faced a tragedy that was personal, public, and professional all at once, and it made it through a full year without losing its footing. That deserves real recognition — even though, and maybe especially because, nobody at Salem ever wanted the chance to prove it.

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Fall Radio Programming: 50-Year Album Anniversaries Worth Promoting

Mike Stern
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Fall Radio Programming: 50-Year Album Anniversaries Worth Promoting

Labor Day is past, and the kids are back in school. Commuting patterns have returned to normal. Pumpkin spice is in everything. Additionally, for diary markets, ratings books will soon be in the listener’s hands. The fall is gearing up to start its annual crazy run to the New Year.

Before things get totally crazy, let’s take a second to prepare. Some notable moments can easily catch you off guard. Furthermore, they can slip by completely if you don’t work ahead. At minimum, put notes on the calendar.

Music Milestones Worth Celebrating

Let’s start with four albums celebrating their golden — fiftieth — anniversary. Each of these releases offers unique programming opportunities.

The Eagles Hotel California (12/8): Notably, what a great way to wrap up the fall ratings period for diary markets. An album that won two Grammy Awards topped the chart for eight weeks. Moreover, it sold thirty-two million copies and turns fifty.

Bob Seger Night Moves (10/22): Importantly, this first album to feature The Silver Bullet Band includes a couple of the best deeper but familiar Seger tracks. The songs “Sunspot Baby” and “Come to Poppa” stand out particularly well.

Electric Light Orchestra New World Record (10/15): Furthermore, the band’s sixth album features a couple of the group’s biggest hits. “Livin’ Thing” remains iconic and relevant.

Queen A Day at the Races (12/10): Since the biopic, Queen has been remarkably relevant. This album is worth mentioning. Consequently, consider dusting off “Tie Your Mother Down” to play after “Someone to Love.”

The Eagles probably warrant a full-fledged weekend promotion celebrating the album and the artist. However, despite being from Detroit, Night Moves may not be on the same level. Yet it’s certainly worthy of featured play on the day. Similarly, E.L.O. and Queen deserve recognition.

Notable Anniversaries Beyond the Golden Standard

While Emerald, Coral, and Sapphire — 55, 45 and 35 years respectively — aren’t as exciting, there are notable releases worth exploring. Specifically, some merit special feature programming.

Led Zeppelin IV (11/8/71): Probably the biggest of the rest, this iconic album marks its Emerald Anniversary on a Sunday. This creates a great opportunity to wrap a weekend promotion around one of the format’s biggest acts.

Nirvana Nevermind and Red Hot Chili Peppers Blood Sugar Sex Magik (9/24/91): These albums share a U.S. release date. The Chili Peppers album started the band’s transition toward being commercially accessible. Meanwhile, the two coming together on the same day provide an opportunity for great programming.

Guns N’ Roses Use Your Illusion I and II (9/17/91): What a fall! A week before Nirvana and the Chili Peppers hit, Guns N’ Roses dropped both Use Your Illusion albums. Between great covers and notable originals, if Guns N’ Roses fits your station, this makes for a great hourly feature. Additionally, special blocks work well too.

AC/DC For Those About to Rock (We Salute You) (11/20/81): Fire the cannons. The follow up to Back in Black was released forty-five years ago. Admittedly, For Those About to Rock wasn’t chock full of memorable tracks like its predecessor. However, anyone who’s seen them live understands the impact. Therefore, the title track remains powerful.

Ozzy Osbourne Diary of a Madman (11/7/81): Obviously, this is always a good excuse to feature some of Randy Rhoades’s best work.

The Police Ghost in the Machine (10/2/81): This one has several good “oh-wow” tracks. “Spirits in the Material World” could be fun to pull out. Additionally, it’s Sting’s 75th birthday.

Birthday Celebrations Across All Formats

Beyond album releases, there are notable birthdays to celebrate. These cross the lines for all three Classic/Adult formats. Programming around these moments adds significant value.

October 2: Sting turns 75, as mentioned above.

October 7: John Mellencamp turns 75 as well.

October 11: Daryl Hall turns 80.

December 18: Keith Richards turns 83. Admittedly, this is not statistically significant. However, any Keith Richards birthday is impressive.

December 20: Chris Robinson of the Black Crowes turns 60.

The bigger point I’m hoping you take away from this list is important. In our Classic Rock/Hits and Adult Hits stations, taking advantage of special dates matters. Anniversaries and birthdays are fertile opportunities. Furthermore, too often they sneak up on us because we are busy. Consequently, many opportunities are lost.

Work Ahead to Stand Out

Please use this column for planning ideas. Do your own research, whatever it takes to work ahead. Make plans accordingly. Ultimately, that way you can have special production and artist audio. Additionally, other special touches make the music come alive in unique ways. That’s our opportunity to stand apart from the streaming services. Indeed, automated competitors can’t match what you create.

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.

ABC’s Jimmy Kimmel Live! to Reportedly End in 2027

Garrett Searight
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ABC’s Jimmy Kimmel Live! to Reportedly End in 2027

Jimmy Kimmel could be nearing the end of his run on ABC, with reports claiming his late-night show will end in 2027. The network, however, says those reports are inaccurate and that the show’s future remains speculative.

What We Know: Kimmel has hosted Jimmy Kimmel Live! since 2003, giving him one of the longest runs in late-night television. Only David Letterman and Johnny Carson have hosted a network late-night show longer. Reports indicate Kimmel’s current contract won’t be renewed after the upcoming season, which is scheduled to conclude in 2027. However, ABC Entertainment pushed back on the report, saying the “information is inaccurate” and that any reports about the show’s future are “purely speculative.”

What’s At Stake: If the reports prove accurate, ABC would lose one of its most established late-night personalities after nearly a quarter-century. Kimmel’s departure would also leave another major broadcast network searching for a new strategy in a late-night landscape facing declining traditional television audiences. The timing could further fuel questions about how much networks are willing to spend on established late-night franchises.

What Remains Unclear: The biggest question is whether ABC has actually decided to end Jimmy Kimmel Live! after the 2026-27 season. Reports have suggested the decision would reflect broader cost reductions rather than Kimmel’s relationship with the Trump administration or FCC. Still, ABC has directly disputed the premise, leaving the show’s future unresolved.

What It Means: For now, Kimmel remains under contract through May 2027, following a one-year extension signed in December. If he does leave afterward, it would mark the end of one of the longest-running late-night eras in television.

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Britt McHenry Joining the State Department as Press Advisor

Garrett Searight
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Britt McHenry Joining the State Department as Press Advisor

Britt McHenry is taking her media career into government, joining the State Department as a Press Advisor. The former ESPN reporter brings nearly two decades of on-camera experience to the role.

What We Know: McHenry has spent much of her career covering sports and news across television and digital media. She previously worked at local television stations in Washington, D.C., before joining ESPN as a reporter. After leaving ESPN, she continued building a media career that included work with The Spectator and Real America’s Voice. McHenry also returned to Washington television during her career, adding further experience covering news and politics. Her move to the State Department now shifts that experience from covering public affairs to helping communicate them.

What They Said: “I am beyond excited to start this new chapter today and am thankful to every person who helped me in pursuing and achieving this opportunity. For 17 years, I have worked on camera covering the news. Now, I get to take that experience and apply it to our country’s highest diplomatic agency.” -Britt McHenry

What Remains Unclear: The State Department hasn’t publicly detailed McHenry’s specific responsibilities or which officials and offices she’ll directly support. It’s also unclear whether she’ll maintain any outside media commitments as she begins the new role.

What It Means: McHenry’s appointment gives the State Department an advisor with extensive experience working in front of television cameras and across news platforms. Moreover, her background spans sports, political commentary, and digital media. That combination could prove useful as the department works to communicate its message across traditional and emerging media. The move also marks a notable transition for McHenry, who will now help shape the messaging she once spent her career reporting.

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.

ESPN Partners With Apple Music For Monday Night Football Music Curation

Garrett Searight
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ESPN Partners With Apple Music For Monday Night Football Music Curation

ESPN and Apple Music are teaming up to curate music for Monday Night Football during the 2026-27 NFL season. The partnership comes as ESPN prepares to broadcast its first Super Bowl.

What We Know: Apple Music will curate music for select Monday Night Football games throughout the upcoming season. The partnership expands ESPN’s recent tradition of working with major artists and music brands to shape the sound of its NFL coverage. Previously, ESPN collaborated with Saweetie, J Balvin, Timbaland and Justin Timberlake, Marshmello, Drake, DJ Khaled, and Diplo. This time, Apple Music will provide music for ESPN’s promotional spots, live telecasts, and Monday Night Countdown. The first selection is Lil Baby’s recently released single “Dead Fresh,” which will appear in ESPN’s Week 1 promotional efforts. The season begins Monday, September 14, when the Denver Broncos visit the Kansas City Chiefs at 8 p.m. ET. Additionally, Apple Music’s weekly selections will feature during Week 5, Week 7, Week 13, Week 15, and the Week 18 doubleheader.

What They Said: “Lil Baby sets the tone at kickoff for us. The sound, energy, and moment are right, just like Pharrell’s beat. This is the biggest season yet for ESPN, and Apple Music is perfect to help carry that energy from Monday Night Football all the way through to the Apple Music Super Bowl Halftime Show.” -ESPN Vice President of Sports Marketing Curtis Friends

“There’s nothing like the energy of a Monday Night Football game. We’re giving that energy a soundtrack, powered by Apple Music’s deep bench of curators and tastemakers. We can’t wait to bring artists and music to this audience in a way that matches the moment.” -Apple Music and Apple Podcasts Global Head of Marketing Matt Plotnik

What Remains Unclear: ESPN and Apple Music haven’t revealed the complete list of songs or artists that will appear throughout the season. The companies also haven’t detailed how the weekly selections will connect with specific game moments or broadcasts.

What It Means: The collaboration gives Apple Music another prominent platform ahead of the Apple Music Super Bowl Halftime Show. Meanwhile, ESPN gets a global music brand helping shape its NFL presentation during an important season. The partnership also continues ESPN’s effort to make music a larger part of its Monday Night Football identity. With the Super Bowl coming to ESPN for the first time, that connection could become even more significant.

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Netflix Executive: WWE Has Hit “Every Metric” In Year Two Of Partnership

John Mamola
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Netflix Executive: WWE Has Hit “Every Metric” In Year Two Of Partnership

Netflix’s WWE partnership is nearing its two-year mark. Gabe Spitzer, Vice President Global Live Sports and Entertainment for Netflix says results are exceeding expectations both domestically and internationally.

What We Know: Netflix and WWE signed a $5 billion, ten-year deal announced in January 2024. The agreement took effect in January 2025, giving Netflix exclusive U.S. rights to Raw and all WWE programming internationally. Gabe Spitzer, Netflix’s VP of Global Live Sports and Entertainment, discussed the partnership with Richard Deitsch on the Sports Media podcast. Additionally, WWE has begun meeting with Netflix’s film and scripted teams about talent crossovers.

What They Said: (All quotes via Sports Media podcast w/Richard Deitsch):

Gabe Spitzer, Vice President Global Live Sports and Entertainment for Netflix is happy with the WWE partnership with Netflix in the U.S.: “We knew in the U.S. with something like Raw, having that every week, there’s going to be that passionate, loyal fan base, and they were going to show up. They have come in expected ways over to Netflix and predictable ways. So it’s hit you know every metric that we hoped for on the U.S. side.”

Gabe Spitzer, Vice President Global Live Sports and Entertainment for Netflix on surprising growth globally with WWE and Netflix: “I think the place where we’ve been surprised in a good way, and that will continue to grow, is outside of the U.S. That’s really where we see the potential to continue to grow this partnership. Is in the U.S. we have Raw only. Outside of the U.S. and in most countries around the world, we’re the home for all of WWE.”

Gabe Spitzer, Vice President Global Live Sports and Entertainment for Netflix on how the WWE works with Netflix on global event planning: “It’s been cool to see as different countries have come online. As example, Italy this year came online and they did a big PLE, the Clash in Italy there shortly after. So, they’re working with us and they’re saying, ‘Hey, what are the countries you want to continue to grow, or how can we boost that viewership, or can we bring in an event there?'”

Gabe Spitzer, Vice President Global Live Sports and Entertainment for Netflix on navigating more WWE talent into Netflix programming: “I think we’re constantly meeting with other WWE talent to see if there’s a fit in the sports space. They’ve been great partners and trying to volunteer that time. I would say not just in sports. They’re meeting with our film and scripted series teams. How can we cast some of those superstars in some of our shows? That creates that larger cohesiveness across Netflix that I think can help with the WWE. Help them, and help us in terms of viewership too, to create more of that fan affinity.”

What Remains Unclear: Spitzer didn’t detail specific viewership numbers behind the U.S. “every metric” claim. It’s also unclear how many additional global markets could host WWE premium live events beyond Italy.

What It Means: Spitzer’s remarks suggest Netflix sees WWE as more than a U.S. viewership play. Instead, international growth and cross-platform talent deals appear central to the partnership’s next phase. Consequently, WWE could become more embedded across Netflix’s broader content slate, not just its sports lineup. Ultimately, that expansion may deepen fan affinity while strengthening the agreement’s long-term value.

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.

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