Home Blog Page 113

UFC Reveals Global Total Viewership Figures for Freedom 250 Event at The White House

0

UFC Freedom 250 global viewership figures are in. The White House card now stands as one of the most-watched events in UFC history.

What We Know: According to the UFC, global viewership reached an estimated 34 million people across more than 170 countries. Paramount+ previously reported 17 million viewers across the U.S. and Latin America, with the U.S. alone averaging 7.0 million — a domestic UFC record. International markets including Australia, China, India, South Korea, New Zealand, and the U.K. doubled that number. Additionally, the event generated an estimated 64 billion media impressions valued at $1.1 billion across broadcast and online platforms.

What Remains Unclear: Final viewership totals from several key markets remain pending. Spain and France — both of which had athletes headlining the card — will not report figures until mid-July or later. Some international broadcasters finalize audience data seven to ten days after events air. Those additions could push the global total even higher.

What It Means: UFC Freedom 250 proved the White House setting was more than a backdrop — it was a global amplifier. Social media performance during fight week (June 8–14) totaled 126 billion views and 5 billion engagements across platforms. Ilia Topuria gained 2 million new followers despite the loss, underscoring the event’s reach. Despite UFC CEO Dana White saying he expected “Super Bowl” level viewership, for UFC and Paramount+, this card redefined what a live sports moment can deliver on the platform.

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.

iHeartMedia Strikes Deal with Amazon for Audio and Video Advertising

0

iHeartMedia and Amazon have announced a new deal for the broadcaster to offer local advertisers commercials on Amazon platforms.

What We Know: The deal makes iHeartMedia a local reseller of the audio and video inventory on Prime Video, Twitch, Amazon Music, Fire TV, and Alexa. It also creates a unified path for iHeartMedia customers to use Amazon DSP for a variety of iHeart’s digital inventory.

What They Said: “Advertisers are increasingly looking for media solutions that combine scale, intelligence and simplicity across channels. By combining Amazon Ads’ shopping insights and advertising technology with iHeart’s audio leadership, we’re creating a more seamless, data-informed way for brands to create more effective campaigns across sound and sight.” -iHeartMedia Chief Business Officer Lisa Coffey

“This expansion of our long-standing relationship with iHeartMedia gives brands new opportunities to connect with consumers across more screens and speakers with greater relevance and measurable outcomes,” said Jenn Donohue, Head of Local Ad Sales, Amazon Ads. “Together, we’re making it easier for advertisers to activate campaigns across premium audio and streaming environments while leveraging signals that support smarter planning, targeting, and performance.” -Amazon Ads Head of Local Ad Sales Jenn Donohue

What Remains Unclear: The companies did not disclose when the expanded partnership will be fully implemented or whether it is already available to all advertisers.

What It Means: The partnership highlights a growing convergence between broadcasters and Big Tech. Rather than competing directly with Amazon for advertising dollars, iHeartMedia is choosing to integrate Amazon’s technology and data into its own sales strategy. If the collaboration proves successful, it could encourage other large broadcasters and audio companies to pursue similar alliances with major technology platforms to remain competitive in an increasingly data-driven advertising marketplace.

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.

Dave and Chuck the Freak Celebrate 25 Years in Detroit

0

This year marks a huge milestone for Dave and Chuck the Freak, morning hosts on Beasley Rock WRIF/Detroit. Dave Hunter and Chuck “The Freak” are celebrating twenty-five years hosting mornings together in the greater Detroit area. Like so many couples who make it to milestone anniversaries, they say the secret to staying together is pretty simple: honesty. But in their case, it’s as much about being honest with the audience as with each other.

“I think the reason we have been successful for that long is because it’s genuine,” Dave says. “There’s no staged calls, no prank skits, and no actors going through a fake breakup. Every caller to the show is real. Nothing’s ever been staged.”

Chuck adds that another element of their success is the connection between them. “Chemistry is really important, and Dave and I started at the same place around the same time. We were both young, and we started to build a relationship even before we had a show together.”

Built on Mutual Reliance

Dave agrees that the two rely on each other. “We both know we couldn’t do it without each other. I know what Chuck brings to the show. Chuck knows what I bring. And we know it wouldn’t work without both of us.”

The pair also exemplify another classic trope about what makes for great relationships: opposites attract. “Chuck and I are so different,” Dave explains. “We get along great, but our take on things is incredibly opposite. We lead opposite lives, and that’s why it works. If we were two guys thinking the same things, it would be boring.”

Instead, Dave and Chuck’s differences give the show a unique point of view you won’t find on other morning programs. “Every show is talking about the same stuff, but early on we realized we had a Dave and Chuck the Freak way of looking at a story,” Chuck explains. “Where most people would see a story about a nice old man, we would find a wild take about the scenario. In fact, the best times are when it’s like ‘Wow, this really went somewhere you wouldn’t have expected.'”

Taking Over a Detroit Legacy

That connection and chemistry started to form while they were at another Detroit-area radio station, before they moved to WRIF to replace the legendary Drew and Mike show. For Chuck, the move was bittersweet. “Growing up in Windsor, just across the border, Drew and Mike was who I listened to before I had a show of my own. It was rough taking over for people you love.”

To make the move, the team had to sit out a non-compete, which Dave remembers as a stressful time. “I couldn’t help but wonder — are people still going to be there for us six months later, or are they going to find a different show? It was nerve-wracking to the point where, during the sit-out period, my wife wanted to buy a toaster and I was like, ‘Hell no, we can’t just buy a toaster right now.'”

While Dave and Chuck form the core of the show, they aren’t doing it all alone. Co-host Lisa Way joined the show early on and fills an important role. “We realized quickly that we need a female perspective. Even though it’s still a male-skewed show, we go off the rails when there’s no woman,” Dave says. “We have a really solid core of female listeners, and I think part of the reason is they feel represented.”

Inclusive Humor, Real Chemistry

It also helps that, despite being on a male-leaning station, the show isn’t anti-woman like some other shows in the rock world seem to be. “The women listening know we’re not sexist a-holes. They can hear that we actually like women and want women as a part of our lives,” Dave says. “Can we joke around about women? Absolutely. But we also make fun of the fact that I’m Irish, that Chuck is shorter, and that Jason is Jewish. Everything’s open for fun in a lighthearted way — never in an evil or sexist way.”

In addition to Lisa, the current lineup also includes Al Beck, Jason Watson, and Ryan Logan, who bring different skills and points of view to the show. Most importantly, they all help find the humor in the topics Dave brings to the air. “Funny is always number one with us,” Chuck says. “And I don’t care if I’m the funny one, or if it’s Dave or Lisa or whoever — funny wins. Whoever says the funniest thing, that’s the best thing that could have been said at the time.”

That also includes the audience, who Dave says are a constant source of material. “The listeners’ lives have provided us with so much insane content that we could never have dreamt up ourselves. Those definitely have been some of our favorite moments — the crazy callers who share their lives that you can’t believe are real. It takes us on a trip we never expected.”

The Art of Improv

And while funny is the goal, the method for getting there is pure improvisation. Dave collects material for the show but doesn’t share any of it ahead of time. “When we started, we would sit down and talk through everything, and we realized this doesn’t work for us. It was hilarious when we talked about it, but when we got to air, because we’d discussed it already, it wasn’t funny anymore.”

They realize that process isn’t for every show, but it works for them. Chuck thinks that’s due to the way Dave leads the show. “He has an incredible knack for knowing when something isn’t working and moving on. But he also knows when to let something marinate because things are building. It’s a skill that not everybody has.”

Dave attributes a lot of how he guides the show to thinking like a listener. “I always try to put myself in the listener’s spot and ask if I’m getting bored. Because if I’m getting bored, they are too.”

He goes on to say that he thinks of the show as similar to a Pirates of the Caribbean movie. “I look at myself as the captain of the ship, and Chuck’s my Jack Sparrow. You never know what he’s going to get up to. So I have to guide the ship. Sometimes it’s rough waters, and sometimes it’s smooth sailing.”

A Language All Their Own

Over the last twenty-five years, the show has also developed its own lingo that is well known to core listeners. The most famous example is probably the phrase most callers greet the show with: “penis.”

It started when the guys got suspended for something they say they may or may not have done. While they were off the air, a listener left a voicemail saying he was happy they were off because, “all they ever talk about is penis. Penis this, penis that. Penis, penis, penis.”

Not surprisingly, they played the voicemail on the air their first day back. The next caller greeted them with “penis.” Several more callers followed suit, and a catchphrase was born.

“Instead of ‘hello’ or ‘love you, love the show,’ penis became our official greeting, and unfortunately, all these years later we’re still stuck with it,” Dave says. “You can’t get rid of it. People in a mall three levels up scream it. They don’t say Dave. They don’t say Chuck. They just scream penis at us.”

Over the years, other terms have also taken root, including ripcord, support command, and “It’s Friday, bitches.” To Chuck, the phrases are a way for the audience to demonstrate their longevity as fans. “There’s a nostalgia to being part of the group that was there from the start — when penis happened, or when ripcord happened. I think if someone calls in and says ‘ripcord,’ they are letting us know, ‘Hey, man, I’ve been here for a really long time.'”

Learning the Language

While most of this secret language is explained in a show glossary online, they rarely explain the terms on the air for new listeners. To Chuck, it’s similar to when he first heard Jim Rome on the radio. “(Rome) would tell listeners that his show would sound really weird for a couple of weeks and that they wouldn’t understand what people were saying. But give it a couple of weeks and you’ll figure it out. I think that’s what we do. Give us a couple of weeks and you’ll get it.”

But regardless of any confusing lingo, new listeners will surely be quick to understand the central theme of the show — which has been the key to twenty-five years of success. “The core of the show is the same today as it always was. Different players, guests, and bits have come and gone. But the core chemistry, the core friendship, the core reality of what you’re listening to is genuine,” Dave says. “That’s always been there. And I think that’s why we’ve been successful.”

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 NBA Draft Has Become A Television Mess

0

Every athlete dreams about one photograph. It’s the handshake with the commissioner on draft night. The smile. Mom crying in the crowd. The team hat. That picture hangs on the wall forever. Unless you’re an NBA draft pick. That’s where the NBA Draft has lost its way.

This isn’t a column about hats. It’s a column about television. Sports television has one job: take something complicated and make it easy to understand. The 2026 NBA Draft did exactly the opposite.

The draft began normally enough.

BYU’s AJ Dybantsa went number 1 overall to Washington, and ESPN’s Jay Bilas and Bobby Marks had time to do what they do best. Evaluate prospects, explain their strengths and project how they fit with their new NBA teams.

Then the middle of the first round arrived, and so did the confusion. Every sports fan with a pulse knew earlier in the day that Giannis Antetokounmpo had been traded from Milwaukee to Miami in a blockbuster. That meant the Bucks, not the Heat, owned the 13th overall pick. Yet there was Tennessee freshman Nate Ament smiling for the cameras in a Miami Heat hat everyone knew he’d never wear again.

One minute it was palm trees and South Beach. The next it was cheese curds and snow boots. Nice keepsake for the family scrapbook.

By the end of the night, 15 of the 30 first-round picks had been traded. Then came the second round, where 29 of the 30 selections involved traded picks. In all, 44 of the draft’s 60 picks required players to change hats, logos or destinations before the night was over.

Too Much, Too Fast

Trades aren’t the problem. They should be the show. The NBA has exactly what television executives dream about. Drama, surprise moves, front-office maneuvering and constant action. Instead of embracing that, it asks ESPN to produce a live broadcast built around a version of reality everyone already knows isn’t true.

The defining moment of the night belonged to Baylor guard Cameron Carr.

Carr heard his name called by the New York Knicks with the 24th overall pick. He hugged his family, smiled and walked toward the stage believing he was headed to Madison Square Garden and the NBA champions. Then ESPN’s cameras caught him mouthing, “I’m being traded.”

In real time, Carr learned he wasn’t going to New York after all. He was headed to the Los Angeles Lakers. If the player doesn’t know what team he’s playing for, what chance does the audience have?

Imagine you’re not an NBA junkie. You’re watching because your favorite team owns pick number 17. Adam Silver announces Memphis. The rookie puts on a Grizzlies hat. Shams Charania reports he’s headed to Detroit. ESPN changes the graphic. Before any of it registers, Adam Silver is already announcing the next pick.

At some point, the casual viewer simply checks out.

It’s Not The Players, It’s The Game

ESPN had the right people in place. They were being asked to explain where a player fit before anyone could officially say where he was playing. Before the talent on ESPN’s desk could finish one thought, another trade was being reported, and Adam Silver was already announcing the next pick.

This wasn’t ESPN failing to explain the draft. It was the NBA creating a television product that had become impossible to follow.

Television isn’t made for the people who already understand everything. It’s made for the people you’re trying to bring in. The NBA desperately wants Draft Night to become appointment television. That’s hard to do when the audience is asking, “Wait…what team does he actually play for?”

That’s what makes the NFL Draft the gold standard.

The NBA keeps borrowing pieces of the NFL Draft without understanding why it works. It even uses ESPN’s familiar “The Pick Is In” sounder that has become synonymous with football. The NFL earned that sound. It signals the payoff to several minutes of anticipation. Roger Goodell announces the trade before the pick. The graphics immediately change. Cameras find the acquiring team’s war room. Mel Kiper Jr. and Daniel Jeremiah explain why the move happened and how the player fits. The rookie wears the correct hat.

One pick. One team. One story.

The NBA uses the same music, then immediately creates three different versions of reality. Adam Silver announces one team. The player wears another team’s hat. Shams reports a different destination. That’s not drama. That’s homework.

Roger Goodell has embraced the NFL Draft and become part of the show. Adam Silver isn’t Roger Goodell, and that’s okay. The problem is the NBA wants an NFL-sized television event without creating an NFL-sized television format.

Easy Fixes

The solution isn’t complicated. Let the player wear the correct hat. Put the correct logo on the screen. Acknowledge the trade. Let the analysts explain basketball instead of the paperwork. Most of all, stop asking viewers to solve a puzzle while they’re trying to watch a television show.

These players have spent their entire lives chasing that walk across the stage. Thousands of hours in empty gyms. Parents driving across the country. AAU tournaments. College practices. Family sacrifices. Draft night is supposed to produce the photograph they’ll treasure forever.

Instead, they’ll spend the next 20 years pointing at that picture and saying, “Yeah…I never actually played for them.”

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.

iHeartMedia Cuts Expose Radio’s Biggest Lie

1

Every person who’s spent time in radio has heard some version of the same phrase. “Great content is king.” Or maybe it was “great content is the only thing that matters.” Perhaps it was something else entirely — but the message was the same. Work hard, make great radio, and you’ll be fine. iHeartMedia’s latest round of layoffs — hitting programming, management, and sales staffs alike — exposes that promise for exactly what it’s always been: a half-truth at best.

The cuts aren’t small, either. They’re insanely widespread. The slashing is happening at stations and brands in both major and insanely small markets. Some smaller markets are losing either all or almost all of their remaining local on-air talent. That’s not “trimming the fat.” That’s gutting the operation entirely.

And what did those people do wrong? In most cases, nothing. One host of a long-running morning show was explicitly told the decision had nothing to do with his show’s performance. Told it straight. Made great radio. Still out of a job. So let’s drop the “content is king” mythology once and for all — because it doesn’t hold up under scrutiny.

The Real Distinction Nobody Wants to Make

Here’s what the industry keeps dancing around: there’s a difference between performance-related cuts and business-related cuts. Sure, some of the people who get let go in any round of layoffs weren’t delivering. That happens in every industry. But the overwhelming majority of the names coming out of iHeartMedia’s latest reduction aren’t performance casualties. They’re business casualties — and that’s a critical distinction.

iHeartMedia has announced a cost-savings plan targeting $50 million in annualized savings, on top of $100 million in previously announced cuts.

Those aren’t content decisions. They’re balance sheet decisions. The folks losing their jobs didn’t fail at radio. They failed to work for a company with a sustainable financial model — and that’s not on them.

What It Reveals About the Bigger Picture

The uncomfortable truth isn’t just about iHeartMedia. It’s about what the pattern reveals across the entire radio industry. Whether it’s iHeartMedia, Audacy, Cumulus, or any other major radio company, the layoff cycle keeps repeating — and each new round raises the same uncomfortable questions about whether the industry remains viable.

Advertisers are watching. Content creators are watching. Young professionals considering a career in radio are watching, too. And what they’re seeing isn’t an industry that rewards great work. They’re seeing an industry where financial pressures can erase careers regardless of talent, ratings, or dedication. That’s not a recruitment pitch. It’s a warning sign.

So the next time someone tells an aspiring radio professional that great content is king, do them a favor and add the part that always gets left out. iHeartMedia’s own internal memo framed its mission as building “engaged relationships with listeners and then monetizing those relationships.”

That word — “monetizing” — is the whole game. Great content matters, but only insofar as someone’s willing to pay for the audience it builds. Content isn’t king. Monetizable content is.

And the sooner the industry says that out loud, the sooner it can have an honest conversation about what it actually takes to survive — and whether radio’s current structure allows 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.

Alexi Lalas Is Mastering The Role FOX Sports Needed Him To Play

0

Every good story needs a villain. Currently in sports, there are few better stories than the number we’re receiving about the World Cup. From the Scottish fan base invading cities across the United States, drinking all their beer and singing their songs, to the Norway fan base that has made rowing in public an art form. However, the most intriguing storyline from FOX Sports’ production of the FIFA World Cup is the love-hate relationship with commentator Alexi Lalas.

When I had the opportunity to chat with Lalas a month before the tournament, I already knew his reputation. Brash. Unapologetic. Opinionated. But underneath all of that is someone who understands the assignment. Television isn’t simply about being right. It’s about being entertaining.

Over the last two weeks, Lalas has done exactly that. Some viewers have questioned whether he’s even liked by the people sharing the desk with him. That’s by design.

The World Cup has long been Lalas’ stage. He’s played in one tournament and served as FOX’s lead World Cup analyst for the last eight. This year, however, the cast around him became stronger than ever. Thierry Henry and Zlatan Ibrahimovic joined the desk alongside longtime Premier League host Rebecca Lowe, giving FOX perhaps its deepest studio lineup ever.

For longtime soccer fans, the attraction is no longer Lalas on the broadcast. He’s now riding sidecar with two of the best to ever play the sport. Plus, instead of Rob Stone, Lowe adds another layer of familiarity and prestige to the broadcast.

That changed Lalas’ role.

Understanding Your Role

Four years ago, Lalas was the shining star among fellow American soccer stars Clint Dempsey, Carli Lloyd and Maurice Edu. Times have indeed changed, and I’m not just talking about the hydration breaks.

With the elevated roster around him, rather than trying to compete with them on credentials, Lalas leaned into the role only he could play. As the lone American representative on the studio team, he had to appeal to the average American viewer. This year, the tournament has flooded televisions across the United States with matches being played on home soil. If you’ve paid attention to the viewership figures, this will likely go down as the most-viewed FIFA World Cup in English-language television history.

With that pivot, he has leaned into what FOX has always done best: generate buzz. What helps is that the rest of the cast is playing along as well.

When Lalas is away from the studio to attend on-site coverage of the USMNT matches, Lowe points out his absence, only for Zlatan to tell America, “You’re welcome.”

When Lalas called France’s first-half performance against Senegal “arrogant,” Zlatan took the pass and fired back with, “It’s not arrogance. It’s confidence. Ignorant people will say it’s arrogant. Intelligent people will say it’s confidence.”

Column after column. Tweet after tweet. Sports talk radio segments filling the airwaves. All in the same breath saying Alexi Lalas is unwatchable. He’s trying to be Charles Barkley or Skip Bayless. Yet when he’s out on the road for USMNT matches, Lalas gets standing ovations. Viewership spikes. Social media engagement peaks. Media sites and podcasts get clicks and listens.

Isn’t that the whole point?

“I love the entertainment aspect of the job I’m in. I don’t care if you agree with me or not, just don’t change the channel,” said Lalas when I spoke with him two months ago about his approach to the World Cup broadcasts.

Are You Not Entertained?

Lalas is no dummy. He understands his soccer resume cannot compare to those of the people FOX Sports has surrounded him with. Instead, what Lalas has done is make the program more entertaining. The FIFA World Cup provides a global audience and the largest American audience in history to watch the tournament. An American audience wants to be entertained. If Lalas wasn’t present, what’s the entertainment value?

Yes, Lalas picked the United States to win the World Cup. He should, because he’s American. He celebrates the country’s 250th birthday and doesn’t care if he’s wrong. Hell, we should all have the passion to want our home country to win the FIFA World Cup on our own home soil.

When did the value of being correct ever outweigh the entertainment value of being a homer for the USA?

If Lalas wasn’t in the far-right chair, would we be talking about the programming surrounding the matches at all? As accomplished as the résumés of both Henry and Ibrahimovic are, they would be considerably less entertaining by themselves. There’s a reason FOX Sports keeps Terry Bradshaw. There’s a reason Jason Kelce continues to get work with ESPN.

Networks like FOX Sports understand that shoulder programming needs more than discussion. It needs personality and personalities who bring out the characters of others.

That’s the magic of Alexi Lalas.

Alexi Lalas isn’t the star because he’s the most decorated player on the set. He’s the star because he understands what television has always rewarded: creating entertaining moments people can’t wait to debate.

Every great studio show needs tension. It needs someone willing to say what others won’t, absorb the criticism and keep the conversation alive long after the final whistle. Henry brings credibility. Ibrahimovic brings knowledge of the current game. Rebecca Lowe brings polish. Lalas brings the spark that forces the rest of the cast to react.

That’s why people keep talking about him. Not because they agree with him, but because they can’t ignore him.

Every good story needs a villain.

Whether you believe Alexi Lalas deserves the role is beside the point. The audience keeps showing up, the conversation keeps growing and the broadcast is more entertaining because he’s in it.

In television, the villain isn’t always the bad guy. Sometimes, he’s the reason everyone keeps watching.

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 Secret Weapon Inside Every Successful Rock Radio Countdown

0

Fourth of July weekend. How many “Top 250” radio countdowns will be airing? Vegas odds suggest way more than 250.

They’ll be great… but they’ll all be similar. The larger companies have “safe lists” for stunts like this. Mediabase is always an easy, reliable option. Some brands have their own research to shape can’t-miss hit lists. Consultants can also provide helpful frameworks.

It’s no surprise — everyone loves lists. People’s “Most Beautiful,” Maxim’s “Hot 100,” Billboard’s “Hot 100,” American Top 40, NFL Power Rankings. Entire websites exist just to rank things. In RockTernative, I’ve seen firsthand that countdowns can slay.

And here’s why:

  • Countdowns work because they’re predictable
  • Countdowns also work because they’re not predictable — they bring surprises

The Predictable

Programmers may grow tired of their own brand’s repetition, but they also understand the hits are the hits — and a “Top 250 Countdown” must be legit. That means the usual suspects.

The Surprises

Listeners may be tired of “Smells Like Teen Spirit,” but countdowns add a different kind of stickiness. Even if P1 Jimmy can guess most of the songs, the context changes — especially inside the Top 20.

P1s like Jimmy don’t just tune in to hear the top songs; they also tune in to see if their predictions are right — for the #1 song, the Top 5, the top Muse record. It’s a personal contest, a guessing game… like picking ponies at the track.

And that leads to the third layer of magic.

The Arguments

Find me a countdown anywhere — of any kind — that doesn’t leave some listeners, viewers, or readers ranting, raging, or yelling “fraud” and demanding a recount.

Don’t sweat that type of engagement… it’s actually good news. If a countdown of your most predictable songs sparks a reaction, it means people care, and they were paying attention. However, if all that time and effort drifts quietly back into Power, Secondary, Power, Secondary with no fanfare or even a few complaints… maybe don’t do that anymore.

But considering all the competition for earbuds — radio countdowns could use a few extra Cherry Bombs and Sparklers to cut through the holiday noise. The goal is to deliver everything they’re capable of, including advertiser results.

This space is rarely ideaville, but heading into a holiday weekend, here are a few ideas that might help light up a Fourth of July Countdown if you’ve got one on deck.

Listener Top 10

Add an interactive component — let listeners predict your Top 10 in perfect order. Any listener who nails it becomes your new Music Director… or maybe they just score tickets. You can also add random predictions (choose #19, 67, or 91 correct and get schwag).

Artiststrology

Drop your five most important artists into a form. Listeners must then guess the top three songs from each artist, in countdown order. Any listener who gets it right wins the pink slip to your car… or maybe just passes to the water park.

The Not-250 Double Shots

In select spots — maybe twice per hour — break script and fire a double shot. The second song is a track from the same artist that didn’t make the Top 250 but still deserves a salute. For example:

  • #16 Nirvana “In Bloom” — Not-Top 250 Double Shot: “Dumb”

Ridiculous Rock Facts

Every 30 minutes, drop in a 10-second “Ridiculous Rock Fact” tied to the artist about to play — fast, fun, sticky.

  • “It’s another America 250 Ridiculous Rock Fact: Slash once asked a certain Barrett Media columnist where he could score blow in a Hollywood bathroom… (Going into #54, a GNR countdown song)

Recount Weekend

Once your countdown is finished — suddenly claim you were hacked. Cite clear fraud and voting irregularities. The station will then recount and do it all over again next weekend, the right way. Shake it up, keep the second layers (double shots, Ridiculous Facts), and point out the changes: “STP got hosed. ‘Plush’ wasn’t 16th, it was 9th…”

Countdowns work. That’s why they’re everywhere. The hits make them credible. The surprises make them unforgettable. And on America’s birthday weekend — especially with all this buildup — radio has a chance to remind everyone that nobody delivers shared moments, or fireworks, better.

Have a great 4th. Don’t lose any digits.

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.

Algorithms Are Killing Honest Journalism on Radio and Podcasting

Local television should challenge viewers, according to former KWQC anchor Dustin Nolan, who made headlines for his tearful goodbye earlier this month. Or, if you follow FTVLive, the sentiment could be attributed to former Dallas sportscaster Dale Hansen. Regardless of attribution, the importance of the sentiment shouldn’t stop at TV and instead expand to radio, podcasting, and social media.

For the last three years, you’ve indulged my airing of grievances as a monthly Festivus of sorts. But this is one of the most common and consistent themes we are all guilty of. Becoming a one-trick pony, operating on default — usually because many of us feel overworked — and acting like we are all happy, shiny people holding hands by allowing the algorithm nerds to show us exactly what we want, and none of what we don’t.

Most of the radio and TV world operates like a warm blanket, especially news/talk. We all know what to expect. Without turning a dial, we can predict that Greg Kelly will be annoyed at something New York City Mayor Zohran Mamdani said or did. Ali Velshi will be frustrated with the decisions of the Trump administration. And somehow we want our audiences to accept this as news — “and that’s the way it is.”

The Trust Problem

People are far smarter than this, which is why time and time again the polls show a huge mistrust in the news, increasing frustration with the media, and unfortunately the media turning a blind eye to the corruption happening on both sides of the political aisle.

So what if we did something different? Take time out of your opinion show to air your grievances with the party you are partisan to, or better yet, compliment the other side of the political aisle for doing something well — I mean, even a broken clock is right twice a day.

Now don’t just do it because I say so; do it for the betterment of the country. Whenever there is a politically motivated shooting, politicians often ask us in the media to “tone down” the “violent rhetoric.” Complimenting the other side of the aisle is just one way we can do this. For those who are insulted by the idea or think it’s completely preposterous, think of it as a challenge.

We are failing to challenge our viewers’ thought processes because, oftentimes, we choose not to challenge our own. If you work at Newsmax, the left is always bad. If you work at MS NOW, the right is always bad. Vilifying Americans for their bad ideas — because both sides have them — will only cause more division. Then you become the problem instead of the solution.

The Case for Honest Media

Journalists who work for truth and not an agenda are fed up. They are leaving the industry or foregoing it altogether because they reserve the right to be challenged. Aliens were once taboo for us to cover. And now we can’t get enough of them because a few brave journalists are challenging the norms we are all accustomed to.

So you can be the warm blanket everyone turns to when they want to hear exactly how they are feeling. Or you can be bold, be different, and be honest. Oftentimes, honesty is hard to say and even harder to accept.

The “bad orange man” in the White House took a big liberal idea and turned it into his own thing: Trump Accounts. But God forbid anyone on the right admit it started out as a leftist idea. Or anyone on the left thank President Donald Trump for taking Sen. Cory Booker’s (D-NJ) “baby bonds” idea and putting it into action. No, you still find a way to manipulate the story to make the other political party the villain.

There is no winning this way. So I invite you all to challenge yourself every day. Or if that’s too much, at least once a week. Find the goodness in the other political party and be the change the American people are asking for. Challenging your political views and those of your viewers doesn’t mean losing your values. It means invoking critical thinking and not always providing the answers or opinions.

So find a way to challenge your viewers, and challenge yourself. Politics, after all, is just a giant circle. The far right is one statement away from being the extreme left. And the left is two steps away from being right.

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.

Chris Krok Shares the Secrets Behind His Growing Fill-In Radio Career

0

Chris Krok has become one of the hardest-working people in news/talk radio. Since leaving WBAP in Dallas in January 2025, the veteran host has quietly built one of the most in-demand fill-in careers in the genre.

He’s filling chairs at stations like KTRH in Houston, WIBC in Indianapolis, KFYI in Phoenix, WBT in Charlotte, and AM 560 The Answer in Chicago — and the list keeps growing. What started as a handful of favors between colleagues has evolved into a full-blown operation, complete with a custom-built home studio and a relationship network that stretches from San Antonio to Indianapolis.

None of it happened by accident. Krok invested early, hustled constantly, and built the kind of genuine friendships that keep program directors calling back.

The groundwork began while he was still at WBAP. Cumulus allowed him to fill in at non-competing stations, and he seized every opportunity. That initial wave of assignments set the stage for everything that followed.

Building a Studio Worth Talking About

Before Krok could fill in anywhere, he needed a place to broadcast from. He didn’t cut corners.

“It started about five years ago when I was at WBAP,” Krok said. “They were very gracious in letting me fill in around the country for stations that weren’t competing with the Cumulus talk station.”

The early setup was far from glamorous. Krok dropped roughly $7,000 on broadcast equipment and initially broadcast from his bedroom — an arrangement his wife tolerated, but barely. Eventually, the demand justified a real investment.

“We built a 400-square-foot addition onto our house specifically for a state-of-the-art studio,” said Krok. “It has sound-dampening drywall on every wall and the ceiling, sound insulation throughout, triple-pane windows, a solid wood door, professional lighting for video and podcasting, and a custom-built desk.”

The studio isn’t just a selling point — it’s a signal to stations that Krok takes the work seriously. Still, he’s quick to clarify what program directors actually care about.

“Stations will ask about my setup, and I’m happy to tell them I have a very professional studio,” Krok said. “But ultimately, they care most about the quality of the talent and the product you’re going to deliver. As long as your audio sounds great and your connection is reliable, that’s what matters.”

Word of Mouth Helps, But the Hustle Matters More

Krok’s reputation has spread organically, but he doesn’t leave his career to chance. He treats every fill-in opportunity like an audition and every producer relationship like a long-term investment.

“Word of mouth is important, and sometimes it helps get your foot in the door,” the former WBAP host shared. “But to me, hustling is even more important. You have to keep reaching out, offering your services, and making connections. Sometimes you’ll connect with someone and not hear from them for six months before they suddenly call and ask if you’re available.”

That patience has paid off. He now fills in for Premiere Networks on both The Jesse Kelly Show and Your Morning Show with Michael DelGiorno — two programs with completely different formats. Jesse Kelly’s show runs on strong opinion and storytelling without callers, while Your Morning Show invites listener participation throughout. Krok thrives in both environments, largely because he prepares differently for each one.

His approach to producer relationships is deliberate. Rather than showing up and taking over, Krok calls the producer a week in advance to learn how the show runs.

“I ask what they’re comfortable with. Whether they use sound bites. And how much production they want,” Krok said. “I don’t come in trying to change everything. I come in trying to make the show run smoothly. Just as importantly, I try to make them laugh off the air. If we’re having fun together behind the scenes, that chemistry carries over onto the air.”

He’s built genuine friendships with producers like Chris Little from The Jesse Kelly Show, and producers from Your Morning Show. He calls them “brothers.” That dynamic, he believes, is the real engine behind his growing list of stations.

Going Hyper-Local in Every Market

Perhaps the most impressive part of Krok’s fill-in game is how aggressively he localizes his content — even in cities he doesn’t live in.

“I am hyper-local,” the former WBAP host shared, “and I’ll say it again: I am hyper-local.”

That philosophy demands real preparation. When Krok filled in at WIBC in Indianapolis recently, he spent four days monitoring local news before his first show. He tracked a story about the murder of a 14-year-old boy in a downtown parking garage, followed the controversy surrounding Marion County Prosecutor Ryan Mears after the local Fraternal Order of Police issued a vote of no confidence in him, and dug into a proposal to hike vehicle registration fees to fund road repairs.

“I’d estimate that 70% to 80% of what I talked about that week was local,” Krok said. “That’s always my priority. Even if I don’t live in the city, I’m passionate about what’s happening there because that’s what the audience cares about.”

He spends at least four hours preparing for every show, even a two-hour program. Chicago requires two to three full days of research despite his having grown up there. Phoenix demands similar effort because of how much is happening politically and locally.

Ultimately, Krok believes preparation and relationships are inseparable. He visits station teams in person when he’s in their cities — not because he has to, but because he wants the connections to feel real.

“Those kinds of relationships don’t happen by accident,” said Krok. “They’re built over time through trust, respect, and genuinely enjoying working together.”

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 Music Never Stops: Radio Remembers Clive Davis

0

Clive Davis passed away on June 22nd at the age of 94. For decades, he was involved in shaping the sound of American radio across multiple genres more than perhaps any single executive in the history of the business. His fingerprints are on records that defined formats, launched careers, and moved audiences across generations. When the news broke, I reached out to a handful of radio folks and asked them to share memories and what Davis meant to our industry.

First Thoughts That Came to Mind

I first asked what their immediate reactions were when they heard of Davis’s passing.

André Yancey, Brand Manager at 94.7 The Block in New York City, didn’t hesitate to talk about the music Clive Davis helped bring to life. “My brain moves fast, but the go-to was Whitney Houston’s ‘Saving All My Love for You,'” he said. “The legendary opening track from her debut album. From there I ran through his contributions to the American Songbook — Janis Joplin, Rod Stewart, and Barry Manilow all the way to TLC and Alicia Keys.”

Jim Ryan, radio consultant/GOAT, took a different first step. “I thought first of my dear friend Richard Palmese, who worked for Clive for many years,” he said. “My second thought was to call John Foxx at WCBS-FM and talk about honoring Clive on air. He was not only a fabric of the music industry but also the City of New York.” Ryan also shared his personal photos from Davis’s 90th birthday party, which you can see as the header for this column.

Skip Dillard, Format VP of Rhythmic AC and Throwbacks, went straight to Earth, Wind & Fire. With the group’s HBO documentary fresh in mind, he recalled that Davis signed them and gave them room to find their sound. “It feels like Clive both directly and indirectly gave us decades of artists,” Dillard said.

A Body of Work That Crossed Every Line

Clive Davis built his legacy across formats, and the executives who I spoke with made that clear. Erik Bradley, Brand Manager at Audacy, pointed to two artists from the LaFace partnership whose impact never faded. “Usher and Outkast — classic talents with classic smashes that still are relevant today,” he said.

Yancey drilled deeper into the J Records era. “Jamie Foxx, Mario, Monica, Alicia, Busta Rhymes, and Eric Sermon — we lean on Whitney, Alicia, and TLC,” he said. “But we also have to remember the amount of sampling that happens in Hip Hop, which contains nods to classics.”

He rattled off the connections: Rod Stewart’s “If You Think I’m Sexy” sampled by The Lox. Barry Manilow’s “I Write the Songs” referenced directly by Jermaine Dupri in “Money Ain’t a Thing.” “The music Davis championed crossed all socioeconomic, racial, and creedal lines,” Yancey said. “Just as music is supposed to.”

Dillard expanded the view further. Davis helped Aretha Franklin re-energize her career. He supported the LaFace Records collaboration that produced Toni Braxton. His distribution deal with Diddy built the foundation for Bad Boy Records and Biggie. “He was both directly and indirectly responsible for so much music across multiple formats,” Dillard said.

The Second Act Was His Specialty

Few skills defined Davis more than his ability to engineer a comeback. Ryan pointed to Rod Stewart. “Clive brought Rod Stewart’s career back to life with the Great American Songbook albums,” he said. “I was programming WLTW, and Rod did a show for us at MSG thanks to Clive.”

Yancey cited Santana’s Supernatural as the gold standard. “The particular single that remains a mainstay on our Throwback rotation is ‘Maria Maria,'” he said. “It’s proving to be timeless — and it functions as a dual throwback because DJ Khaled sampled it to construct ‘Wild Thoughts.'” Yancey added that the album accomplished what great music does: it crossed conventional audience boundaries.

Bradley went to Whitney. “I remember the ‘My Love Is Your Love’ era,” he said. “And after her passing, Kygo’s re-working of her ‘Higher Love’ vocals. That was a fun moment and a great memory.”

Dillard highlighted Luther Vandross’s “Dance with My Father” as a late-career breakthrough that rewrote the rules. “Luther always felt pop radio denied him love because he was boxed in at Urban,” he said. “But ‘Dance’ wound up breaking through due to its message, which Clive sought out in songs. AC and even pop radio joined the party.”

What Radio Can Learn From Clive Davis

The executives were direct about the lessons Clive Davis left behind for the industry.

Ryan put it plainly. “Clive was a detail freak. We’ve lost that in radio. I absolutely hate the ‘close counts’ mentality radio has gone to with the cost cuts.” He called for more attention to the small things — not as a business strategy, but as a tribute.

Yancey framed it as a balance between data and instinct. “Chase emotion as much as you chase data,” he said. “Some forms of magic present themselves subtly.” He pointed to “I Will Always Love You,” “Unbreak My Heart,” and “Mandy” as proof that the emotional core of a record outlasts every metric.

Dillard connected the philosophy directly to the craft of programming. “Always seek that special sound in everything we do — from imaging to writing, to content, to the flow of the music,” he said. “Clive wouldn’t greenlight anything he didn’t have full faith in.”

Final Thoughts

Ryan closed with a challenge. “Clive wanted chart-topping hits, but he also wanted careers,” he said. “The best thing we could do in radio is champion the careers of our talent. Grow that night jock into a spectacular morning host. Take that one-market morning host to syndication.”

Yancey echoed it with a broader call to purpose. “We often use the word ‘hit’ within the industry and lose sight of the gravity of what that actually means — the difference between a moment and a movement,” he said. “We can be vessels to understand, direct, and help heal our audience. Just like the music.”

Dillard noted that the Clive Davis Music Business School at NYU, the Grammy Museum, and the Living Legends Foundation will carry his legacy forward. He extended an invitation to Barrett Media readers to attend the Living Legends Foundation Annual Awards Gala in Atlanta on October 2nd, where tributes to Davis are planned. Information and tickets are available at LivingLegendsFoundation.com.

The music Clive Davis helped put into the world was never just content. It was connective tissue. Radio’s job now is to keep that connection alive.

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.