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600 KOGO Adds Veronica Carter to Mornings Alongside Ted Garcia

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600 KOGO has announced the addition of Veronica Carter to San Diego’s Morning News with Ted Garcia.

She steps into the role vacated by the departure of longtime host LaDona Harvey, who stepped away to care for her ailing father who lives in the greater Phoenix area. Harvey spent 28 years at the iHeartMedia San Diego station.

Carter joins the morning show after previously serving as the West Coast Regional News Director for iHeartMedia. She also spent time as co-anchor of Portland’s Morning News on 101 KXL, and at WBBM in Chicago and KFBK in Sacramento, among other stops.

“I’m honored to join such a respected team and excited to connect with our listeners each morning, bringing them the news and stories that matter most,” said Carter.

“I’m thrilled to welcome Veronica to our team,” added KOGO Program Director Mary Ayala. “Her depth of experience, vibrant enthusiasm, and passion for connecting with the people of California make her a great addition to our morning show.”

ESPN Sunday Night Baseball Finishes Season as Most Watched in Five Years

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This season of Sunday Night Baseball on ESPN generated its most-watched season in five years – since 2019 – according to Nielsen numbers the company passed along. The 2024 season averaged 1,505,000 viewers across 25 games, up six percent from 2023.

Sunday Night Baseball, which features a broadcast team of Karl Ravech, David Cone, Eduardo Perez and Buster Olney, also experienced growth in several key demographics, including Adults 18-24 (26 percent), Women 18-34 (16 percent), and Adults 18-34 (12 percent).

This season, ESPN averaged at least two million viewers four times on Sunday Night Baseball, and the average of the top five games was up 23 percent vs. last year.

ESPN platforms will exclusively broadcast the 2024 MLB Wild Card Series starting Tuesday, October 1.

Cris Collinsworth NBC Extension Means Network NFL Analyst Roles Are Filled Through 2027 Season

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So, Cris Collinsworth haters, today is not your day. According to Andrew Marchand’s reporting for The Athletic, Collinsworth and NBC are closing in on an upgraded deal that will bind the NFL analyst to the network and its Sunday Night Football broadcasts through the 2029 season, including NBC’s ownage of the Super Bowl in early 2030.

That’s quite a while to contemplate how much Collinsworth drives you crazy, assuming you are somehow in that mix. I’ve never understood the antipathy, but to each his own.

And that is actually the news here, that thing about finding an analyst to love — or at least not to hate. Because the Collinsworth deal appears to solidify the NFL’s top broadcasting crews for a long, long time to come.

If you love having new choices and fresh perspectives to consider, here’s hoping you packed a lunch. It could be a wait.

With Collinsworth in place (a formal announcement hasn’t yet been made), the No. 1 announcing booths at the NFL’s major-exposure destinations are fairly locked in, and the analysts in particular. Here’s a breakdown, which assumes that public reporting on the contracts is solid:

FOX — Kevin Burkhardt and Tom Brady, with Brady signed through 2033 season.

CBS — Jim Nantz and Tony Romo, with Romo signed through 2030 season.

ESPN — Joe Buck and Troy Aikman, with Aikman signed through 2027 season.

NBC — Mike Tirico and Collinsworth, with Collinsworth now set through 2029 season.

The league’s Thursday Night Football destination, Amazon’s Prime Video, may be the forerunner of many streaming days to come, and its deal with the league runs through 2033, but for now it remains an outlier. Al Michaels handles play by play and Kirk Herbstreit the color/analysis.

While the length of Herbstreit’s deal is unclear, Michaels’ contract expires after this season, so that booth feels subject to change. But across the four majors, the landscape is stable. That’s either the good or bad news, depending on how you feel about each analyst.

Collinsworth’s pending upgrade is noteworthy in that it sort of seals off those top analyst jobs. After a couple of years of change and some alphabet-jumping by big names, there’s a settling occurring now.

Collinsworth’s deal will take him to his age-70 season. Beyond him, the oldest analyst in the group is Aikman at 57. Unless someone becomes deeply unhappy with his setup, these are the guys you’ll be choosing among for years to come.

That is very okay with the NFL, by the way. When it comes to its production and distribution to American consumers, the league doesn’t love change. It doesn’t mind innovation, so long as said innovation makes the league look better and not worse, but disruption in the broadcast booth isn’t the owners’ favorite thing.

After Buck-Aikman made their move to ESPN and Brady finally took the job that FOX had been holding for him, the only real possibility of a future No. 1 analyst opening — for, say, Greg Olsen, who was displaced by Brady, or perhaps a top coach who soon becomes ready to switch professions — appeared to be with NBC.

That was only because Collinsworth’s existing contract was up after the 2026 season. This latest negotiation nixes that idea. It also likely upgrades Collinsworth’s business portfolio, as he undoubtedly will receive a raise beyond the $12.5 million annually that Marchand reports he’s currently earning with NBC.

If there’s a wild card left in this field — that is, beyond the Amazon Prime situation, which was always going to be a little fluid with Michaels in the mix — it’s simply the possibility that Tom Brady gets going, likes broadcasting but doesn’t love it, and ultimately does not complete the 10 years on his contract.

But that’s just A.) so far down the road, and B.) purely speculative. These jobs are coveted for a reason that goes beyond the money. They’re prime-exposure windows, and thus an NFL-themed influencer’s dream.

They turn over slowly, these seats; once filled, they tend to stay that way. Collinsworth and NBC are about to reinforce that reality. How you feel about it, while completely up to you, won’t change a thing – and again, change is never the goal around here.

Does News/Talk Radio Need to Join News Television in the Spirit of Collaboration?

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Cable and network news television outlets are working in conjunction more and more frequently, especially in big moments. And truth be told, I think news/talk radio needs to follow a similar path.

When CNN announced it had secured a presidential debate earlier this year, it raised eyebrows by saying it would be available to simulcast by other networks. Conventional wisdom says that was a bad idea, because the debate could have, should have, and would have been a ratings and revenue triumph that the network could have kept all to itself.

Instead, it shared the debate — under certain guidelines that still gave it top billing no matter where you watched — with virtually every television outlet imaginable. ABC News followed suit, and now various simulcast plans have been announced for the CBS News Vice Presidential Debate scheduled for next week.

There is a tried and true adage that I firmly believe: A rising tide lifts all boats. And I think that’s on display with the presidential debates. News television has recognized that the game is changing, and it’s changing rapidly. In a dog-eat-dog world, we all have to look out for one another.

I don’t know if there is a specific instance — like a high-profile presidential or vice presidential debate — that requires news/talk radio to work together, but I know that the industry often has the exact opposite thought process and mindset. It’s slightly changing, as seen with the decision by Audacy to lease the 880 AM signal in New York to competitor Good Karma Brands. That’s a step in the right direction, but there needs to be more.

For instance, many know the statistics surrounding the proliferation of AM/FM radio usage by the general public. But as an industry, we’ve done a poor job telling that story. If you were to poll a random person on the street, or even an advertising professional, I would be willing to bet you they’d underestimate the percentage of people who use radio daily or weekly. By a lot. And why is that? Because we haven’t told our story.

In a similar question, if you asked how many Americans still listened to AM radio weekly, I bet that figure is probably underestimated by the average person.

Frankly, I don’t think this is a news/talk radio problem as much as it’s a radio industry issue.

But ultimately, doesn’t it benefit all of us to get on the same page and pull in the same direction? Wouldn’t it benefit groups like iHeartMedia, Audacy, and Cumulus just as much as it would Adams Radio Group, NRG Media, and Max Media to share with marketers radio’s success, its story, and why they should place more of their advertising budgets with a medium that features affordability, accessibility, and availability?

If a rising tide lifts all boats, wouldn’t it make sense for all of the boats to do everything in their power to lift the tide? Doesn’t that make logical sense?

To use another idiom, the squeaky wheel gets the grease. And in recent years, there have been a lot of squeaky wheels. Digital, podcasts, FAST, YouTube, and I could go on. And when they all burst onto the scene, they made noise and showed off as the shiny new toy in the marketplace. Radio, meanwhile, has taken the Ferarri approach. Have you ever seen an advertisement for Ferrari? Neither have I.

Instead, I think radio needs to take the Toyotathon or Happy Honda Days approach. Let’s beat potential advertisers and marketers over the head with our message. If we believe radio advertising provides a top-of-mind position, let’s make the position that hundreds of millions of people use terrestrial radio every day.

Furthermore, I think news/talk radio should band together to become a major player on the political stage by demanding more access to candidates and by proposing more debates, but that’s a different column for a different day.

If news television networks — who have been in ratings battles on a national scale for decades, and just as long as heritage radio brands in major markets — can put aside their differences to recognize the importance of providing high-profile content to as many viewers as possible, can’t the radio world band together to help benefit the industry for years to come?

I’d like to think the answer to that question is “Yes.” Someday, I hope I know the answer is “Yes.”

Musical Differences Are An Amusing Take On The Generational Jukebox

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The Generational Jukebox: An Amusing Take on Musical Differences

Let’s be honest! Every generation thinks their music is far superior than the others. Whether it’s the Baby Boomers’ vinyl collection sitting in boxes and stacked in a storage unit, or Gen Zer’s TikTok hits, we all have our preferences. Let’s take a look at the musical habits of Boomers, Gen Xers, Millennials, and Zoomers and how they might amusingly see each other!

BABY BOOMERS (1946-1964) – True Rock ‘n’ Roll Royalty

Boomers are the original musical Bougie crowd. They grew up watching Elvis shake and roll his hips like a hound dog in heat, while their parents watched in shock as Ed Sullivan introduced the “long-haired freaky” Beatles, who by the way, also “Twisted and Shouted.” Their moms asked Dad why in the world they would name themselves after a bug?

Boomers will still stroll into that hidden, off the once beaten path, vinyl record store flipping through albums for the perfect record to drop on the turntable (which they no longer even own.) They actually think “streaming” is about a fishing trip with a bunch of other boomers, telling the dumbest of dad jokes and totally inappropriate jokes that even 12 year-old boys wouldn’t repeat.

From a passionate rendition of Jimmy Hendrix’s “Hey Joe” to the classic air guitar session of “Stairway to Heaven,” Boomers bring it all home in style!

GENERATION X (1965-1980)

The Parentless Generation! Gen Xers grew up as latchkey kids and in the ‘80s and ‘90s, rocked out to Nirvana and Pearl Jam (while secretly cranking up the Backstreet Boys and NSYNC) all while being totally ignored by their parents. (Thanks, Boomers!)

They love complaining about how “music used to be better” while watching old Britney Spears videos (Whoops! They Did It Again!)  When they hear someone mention “Ariana Grande,” they picture a new seasonal Starbucks latte. “I’ll have that new Airy Annie Grande special with two pumps, please!” This generation worked extremely hard on the art of smirking. It was often used in conjunction with the classic eye roll.

Millennials (1981-1996)

These digital dreamers are the multi-talented generation, exhibited by being able to listen to a podcast while scrolling through their Instagram feeds. They also went to school when Facebook was meant to connect college students. (They seemingly disappeared around  2010 when mom and dad joined FB to keep an eye on them.)

You may have noticed that they created the best breakup playlists. Sadly, Boomer and Gen-X parents had to deal with all that drama. Millennials hear “Boomer” and think it’s just another college drinking game that likely involves ping pong balls and Johnny Walker Black.

Every concert was an opportunity for a selfie with a score of other friends. Even though they were only twenty at the time, they had to find a filter to make them look like they should appear on the cover of Vogue.

Generation Z (1997-2012)

These folks have taken music to new heights with a mashup of everything from K-pop to hyperpop. They don’t just listen to music—they curate entire vibes using Autotune.

Zoomers were pioneers of the original 7 second “Vines” and eventually TikToks that go viral, while the rest of us still try to figure out how to even use the app. When a Zoomer hears the term “classic rock,” they likely imagine a band made up entirely of grandparents (or even great grandparents) jamming out in a retirement community. They think they’re really cool -until they spot their own granddad.

Whether it’s a TikTok viral dance or impromptu living room moves, these young folks know how to party. They are quite willing to show the entire world on insta, but heaven forbid a Gen Xer or worse – a Boomer tries to join in!  

What does it all mean?

In the end, music is what bridges the generations — despite our often, ridiculous differences. Whether you’re a Baby Boomer still reminiscing about Woodstock, a Gen Xer grumbling about how hard they had it, a Millennial curating playlists for every possible mood, or a Zoomer dancing to the latest viral, pop culture hit, we can all agree that music adds wonderful color to an often dark and crazy world. So, keep spinning the wax, hitting the notes, and sharing a good laugh along the way. Ok, well you Gen Z’ers can at least try breaking a smile!

Sales Meeting: How Radio Advertising Salespeople Should Work with Ad Agencies

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I had a lot of feedback from the part of last week’s sales meeting which talked about ad agencies. So, I want to cover that again in this week’s sales meeting, so stop texting, looking at TikTok or posting on Instagram, let’s chat about the evil enemy known as the advertising agency.

Right off the bat, I want to tell you that if you have a negative outlook towards ag agencies and think that way too many businesses that don’t spend that much money are using them these days, know that is most likely our own fault. We bugged the heck out of these business owners, but clearly didn’t either provide them with enough value, or most likely didn’t listen well enough to present a plan to them that made them think they didn’t need an ad agency when they could just buy from you and get an in-house marketing person along with it.

Do you remember watching Mad Men? Did you ever notice that the thing they were really best at was making initial presentations, presenting big ideas and campaigns based on what the client had told them? That and taking people out to nice dinners with plenty of cocktails.

Most ad agencies I dealt with in radio were simply interested in the CYA Strategy. They buy out of fear the client is going to come back and say something didn’t work. So, if they have data (no matter how bad the data is) that backs up what they did, they point to the data and say they recommended what they did based on the numbers.

In recapping what I had said before, ad agencies are trained to lie to you. It’s just the truth, I have the training manual. They are taught that radio salespeople, in particular, can be and should be taken advantage of, that they will believe anything you tell them especially if it is about the competitor. They often rush you to get you flustered then take their own time placing the buy because they never needed the information that quickly in the first place, it was a tactic.

With that said, there is a strategy you need to utilize in order to work with the agencies, assuming you have data to back it all up. The first thing is, if you only work the agencies when a buy is happening you’ve already lost. Agency buys, like anything else, can come from relationships, but mostly it is about trust.

Think about who the agency is. They work for the client and if they don’t get ‘er done, they are getting fired. So, if you can be one of those people who always delivers for the agency and your station performs, and you go above and beyond, play their games, etc., you should get buys from that person over and over again. The trust is there.

Ad agencies are also a lot like, well, every other small business on the planet – understaffed and busy. I know we don’t like to accept this, but buyers don’t sit around most days and thinking about just you and your station(s). You need to be in front of them, you need to be talking to them, you need to be pitching ideas to them.

There it is again – the ideas, the creativity. Going back to Mad Men, those were the days of big shops with people everywhere to do everything. Now, an ad agency is generally a few angry ex-media salespeople. They don’t have the resources to do it all, so they need your help.

If you are trying to get agency business by waiting for RFPs, then complaining when you don’t get bought three months later, ask yourself what you did to try and earn that buy. Did you presearch? Did you pitch an idea or a concept or a slogan or a jingle? Did you introduce yourself to the owner when you casually walked in to familiarize yourself more with the business because you will soon be making a presentation to their ad agency?

Nothing in our business should be expected, you have to work, sometimes you even have to, you know, SELL. If you build a relationship with a buyer, you can learn a lot, and sometimes you can learn what they are buying from others and come up with a way to sell against it. Ask questions like what other companies might be doing that they like, is it easier to do business with others and things that can help you now or with a future buy.

Be the ‘squeaky wheel’ so you are in line for the grease. In this case, you want to know clients who are getting ready to spend. Get out ahead of the RFP and take the time to put something killer together.

And know what you are going to face when it’s showtime so that you are prepared, understanding the tactics they will try and use against you. Have the best idea so that when it comes down to it, the lie that the people across the street have completely dropped their pants and offered something crazy doesn’t matter.

Patrick Thomas of PickleJar’s ‘Up All Night’ Does It Live And His Way

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Patrick Thomas hosts PickleJar’s nationally syndicated “Up All Night,” a live overnight Country music program. When you talk to Thomas about the show, the first thing you notice and cannot possibly miss is his unbridled enthusiasm and the fun he is having doing it.

The show launched in May 2023 and was conceived by former Cumulus VP of Country Radio Charlie Cook. At the time, Thomas was a producer and on-air personality on the nationally syndicated “Big D & Bubba Show,” a morning show that he had been with for 24 years since its start in Baton Rouge.

Thomas had been feeding Cook and PickleJar executives ideas about content and potential hosts. Cook and PickleJar’s Kristian Barowsky saw his enthusiasm, heard his ideas, and said, “Are you sure you won’t think about doing it?”

“The reason for the hesitation was because I really had a great job. I was on what I think is the best morning show, the most consequential morning show in the history of the format, and I’ve been with them for 24 years,” Thomas said.

Thomas’ passion for live radio, the chance to create a community for people “Up All Night,” and the chance to expose new Country artists excited him to take the job.

“We’re having a shared experience. And they know they’re not alone because most people work alone or in their cars at night; they drive alone,” said Thomas. “But when you’re listening to something, it’s nice to know there are other people listening to the same thing you are.”

Taking calls is also a huge factor in the show’s success, and Thomas uses “Why u up all night” as his catchphrase and how he opens listener calls. “I want them to say their name and where they’re calling from. This is Steve in Cincinnati. And then it was my idea to immediately say, Steve, why u up all night?”

Thomas’s background as a stand-up comedian allows him to interact with other voices on the show and react to what they say.

“Sometimes, some of them have become little radio stars on their own. A guy in Dallas named “Big Bird” is basically my sidekick at this point. He calls me almost every day. The man is hysterical. He’s a roofing contractor in Dallas, Texas, but he calls my show every night. It’s hysterical, especially when his Cowboys suck, and I can make fun of them. I’ve had several regulars, but even the regulars are like, okay, why are you up all night?”

Thomas loves the unexpected calls from overnight workers: “This lady calls me from the M&M’s factory and tells me that she makes M&M’s for a living. Oh my God, I could be talking to the President of the United States, and I wouldn’t be more excited than I am to talk to the lady who makes M&M’s. And to her, it’s just a boring job that she does herself in the middle of the night.”

“And other people around the country, I know they love hearing that conversation. And you cannot do that without giving people a reason to call and shining a light on those people.”

Exposing and giving a platform to young and up-and-coming artists is another point of passion for Thomas.

“I’ve had about 50 of those artists come on. It’s been one a week for almost the entire run. They all drop whatever they’re doing from wherever they’re from and move to Nashville because it’s a magic place where they might become the next Carrie Underwood or Jason Aldean. And don’t you want to talk to those people?”

“I understand that if you’re a morning show or if you’re an afternoon show, you probably can’t interview the girl who’s got her first single out, and she’s still playing in the bars downtown. But I can.”

Thomas’ comedy and interview skills blend with PickleJar’s vision of connecting artists and audiences. “They wanted to shine a light on new artists, and I wanted to do live radio. I very quickly embraced their vision when I realized how much fun it was, how much fun you could have with new artists, and the freedom of being on in the middle of the night where no one’s going to say, why did you interview Ashlie Amber? Because I wanted to. She’s super interesting. She lives on a cruise ship.”

Thomas calls Live the other L-word. “I wanted to do a panel at CRS called “The Other L Word. I think radio talks so much about why it needs to be local; we forget that the thing that we have that everyone else doesn’t is that we can be live if we just do it. Just go and sit in the studio while your show is on the air and talk to people and talk about what’s going on right now and talk to people when they call in and get their reaction to what you just said and make it mean more.”

“Outside the major market, most middays and afternoon people aren’t live. Okay, I know there are some, but outside of Sports and Talk, and hey, what are the most successful formats in a lot of markets? Sports and Talk.”

Thomas sees his show as a community for overnight workers and enjoys giving them a platform. “Shine a light on the people who are working in the middle of the night, the people who are up because they have to be up. 7% of the workforce works the third shift. That’s a lot of people. And so, everybody’s interesting to me, and you find out what they do.”

“Oh, you’re a security guard? Where? Oh, the mall? They still have a mall?  Whatever it is, I can make it entertaining. I’m a comedian. So, it’s very similar to what they call crowd work, where you just talk to people in the audience and then find something funny to say based on what they said.”

“PickleJar’s Up All Night” is on in 50 cities across the country, and Thomas sees his show as the opportunity to bring that diverse community together.

“I just get excited and find joy in the most ridiculous things. It’s my superpower and trying to make other people care about what I care about, but with callers, the real moments and the real highlights come when someone calls me and their job has something to do with food.”

Thomas believes that the show quickly evolved, confirming PickleJar’s selection of his vision and execution of the show. “It was much better than they thought it was going to be. But it was better than I thought it was going to be. I didn’t know for sure I could go in there and do this this way.”

“But I love it. I love live radio. I love being there. You don’t know what’s going to happen next.”

Listen to PickleJar’s “Up All Night” here.

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760 WJR Detroit Program Director Ann Thomas Shares Several Key Takeaways from the BNM News Summit

The news media industry continues to buzz about the BNM Summit earlier this month. Ann Thomas from Cumulus Media’s WJR Detroit, even spoke to all of the company Program Directors on her biggest takeaways from the event. “Radio stations need to be multi-platform audio distribution companies, meaning we need to be using social media, including YouTube videos,” she said. “We need to be podcasting and streaming.

“We need to make sure that our websites are looking sharp and up to date. We need to be using our app.” WJR’s app is updated every day with the latest content because Thomas recognizes how important it is to stay connected with their community of listeners.

Thomas joined the Detroit station in 1982 and has seen many changes in the industry, and the more recent moves of trying to modernize radio is no different. “When I started, it was just all about doing radio,” she said. “We just got up and we did radio. Nowadays it’s just a lot different. For the success of the industry, we all need to be able to do all of this and understand how it works.”

Her station is already taking advantage of social media, YouTube, and podcasting, making sure the content is consistent with the WJR brand but also differentiating it when possible. “We take all of our interviews that we do throughout the day and post them,” she said. “We generate a tremendous amount of content as we are all local from 5:00 a.m. until 7:00 p.m. Every show has all this content. We post all those interviews. But then, you’ve got so much talent in the building, I think you can also have the talent do their own unique podcasts on the side, on topics that they’re really interested in or things they really care about.”

Another big take away from the BNM Summit for Thomas was something all stations should already be doing. “We need to be involved in events that include listeners, events where your listeners are able to be part of whatever is happening,” she said. “Contesting is still really important along with some type of email club with newsletter distribution.”



One thing Thomas was shocked to find out at the summit was that younger people are tuning into radio. She said, “I thought that was very interesting research because we kind of operate on the idea that maybe it’s an older audience that is still paying attention to radio. So, to hear that it’s still the younger audience using the radio is very interesting and something that we need to pay attention to.”

For years WJR has found ways to attract a younger audience including high school students. “We’re doing high school play-by-play football on Friday nights,” Thomas said. “We’re originating it out of WJR. We’re working with the schools to use their up-and-coming broadcasters as the color analysts [for the game].”

Each week two student analysts sit in the booth with WJR’s Chris Renwick and have a chance to add color commentary to the game. “It’s just a really nice way to connect with the school and you’re connecting with the parents,” Thomas said.

While connecting with listeners is key, the lead-up to November is proving to be a large focus for listeners this year. As elected officials and/or hopefuls vie for airtime, The Motor City is finding themselves in the middle of a battleground. “We’re talking about the election basically throughout the day,” she said. “It’s very important to our listeners.”



High importance means a high amount of thought and care is placed into the day’s political content. “One of the things that I really paid attention to at the summit was the importance of not just talking about what one candidate says about the other but try to take what they’re saying and make it more local. How does what [politicians] say affect our listeners here in Michigan? So, our shows are trying to do that, too.”

With the election in full swing, Thomas and her team’s breaking news coverage plan has been enacted a few times this cycle. “The breaking news seems to be coming on the weekends,” she said. “What we do is we put our news team and our digital teams on notice. As soon as something happens, they get right on it. Our on-air team, they’ve been doing that forever. It’s usually very easy to break into our programing. We have sounders ready to go and we just break into our programing and roll with whatever the news is.” 



The digital plan is a little more involved for Thomas as she helps coordinated it. “I help with the social media part of that, then we have the digital department which will help us with the stories and making sure everything is posted properly. You have to have a plan because it would be really hard if you didn’t.”

One of her most important notes to the team at WJR is making sure they are rolling news out as quickly as possible. “One of the things about radio that is still so important is the immediacy. You have to make sure that the people on your team understand that, too. They want you to get it immediately. And so that’s kind of how we train our people, that when there’s breaking news, get it confirmed, make sure it’s accurate, and then roll with it.”

Thomas began at WJR as an intern in the news department and then she moved up the ranks from reporter, anchor, producer, to now Program Director. Calling herself, “one of those people that’s living and dying with the news cycle,” she is always keeping an eye on what is going on.

Along with being the Program Director, Thomas does a show, Women Who Lead. “I interview and honor women throughout the Great Lakes area that are doing interesting things with their lives,” explained Thomas.

For those who are looking to follow in Thomas’ footsteps she says, “Make sure that you know about every aspect of audio distribution because it’s a different business today than when I started back in 1982. Completely different. I think the people that are able to know all sides of the business understanding the on-air part and how that works and also understanding the digital and the podcasting, I think those are the people that are going to be most successful in this industry moving forward.”

Overlapping Monday Night Football Games on ESPN and ABC Average Over 19 Million Viewers

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In Week 3, ESPN’s Monday Night Football featured two games, with staggered start times of 7:30 p.m. and 8:15 p.m. ET, resulting in more than 2 hours of overlap. The Jacksonville Jaguars and Buffalo Bills aired on ESPN/ESPN Deportes, followed by the Washington Commanders and Cincinnati Bengals on ABC/ESPN+. The result showed strong audiences across ESPN platforms.

The two games averaged more than 19 million viewers during the overlap time between 8:15 p.m. and 10:30 p.m. ET. The peak was 20.4 million viewers which came between 9:15 p.m. – 9:30 p.m. ET.

The Jacksonville-Buffalo game was a blowout win for the Bills 47-10, however, the second game between Washington and Cincinatti came down to the wire with the Commanders hanging on for a 38-33 win. With the exciting finish, the game averaged 15.2 million viewers from 10:30 p.m. ET – 11 p.m. ET. The full game averaged 13.2 million viewers.

Next Monday night, another staggered start doubleheader will have the Tennessee Titans at the Miami Dolphins starting at 7:30 p.m. ET on ESPN followed by the Seattle Seahawks at the Detroit Lions starting at 8:15 p.m. ET on ABC.

Al Levine Joins 107.1 The Boss New Jersey For ‘The Boss Radio Hall Of Fame’

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Press Communications Classic Rock/Hits WWLZ (107.1 The Boss)” WWZY Long Branch/99.7 WBHX Tuckerton NJ brings Al Levine aboard to host “The Boss Radio Hall of Fame” on Wednesday nights.

The new show will spotlight an artist, year, or theme each week, with the host’s deep musical knowledge, chart expertise, and high-energy delivery, bringing the content to life.

Earlier this month, the station’s lineup underwent a revamp. Cane Peterson shifted from a nighttime slot to an afternoon show, while Ralphie Aversa expanded his Saturday night hosting duties to include Monday, Tuesday, Thursday, and Friday evenings. Levine’s addition to the roster completes these changes.

Press Communications VP/Programming morning host Robby Bridges said, “We have built one of the premiere on air staff’s in America at 107-1 ‘The Boss’ and Al Levine fits like a glove. We are thrilled to have him host this fun show as only he can. It’s the special and unique connection iconic talent like Al make with the listener to keep them coming back to the radio station for more that a streaming playlist never could!”

Levine added, “I’m excited to be on board with this team! A lot of big talent on a station with a lot of style! I’m looking forward to hosting a special feature show on ‘The Boss’ Wednesday nights.”

For nearly 30 years, Levine worked at Cox Top 40 WBLI/Patchogue, NY, serving as the Assistant Program Director and hosting shows during middays and afternoons.