Home Blog Page 140

Bloom Broadcasting Brings Back Star 94.7 in Youngstown

David Hill
-
0
Bloom Broadcasting Brings Back Star 94.7 in Youngstown

Bloom Broadcasting has flipped 1330 WGFT in Youngstown, Ohio to Classic Hits. The former ESPN 94.7 is now Star 94.7.

What We Know: After a weekend dog-themed stunt as “Taco 94.7,” the station officially launched its new format Monday, June 8 at noon. The Classic Hits brand actually returns to a familiar place — Star 94.7 previously aired on the frequency from 2014 until April 2025. Owner Karl Bloom converted the station to Sports shortly after acquiring it, making this flip a quick reversal.

What They Said: Bloom is clearly energized by the change. “The new Star 94.7 features the best music from the 70’s, 80’s, 90’s plus much more,” he told RadioInsight. “I’m very excited to bring both the classic hits format and the iconic Star 94.7 branding back to the Mahoning Valley and work with some of the most talented people in the radio industry.” A lineup announcement, he added, is coming soon.

What Remains Unclear: No talent has been announced yet. Bloom confirmed details are forthcoming, but specifics on air staff and programming direction remain unknown. It’s also unclear whether the station will carry any local programming at launch.

What It Means: Youngstown had been without a gold-based pop station since Cumulus flipped Oldies “Z104” WWIZ to AC in April 2025. That left a real gap in the market. Star 94.7’s return directly addresses that void with a format built around familiar hits. If the brand resonates the way it did during its original run, Bloom could be well-positioned to recapture a loyal audience.


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.

Radio One’s Yonni Rude to Receive ‘The Mike McVay Award’ at the 2026 Barrett Media Audio Summit

Jason Barrett
-
0
Radio One’s Yonni Rude to Receive ‘The Mike McVay Award’ at the 2026 Barrett Media Audio Summit

We announced plans on Monday to introduce The Mike McVay Award at the 2026 Barrett Media Audio Summit presented by Point to Point Marketing. The honor named after the longtime radio consultant and executive will recognize annually a rising music radio program director who combines creative instincts, multiplatform vision, and a deep understanding of music and culture. It’s an award to showcase individuals who elevate talent, champion innovation, and bring a collaborative and consistent creative energy to the brands they represent.

To help decide a winner, executives from twelve radio groups were asked to nominate someone within their organization who warranted consideration. My thanks to every executive who took time to share their input. We received some outstanding feedback. That made this process very difficult. There were so many great stories and deserving people. As I told each of them, picking one in your company is hard, but choosing one from a special group is even tougher.

Mike McVay and I reviewed the input, examined the candidates, and agreed on the final choice. Today, I’m excited to share that Yonni Rude has been chosen as the first recipient of the Mike McVay Award. Yonni will join us in New York City to accept the honor from Mike at the Premiere Networks Awards ceremony on Thursday, July 2, 2026.

I called Yonni to inform him of the honor and he was both humble and grateful. He said of the recognition, “As a third-generation broadcaster, I grew up understanding the power of radio. What I didn’t know was how much the journey would shape me. Radio has taken me places I never imagined, introduced me to incredible people, and allowed me to be part of moments that matter.”

Yonni’s selection also mattered to Mile McVay. “It was greatly important to me that the recipient of an award bearing my name be carefully scrutinized as this acknowledgement reflects on me as much as it does on them. This inaugural presentation going to someone I’ve watched succeed as a programmer, combined with their quality reputation, puts a spotlight on those who are shaping the future of radio.”

If you glance at Yonni’s LinkedIn profile, you’ll immediately notice the opening line: “I help talent reach their potential.” Those words reflect an interest in helping people succeed. Both Majic 102.1 and 97.9 The Box do that on a consistent basis in Houston. Each has a strong ratings story and popular personalities, but even more impressive is the brand’s digital impact. In less than three years, Yonni’s influence has rubbed off on everyone. Each station’s footprint continues to expand, while its traditional radio story remains powerful.

I asked Radio One’s Senior VP of Programming Colby Colb what makes Yonni exceptional. He pointed to his collaborative spirit, innovative mindset, and ability to elevate talent, inspire others, and earn trust. Radio One co-President Deon Levingston praised Yonni’s creativity, consistency and track record of success!

Yonni’s career started in Fayetteville, North Carolina with Beasley Media before joining Citadel and Cumulus Media in Charleston, South Carolina. During his 15 year run there, he grew from Music Director/Afternoon Host to APD and PD. A four and a half year run in multiple markets with Radio One came next. Yonni started in Richmond, VA, before advancing to Detroit and Cleveland. In each stop, he continued making an impression. That led to a move to Atlanta to become Executive Producer of The Morning Hustle.

After nearly three years with the Hustle, Yonni headed to Houston to lead Majic 102.1 and 97.9 The Box in January 2024. Since arriving, both brands have remained format leaders while extending their reach beyond the dashboard.

The Mike McVay Award is designed to recognize a rising leader whose influence extends beyond the ratings. That’s what Yonni Rude does. We are looking forward to recognizing his accomplishments in New York City on Thursday, July 2nd. I hope to see you there.

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.

Radio Legends and Tomorrow’s Stars Agree on What Saves the Country Format

Kevin Callahan
-
0
Radio Legends and Tomorrow’s Stars Agree on What Saves the Country Format

What happens when you put the format’s legendary icons from the Country Radio Hall of Fame into a room with 20-something innovators currently keeping local radio alive with an iPhone and endless hustle?

Representing our established HOF vanguard: Rick Jackson (Rick Jackson’s Country Classics) and Heather Froglear (PD/Afternoons at KFRG/Riverside). Representing our rising trailblazers: Hannah Brummer (APD/Afternoon Drive for Star 105.5 & The 9-6-7 and Middays on Chicagoland’s Free Country at 98.3 & 102.3) and Gideon Dean (Communications Director/Swiss Army Knife for WBQK/Williamsburg).

We dug into the critical questions facing our format today. As the answers rolled in, however, a striking truth emerged: beneath the surface differences in technology and experience, both generations are fighting for the exact same thing.

1. The Magic Wand (The Blind Spots)

I started by asking what single blind spot is most urgent in Country radio right now. Indeed, the responses highlighted a unified frustration: structural systems that pull radio away from its human core.

Rick Jackson: “The critical role of talent. In just the last couple of days, two of the most successful radio on-air talents for the past 20 years in Charlotte have been dismissed by iHeart and Audacy (Matt and Ramona and Tanner in the Morning). It’s a worrisome trend that stunts opportunity and creates a local disconnect.”

Meanwhile, our next-gen programmers zeroed in on the exact same problem — approaching it through the lens of modern relevance.

Gideon Dean: “There’s a generational disconnect in the content a lot of stations are putting out. Being dialed into trends and topics that younger people are engaging with is crucial to bringing that base into your listenership.”

Hannah Brummer: “I’d love to see even more opportunities for up-and-coming artists to be heard. There is so much incredible talent out there, and some of the most exciting moments come from discovering an artist before they become a household name.”

2. The Battle Against “Brad the Robot”

Next, we looked at the existential threat: streaming algorithms and AI. If an algorithm can curate a playlist, what keeps a driver from plugging in their phone?

The panel was unanimous: if your station sounds like a utility line, you’re already dead.

Heather Froglear: “Local radio wins when it feels ALIVE. The magic isn’t the music anymore — everybody has the music. The magic is the companionship. If your station sounds like it was assembled by a corporate robot named ‘Brad,’ people are absolutely plugging their phones in.”

Hannah Brummer: “The personalities I care about aren’t trying to sound perfect. They share their lives, celebrate the community, tell stories, and make me laugh. What makes me stop and listen is hearing something real.”

Rick blamed a management culture that values spreadsheets over actual showmanship — a sentiment our next-gen digital natives completely backed up.

Rick Jackson: “We’ve created a culture of computer programmers. The best are terrific at understanding music research and rotation strategies, but that’s not going to be enough. If all we have are music jocks, AI will rule. Better voices, fewer mistakes, cheaper. But a great personality will destroy AI.”

Gideon Dean: “The AI DJ ‘X’ on Spotify can’t tell you a story about how it was driving its kid to school and noticed a new restaurant opening in town. Keeping listeners engaged requires you to be engaging.”

3. The Great Music Discovery Schism

This is where the mechanism of delivery sparked some debate, though the final destination remained identical. Does Country radio still play a major role in music discovery?

The established voices stood firm, emphasizing the emotional connection of a hit.

Heather Froglear: “It ABSOLUTELY does. Radio adds emotional context that playlists can’t. A huge Country hit often doesn’t become a true shared experience until radio turns it into one.”

Rick Jackson: “Radio is still the place an artist must be heard if they want to perform at the highest level.”

Gideon, however, approached the question through the lens of a social media manager — and still arrived at the exact same finish line.

Gideon Dean: “The vast bulk of music discovery is happening on social media. Social algorithms are what is putting fresh music on people’s radar. Radio just establishes a viral moment as a ‘hit’ to the masses at the finish line.”

4. Street Hustle vs. Cheap Keychains

What does real-world street impact look like today? The era of the card-table remote is officially over. Both generations, moreover, want to replace it with genuine energy.

Heather Froglear: “A radio station has to stop acting like a billboard and start acting like an EXPERIENCE. Why would I ask my audience to spend their gas money to come see me for a keychain? Give them multiple chances to win a really cool prize, street bits, or an artist pop-up show. Your talent must create a ‘stir’!”

Gideon then took Heather’s exact philosophy and paired it with a smartphone camera.

Gideon Dean: “I look at any remote as an opportunity for content. Street-style interview videos are an incredibly popular social format. Radio stations could absolutely have the market cornered on videos like this if they plugged a tiny mic into their phone and asked passersby something as simple as, ‘Who should play a country music halftime show?'”

5. The Generational Handshake

Finally, I asked our panel what old-school fundamentals need a comeback — and what modern realities we can no longer ignore. The symmetry in their answers was striking.

Heather Froglear: “Video, video, video. Go where your audience is. I recently bought a dress for the ACMs, came home, and realized the red-dye security tag was still on it. I turned it into a story arc. Out of spite, I did all my artist interviews with the tag on, and posted a video of the artists reacting to it. You do not have to be Steven Spielberg. Just do it.”

Notably, the rising talent didn’t ask for better apps to accomplish this. Instead, they asked for the original, hyper-local blueprint that Heather and Rick grew up on.

Hannah Brummer: “One old-school radio principle that needs to come back is staying truly local first. Radio used to be fully rooted in the community. When air talent is deeply connected to their market and speaks directly to it, trust, loyalty, and relevance naturally follow.”

Gideon Dean: “Any 20-something will tell you that we yearn for all the old-school ways radio operated in the past… just now with an iPhone in the studio. TikTok and Instagram make it really easy to see people as numbers on a screen. I hope the human connection doesn’t get lost in that.”

The Executive Summary

Looking at these responses, the glaring realization is clear: we aren’t actually speaking different languages. In fact, we want the exact same thing.

Vets like Rick and Heather are crying out for the human element, local vulnerability, and creative freedom that built the format. Trailblazers like Hannah and Gideon are begging for the exact same depth — they just want to use a phone, a TikTok feed, and a vertical video clip to amplify 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.

Glenn Beck Reflects on Leaving Fox News to Launch Blaze Media 15 Years Later

Garrett Searight
-
0
Glenn Beck Reflects on Leaving Fox News to Launch Blaze Media 15 Years Later

Glenn Beck didn’t wait for the media industry to change. He changed it himself. In 2011, Beck walked away from one of the most-watched programs on Fox News and bet his own money on a then-radical idea — that audiences didn’t need cable television to find quality content. The result was Blaze Media. A digital media network that helped redefine what independent broadcasting could look like in the internet age.

Looking back, Beck acknowledges that the leap felt enormous at the time. The technology was unreliable, the audience wasn’t ready, and the rest of the media world wasn’t paying attention. Yet something about the moment felt right to him — even if the infrastructure wasn’t.

“So, I’ve always been a fan of technology and believed in it before it was really ready,” Beck said. “In 1997, when I was doing a local show in Connecticut, I said that we needed on the website to have a camera in the studio so people could watch us. So I was actually kind of doing a podcast in 1997, and I think there were like 5 people that were watching it. Because the buffering and everything. You think it was bad in 2011? It was really bad in ’97. But I’ve always felt that that was the future.”

His frustration with the traditional network model only deepened once he arrived at Fox. Beck noticed quickly how many layers of approval existed between a talent and the airwaves — and how vulnerable a strong conservative voice could be to outside pressure.

“When I got to Fox, I saw the number of hands that everything had to go through before it hit air,” said Beck. “I saw that to be able to be a conservative and to have a strong show, they are going to do everything they can to get you out. You just had so many pressure points. And then for an up-and-coming talent, you then had to be discovered by somebody, go through all of the hoops before you ever get on, and then you got to play by their rules. That’s just not me.”

Betting on a Network, Not a Podcast

Beck’s vision from the start was bigger than most people imagined. He didn’t want to launch a podcast — he wanted to build a network. That distinction mattered enormously to him, and it shaped every financial and creative decision he made in Blaze Media’s early years.

“I didn’t want to do a podcast,” Beck said. “I wanted to show that we could do a network. We were the first. Besides Major League Baseball. They were the only ones doing live broadcasts of something at high quality. When I started Blaze Media, I had a partner with Major League Baseball for their spine.”

The obstacles were real and expensive. Beck spent millions of his own money trying to solve two fundamental problems: the technology wasn’t ready, and the audience hadn’t yet shifted its habits.

“I told my staff, ‘My target is to look like NBC.’ Because NBC has the best colorization, the best shading, the best sets, the best design,” the Blaze Media founder shared. “We have to hit the mark of network television. Not cable. Network television. So when people do come on, they go, ‘Oh.’ And they recognize it as a credible. Something that they could see on network television. That they would not expect on their phone.”

That commitment to production quality was a survival strategy. Beck believed that if the content looked second-rate, audiences would treat it as second-rate — and no amount of good programming would overcome that first impression. Fortunately, his audience gave him the time he needed.

“Luckily, my audience was so loyal that they did [put up with unready technology],” Beck said. “We made it, and we had some investment that came along that helped when it was tough. But it was really tough for a while.”

Regrets, Lessons, and the Road Ahead

Fifteen years of building Blaze Media taught Beck hard lessons about talent management, technology, and the limits of trusting others to execute your vision. He’s candid about what he’d do differently.

“Managing talent is very difficult, because you’ve got to give them room,” The Glenn Beck Program host stated. “This is every network’s problem. Some talent just only care about themselves and not the whole ecosystem. And that’s difficult, because we all have to work together.”

Beck also admits he stayed too far from the operational side of things for too long — and that naivety cost him. He’s now working to correct that, particularly when it comes to technology.

“I wish I wasn’t so naive on people’s desire to be famous all alone,” Beck said. “I just bought a bunch of equipment myself just for me, to play with and to really learn myself, so I can’t be BS’d. Because when you get into technology, if you don’t know that, you’re going to get somebody and they’re going to lie to you. Because they’ll want to do it their way. If you really want to do it your way, you have to master everything that you have.”

Claude, Grok, and the Fight for Truth in AI

His concerns extend to the digital platforms that now carry so much of the media ecosystem’s weight. Beck doesn’t trust them — and he’s actively building alternatives.

“I don’t trust any of the platforms,” said Beck. “I don’t trust the information I’m getting from it. And I don’t trust their censorship. If these companies would tell us what the algorithm was, what the formula is on their search, I’d feel much more comfortable. I don’t feel comfortable until I know what all of the calculations are. So that’s why I’m developing my own.”

That skepticism extends to AI tools, where Beck sees both promise and serious problems. He named Claude as his preferred research platform — then immediately noted Grok’s advantage on one critical dimension.

“Right now, I think Claude is the best in AI for research and things. But it also has a huge drawback against Grok,” The Glenn Beck Program host stated. “Grok is the one that I feel is the fairest because it’s — at least what they say — the algorithm is based on truth and not agenda. Too many times with any of these other platforms, I end up getting lectures. Or I get things that I know are not true because I have the evidence.”

Today, Beck’s creative energy centers on Torch, a platform he describes as the most personally meaningful work of his career. Its flagship project, The American Story, is a 24-episode audio production covering American history from Christopher Columbus through the assassination of Abraham Lincoln. It is crafted with cinematic sound design that Beck compares to the radio dramas of Orson Welles.

“I have the best audio producer in Nick Daley,” Beck said. “This guy is the best of the best, and he’s worked with me for 25 years. I think one of the episodes has 400 tracks. When I was 8 years old, and I heard Orson Welles and War of the Worlds for the first time, that’s what I wanted to do. This is the first time that I’ve had the money and the talent around me that I can actually pull those things off.”

For Beck, Torch isn’t just a new project. It’s the completion of a creative vision that’s driven him since childhood. One that a cable news career never fully allowed him to pursue.

“We can restore storytelling and history the way I think it should be done,” the Blaze Media founder shared. “It gets me up every day.”

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 Tim Legler Is Stealing the Show During the NBA Finals

John Molori
-
0
How Tim Legler Is Stealing the Show During the NBA Finals

The latest trend in network broadcasting seems to be a hiring frenzy for retired superstar athletes. FOX signed Derek Jeter, David Ortiz, and Alex Rodriguez for its MLB coverage. Also, Tom Brady as its lead NFL game analyst. Wayne Gretzky and Pedro Martinez are in the studio for TNT’s NHL and MLB broadcasts, respectively, while Martinez also works for MLB Network. CBS recently hired Russell Wilson to replace Matt Ryan on The NFL Today. Plus, for its return to the NBA, NBC added Hall of Famers Carmelo Anthony and Tracy McGrady to work alongside Maria Taylor. The trend also includes longtime NBA studio stars Shaquille O’Neal and Charles Barkley.

ABC and ESPN’s Tim Legler is the exception to the rule. Legler enjoyed a solid NBA career but was hardly a front-line star. After graduating from La Salle in 1988, he played in the CBA before eventually reaching the NBA with Phoenix, Utah, Golden State, Dallas, and Washington. His biggest claim to fame as a player was winning the 1996 Three-Point Contest during All-Star Weekend.

Legler never came close to winning an NBA championship, but this year he has emerged as the media star of the Finals.

An ESPN analyst since 2000, Legler has taken center stage on ABC’s coverage of the Knicks-Spurs series, showing the basketball world just how good he is. In both pregame discussion and in-game analysis, Legler has been absolutely brilliant. He has thrived as part of the three-man booth alongside Mike Breen and Richard Jefferson.

Listening to Legler is like sitting in a tense coach’s huddle. He emphasizes the finer points of the game.

Dig Into The Details

For example, while previewing Game 3 of the series, Legler discussed how the Knicks spray the ball around the floor in search of the most open shot, regardless of who takes it. His words were backed up by a graphic showing that in Game 2. Karl-Anthony Towns scored 21 points for New York. Mikal Bridges and Jalen Brunson each added 20, OG Anunoby contributed 17, and Landry Shamet chipped in 13.

Legler is part playground and part statistician. He walks the fine line between old-school basketball and modern analytics without dismissing either. He is one of the best in the business at breaking down not only a game, but also the individual plays and players that shape it. Legler is finally getting a chance to showcase his talents at the highest level. Especially, with a New York team in the Finals drawing a massive audience.

He does not possess the glibness or flash of a Kendrick Perkins, Barkley, or even Jefferson. What he does possess is basketball knowledge that meets or surpasses that of any contemporary.

Legler has always been the workhorse of ESPN and ABC’s basketball talent roster. In baseball terms, he would be the valuable utility player who appears in 150 games while handling four or five different positions. Legler earned an MBA from the University of Pennsylvania in 2002, and that comes as no surprise. He always brings a businesslike approach to his analysis. This down-to-earth, workmanlike style does not always thrive in the gaudy world of NBA broadcasting. However, anyone who thinks Legler is not ready for prime time is sadly mistaken.

As it turns out, prime time had better be ready for him.

Legler has been especially sharp discussing the physical play of the Spurs throughout the series. Specifically, he has highlighted how Stephon Castle attacks the basket aggressively and waits until the defense commits before releasing his shots. Legler knows all about timing. On replays, he recognizes that he has only a limited amount of time to make his point. Legler consistently packs as much information as possible into those precious seconds.

From Sixth Man To Lead Man

Legler is a hoops Everyman. He is not glitzy like legendary Knicks broadcaster and former player Walt “Clyde” Frazier. In fact, he is more like another 1970s icon, boxer Joe Frazier. Understated, controlled, and calculating.

Legler has also adapted seamlessly to the often-challenging three-man broadcast booth, playing off Breen while sharing airtime with Jefferson. He can go macro or micro in his commentary. Examining the big picture while uncovering the smallest details. That skill has been evident throughout the Finals. In particular when discussing San Antonio’s defense and how the Spurs have effectively limited Towns’ easy scoring opportunities.

Whether it is the finer points of New York’s transition defense or a clever pass leading to a key basket, Legler has been all over it.

One of Legler’s greatest strengths is his ability to avoid the obvious. Of course, he recognizes that Jalen Brunson is New York’s best player, but he has also emphasized the crucial contributions of Anunoby and Josh Hart. Maybe that stems from his own experience as a role player. He spent a decade in the NBA as a three-point specialist capable of changing a game’s momentum with a single shot.

As an analyst, however, Legler is anything but a specialist. He is a Swiss Army knife, capable of hyping a game, praising smart decisions, second-guessing strategy, and identifying the details that often determine outcomes.

Legler has made a living as a professional basketball analyst for more than a quarter-century. But during these Finals, his enthusiasm has felt almost childlike—and I mean that in the best way possible.

Setting His Own Standard

His commentary and analysis have reached new heights while covering a young Spurs team led by Victor Wembanyama and a scrappy Knicks club trying to end a 53-year championship drought. His tone and volume rise with the pace of the action, yet he never gets swept away by a run. Legler understands that a basketball game is a 48-minute proposition filled with momentum swings and emotional turns. He thrives on the heart, passion, and excitement of the sport. Then capturing it in his commentary as if he is ready to leap off the bench and knock down a couple of three-pointers himself.

From the offensive rebounding of New York’s Mitchell Robinson to the team-first mentality of Spurs backup center Luke Kornet to Shamet’s timely scoring, Legler sees the entire floor. He possesses a sixth sense for the game. A rhythm and timing that matches the rapid back-and-forth nature of the action.

This series has delivered classic battles and memorable moments. Viewers are better off with Legler behind the microphone helping bring them to life. He is at the top of his game, bringing the excitement to viewers one play after another.

Jeter, Ortiz, A-Rod, Brady, Gretzky, Pedro, Russell Wilson, Matt Ryan, Melo, McGrady, Shaq, and Barkley may have bigger profiles than Tim Legler. But when it comes to basketball IQ, he is operating at a different altitude.

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.

Three Media Predictions For The FIFA World Cup 2026 On FOX Sports

John Mamola
-
0
Three Media Predictions For The FIFA World Cup 2026 On FOX Sports

Today marks the beginning of six weeks of soccer across the North American continent. For the first time since Bill Clinton’s first term in the White House, the world’s tournament comes to the shores of the United States. The next six weeks for FOX Sports will be a defining moment for the network. For advertisers, the massive audience across the globe will prove to be a worthwhile investment in the broadcasts themselves. For everything the Super Bowl is to the NFL, the FIFA World Cup is an entirely different beast.

As the games officially kick off today, there’s been plenty of discussion about what will become the lasting memories of this World Cup. While every FIFA World Cup carries some political undertones, the focus of the coverage has shifted to the games themselves over the past few months. There will be goals and crowd reactions from the 16 host cities across the continent that live on social media forever. However, here are my top three predictions for the FIFA World Cup 2026 this summer.

#1 – Alexi Lalas Earns His Throne

First and foremost, the FIFA World Cup 2026 tournament will feature a star-studded roster of the biggest names in the game on FOX Sports. With the tournament expanding to 48 teams for the first time in its history, 12 hours of action every day is exactly what FOX Sports prepared for.

While there is plenty of star power on the FOX Sports roster, the tournament will serve as a reminder of how good Alexi Lalas is as the network’s top analyst. Because the tournament only occurs every four years, viewers often forget the style of analysis Lalas brings.

He’s bold, direct, and often controversial. He takes a “call it like I see it” approach and doesn’t sugarcoat his opinions or analysis. Lalas understands the role. He’s an entertainer first because he knows what attracts the average viewer. His performance will create viral moments. If the USMNT suffers an early exit, watch for the blowback from the former Team USA defender. If the USMNT achieves success, he’ll become the face of the USMNT fan base. All of it will play out live for a global viewing audience on FOX Sports.

#2 – Tech Passes And Fails The Test

Secondly, the success and potential failure of AI’s role in capturing the World Cup experience will become a major storyline. This tournament will be the first to feature sensor chips in soccer balls. Also AI-enabled 3D player avatars, robot dogs for security purposes, and automated technology to assist with offside calls.

There’s also a number of features and technologies geared toward the broadcasts themselves. With the tournament debuting on FOX One, multi-view options and AI-powered personalization tools will be available. There’s also an “AskFOX” feature that allows viewers to ask questions about moments in the game or seek additional context on what happened during a match.

The tournament will also be available in 4K for FOX One subscribers. Delivering an experience designed to go beyond the traditional broadcast.

Some of these innovations will be considered groundbreaking by the tournament’s conclusion. Others will be viewed as a waste of time, money, and energy.

However, the one technology that will stand out above the rest will be the stabilized referee cam, a camera mounted on the head of the lead official that provides an enhanced view of what the referee saw.

Or, more likely, what he didn’t see.

If FOX Sports has full access to that referee camera, the network should use it to its fullest extent, especially when it comes to “injuries” on the field and conversations between officials and players during the biggest sporting event in the world. That could become a game changer that other networks eventually adapt to their own broadcast models.

#3 – Record Viewership For FOX Sports

Finally, it goes without question that American viewership for the FIFA World Cup will reach levels not seen in many years. Despite recent surveys showing that only 13% of respondents plan to watch the World Cup, new records will almost certainly be set.

For comparison’s sake, the 2022 Qatar World Cup averaged 4.7 million viewers per match and delivered an average audience of 25.8 million viewers for the World Cup Final in the United States. The Super Bowl this past February peaked at 137.8 million viewers.

Do I think the World Cup will generate Super Bowl-type viewership over the six-week tournament? Absolutely not. But could it surpass the audience figures of any previous tournament held on American soil? You can almost guarantee it. That likelihood only increases with Nielsen’s Big Data + Panel measurement system, which was installed last September.

For generations, sports media has debated why soccer doesn’t work in America. Yet the sport has grown by leaps and bounds over the last three decades. MLS continues to expand. Viewership for MLS matches is up 62% year over year through the first three months of the season. The USWNT has only grown in popularity thanks to its World Cup success. The NWSL also continues to expand with more teams and additional broadcast distribution deals.

A recent survey from Seton Hall showed that the FIFA World Cup’s popularity among adults ages 18-34 trails only the NFL and the NBA. European soccer and MLS rank just behind the FIFA World Cup, while the NFL, MLB, college football, and college basketball trail all three soccer properties.

The 2026 FIFA World Cup will serve as the official coronation of the United States as a soccer nation. And if the USMNT enjoys any success, the chances of that only increase.

Whether the final audience numbers reach record heights, whether FOX Sports delivers a flawless tournament, or whether the USMNT makes a deep run into the knockout stage, one thing already feels certain.

This World Cup isn’t arriving in the United States to convince Americans to care about soccer. That battle may already be over.

For decades, soccer in America was treated as a sport with potential rather than a sport with staying power. It was always waiting for its breakthrough moment, waiting for its signature star, waiting for the audience to finally arrive.

Yet while the debates continued, the game kept growing. Youth participation expanded. Professional leagues matured. Television audiences increased. New generations adopted the sport as part of their regular sports diet rather than as an occasional novelty.

Now the biggest tournament in the world returns to American soil at a time when soccer is no longer asking for permission to sit at the table. It already has a seat.

Over the next six weeks, there will be unforgettable goals, shocking upsets, controversial officiating decisions, viral moments, and storylines that dominate conversations around the globe. Some of those memories will fade. Others will live forever.

But years from now, the legacy of FIFA World Cup 2026 may simply be that it confirmed what was already happening in plain sight.

The United States didn’t become a soccer nation because it hosted the World Cup. The World Cup came here because the United States had already become one.

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.

Approaching the Summit: Anna Zap, Co-Host of Syndicated Anna & Raven

David Hill
-
0
Approaching the Summit: Anna Zap, Co-Host of Syndicated Anna & Raven

Approaching The Summit is a series of special interviews created in partnership with Point to Point Marketing featuring speakers at the upcoming 2026 Barrett Media Audio Summit in New York City. Follow along with this series as prominent names surrounding the event June 30-July 2 share their insights and expectations for what’s to come in the Big Apple. The Summit takes place at the SVA Theatre on West 23rd Street. For tickets and hotel room reservations, click here or visit the Summit section at the top of the website.   

Anna Zap is the co-host of the nationally syndicated Anna & Raven Show, heard on more than 87 radio stations across the country, including Long Island, NY; throughout Connecticut; and Portland, OR. Before radio, Anna built her career in stand-up comedy, performing at some of Manhattan’s most prestigious clubs, including Carolines on Broadway, Gotham Comedy Club, and Stand Up NY — and her quick wit and relatable storytelling made the transition to radio a natural fit. Off the air, she has channeled that same energy into giving back, helping raise hundreds of thousands of dollars for organizations including Make-A-Wish, March of Dimes, United Way, Ronald McDonald House Charities, and numerous animal rescue groups. Most recently, Anna was awarded a Gracie for “Best Syndicated Entertainment/Talk Program” from the Alliance for Women in Media and named “Best Morning Show” by the Connecticut Broadcasters Association.

*Editor’s Note: Answers have been edited for clarity and length.*

David Hill: How do you feel about attending events like the BMS?

Why Showing Up Still Matters

Anna Zap: Our company, Connoisseur, is very much into all of us being in the studio and not working remotely. There’s a reason for it — the energy and collaboration that comes from being with your co-workers is unmatched. Going to events where professionals from across the industry are presenting is basically our “in office policy” turbo charged. You feel the energy in the room, you leave feeling inspired, you want to do better, you network, you have new ideas, you see what’s working in the industry and what’s not, you make friends, you laugh — all the things that wouldn’t happen if you were sitting in your living room staring at a computer screen.

David Hill: How about connecting with peers and competitors?

The Value of Knowing Your Competition

Anna Zap: If you’re not evolving and aren’t aware of what everyone else in the industry is doing, you’ll get left behind. Hard stop. I never believed — or understood — why you had to hate your competitor. There’s tremendous value in connecting with them. You should always know what they’re doing so you can challenge yourself to do it better. I respect that this is an industry we all love, so working together can only make us stronger. I’m also lucky to have built a group of professionals outside of my own studio that I’m comfortable asking for help, looking for unbiased advice, and scouting ideas.

David Hill: What is the biggest challenge facing the format

Streaming, Options, and Standing Out

Anna Zap: I think most people would say streaming, and I agree. There are millions of places to hear that new song everyone has stuck in their head, or to revisit an old favorite. There are so many options on how to occupy your time, so the question becomes — will people still just turn on the radio? That’s where our biggest challenge comes: how we evolve and become so much more than just background noise. I’ve always believed that’s through personality and experiences.

David Hill: Do you have a favorite moment from past shows?

The Best Content Is the Kind You Can’t Plan

Anna Zap: Every year we design and order Christmas cards for our guests, clients, and others. This past year, our order from Snapfish was a misprint. It was our faces and design on the front, and another random family’s holiday card on the back. Snapfish wouldn’t talk to us, so we brought it to the air, posted the picture of the family, and we found them. Well, the crazy internet detectives did. They lived three states away, came on the air with us, were funny as hell, and invited us to their daughter’s wedding happening in the fall. It was the best, most unpredictable content. It seems like the most memorable content is the content you can’t plan.

David Hill: Who do you want to hear?

What’s on Her Must-See List

Anna Zap: Keith Dakin would have a heart attack if I didn’t say him! But seriously, the entire “Final 40” lineup looks great, and I’m so interested in what they have to say with that cryptic session title. Also, “The Consultant’s Conversation” is at the top of my list. I’m always looking for ways to make my content more memorable and impactful, and those guys have their fingers on the pulse.

David Hill: The industry — present and future, what does that look like?

Everything Old Is New Again

Anna Zap: I believe that everything old is new again, and radio is no exception. The industry has had its challenges, and for a while the outlook seemed uncertain. But our fearless leader, Jeff Warshaw, has always believed in the power of radio. He’s our biggest champion — and not only is he betting on radio thriving, but he also has a plan to innovate it into the future. Our job is to deliver results and not be afraid to put in the work. I think the future of the industry is getting back to basics — big personalities, connections, and compelling storytelling — while embracing all the new tools that help us reach the audience. Streaming, podcasting, turning the audio medium into a video experience — if we can do both, the future of radio is bright.

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 93 WIBC’s Jason Hammer and Nigel Laskowski Did the Right Thing After Being Threatened

Garrett Searight
-
0
Why 93 WIBC’s Jason Hammer and Nigel Laskowski Did the Right Thing After Being Threatened

When a listener typed “you two are next” at 93 WIBC hosts Jason Hammer and Nigel Laskowski just two days after the assassination of Charlie Kirk, the pair made a choice not everyone in their position would make. They didn’t ignore it. They didn’t quietly pass it along to station management and hope the situation resolved itself.

Instead, they tagged the Indianapolis Police and the FBI directly to the tweet — putting the threat on record and putting the man who issued it in the crosshairs of accountability.

That took guts. And it deserves recognition.

The moment was jarring. Kirk’s murder had shaken the news/talk radio world, and the wound was still fresh when that tweet appeared. The two hosts were doing what news/talk hosts do — talking through a major story — and someone responded with a public threat. The timing made it worse, but the reality is that threats like this don’t require a national tragedy as a backdrop to be dangerous.

You Can’t Afford to Wait and See

Some in the industry take a different approach. I’ve spoken with a host in a large market who received death threats that eventually became part of an FBI investigation. That host, however, chose not to go public. The reasoning was understandable — visibility cuts both ways, and drawing more attention to threats can sometimes invite more of them. It’s a legitimate concern, and one that deserves respect.

But Hammer and Laskowski chose differently. By tagging law enforcement publicly, they accomplished something beyond simply filing a report. They created a record, they signaled that the behavior wouldn’t be tolerated, and they gave the situation the kind of sunlight that makes bad actors think twice.

That’s not recklessness. That’s self-preservation with purpose.

There’s no perfect playbook for handling threats. But the “stay quiet and hope it goes away” strategy carries real risk too — especially in the immediate aftermath of a high-profile murder. The two days following Kirk’s assassination were tense across the industry. News/talk hosts were already on edge. In that climate, dismissing any threat as idle venting feels like a gamble no one should have to take.

Accountability Is the Point

Ultimately, what Hammer and Laskowski did wasn’t just smart — it was right. People who issue public death threats deserve public consequences. If someone types a threat on social media and faces a criminal charge for it, that outcome sends a message. It tells the next person who considers doing the same thing that words carry weight and that there’s a cost to threatening someone’s life.

That deterrent effect matters. It won’t eliminate threats entirely — nothing will. But it shifts the calculus. And the more often hosts respond the way these two did, the more that calculus shifts toward caution.

News/talk radio hosts shouldn’t have to factor personal safety concerns into the job description. They already navigate political blowback, advertiser pressure, and an increasingly turbulent media landscape. Adding legitimate fears for their physical safety to that list is too much. When law enforcement gets involved and charges follow, that’s the system working the way it should.

It isn’t easy to step into that process. It invites scrutiny, and it prolongs an uncomfortable situation. Hammer and Laskowski pushed through that discomfort anyway — and they’re better advocates for the industry because of it.

That kind of fortitude deserves more than a passing mention. It deserves to be held up as a model.

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.

After 34 Years, WLYF Miami Music Director Gayle Garton Retires

Jim Ryan
-
1
After 34 Years, WLYF Miami Music Director Gayle Garton Retires

Every radio station needs that one special person who knows not only the history of the station, but the market inside and out. That one person who goes above and beyond — someone you simply can’t replace. Audacy in Miami is losing that person. Gayle Garton is about to leave the station she loved and has been a part of for 34 years. How time flies when you love what you do.

Gayle had the passion for radio and grabbed the first job she could in 1980 as a receptionist. Journalism degree be damned, she was drawn to what she heard coming out of the speakers and wanted to be a part of it. She worked her way up from the front desk and honed her craft at a couple of different Miami stations before walking through the door at the then-owned Jefferson Pilot stations in 1992.

Jefferson Pilot became Lincoln Financial, and that became Entercom, which eventually turned into Audacy. But while ownership and management changed, Gayle was a constant. She started on the weekend — remember that, live weekend talent? — and station programmer Rob Sidney was quick to realize Gayle’s potential. She was the first female voice heard on WLYF during the day. As a result, Gayle was promoted to music director, a title she would hold for 30 years.

More Than a Title

Gayle didn’t just occupy an office and a chair in the air studio for all those years — she was a valuable contributor. No matter who sat in the head programming chair, Gayle was there to offer direction. While my involvement with the station has been minimal, in every music sort with her and Brand Manager Michelle Stevens, her market knowledge proved invaluable.

There’s nothing better than having someone on your team who can recall every promotion, every market talent, and every song tested during her tenure. When Gayle said “that song never tested,” she was always right.

Gayle Garton
Gayle Garton

The Audacy cluster in Miami held a goodbye party for Gayle last week. She’s leaving not because her job was eliminated — not because Regional President Claudia Menegus and Michelle Stevens want her to go — but because she wants to relax at home and not see another G-Selector log. If Gayle had a bigger title, she would be lauded in all the trades. But she’s not the morning star or head programmer. Instead, she’s simply the person who made success happen and is one of the biggest reasons WLYF dominates the female demographic in Miami book after book.

A Lesson in Loyalty

Gayle’s 34 years at one station is a tribute not only to her, but to all the managers and programmers she worked with during that time. While it’s so easy to “bring in your own people,” each person in leadership recognized what Gayle was contributing to the success of the station. Through all the budget cuts and job eliminations, she even earned the promotion to Assistant Brand Manager. No matter who was in the corner office, they knew Gayle was a keeper.

As I salute the tenure of Gayle Garton, I urge you to look around your building and spot the “Gayle” on your team. Appreciate them and what they bring to work each and every day. Because just like the staff of WLYF in Miami, you will miss them when they are gone.

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 Ross Coulthart Built a Top 50 Podcast Covering UAPs at NewsNation

Krystina Alarcon Carroll
-
0
How Ross Coulthart Built a Top 50 Podcast Covering UAPs at NewsNation

He is nearly singlehandedly uncovering the biggest media coverup of our lives. “How I got into covering this subject is I honestly started out thinking I was going to write a debunking book,” NewsNation’s Reality Check host Ross Coulthart humbly stated. “I wrote a book called ‘In Plain Sight: An Investigation into Impossible Science and UFOs.’ And I slowly began to realize that this was a huge story, a meritorious story.”

The subject, which many journalists in the media see as a death knell, is what Coulthart believes is the biggest story of his career.

“I was talking to people in the national security establishment, intelligence officers, military people, senior officers, senior people who’d served in multiple different presidential administrations. They were all telling me the same thing. This is real.”

Road to Disclosure

The tinfoil hats are off. And cold hard facts are being presented on Saturday, June 13, at 8 PM ET on a NewsNation special. “It’s recorded there was a decision made in the early 1950s by the Central Intelligence Agency to use ridicule, stigma, and taboo to try and shut down the UFO subject because they didn’t want to investigate it.”

Once convinced of UAPs, the attorney-turned-investigative journalist was not going to accept the standard media narrative. “We went against the grain. We could see where the story and where the evidence was taking us. So we followed those leads, and I think you’ve seen a fairly unique piece of journalism from NewsNation in the last few years.”

“Even when we were suffering attacks from other legacy media who told us we were going down a crazy rabbit hole, I think even they are now going very quiet and realizing there is something to this. That’s our point.”

He affirmed, “Our point very much in this show this weekend is how far we have come and how much further we need to go in order to get to the kind of disclosure that we think is necessary?”

The Risk of Catastrophic Disclosure

Coulthart is applauding President Donald Trump for the more than 200 files released on UAPs, but it isn’t enough. The reason Coulthart believes more disclosure is essential is because of what he calls “the possibility of catastrophic disclosure.”

He likened this disclosure to Edward Snowden’s 2013 leak of classified documents. “In desperation to try to reveal illegal activities by the U.S. government, he revealed things that were incredibly damaging to successful U.S. intelligence operations overseas against foreign adversary rivals.”

He added, “While a lot of people applaud what Snowden did, I do think there needs to be a question mark about the catastrophe that that caused for intelligence gathering.”

With a hint of urgency in his cadence, Coulthart deduced this could be an even bigger problem. “The United States has been involved irrefutably in the retrieval and reverse engineering of alien spacecraft. I think there’s a real risk that somebody might just blow the whistle and dump the whole lot into the public domain in a way that I don’t think any of us should want.”

This is why Coulthart believes now is the time for as much disclosure as possible. “I think the younger generations are more receptive. We’ve been told for years that it would be an unfair ontological shock to the American public and the world to reveal this information. That we’re all God-fearing Christians. And that this would offend in some way our religious beliefs or our whole ontological beliefs about our society. Frankly, I think that was probably the case in the 1950s and the 1960s.”

Why Today’s Audiences Are Ready

Times have changed, and Coulthart noted, “Even my Christian friends feel it’s time for the public to be told the truth. And that the notion of non-human beings being highly intelligent and highly advanced is not incompatible at all with religious beliefs.”

Coulthart has concluded, “We’re at a point now where it’s becoming simply untenable for this secrecy to be maintained. We don’t want the Russians or the Chinese stealing the march on us if there are technologies that can be developed for the advantage of all human beings. If there’s going to be one country that controls the release of that technology, I would want it to be a democracy like the United States. Not an authoritarian dictatorship like Russia or China. That’s the issue.”

As the world powers secretly race to reverse-engineer UAP technology, more world citizens are hungry for UAP information. What’s important to Coulthart is knowing exactly what audiences don’t want. “They don’t want the glib, unquestioning acceptance that you see on a lot of podcasts covering the subject matter.”

He affirmed, “They want to see people put on the back foot and questioned. And I think that’s why we’re making a difference. Because we’re a very journalistically rigorous show. We try to be objective and challenging when we do what we do.”

To journalists who are prepared to go against the grain, Coulthart has a suggestion. “Don’t be afraid of stepping away from the mainstream legacy media.” He added that it’s important to “do stories that you’re interested in.”

Passion Powers the Mission

When Coulthart left Australia’s 60 Minutes in 2018, he was already seeing “the decline in legacy media in advertising revenue and ratings.” He looked to see where that audience was going. That’s what led him to his NewsNation podcast and YouTube show, Reality Check.

The other essential part is passion. “Show your passion as a journalist for the subject that you care about and the audience will follow,” Coulthart attested. “I honestly feel so privileged as a journalist just to be following my curiosity. This all started out as me in an idle frippery going, ‘I think I’ll write a book about UFOs. Because I want to know more about it.'”

“Reality Check” is a top-50 podcast in the United States and regularly receives millions of views on YouTube. Coulthart believes these modern technology platforms are essential for good journalists. Because they “are far more nimble and far faster than the old-fashioned platforms. And this is where I think NewsNation deserves some credit. Because I think they’ve discovered that a digital audience through YouTube channels can be massive.”

The release of “Reality Check: Road to Disclosure” is paired with the release of Steven Spielberg’s film “Disclosure Day.” It features NewsNation national correspondent Jessica Kartalija. The director is also a believer and, like Coulthart, is hoping for more information on extraterrestrials to be released. Outside of the ones he’s created on the silver screen.

“Reality Check: Road to Disclosure” will be hosted by Ross Coulthart and air Saturday, June 13. It airs at 8 PM ET on NewsNation.

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.

1...139140141...2,762Page 140 of 2,762