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Approaching The Summit: Rod Lakin, Sports Radio 94WIP

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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.   

Rod Lakin is the Brand Manager for Sports Radio 94WIP in Philadelphia. He joined Audacy in 2021 after spending two decades in the spoken-word format. Prior to that, he worked for several brands in Arizona, including 620 KTAR, and served as both executive producer and eventually program director of Arizona Sports for Bonneville.

At Sports Radio 94WIP, Lakin oversees one of the most successful sports radio brands in the country, featuring a deep talent roster and partnerships with the Philadelphia Eagles and Philadelphia Phillies. Lakin has been both an attendee and speaker at numerous Barrett Media Sports Summits and will be speaking at this year’s event on July 1. He sat down with Barrett Media from his office in Philadelphia, PA.

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

John Mamola: What are you looking forward to the most later this month at the Barrett Media Summit?

Rod Lakin: I’m always just excited to see the people and get a chance to talk to your contemporaries. I enjoy hearing the discussions on stage and the presentations. I always enjoy the formal aspect of it, but the other part I really like is the informal part.

Where you watch somebody present something, like an event they created for their local market. They’re all great ideas that look fun. Then you have the opportunity to talk to somebody who works in the same building and company. Sometimes they share some added flavor to those presentations in those conversations. A lot of the behind-the-scenes conversations. You get a better idea of how people run their race.

John Mamola: For someone in your position, what value does the summit provide? Not only for yourself, but also what does it provide people who might be attending it for the first time?

Rod Lakin: There’s a couple of different things. One, the summit gives you an idea of the overall health of the business. People are using different ideas because the markets are all different. So, there’s not a ton of generalizable lessons that you can get.

The things that you can do in Philadelphia are not the same things you can do in other cities. Overall, you can take little things away from it.

I just like talking to my colleagues to get an idea of things that are working in their company. What are some of their challenges? How are they overcoming those challenges? Finding the lessons derived from all that.

John Mamola: What do you hope attendees take away from the session you’ll be participating in?

Rod Lakin: Anytime you’re presenting things that you’ve done, such as success stories, you’re hoping to inspire somebody to try a similar thing. Oftentimes you can’t do the same thing, but just getting the idea process moving is big.

If you can have an impact on somebody who takes something from one of your presentations and applies it to whatever they’re doing in their market, that’s a really good thing to have.

John Mamola: The Barrett Media Audio Summit will be featuring a large roster of speakers this year. Is there anyone who stands out that you’re looking forward to seeing in session?

Rod Lakin: I like going in not looking for any specific session. I like to be surprised. Personally, I don’t ever really look ahead and identify ones that I specifically want to sit in on. I just want to sit and watch everything.

John Mamola: Is there a specific topic that you hope is magnified more with the Summit coming up later this month?

Rod Lakin: I’m always excited to see and hear about what the newest digital initiatives are. AI, obviously, has been something that’s been top of mind in the last couple of summits. I’m sure it’ll play a big role in this one coming up.

John Mamola: How have you seen the Barrett Media Audio Summit evolve over time?

Rod Lakin: I mean, everybody just looks older every year. We’re stressed out and getting gray hair, including me. In all seriousness, I take as much enjoyment out of the actual presentations as I do talking to people behind the scenes. Just getting an idea of how everything’s going with them in their individual markets.

John Mamola: What do you think are the biggest opportunities and challenges the industry faces that you hope are addressed at the upcoming summit?

Rod Lakin: There’s so many different content choices right now. You’re competing with a much larger pool of competitors. So, how do people figure out how to deal with that challenge? Ideas are always important. As I’ve learned over the years, you can’t be reliant on the news cycle. You really need to get ahead of it. Have a lot of proactive and creative thinking.

Plus, as I mentioned before, I’m sure there are a lot of people now who are using AI in different ways in the industry. I’m curious to find out the lessons there as well.

John Mamola: Why should talent attend an event like the Barrett Media Audio Summit? What do you think they may get out of an event structured like this?

Rod Lakin: Like anything else, you get a thorough understanding of what your company and your leaders are doing. I think it’ll help you have a better idea of how to accomplish your mission.

It’s a more candid, behind-the-scenes look at what we’re dealing with as program directors. If I’m a talent, I don’t think there’s much downside in knowing that. Whether or not they care, I’m not sure.

That’s the way I would approach it if I were talent.

Rod Lakin WIP (Canva | Social Screenshots | ChatGPT)
Rod Lakin WIP (Canva | Social Screenshots | ChatGPT)

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox. 

The Biggest UFC Event in History Could Be Its Biggest Missed Opportunity

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This coming Sunday evening will see a first for professional sports. For the first time in history, a live sporting event will take place on the South Lawn of The White House as UFC Freedom 250 unfolds. The card includes seven MMA bouts, a 92-foot, 600-ton, 154-foot-wide outdoor canopy dubbed “The Claw,” and President Donald Trump sitting front row on his 80th birthday enjoying a promotion he has long supported.

The idea was simple. The event evolved over time, yet one thing remains a mystery. With America celebrating the 250th anniversary of the nation’s founding, why can’t all Americans access this event on CBS television?

If you haven’t noticed lately, there’s a lot more combat sports programming on traditional television. The shift away from the pay-per-view model has accelerated over the past several years. The two biggest behemoths in the combat sports world are the UFC and WWE. Ironically, both properties now operate under the umbrella of TKO Holdings.

A Shifting Broadcast Model

Over the past year, WWE and UFC have begun reshaping their media rights agreements. WWE moved its PLEs (premium live events) from Peacock to ESPN. The company also moved the broadcast rights for Monday Night Raw to Netflix and shifted Friday Night SmackDown from FOX Sports to USA Network.

Since signing that agreement, WWE has placed PLE programming on ESPN and ESPN2 during select windows. The goal was simple: provide some programming on those networks to encourage sign-ups for ESPN Unlimited through the company’s direct-to-consumer platform. WWE has continued this practice for several months, including both nights of WrestleMania, the crown jewel of the promotion’s calendar year.

The UFC has followed a similar model in recent months. After reaching a seven-year, $7.7 billion agreement with Paramount, UFC numbered events began appearing on CBS television. In February, the UFC announced that, for the first time ever, a UFC numbered event would air on network television.

The announcement included the final hour of preliminary fights and the first hour of the main card airing on CBS. The objective mirrored WWE’s strategy with ESPN: provide some content for free on broadcast television in an effort to drive sign-ups for Paramount+.

While there is considerable debate about this approach among networks and their streaming platforms, the early results remain unclear. Neither Paramount nor ESPN has released data regarding the success or failure of the strategy to drive subscriptions.

A Unique Opportunity

However, UFC Freedom 250 presents a greater opportunity than any numbered event in the promotion’s history. It’s taking place on the South Lawn of The White House. The event is being promoted as a celebration of the nation’s semiquincentennial. It also takes place on the 80th birthday of the President of the United States.

Without question, this event offers many more levels of interest than a typical UFC numbered event. So why aren’t CBS and the UFC taking the same approach they have previously by placing UFC content on CBS? Moreover, why isn’t the full event being used as a giant marketing vehicle for the UFC, the President, and the network to drive Paramount+ sign-ups?

To me, the decision not to air the event on CBS in its entirety is a giant miss for both the UFC and CBS.

With so many layers of intrigue, why are reruns of Marshalls and Tracker more important than a once-in-a-lifetime event? While I understand CBS’ commitment to the consistent audience those programs deliver, does the network not recognize how many additional viewers would tune in simply for the shock and awe of what this event represents?

From a competitive standpoint, there’s no NBA Finals to worry about going head-to-head against. And while the Stanley Cup Final could have a Game 6 airing at the same time, wouldn’t there be interest in seeing the UFC compete directly against the NHL’s crown jewel from a viewership standpoint?

The UFC and CBS aren’t just passing on additional television viewers by keeping UFC Freedom 250 behind the Paramount+ paywall. They’re passing on a rare cultural moment that could introduce the sport to millions of people who would never normally seek out a UFC event.

There’s Still Time…

Sports leagues spend years trying to manufacture moments that break through to the mainstream. The UFC doesn’t have to manufacture one. It already has it: a live sporting event on the South Lawn of The White House, the President of the United States sitting cageside on his 80th birthday, and a celebration tied to America’s 250th anniversary.

Whether people love it, hate it, or are simply curious about it, they’re going to be talking about it.

That’s exactly why CBS should want it on broadcast television. There’s still time to make the change.

The purpose of putting premium content on free television isn’t to maximize one night’s revenue. It’s to expand the audience, create new fans, and build future customers. WWE understands it. ESPN understands it. CBS and the UFC appeared to understand it earlier this year when they placed portions of UFC numbered events on network television.

Yet for the most unique event in company history, they’re choosing the opposite approach.

Maybe Paramount+ will see a short-term boost in subscriptions. Maybe the paywall strategy will prove financially successful. But opportunities to introduce your product to an entirely new audience don’t come around often.

Opportunities to do it from The White House come around even less.

Years from now, UFC Freedom 250 will be remembered as a historic first. The question CBS and the UFC may eventually ask themselves is whether they maximized the moment—or merely monetized 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.

The Death of The Daily Wire Was Greatly Exaggerated

The obituaries were written. Critics lined up to declare The Daily Wire finished, Ben Shapiro irrelevant, and conservative media’s once-dominant digital outlet on its last legs. That narrative spread fast — and it turns out, it spread wrong.

Throughout April and May, a chorus of voices argued that Shapiro had lost his grip on conservative media. Layoffs at the company fueled the fire. Candace Owens claimed 60% of the staff had been cut, and that figure raced across social media like it had been confirmed by three sources and a sworn affidavit. It hadn’t. Still, the story took hold, and suddenly everyone had a hot take about a company in freefall.

There’s just one problem. The data didn’t cooperate.

When the Numbers Don’t Match the Narrative

If The Daily Wire was truly collapsing under the weight of bad press, May would’ve been the month it showed. That’s when the negative coverage peaked. That’s when the layoff rumors dominated the conversation. So what happened to the audience? According to the latest Podtrac rankings, The Ben Shapiro Show finished May in seventh place on the Unique Monthly Audience chart. Seventh. That’s exactly where it sat in April.

Think about that for a second. Weeks of relentlessly negative coverage, a viral claim about mass layoffs, and a pile-on from critics across the media landscape — and the show didn’t move an inch. It didn’t slip. At all. It held steady.

That’s not the behavior of an outlet in crisis. That’s the behavior of an outlet with a deeply loyal audience that isn’t reading the same think pieces its critics are writing.

Two Shows, One Very Clear Point

The Shapiro show’s resilience is notable on its own. But then consider Morning Wire, The Daily Wire’s morning news podcast. It finished May in 15th place on that same Unique Monthly Audience chart — a top 20 finish across every podcast in the country, in every genre, covering every conceivable topic.

Two shows. Both in the top 15 of American podcasting. Both are competing against every sports show, true crime series, comedy podcast, and pop culture recap available to listeners nationwide. It’s genuinely difficult to look at those numbers and construct a serious argument that the brand is fading.

Furthermore, Morning Wire has quietly built one of the strongest audiences in news podcasting without generating anywhere near the amount of cultural conversation that surrounds Shapiro’s flagship. That kind of under-the-radar growth tends to be sustainable. It’s not built on a single viral moment or a hot-button controversy — it’s built on listeners showing up consistently.

So yes, The Daily Wire had a rough few months in the press. That happens. What doesn’t always happen is emerging from that stretch with your audience completely intact. Yet here we are.

The lesson here isn’t specific to conservative media, either. Audiences and narratives frequently diverge, especially in today’s fractured media environment. Critics and industry observers — this one included — sometimes confuse cultural chatter with consumption data. They’re not the same thing, and conflating them leads to bad analysis.

The Daily Wire’s critics made exactly that mistake. They saw a story they wanted to be true and ran with it before the numbers arrived. Now the numbers are here. They tell a different story entirely, and it’s time to update the take accordingly.

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’s Disappearing Act: How Stations Lost Community Presence

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if you spent any time in radio during the 1980s, 1990s, or early 2000s, you probably have a few radio remote stories. Some were legendary. Others felt like punishment.

There was the Saturday night bar remote where the owner slipped you a little cash at the end of the night and everyone had a great time. There were concert broadcasts, charity events, and county fairs where listeners actually wanted to meet the personalities they heard every day.

Then there were the remotes that made you question your career choices.

The Remotes Nobody Misses

The four-hour cell phone store remote on a Saturday afternoon. The furniture store grand opening. The car dealership remote where management convinced itself that a dozen people were going to buy a vehicle because the station vehicle was parked out front. Most of us knew how those played out.

The same prize pigs showed up every weekend. They grabbed a T-shirt, entered a contest, ate a hot dog, and disappeared. The odds of somebody buying a phone because a radio station was there were slim. The odds of somebody purchasing a new truck because the afternoon jock was broadcasting live were probably even slimmer.

Eventually, radio figured that out.

When the Calculation Changed

Sales departments became less interested in selling remotes. Clients became harder to convince. As a result, stations looked at the labor, equipment, staffing, and logistics involved and decided there were more efficient ways to make money.

In many cases, they weren’t wrong. But I think the industry made a mistake.

Because when radio stopped selling remotes, it also stopped showing up.

The remote wasn’t just a sales tool. It was, in fact, one of the primary ways radio physically existed in the community. Every weekend, station vehicles were parked somewhere. Personalities were shaking hands. Promotions teams were talking to listeners. The station logo was visible. The brand was moving around town.

Listeners didn’t just hear the station. They saw it.

What Got Lost in the Math

At some point, the industry started evaluating remotes solely through a sales lens. If the remote didn’t generate enough revenue, it wasn’t worth doing. What got lost in that calculation was the programming value.

Programming has always been about building relationships. Great radio stations aren’t just frequencies and playlists — they’re brands, personalities, and part of the community. That requires visibility.

For decades, radio stations understood that. Whether it was a county fair, a local festival, a charity fundraiser, or a Friday night football game, stations showed up. Sometimes the event generated revenue. Sometimes it didn’t. But every appearance reinforced something important.

The station was local, cared, and present.

Then COVID Made It Permanent

Somewhere along the way, we lost sight of that. Programming worried about ratings. Sales worried about revenue. Promotions worried about budgets. Corporate worried about efficiency. The result was fewer reasons to leave the building.

To be fair, the decline of the remote started before the pandemic. Staffing cuts, consolidation, voice tracking, and budget pressure had already reduced the number of stations actively working the streets. COVID simply accelerated the trend.

Events disappeared. Gatherings stopped. Personal appearances became difficult, and radio stations learned how to function without leaving the studio. When communities reopened, however, many stations never fully returned. What started as a temporary adjustment became a permanent operating model.

Social Media Is Not the Same as Community

At the same time, radio became increasingly dependent on social media. Again, the logic made sense. Social media was cheap, measurable, and didn’t require fuel, vehicles, remote equipment, or overtime pay. Best of all, it was essentially free.

But social media and community presence are not the same thing. A social media post generally reaches people who already know your station exists. A community appearance, by contrast, reaches people who may not. One maintains relationships. The other creates new ones. That’s a critical difference.

It’s also where the industry’s thinking may have drifted off course.

The Contradiction We Need to Confront

Radio stations spend every day telling advertisers they need visibility. They need awareness and to be seen. They need to engage with consumers where consumers live, work, and play. Yet many stations have largely stopped doing those things themselves.

It’s a strange contradiction. We’re in the advertising business, but somewhere along the way we stopped marketing ourselves.

The irony is that radio often wonders why listener engagement isn’t what it once was. We debate streaming and podcasts. We also debate changing media habits and audience fragmentation. Those are all real factors. But it’s also fair to ask what happens when a medium stops physically showing up.

Relationships are built through familiarity. Familiarity is built through presence. And presence requires getting out of the building.

There Has to Be a Middle Ground

I’m not suggesting we bring back every four-hour remote from a strip mall parking lot. Nobody is nostalgic for standing outside a cell phone store in August heat hoping someone signs up for a family plan.

But there has to be a middle ground. Sales and programming should be working together to identify events that accomplish both goals — events that generate revenue while strengthening the station’s connection to the community, and events that put faces on personalities and personalities on brands.

Because there is still tremendous value in being seen. There is still value in a station vehicle parked at a local event. There is still value in listeners meeting the people they hear every day. Ultimately, there is still value in showing up.

The remote may not have been a perfect business model. In many cases, it probably wasn’t. But it served a purpose beyond revenue. It reminded listeners that radio was part of the community, not just a signal coming from a tower. And in an era when every media company is fighting for attention, that’s something worth remembering.

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.

High School Radio Stations Are Breeding Grounds for Future Stars

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As a collective group, we’ve gnashed our teeth and spit out recommendations for getting young talent interested in the radio business. We wrote about it here last fall.

All the socials are perceived ‘cooler than radio’. TikTok is content fire, YouTube is a space where anyone can have their own ‘station’ and the entry to podcasting is easier than ever.

Most emerging talent view radio as something from ‘The Boomer Generation’. Yet, we know live radio — executed properly — is the most immediate, creative, and community-focused media. It allows teenagers to feel the thrill of creating live content, emotionally touch a real audience, and develop communication skills that translate on digital platforms.

Radio’s Talent Pipeline Problem

How will radio grow in the future without investment in recruiting talented emerging personalities?

It’s a ton of heavy lifting for time-starved clusters, but one avenue to spark interest in radio is through high school radio stations.

While these programs offer students real-world experience in broadcasting, audio production, and sports play-by-play, most broadcasters are unaware of their existence and often bypass high school job boards in their recruitment efforts.

Indiana’s Award-Winning High School Stations

Within my home state of Indiana, and drivable to visit, you will find over a dozen award-winning high school radio programs, including:

Carmel High School — WHJE 91.3 FM

WHJE is widely known as one of the most award-winning high school radio stations in Indiana. Located inside Carmel High School, the station is entirely student-run and broadcasts alternative rock, sports, podcasts, and community programming on its Class A FM signal.

Ben Davis High School — WBDG 90.9 FM

This Indianapolis high school station is one of America’s most recognized, launching the careers of many radio Hall of Famers. WBDG has operated from Indy’s West Side for decades at Ben Davis High School. Students create live programming, local news, team sports, and music broadcasts on a full FM signal serving Indianapolis.

Post your open part-time positions inside the school. Administrators will welcome you with open arms.

College Partnerships Open a New Pathway

It’s also encouraging to read last week’s news out of Long Island, New York.

Spearheaded by Kristin Okesson, Regional SVP/Market Manager for Connoisseur-Long Island, Connoisseur Media launched an initiative to introduce college-level students to the broadcasting industry. They’ve partnered with Nassau Community College — home to award-winning radio station WHPC 90.3 FM — to give students hands-on experience across the Connoisseur cluster through mentorship in broadcasting, marketing, sales, and digital media.

Okesson commented, “Partnerships like these create a direct pipeline for passionate students to gain real-world experience, build important industry connections, and ultimately become the future superstars of our business.”

The benefits students will reap extend beyond the cluster. Students involved in radio develop strong public speaking abilities, teamwork, and time-management skills.

Live, LOCAL radio creates opportunities for meaningful community involvement.

What about the kids who get interested in radio early — like pre-teen early — and develop into a top-tier broadcaster? What’s their story all about?

When the Bug Bites Early: Scott Miller’s Origin Story

We caught up with just one example.

When I was programming in Chicago, Scott Miller — now morning host on WJBC since 2019, the heritage news/talk station serving Bloomington-Normal, Illinois — would often call our air talent and religiously visit our appearances.

We asked Scott to share HIS origin story:

“I was 12 years old when the bug bit me. My parents took me to the Chicago Auto Show to meet legendary radio personality Dick Biondi. He was a voice my mother and father had grown up listening to in the 1960s, and one I would later come to admire myself.

That day changed my life.

Dick invited me on the air to deliver the weather forecast. In that moment, everything became clear. I knew exactly what I wanted to do with my life. I wanted to work in radio.

From the age of 12 until I turned 18, I made it a point to attend nearly every remote broadcast Dick hosted. He welcomed me, put me on the air and shared lessons about the radio business. He taught me about programming, sales, promotions and how a station operates behind the scenes.

More importantly, he taught me about listeners. Dick believed the audience always came first. He often reminded me that radio personalities are not the important ones. Our job is to entertain, inform, and connect with the people doing the truly important work in their everyday lives.

Since that day in February 1991, I have carried one dream: to spend my life working in radio. So far, that dream continues.

To this day I speak to grade school kids about this industry and participate in every high school and college class tour of our studios.”

Our challenge for the radio industry is ensuring the next generation understands the values Scott assimilated at an early age.

Radio has survived major media disruption because radio evolves. Our next stage of evolution is solely dependent on investing in young creators — now.

When the phone rings, answer it. When the email arrives, reply.

Your next Scott Miller might be on the other end.

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 News/Talk Radio Hosts Are Losing Focus in the Studio

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Radio is a unique profession. We sit in a small box speaking to ourselves — not unlike the urban camper mumbling to himself about brain amoebas and microwaves. We get paid to jabber the same way, and perhaps unsurprisingly, sobriety is a fixture of modern radio.

If you speak with the older radio people, you’ll hear plenty of stories about chemicals in the studio. Not everyone was snorting Hollywood sugar, smoking weed, or downing a few beers — but it was far more common than it is today. Corporate radio has made our profession considerably more buttoned up and sanitized.

I am not espousing the benefits of drunk or high radio, I promise.

But those intoxicated personalities of the past looked at the studio as a party job. Do you?

Put Down the Phone

We are locked in our studios, which are frequently very small, with a window to master control featuring a twentysomething who isn’t paying attention to your show — he’s buried in his phone.

While we’re on the topic, can we ban cell phones from the studio? Hosts and producers are so worried about missing a social media post, a text, a sext, or watching their DraftKings account. Let the studio be about radio.

A news/talk studio should have at least one monitor up showing Fox News, Newsmax, NewsNation, CNN, or MS NOW. If there’s breaking news, that’s sort of our jam. Beyond your cell, plenty of other screens compete for your attention. Most hosts bring their own laptop or tablet into the studio, and then there’s the studio computer.

Many of those, by the way, are not the latest and greatest. The producer has the automation computer, an audio editing computer, and a phone screening computer as well. Technology can swallow our attention whole. We, though, have a show to do. Technological overstimulation can easily squelch our focus on hosting an entertaining radio show — much like intoxicants hindered radio shows in an era gone by.

Stay Focused on the Speaker

So you’re in this box with a microphone and a minimum of four computer screens. That’s modern radio. On top of that, your company has a focus on social media. You’re likely responsible for a minimum number of posts spread across X, Instagram, Facebook, TikTok, and other platforms. These posts are expected to be engaging presentations that solidify your influencer status.

To be fair, most radio people are not particularly good on camera. Most of us — including me — have less than Instagram-model looks. Perhaps you’re pudgy like I am, with a poor sense of fashion. Yet here we are, on camera.

There are plenty of radio people who chose this career path because they didn’t want to be on TV. Those days are gone. We are now multimedia personalities. The TV people are now voicing podcasts, so radio people aren’t alone in that. TV people are a different breed, though. Spend time with a local TV anchor and they will automatically describe viewers as people who have invited them into their living room. I personally find that an egotistical assessment of their own importance.

Speaking of TV people, a local anchor in my market was recently charged with suspected drunk driving. Remember, radio people — you are public figures. If you’re out with your crew and having a few beverages, take an Uber home. It’s far easier than waking up in the county jail sharing a cell with a domestic abuser named Darwin. I’ve visited jail as a radio stunt, but not as an inmate. I plan to keep that streak alive.

Distraction is a constant in our lives. In news/talk radio, we must be focused on breaking news as well as our own shows. With content being delivered across so many platforms now, it’s hard to keep focused on what’s coming out of the speaker. Nielsen data says the majority of consumers of our product are driving — and that’s the number that matters. If we’re not thinking speaker-first, we are leaving cash on the table.

As our industry navigates economic headwinds driven by revenue challenges and corporate debt, the speaker remains where the revenue is on a radio station. Monetizing video is a huge problem. Podcast revenue has its own challenges. While radio companies can sell a wide variety of advertising products, radio stations are still the biggest revenue producer — and the biggest expense. I don’t see that changing anytime soon. Stay focused on providing listener-focused experiences.

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.

Company Culture Is More Than Just a Mission Statement

We often proudly display our company mission statements on walls, websites, and employee handbooks. We hope our mission statement provides employees and customers with direction and purpose. In reality, it’s only a small sliver of what truly defines company culture. It isn’t created by words alone. It’s through daily action, leadership, behavior, and employee experiences. Moreover, the values that we all consistently exhibit throughout the organization.

A mission statement can only tell someone what a company aspires to be. Culture, on the other hand, reveals what the company actually is. We’ve all walked into companies where you can literally feel the passion and excitement within the first few moments. I’m sure you’ve also entered a building and instantly felt an air of darkness.

Imagine how it must feel to be in that environment every day.

Team members quickly learn the difference between mission and culture. Valuing teamwork but rewarding only individual achievement creates a competitive rather than collaborative culture. Likewise, when leadership talks about transparency but rarely shares the most important information, employees will judge that culture by behavior rather than words.

It wasn’t uncommon years ago to hear managers say, “Do as I say—not as I do.” Parents have also been guilty of that, and it always ends badly. We can’t tell our children not to drink and drive and then go out for a family dinner only to drive home after having a cocktail or two.

Strong leadership is at the core of creating a positive company culture. We all watch those in charge closely and often end up mirroring their actions.

Remember, what’s good for the goose is good for the gander. Leaders who exhibit integrity, accountability, and respect. In addition to a consistency establishing trust that spreads throughout an organization. Conversely, those who fail to live by the values they expect from others will have a negative impact on morale and credibility.

Regardless of how inspiring the mission statement may be.

Communication is also a critical component of culture that shouldn’t be ignored. Organizations with strong cultures encourage and expect open, honest dialogue and active listening. Team members want to know their opinions matter and that their contributions have value.

Recognition and appreciation also play major roles in shaping culture. Even managers share the desire to have value by those at the top. People who feel valued are far more likely to remain loyal and motivated. Even the smallest acts of recognition work. From public praise, new opportunities, or financial rewards. They all reinforce and strengthen commitment and loyalty.

A mission statement can only describe company values, while recognition puts the proverbial “money where the mouth is.”

Hiring practices are equally important. Companies should recruit individuals whose personal values align with the organization’s culture. Skills can often be taught, but attitude, character, and cultural fit are much more difficult to develop. We have all experienced a poisonous employee or two. I call them culture killers, and they need to be corrected or removed.

Successful organizations understand that every new hire either strengthens or weakens the culture they are trying to build.

Culture must be intentional. It does not happen by accident. Organizations should regularly reevaluate whether policies, procedures, management practices, and employee experiences align with their mission statement and culture. If there is a disconnect, employees will notice.

In today’s competitive labor market, companies that fail to invest in the behaviors and systems that support a positive culture will struggle with turnover. People don’t leave good jobs. They leave bad management.

Here are some companies that consistently perform well. Moreover, they have become case studies in how a strong, positive culture can contribute to long-term success. Obviously, no company is perfect. However, these organizations are recognized for creating workplaces where employees feel engaged, valued, and connected to a larger purpose.

Synchrony: Ranked as the No. 1 Fortune Best Company to Work For, employees praise its high-trust culture, continuous innovation, and strong remote and hybrid flexibility options.

NVIDIA: Frequently earning the top spot on Glassdoor’s Best Places to Work list, staff consistently highlight transparent leadership, minimal bureaucracy, and cutting-edge work.

Microsoft: Ranked highly on Forbes’ World’s Best Employers list, workers emphasize strong career development opportunities and purposeful, impact-driven work.

Hilton: Known as one of the best employers in hospitality, staff applaud its employee-centric culture, travel benefits, and extensive internal career advancement opportunities.

Southwest Airlines: Former CEO Herb Kelleher famously believes that if employees were treated well, they would take care of customers, and customers would remain loyal.

Costco Wholesale: Costco has built its reputation on treating employees better than many competitors in retail. The company offers higher wages, strong benefits, and opportunities for advancement.

Common Traits of Thriving Cultures

Despite operating in different industries, these companies share several characteristics. Leaders consistently model the organization’s values. The company treats employees with respect and trust. Recognition and appreciation are part of daily operations. Communication is open and transparent. The company’s actions align with its stated mission, and employees understand how their work contributes to a larger purpose.

Culture is ultimately defined by what an organization tolerates, rewards, and prioritizes on a daily basis. A mission statement may inspire, but culture keeps people committed and proves to be the collective experience of everyone, every day.

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KOMP Las Vegas PD Role Shifts to Operations Manager JD Greene

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What We Know: Lotus Communications has made a programming leadership change at Rock 92.3 KOMP Las Vegas. Operations Manager JD Greene will add Program Director duties, while Brandon “Gooch” Hahn steps back from the PD role to concentrate on mornings.

What They Said: Greene addressed the staff in a shared memo: “Effective immediately, Brandon Hahn (‘Gooch’) will be stepping back from his role as Program Director of KOMP. While Brandon is moving away from the day-to-day responsibilities of programming, this is not a step back from KOMP — it’s an opportunity for him to focus even more on the areas where he thrives and brings tremendous value to the station.”

He added: “I want to personally thank Brandon for everything he has accomplished as Program Director. His vision and commitment to the station have helped position KOMP for continued success. As part of this transition, I will be assuming Program Director responsibilities for KOMP moving forward.”

What’s at Stake: Greene joined Lotus Las Vegas last November as cluster OM and PD of Classic Country 98.9 Hank-FM. His programming background includes VP/Programming for Leighton Broadcasting, PD/afternoon host at Big Country 104.7 WPGB Pittsburgh, and MD/afternoon host stints at Country K102 KEEY Minneapolis and CHR 96.1 Kiss-FM WKST-FM Pittsburgh. Hahn has hosted mornings at KOMP since 2023 after spending sixteen years in afternoons at the station.

What It Means” Greene now oversees programming across the Lotus Las Vegas cluster. Hahn remains on staff focused on the morning show, content creation, imaging, and production.

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Stanley Cup Final Game Two Viewership Highest Since 2015

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The Las Vegas Golden Knights and Carolina Hurricanes delivered a ratings bonanza for ESPN. The overtime finish for game two of the series drew 4.7 million viewers — the most-watched Stanley Cup Final Game 2 since 2015.

What We Know: The Vegas Golden Knights and Carolina Hurricanes are delivering big numbers for ESPN. Game 2 of the 2026 Stanley Cup Final averaged 4.7 million viewers on ABC Thursday night. That’s up 88% compared to Game 2 of the 2025 Final on TNT/truTV and up 33% versus Game 2 of the 2024 Final on ABC. The audience peaked at 5.8 million viewers during the 10:45 p.m. quarter hour. Moreover, through two games, the 2026 Stanley Cup Final is averaging 4.725 million viewers — up 93% year-over-year. That marks the highest two-game Final average since 2015.

What The Numbers Say: Stanley Cup Viewership Data (Last Three Years – 2024 (EDM vs FLA) | 2025 (EDM vs FLA) | 2026 (LVK v CAR)

Game #2024 Avg Viewership (Network)2025 Avg Viewership (Network)2026 Avg Viewership (Network)
13.11M (ABC)2.42M (TNT)4.8M (ABC)
23.60M (ABC)2.50M (TNT)4.7M (ABC)
33.30M (ABC)2.30M (TNT)TBA
43.10M (ABC)2.60M (TNT)TBA
54.10M (ABC)2.70M (TNT)TBA
64.20M (ABC)2.80M (TNT)TBA
77.70M (ABC)N/ATBA
Series Average4.16M2.55MTBA

What Remains Unclear: Whether the ratings momentum holds is unknown. Additionally, it’s worth noting that ESPN’s postseason has been record-setting across the board. Moreover, the First Round and Second Round were the most-viewed of ESPN’s current rights agreement. The Western Conference Final was also the most-viewed since 2015.

What It Means: This is a big win for ESPN and the NHL heading into the back half of the Stanley Cup Final. In addition, overtime games clearly drive eyeballs, and Vegas-Carolina is delivering must-watch moments.

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James VanOsdol Rejoins WXRT to Champion Chicago’s Local Music Scene

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WXRT Chicago is making a major move in the local music space. The station is bringing back James VanOsdol as a part-time host and the voice behind a relaunched Local Anesthetic.

What We Know: VanOsdol returns to WXRT after a brief stint there in 2001. He joins the lineup on Sunday evenings from 6-10 p.m. Additionally, he takes the helm of Local Anesthetic, which relaunches June 14 from 9-10 p.m. The now hour-long program spotlights Chicago’s music scene — both its cutting edge and its rich past.

What They Said: VanOsdol is a celebrated Chicago voice with stops at WXQX, WGN, and WZZN. He also hosts the award-winning Car Con Carne podcast. His deep ties to the local music community span more than three decades. As VanOsdol himself put it when asked about returning to radio: “This isn’t radio, though. It’s XRT.”

What Remains Unclear: The full scope of VanOsdol’s role beyond Sundays has not been announced. It’s also unknown whether additional guests or contributors will join him on Local Anesthetic. No details about future expansion plans for the program were included in the announcement.

What It Means: WXRT is doubling down on its identity as a champion of Chicago music. The return of Local Anesthetic signals a renewed commitment to local artists. Furthermore, landing VanOsdol — a trusted voice with deep community ties — adds credibility to that mission. Ultimately, this move positions WXRT as the definitive home for Chicago’s music culture on Sunday nights.

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