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Approaching The Summit: Sid Rosenberg, 77 WABC

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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. 

Garrett Searight: You’re going to be speaking at our Summit. Why is that something that interests you, and why is it something you want to do?

Sid Rosenberg: I’m looking forward to it. Look, I make no bones about it. You and Jason (Barrett) are friends of mine. You’re both friends of mine, and I respect the job that you do immensely. You guys, I believe at this point — I mean sincerely — are the industry standard. I think everybody knows. Every host, every station owner, every program director, every sales manager, every talent knows about Barrett Media. You guys have done a tremendous job, and you’ve got some great people coming, including my friend Stephen A. Smith. You guys have become the industry standard. And for what it’s worth, you’ve been good to me in the (Top 20) rankings. So I’m very excited about speaking at your event coming up. I’m looking forward to it.

GS: When you think about the things that you want to share or teach to the news/talk industry, what’s on that list of things that you want to get off your chest and share with the industry?

SR: You’ve got to have fun. Look, I’m not doing news. I’m not 1010 WINS. And one thing about me is I never look to be the smartest guy in the world. Now, truth is, I’m really smart. And I conduct interviews with the biggest — from the president, who loves me, to Congressmen, to senators, to you name it. And I conduct a pretty damn good interview. I’m a very, very smart guy, but that’s not what I’m looking to convey when I do my show.

My show is about fun and entertainment. It just is. Whether it’s the president on — we could talk about Iran for a second, and then I was the first to ask President Trump about the Knicks when they beat Philadelphia a month ago. Everybody comes on and has a laugh, everybody. And that’s what my show is about. I consider myself more of an entertainer.

GS: Does being more of an “entertainer” mean more to you than being a “journalist”?

SR: I’m not a journalist. Do I break news? I do. Why? Because I bring on very important people and I ask the right questions. But unlike most of the people in my business, I don’t take myself that seriously. You’ve got to hear these people — it’s like they created this thing. I don’t care, man. I make mistakes. My facts aren’t always 100%. But when you listen to my show for four hours, first of all, there’s no more diverse show in the country. In fact, nothing comes close. Let’s be honest. This is like Imus and Stern on political steroids.

GS: How much does having a great conversation matter to the success of a news/talk radio show?

SR: That’s what I try to do every day — talk about the news, but talk about sports, talk about music, talk about TV, talk about lifestyle, my children, my daughter in college, my son going to college. That’s my show. So I don’t take myself nearly as seriously as 99% of the folks in my business do. And in the end, that’s why I’m successful — because people know when they tune in they’re going to be entertained. I think people lose sight of that. It’s still entertainment. It’s like a baseball game. They get paid millions of dollars, now almost a billion, and they’re supposed to win. There’s a final score.

So yes, there’s a competitive factor to it, but don’t confuse the issue. It is still entertainment. I want to win. I get the best ratings. That counts. I get ratings. But whether it’s baseball or radio, my job is to provoke thought, be compelling and entertaining. And damn it, I do that four hours a day, every day. People come to my show. They know what’s the best show on the market, and something is the best show in the country.

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.

MS NOW Expanding Weekend Podcast Programming with Nicolle Wallace, Chris Hayes

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MS NOW is set to expand its weekend podcast programming with an expansion of its relationship with Crooked Media. It will also air some of its own video podcasts.

What We Know: Beginning on Sunday, the network will move away from most live programming after 6 PM ET on weekends. It will end The Weekend: Primetime. Antonia Hylton, one of the hosts of the show, will move to anchoring the 1-4 PM ET block on weekends. Alex Witt, who has been with MS NOW for more than 25 years, will exit the network later this year.

What’s At Stake: MS NOW began airing Crooked Media podcasts in the Saturday primetime window earlier this year. It featured segments from shows like Pod Save America and Runaway Country with Alex Wagner, among others. Now the network will add video podcasts from its own talent, like Nicolle Wallace and Chris Hayes.

What Remains Unclear: What shows will air specifically in which timeslots. MS NOW has yet to announce its upcoming weekend schedule.

What It Means: MS NOW has clearly found value in repurposing the podcast content from Crooked Media onto linear television. It makes plenty of sense for the network to put its own content in those windows, too. It likely isn’t the last time MS NOW expands its podcast slate on lineear TV. Furthermore, the network is just going to be on autopilot should news break. It can fall back on its partnership with Sky News, and will also have anchors at standby should news break during the podcast windows.

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.

John Kincade Rejoins Dickey Broadcasting in Atlanta Following Upcoming 97.5 The Fanatic Departure

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John Kincade is coming back to Atlanta. The veteran sports radio broadcaster will sign a new long-term deal with Atlanta-based Dickey Broadcasting Company following his departure from Beasley Media Group’s 97.5 The Fanatic on July 31.

What We Know: Kincade previously spent 20 years with Dickey Broadcasting, building a loyal following in the Atlanta market. Kincade announced earlier this month that he would be departing 97.5 The Fanatic in July during to health concerns. In an interview with Barrett Media earlier this week, Kincade revealed his contract with Beasley Media was ending at the end of the year. However, while navigating contract extension discussions, Kincade informed station management about his desires to step away. Beasley Media Group and Kincade mutually agreed to end the contract in July. Since announcing in June his intentions, Kincade told Barrett Media that he was “happy” with the early interest he received in his services. He also revealed he had no plans on going independent. Kincade preferred to sign with a broadcast company over the independent model.

What They Said: John Kincade (via Barrett Media earlier this week): “I want to step into something that is already established that I’m used to doing in sports radio. I think my wife would kill me if I went independent. She’d say to me that is too much of an endeavor and filled with stress… I admire the hell out of people in our industry that can do it. It’s not for me.”

John Kincade on the new opportunity with 680 The Fan and Dickey Broadcasting (via Barrett Media): “I am so honored that 680 The Fan reached out wanting me to return to Atlanta and their amazing team. I also can’t say enough about how great Paul Blake, Scott Masteller, and the Beasley family has been in treating me through this whole process. I appreciated the other markets that showed interest. But returning to 680 The Fan made the absolute most sense.”

Andy Roth (Program Director 680 The Fan via LinkedIn): “This was so much fun to watch this being announced at the 25th Buck and Kincade Classic. [I] can’t wait to work with John Kincade on 680 The Fan.”

What Remains Unclear: Kincade’s specific role, programming schedule, and on-air start date is unknown. Those details should come in the coming weeks. It is also unclear which show or daypart he will anchor. Also, whether his return affects any current on-air talent at the station.

What It Means: This reunion carries real weight in Atlanta sports radio. Kincade’s two-decade history with Dickey Broadcasting and 680 The Fan means he returns with built-in credibility and audience familiarity. For Dickey Broadcasting, landing a known commodity rather than an unknown commodity reduces risk and accelerates listener reconnection. For Kincade, morning drive in Philadelphia may not be his calling for much longer. However, a return to Atlanta may be the perfect formula for his next steps.

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.

KNBR Hosts Reportedly Restricted In Questioning San Francisco Giants CEO During Interview Following Pride Night Controversy

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The San Francisco Giants’ Pride Night fallout reached KNBR Thursday. CEO Larry Baer replaced President of Baseball Operations Buster Posey on the station’s weekly Executive Show in which reports state the two hosts of the program were restricted in their line of questioning.

What We Know: On June 12, four Giants pitchers ignited controversy after writing Bible verses on Pride Night caps. MLB Commissioner Rob Manfred later criticized the team’s communication as “inadequate and not clear.” Posey subsequently faced reporters but declined all questions, responding only to “baseball questions.” Then, rather than follow through on a scheduled KNBR appearance, Posey canceled and Baer stepped in as his replacement on the weekly segment with hosts John Dickinson and Dieter Kurtenbach. However, according to reporting by the California Post, the two hosts were restricted from any follow ups to Baer’s opening statement on the matter. KNBR host Adam Copeland confirmed the reporting via social media.

What They Said: San Francisco Giants CEO Larry Baer (via KNBR): “I know we’ve heard from many fans. I know there are deep feelings about the events of Pride Night this year. We know it, we’ve heard, we’re listening,” Baer said. “Yes, we’ve learned a lot in the last 11 days. Yes, we could have handled things better this year, for sure. We’re absolutely committed to continuing conversations with the LGBTQ+ community going forward. That’s where we are as an organization. … I just wanted to deliver that message to the fans and move on. Let’s talk about some other things.”

KNBR Host Dieter Kurtenbach following the interview with CEO Larry Baer: “I thought that that statement was woefully lacking. It has nothing to do with me or anything else. It wasn’t prepared. How can you come in with a prepared statement that doesn’t sound prepared at all. Maybe he’s just the greatest extemporaneous speaker I’ve ever heard, but that didn’t sound prepared at all. He said he wanted to speak from the heart. That sounds like you didn’t prepare anything.

I don’t think that the Giants have quite understood that they have stepped in it now twice. They stepped in it with Buster on Tuesday, and I think Larry Bear just stepped in it again. On an issue that frankly, I’m not that passionate about. But we certainly know there are many people passionate about. I think that he just made the flames go a little bit higher in that regard.”

What Remains Unclear: No official explanation was offered for Posey’s last-minute withdrawal. However, Baer did state during the interview that Posey would return to his weekly appearance next week. According to the reporting by the Post, team officials told KNBR hosts Dickinson and Kurtenbach via a Zoom call the night before that Baer would be pinch-hitting and no follow-up questions on the topic would be permitted. That has not been confirmed by KNBR management, the San Francisco Giants, Dickinson or Kurtenbach themselves. However, Copeland’s confirmation via social media does seemingly confirm that reporting.

What It Means: KNBR is the San Francisco Giants radio flagship. This program in which Baer appeared on was indeed a weekly program dedicated to only San Francisco Giants programming. In respect to KNBR, it’s not rare for partners to work with the organizations they partner with. However, given the magnitude of impact this issue has been for the audience of the San Francisco bay area, there should have been some wiggle room from the Giants perspective for some follow up questions in regards to the issue. That’s why Buster Posey’s absence from the program makes sense, and why the team provided the CEO to speak on the issue in the first place. However, the Giants’ handling of this controversy has raised serious concerns about organizational transparency.

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.

Lisa Kaye Exits Radio Mankato After 29 Years in Budget Cut

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Lisa Kaye is out at Radio Mankato. After nearly three decades, the veteran broadcaster was let go in a cost-cutting move.

What We Know — Kaye hosted mornings on Country “Minnesota 100″ KXAC and led “Lisa Kaye and Crew.” She also hosted “Talk of the Town” on News/Talk 1420 KTOE and tracked mornings on Classic Country “105.9 Northstar Country” KULM in Winthrop/New Ulm, MN. Her exit ends a 29-year run at the company.

What They Said — Kaye told the Mankato Free Press she was called into an office and handed paperwork. Management made clear it was not a performance issue. “It was strictly a financial decision,” she said. She later shared her termination letter publicly on Facebook.

What Remains Unclear — It is not yet known whether Radio Mankato plans to fill her roles or consolidate them. No word on whether any other staff were affected in the same round of cuts. Additionally, Kaye has not announced her next move.

What It Means — This exit barely registers as a blip compared to the bloodbath iHeartMedia unleashed this week. But that’s precisely why it matters. Radio isn’t just cutting at the top — it’s hollowing out locally too. The industry is in full retraction mode, struggling to redefine how the medium gets sold and creates currency in an open marketplace. Until that equation gets solved, loyal veterans will keep getting handed pieces of paper/

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.

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

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

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

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

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

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

iHeartMedia Strikes Deal with Amazon for Audio and Video Advertising

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

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

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

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

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

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

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

Dave and Chuck the Freak Celebrate 25 Years in Detroit

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

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

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

Built on Mutual Reliance

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

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

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

Taking Over a Detroit Legacy

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

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

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

Inclusive Humor, Real Chemistry

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

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

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

The Art of Improv

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

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

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

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

A Language All Their Own

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

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

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

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

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

Learning the Language

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

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

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

The NBA Draft Has Become A Television Mess

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

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

The draft began normally enough.

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

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

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

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

Too Much, Too Fast

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

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

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

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

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

At some point, the casual viewer simply checks out.

It’s Not The Players, It’s The Game

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

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

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

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

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

One pick. One team. One story.

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

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

Easy Fixes

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

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

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

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

iHeartMedia Cuts Expose Radio’s Biggest Lie

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

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

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

The Real Distinction Nobody Wants to Make

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

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

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

What It Reveals About the Bigger Picture

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

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

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

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

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

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