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Sports Media’s Rising Stars: Seven Personalities Worth Watching

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Today’s sports media scene is blessed with established stars. Men and women who have spent decades excelling as writers, anchors and reporters. Similarly, plenty of young and emerging talents are making their mark in the business.

Some work regionally, while others have established themselves nationally. Here are seven personalities who have caught my attention.

Aileen Hnatiuk

Aileen Hnatiuk is making a name for herself covering sports in the Tampa-St. Petersburg area. As an anchor and reporter for WFLA-TV, she continues to do excellent work covering the Tampa Bay Rays, Lightning and Buccaneers.

Hnatiuk is the definition of versatility, flourishing as an anchor, reporter and interviewer.

She is a tireless worker, whether in the studio, on-site or behind a podcast microphone. She also did terrific work covering the 2024 Olympics in Paris. Tampa has become a major sports city. The Buccaneers have largely dominated their division, the Lightning have won multiple Stanley Cups, and the Rays have returned to the World Series. Hnatiuk is on her way to becoming a star in her own right.

Russell Wilson

The phrase “rising star” is normally reserved for a young media personality, but I’m putting a 37-year-old former quarterback on my list. As part of CBS’ The NFL Today pregame show, Russell Wilson hasn’t taken to television as quickly as fellow CBS colleagues past and present, such as Nate Burleson, Tony Romo and Matt Ryan.

However, I see the potential.

Most television neophytes need to slow down and take a breath. With Wilson, it’s just the opposite. He brings a casual manner to the set, and I’d like to see him raise his energy level a bit. In essence, he needs to be himself, but better. The knowledge, style and demeanor are there. Just as he did as a Super Bowl-winning quarterback, Wilson needs to rehearse and refine his approach.

Claudia Bellofatto

CBS Sports Network’s HQ Spotlight has been home to a host of talented sportscasters, including Chris Hassel, Katie Mox and Jenny Dell. The program has also introduced new talent, including Claudia Bellofatto. She made a name for herself in her native Boston, hosting and contributing to numerous programs at New England Sports Network (NESN).

Bellofatto consistently delivered quality television across a variety of shows and alongside a diverse group of on-air colleagues.

Bellofatto has worked for Netflix, MLB, MSG Networks and NBC Sports. She is also an in-studio anchor for Sunday Night Rugby on ESPN platforms. Across all her roles, she has established herself as an engaging presence who continues to evolve.

Drew Carter

I may be underrating Drew Carter by calling him a rising star. The Syracuse University graduate cut his media teeth in Birmingham, Alabama, and has covered a variety of sports, from college football and basketball to lacrosse, softball and hockey.

Carter has also been part of ESPN’s stable of talent since 2021.

What has impressed me most is his work as the Boston Celtics’ play-by-play voice on NBC Sports Boston. In 2023, Carter succeeded an absolute legend in Mike Gorman.

He has put his own stamp on the broadcasts and does an excellent job keeping his analyst, the often-outlandish Brian Scalabrine, in check.

Carter is a sportscaster who uniquely combines passion, pace and personality.

Keiana Martin

Keiana Martin made a sterling debut as an ESPN SportsCenter anchor this past June. She took to the role as if she had been there since Chris Berman was wearing Huggies. The former MLB Network and CBS Sports Network host and reporter has owned her opportunity on ESPN’s flagship news program, bringing enthusiasm and electricity to the venerable show.

Beyond delivering highlights and conducting live interviews, Martin has demonstrated an uncanny ability to mesh with a variety of fellow SportsCenter anchors.

She is on the fast track to joining the pantheon of greats at the network.

Manti Te’o

NFL Network’s Good Morning Football (GMFB) has undergone enough facelifts to put Cher to shame. One newcomer who has separated himself from the pack is Manti Te’o. The former Notre Dame star was once best known for his personal life, but he is now staking his claim as a rising sports media talent.

Te’o was tentative and awkward when he first joined GMFB, but he has clearly worked to refine his craft. He has slowed his delivery, learned to think before speaking and effectively tapped into his knowledge as a former college and NFL linebacker.

This guy took down plenty of running backs during his playing days. Now, he is tackling television.

Steven Ruiz

FoxSports.com writer and analyst Steven Ruiz chronicles the weekly soap opera that is the NFL. One of his regular features, the Quarterback Notebook, reminds me of the iconic work of Peter King and Will McDonough. Ruiz’s columns combine opinion, statistical analysis and data-driven predictions.

If you’re looking for flimsy blurbs and hot takes, Ruiz isn’t your guy. However, if you want substantive NFL insight presented in an entertaining way by a true football film rat, he is a must-read.

Pure sports writing is sadly becoming a lost art, but Ruiz is bucking that trend with consistently captivating and informative work.

There are certainly plenty of other rising stars working regionally and nationally across multiple platforms, but this Magnificent Media 7 stands out to me. Each is making a mark through a combination of work ethic, ability and impact. They have different backgrounds and approaches, but they share the potential to become even bigger names in sports media.

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 Jake Kaplan Believes Listeners Will See Through AI Voices

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The approaches radio stations take to production and imaging run a wide gamut. Sometimes the production is so robust and creative it’s almost an additional air personality, while other stations treat that part of their product like an afterthought. On a larger scale, some companies are moving away from using humans as station voices, while other companies have committed to being “guaranteed human.”

It’s safe to say Jake Kaplan, who currently runs his own freelance voiceover and production company, has seen and been a part of all the possible permutations when it comes to station production. He was kind enough to share his wisdom about the state of audio imaging, starting with a reminder of the role it can play — helping stations connect with listeners.

“I feel that especially on the radio we’re trying to be more human and connect with people. I constantly see that as a theme on (BarrettMedia.com),” Kaplan says. “If it’s all about creating a human experience, and you exclusively use an AI voice I think listeners are going to see through it. I think that there’s something subconsciously that people are going to pick up. It’s losing that human touch.”

Kaplan believes that the human element is what makes the medium stand out. “Radio is a community, and I think people are really striving for community when there’s so much fake stuff out there,” he says. “Look at TikTok and how people are addicted to it. That’s community, that’s people talking to each other and reacting to it. I think the more we can lean into that on the radio, the better.”

From KROQ to Freelance

Kaplan surely knows how to connect with people through imaging. His experience includes production and voiceover work at a number of major-market stations, including Rock KISW/Seattle, Alternative WHFS/Washington D.C., Adult Hits KCBS (93.1 Jack-FM), Top 40 KAMP (97.1 AMP Radio) and Alternative KROQ/Los Angeles. When AMP Radio changed format, he was elevated to Head of Sound, Imaging and Sound Design at Audacy before getting caught up in a reduction in force.

Since then, he’s focused on his own business. “I was bummed when my time at Audacy ended even though I understand why they got rid of that position,” says Kaplan. “But I picked up my freelance business, and it’s actually worked out great. And Audacy is still one of my biggest clients.”

Check In With Your Voice Talent

Asked what he would suggest for stations today that want to improve their imaging efforts, he starts with a human connection of a different kind. “It’s good to check in with your voiceover talent. You don’t see them every day. They’re often on the other side of the country,” Kaplan says. “But I think I can speak for the imaging and voiceover community here, we really care about our radio stations. We may be sitting in a closet somewhere in a weird part of the world, but we want to be a part of the radio station.”

And much like a lot of air talent, Kaplan says input can be hard to come by for voice talent. “If you feel comfortable, give them some feedback like, this promo came out this way, or why don’t you try this kind of read? Or share information about what’s going on with the station and the company and ask if they have any ideas. Because we do really live and breathe what’s happening at the radio station and love to be a part of it.”

Master the Basics, Then Break the Rules

For the people actually doing the production, he shares a lot of best practices that revolve around mastering the basics. “It starts with the old-fashioned rule of creating a picture for the listener. Keeping that in mind is a useful tool and it helps create that human element.”

While he preaches brevity and focus, he believes there is also a time to break the rules. “Keeping things short is super important. Word efficiency matters because we live in a social media, 3-second clip, TikTok world. And that’s not just 15-year-olds, I’m talking about. It’s 45-year-olds too. We all have a short attention spans so, it’s important to get that message out there and get the attention.”

To Kaplan, that means using correct grammar and being cognizant of not repeating the same phrase. “Sometimes I will see a piece of copy where ‘enter to win’ is repeated five or six times. Either you don’t need to say it that many times or you should say it a couple different ways.”

But sometimes, Kaplan feels it’s worth going a little longer in a produced piece. “The question is whether the message is something that’s worth breaking some of the rules for. Is the concert good enough? Is the contest exciting enough? Is the joke funny enough to break some of the time-honored practices of brevity?”

AI as a Tool, Not a Voice

And despite not being a fan of solely using AI as a station voice, he does believe that, as a tool, it has a lot of applications that production people shouldn’t be afraid of. “AI is super controversial, but what business isn’t using it? I think that if you’re in production or even just in radio, you have to embrace certain aspects of AI. It’s a tool every business is using, and it saves a lot of time when we all are stretched thin.”

Kaplan believes there is a difference between allowing AI to write all of a station’s imaging and using it to expand upon your creativity. “Never be the guy that has AI write a promo for you because it will not be right,” he says. “But at the same time, if you are trying to come up with thirty sweepers I think it’s great to throw that at AI and see what it produces. Because what I’ve found is that it has opened up parts of my mind that I didn’t think I had. I’ll think ‘yes, that angle opens up a bunch of other things’ and that’s not a bad thing when you’re stretched for time.”

Just a Little Accent

AI has also been great at stretching his ability to incorporate multiple unique voices into production. At Audacy, he had a network of people across the company who could voice small pieces for him. Now it’s just him. “I use a lot of voice cloning. Like if I’m doing something and I need a female accent voice, I’ll take my voice, and have it synthesized to a woman and my god, it does sound pretty damn cool. Or if I need a deep male voice because I don’t have that kind of read, I’ll do that. But I don’t use it to do the whole promo, it’s just a little accent here and there.”

But assisted by technology or not, Kaplan always circles back to his original premise of striving to connect with the audience. “Use the tools to do more with less time. But remember that we’re human, and we’re all about creating connections with people. We should always think about the fact that there’s somebody on the other end of those speakers and you might make their day. Like, how great is that?”

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 Inside the NBA Faces an Uncertain Future if Charles Barkley Does Retire After This Season

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Watching the regular-season debut of Inside the NBA Wednesday night, I couldn’t help wondering. Are we witnessing the final season of the greatest studio show in sports television as we know it? Not because anything is wrong with it. Quite the opposite.

The show is still funny, unpredictable, occasionally ridiculous and often more entertaining than the basketball games surrounding it. Charles Barkley is still insulting people. Shaquille O’Neal is still laughing at his own jokes. Kenny Smith is still trying to explain basketball, and Ernie Johnson is still attempting to maintain some semblance of order.

After more than three decades, nobody has figured out how to do it better. However, Barkley says this is his final season, presenting ESPN with a fascinating dilemma. How do you replace the one guy who can’t be replaced? Perhaps more importantly, should you even try?

Barkley, now 63, has repeatedly said the 2026-27 season will be his last. He explained that when Inside the NBA moved to ESPN, Johnson convinced him to stay for two more years. Partly to protect the jobs of the longtime production staff.

Last season was year one, and this is year two.

An Irreplaceable Product

Barkley recently described this season as a celebration of his television career and acknowledged that he might reconsider retirement if Johnson decides to continue. Although Ernie, who recently turned 70, hasn’t announced his own plans. Of course, Barkley has announced his retirement so many times that he should have his own farewell-tour merchandise by now.

Eventually, one of these announcements is going to stick. When it does, ESPN has a problem.

Remember, ESPN didn’t create Inside the NBA. It inherited the show through a licensing agreement after TNT lost its NBA rights. TNT Sports still produces it from Atlanta, which might be the smartest decision ESPN has made regarding its NBA coverage in years. ESPN essentially acquired a finished masterpiece. Thankfully, it resisted the temptation to repaint it.

For years, ESPN shuffled through NBA studio personalities, formats and combinations. Desperately searching for the chemistry TNT had perfected. Some versions were decent, while others felt like four people waiting for their turn to deliver a rehearsed opinion before the next commercial break.

That’s always been ESPN’s problem with its NBA studio programming. The network has plenty of recognizable names, basketball knowledge and production resources. But nothing approaching the natural chemistry of Inside the NBA. Chemistry isn’t something you can manufacture in a production meeting.

Targets To Consider

So, who replaces Barkley?

Draymond Green would seem like an obvious candidate. He’s appeared on the show, understands basketball and certainly isn’t afraid to express an opinion. However, Draymond isn’t Charles. Barkley has something that’s incredibly difficult to manufacture: charm. He can insult an entire city, butcher a player’s name or say something completely outrageous and somehow have everybody laughing along with him. Draymond sometimes sounds like he’s still arguing with an official about a technical foul from three weeks ago. That doesn’t mean Green couldn’t become a good television analyst.

It means being outspoken and being entertaining aren’t necessarily the same thing.

Jalen Rose? Richard Jefferson? Jamal Crawford? Chris Webber? Vince Carter? Plenty of talented former players could contribute, and Barkley himself has praised Rose and Carter as potential successors.

Replacing Barkley isn’t like finding another shooting guard who averages 18 points. You’re replacing the personality of the franchise, and there’s no guarantee any of those names could develop the same chemistry with Shaq, Kenny and Ernie.

What if Johnson leaves, too?

Ernie might be the most irreplaceable member of the entire operation. He’s the adult in the room, the point guard, the referee and occasionally the kindergarten teacher. His timing and relationships with the other three make the chaos work. Take away Barkley and Johnson, and you’re not simply replacing two television personalities.

You’re changing the entire identity of the show.

It’s like Seinfeld continuing without Jerry and Kramer. Sure, George and Elaine are terrific characters, but are you really watching the same show? Consider The Office after Steve Carell left. It continued for two more seasons, and there were still funny moments, but something essential was missing.

Does The Show Go On?

That’s the danger for ESPN, which has expanded Inside the NBA to 25 regular-season appearances this season. Clearly, the network understands the show’s value. However, if Barkley and Johnson walk away, does ESPN keep the name, plug in two replacements and pretend nothing happened?

Does Shaq stay? Does Kenny? Do they try to recreate the same jokes, arguments and relationships with different personalities?

That sounds like a terrible sequel nobody asked for.

I’m not suggesting ESPN should abandon NBA studio programming or that Shaq and Kenny couldn’t build something successful with a different cast. Give them that opportunity, perhaps with a different name and identity, but don’t pretend it’s still the same Inside the NBA.

There’s something to be said for protecting a show’s legacy rather than squeezing every possible dollar out of its name, especially when the network has already demonstrated how difficult it is to build that kind of chemistry.

Most television shows eventually end because they lose their creativity, audience or relevance. The personalities get tired, the material becomes predictable, and viewers move on. None of that has happened here. Inside the NBA isn’t limping toward the finish line. It’s still running circles around the competition, which makes the possibility of its eventual breakup even more unusual.

ESPN spent years trying to create the next Inside the NBA. Now that it finally has the original, it may discover the hardest lesson in television: You can buy the show, you can buy the name, and you can even buy the chairs, but you can’t buy another Charles Barkley.

The smartest thing ESPN can do when he finally leaves is stop trying.

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.

Four Books Every Radio Executive Should Read to Improve Company Culture

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Radio executives spend plenty of time talking about culture. Fewer of them, however, spend time studying how to build one. That’s a shame, because some of the best ideas on the subject are sitting on a bookshelf — or in your earbuds.

I’ve grown into an audiobook lover in recent years. Being able to digest information that way is something I’ve come to appreciate. Even better, I love reading about different strategies and philosophies.

So, I’ve compiled a list of four books I wish every radio leader would read. Each one offers a way to think about strategy and philosophy. Together, they show how leadership shapes culture at the smallest and largest companies in the space.

#1) The No Asshole Rule by Robert Sutton

Do you want to work with an asshole? Probably not. Do you want to work for one? Probably not, either.

If you can shape and enforce a company’s culture, that’s a big responsibility. Hiring is where it starts. Sutton’s book makes the case plainly: don’t hire assholes. Better yet, don’t keep them around because they produce good numbers. A toxic star drains everyone nearby. Therefore, protect your culture first, and the results will follow.

#2) The Five Dysfunctions of a Team by Patrick Lencioni

There’s a decent chance you’ve read this one if you work in the upper echelons of corporate leadership. Justifiably so. It’s a helpful thought starter on what’s going wrong in your organization, and it creates options for fixing it.

Some of the best professional conversations I’ve ever had came from reading this book with other leaders at my company. It lets you examine both the company and yourself. For example, what I viewed as a dysfunction with my co-workers had more to do with me than with them. Meanwhile, they highlighted our company’s issues and how we could grow together to fix them. It can be a powerful exercise.

#3) Life’s Little Instruction Book by H. Jackson Brown Jr.

I loved this book and wish more people would read it. Across the three volumes, there are 1,560 entries. They range from “Don’t fry bacon without a shirt on” to “Say ‘thank you’ and ‘please’ a lot” and “Compliment three people every day.”

One of the best entries applies directly here: “In business and in family relationships, remember that the most important thing is trust.”

If you can read these instructions with a light-hearted demeanor, I’d like to think it translates to your work, too. After all, nobody dies when you screw up in radio. Well, except for that Hold Your Wee for a Wii fiasco. Otherwise, nobody dies. The business is serious, yes, but it’s best performed with fun, passion, and excitement. This book helps instill that.

#4) Know What Matters by Ron Shaich

Piggybacking off that last point, I think some folks in the business don’t understand that this is supposed to be fun. That matters, and in my view, it’s imperative to business success. In Know What Matters, Panera Bread founder and former CEO Ron Shaich lays out that perspective. It boils down to this: “The key to knowledge is to know thyself.”

Some leaders in the space misunderstand that fundamental idea. You might think, “But I don’t like Panera Bread! Why should I listen to the founder when I don’t like the product he created?” And I’m right there with you! Do I like Panera Bread? God no. It’s hospital food. And if I wanted to eat hospital food, I’d be honest with my therapist.

Still, Shaich’s way of thinking about a business is worth the listen/read. What matters about the business? What matters about the culture, and how do you shape and control it?

Radio leaders don’t need to read all four tomorrow. However, picking up even one would start a conversation worth having. Culture doesn’t fix itself, and these books offer a place to start.

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 Audience Stream Behavior Gives Radio Programmers Real-Time Answers

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Imagine having direct, daily feedback from over forty percent of your listening audience.

For decades, many of our programming and music choices have been guided by tiny sample panels or metered listening representing a mathematical fraction of the market. Traditional survey methodologies, callout studies, and Nielsen ratings remain essential for macro trends and historical benchmarks. But every broadcaster already has a massive goldmine of raw audience data sitting completely untapped on their streaming servers.

According to Fred Jacobs and the Jacobs Media Techsurvey 2026, digital listening has surged to an all-time high. Core radio listeners now spend forty-four percent of their typical weekly listening time on digital platforms, shrinking the gap between traditional broadcast and digital streaming to just ten points.

If you program a station today, especially in a lifestyle format like Country, your audience lives in two distinct places: behind the wheel of a car and on your digital stream.

Enter RadioAnalyzer, an audience intelligence platform that filters, computes, and translates raw digital listening into clear, actionable programming strategy. In a recent conversation with founder and CEO Mikkel Ottesen Lønstrup, we discussed the exact reality facing our industry: broadcasters do not buy philosophy; they buy results. If you are heading to Nashville, you will get to see RadioAnalyzer in action firsthand at Country Radio Seminar in 2027.

Buying Back Time for the Multi-Hat Programmer

Let us be honest about the daily life of a modern programmer. We wear ten different hats before lunch. You are hosting a show, writing copy, building sales packages, reviewing logs, and coaching talent. Nobody has hours to spend wrestling with clunky spreadsheets or compiling raw data.

What programmers need is time. We need tools that strip away guesswork so we can make swift, confident decisions that give listeners more of what they actually want.

That is the primary power of this platform. It takes your station playlist log and overlays it minute by minute onto your streaming server logs. Instead of waiting weeks to see how a topic or song performed, you see listener behavior almost immediately.

Full disclosure: I am still an early user finding my way around the system, but the nuance of streaming behavior is remarkable. In a vehicle, a driver might punch a steering-wheel preset out of casual habit. But on a mobile app, smart speaker, or desktop player, tuning away takes deliberate effort. Because leaving a stream requires real intent, you do not normally see massive swings.

When you do see a spike or a drop, that movement means something. It is immediate, unfiltered truth straight from your audience.

Efficiency to Create Killer Content

The true breakthrough is how much efficiency this creates when developing content and coaching talent.

We have all sat in post-show coaching sessions debating whether a conversation ran too long or whether a local topic connected. Instead of relying purely on subjective opinion, you have a clear picture of audience retention. Which local discussions kept listeners locked in? What stories held them through the commercial break?

Having that clarity transforms talent coaching. It stops being about guesswork and becomes an empowering compass. More importantly, it creates massive creative efficiency. When talent knows exactly what resonates with their community, they spend less time second-guessing show prep and more time executing dynamic, high-impact breaks that extend listening time.

Continuous Clarity for Your Music

That same efficiency applies directly to music scheduling. Instead of waiting on delayed reports, you see how your hometown audience reacts to every spin.

For stations driven by current music, the speed of the data keeps the playlist fresh and agile. For gold- or classic-based formats, it enables constant, small adjustments across the year rather than a massive, disruptive annual overhaul.

When you combine stream intelligence with traditional ratings, you gain the clearest, most qualified picture of total audience engagement to date. You spot which new tracks are genuinely connecting, which recurrent songs are pushing people away, and where rotations need an immediate tune-up.

Giving the Audience What They Want

Technology will never replace local heart, gut instinct, or great storytelling. But what it does do is reveal whether your gut instinct was on point, inspiring your team to push even further.

At the same time, it buys back precious hours for busy content creators. With forty-four percent of your audience consuming your brand digitally, immediate access to their behavior is an unbeatable competitive edge. It removes friction, eliminates wasted effort, and ensures that every programming decision starts with the audience in mind.

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 TV News Networks Should Stop Trusting Polls After the Wedgewood Scandal

The cake is a lie, and so are your polls! This election cycle, the media has suffered not one but two polling fiascos. The first was Median Strategies. The second, more recent one was Wedgewood Polls.

Just to review for those who are not up on the situation, here’s the DL:

Median Strategies was exposed in August for sharing fake election polling in Wisconsin, Nevada, and California. It was run by a 21-year-old college grad who told the Guardian, “I wanted to see if fake polls could really penetrate the ecosystem that easily, and as it turned out, it could.”

His fake polls were picked up by a few local outlets and lasted only a short time, but nothing crazy. This is not as bad as our more recent polling fiasco.

The Wedgewood Polls Fiasco

Wedgewood Polls popped up earlier this year, releasing wild polls, such as one showing deep-red Mississippi going hard blue. They also may have played a hand in the Democratic primary in Michigan, where Abdul El-Sayed beat out state Sen. Mallory McMorrow. The outlet and Substack Fifty Plus One questioned and then exposed Wedgewood Polls this week.

Nearly every outlet, from MS NOW to The New York Times, Newsweek and Breitbart, was using Wedgewood Polls. Newsweek retracted three articles, The New York Times has removed them from its interactive poll tracker, and somehow everyone is shocked they got duped.

Do you know who’s not shocked about duping the media? Wedgewood Polls. In a statement released on X (their account is no longer accessible), they said they were conducting an “experimental project to demonstrate the vulnerabilities, lack of oversight, and overall low barrier to entry in the modern political polling industry.”

Polling and the Herd Mentality

Welp, shame on us, the media. They certainly exposed more than just a low barrier to entering the industry, but let’s get back to the crux of all of this. There is something to be said for polling data creating a “herd mentality” (here’s a piece I wrote on herd mentality a few years ago). Last year’s piece may have been about vaccinations, but the same ideas and sentiments apply here.

Polls can sway undecided voters because they go with the crowd or the trend, or because it allows them to feel like they fit in.

What was once used to take the temperature of a county, state or country can be manipulated before you even see it — because remember, the numbers don’t lie, but statisticians do.

Journalistic Do’s and Don’ts with Polling Data

Polling data matters more than journalists often realize, and this week’s Wedgewood Polls scandal is just another reason I hate most polling and statistics. Now, don’t get me wrong: I’ve used polling in my reporting and columns, so I completely understand the rare need for this data. Here is how real news organizations should, and should not, use it in their reporting.

  1. Do not create a story solely around one poll. If you (or your editor) pitch a story idea because of new polling, throw it out the window and don’t look back. It is not a story; it is propaganda. If 2016 can teach journalists anything, it’s that even legitimate polling outlets can miss the mark by more than twice their calculated margin of error. You want to know why polls can be so wrong? It’s because they are made by humans — and we all are flawed in some way.
  2. Do use multiple polls from two politically different outlets in the same story. If you are doing a story on how Americans think Trump is doing in office, you need to use a New York Times poll (left) and a Rasmussen poll (right). Almost no one does this, but this is exactly how you stay neutral as a journalist.

Using Polls Without Pushing an Agenda

  1. Do not use polling to enforce your or your outlet’s political ideology (both Newsmax and MS Now do this often). I cannot tell you how many times I was asked to write the following copy during my TV producing tenure:

[ANC]
Take a look at the latest Rasmussen poll…
[Take Poll RS1]

Then the anchor tosses to the pundits, who are like, “Yeah, whoo, way to go, GOP.” It’s boring TV; it’s used to fill time on a regular news day and, most importantly, it’s herd mentality.

  1. Do use polls to challenge what your guests are saying. If you have a Republican governor on, use a CNN or New York Times poll. Vice versa for Democrats. I think this is lazy journalism and a waste of a question, but if you want (or are mandated) to include a poll, at least make it a little spicy, a little salty, whatever sass you want to put in there. Just be mindful that you can add this in a better way than with just a poll.

The Final Word on Polls

Here’s the deal: I’m going to tell you my bias right now. I hate polls. They need to go away forever. I find they are flawed, often used in a manipulative way and never well presented (with the exception of CNN’s Harry Enten; he’s the only person who should ever be talking about polls).

A poll should not be your headline, the base of a story or the reason people vote. This election cycle is teaching the media a lot, from AI manipulating American voters (and our not catching it; see last month’s piece) to polls manipulating American voters (and us, the media, not catching it). Either way, we as journalists take an oath of truth, fairness, independence and public service. We are so vital to the success of the nation that the First Amendment protects us.

For all these reasons, you should be throwing out the polls and instead doing real leather-shoe journalism, like, I don’t know… voter fraud or the fraudulent daycare centers. Pick something, because both sides of the political aisle are complicit, and if all we do is write a half-baked story about the latest polling data, we are just as complicit.

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.

Mikey and Bob Built a Pittsburgh Morning Show on Friendship and Chaos

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Mikey and Bob have been doing radio in Pittsburgh for more than 22 years. Their friendship started even earlier, on a little league field. Today, they co-host mornings on iHeartRadio’s 96.1 KISS the show has no producer, no regular guests and no canned radio bits. Instead, it runs on two best friends and a loyal audience.

In a recent feature with my buddy DJ Bonics, he told me Mikey and Bob are two people he believes are doing great radio, so I wanted to catch up with them and pick their brains. I had each host answer the same questions separately. Their answers matched in spirit. However, a few details did not line up, and that makes the story better.

Two Kids, Two Different Memories

Mikey and Bob have been friends since playing baseball together as kids. Bob remembers that time as a haze. “Little league is kind of a blur,” he says. A local butcher called J and S Meats sponsored his team. Naturally, the other kids found a chant. “Kids would chant we beat the meats when our team lost,” Bob says.

Mikey, on the other hand, remembers every swing. The two attended different elementary schools, so baseball became their shared world. “Bob was always a little bit thicker so, even in little league, when he got a hold of one, it was GONE,” Mikey says.

One hit still lives in local legend. “He hit a ball not just over the fence but over the train tracks that were just beyond the fence,” Mikey says. Parents talked about it for weeks.

Another hit went differently. The junior high field had no fence. “Bob actually WAVES goodbye to the baseball and starts a home run trot,” Mikey says. Then the ball kept rolling. The left fielder chased it down and threw it in. Mikey calls it “the longest double anyone has ever witnessed in little league baseball.”

Bob keeps his own version short. “I pitched a little and hit home runs,” he says.

Mikey’s dad coached the team, and he knew how to calm a frustrated pitcher. “Hey, Bobby, why don’t you smile? It’s not that serious!” he would yell. Mikey says it worked “every single time.”

The Contract and the Parking Lot

Earlier this year, the pair signed a four-year extension with 96.1 KISS. Mikey felt relief first. “Negotiating is awkward and we were just happy to lock it in and keep doing what we do,” he says.

Then the jolt hit. “The amount of ELECTRICITY that was pulsing through me when I sent that Docusign back on that extension, WOO!” he says. That night, the two called each other. “So, yeah, I guess keep doing it then, huh?”

Bob took a calmer view. “I stopped living in fear of us losing our job years ago,” he says. As a result, no big celebration followed. “We were happy when it was signed but we were honestly ok with moving on,” he says.

Then came Stuff-A-Bus. Bob and Mikey stood in a parking lot and talked with listeners who have followed them for 22 years. Those fans shared “their best days and worst along with ours,” Bob says. The conversation shifted. “It honestly brought us back to talking about staying.”

Roles on the Mic

Every duo needs a split of duties. Bob takes the breaks. “I am a great #2,” he says. “Best in the world some say.” He thrives when a segment turns messy. “I work well in the chaos of a break trying to put the puzzle together to make people laugh or throw the lay up to Mike,” he says.

Mikey, meanwhile, envies one thing. “His laugh. It’s 1 of 1,” he says. The station keeps a one-minute clip of Bob’s best laughs. Fans request it on rough days. “Give them 1 minute of Bob laughs and the world just feels like a warmer place,” Mikey says.

No Guests, No Producer, No Fights

The show breaks a few radio habits. “We don’t have guests and don’t do the regular radio canned bits,” Bob says. Mikey agrees. “We’re morning show unicorns.”

Nobody sits behind the glass, either. “We never had a third person or a producer no matter how many times one was promised to us,” Bob says. Instead, the audience fills the chair. “Our listeners have always been that third person on the show.”

The pandemic made that bond clear. Mikey says it showed the hosts “how much WE needed them as much as THEY needed us.” Likewise, the toy drive keeps proving it. “When someone stands outside in the cold for 25 minutes just to tell you about the thing that always makes their kids laugh when they listen to us… that’s the good stuff,” he says.

The Punch and the Gold Medal

Disagreements are rare. “We don’t disagree. We don’t argue,” Mikey says. Still, both hosts remember one exception, and they tell it almost the same way.

Bob’s version goes first. In high school, he says, he got drunk at a party and tried to steal a taco from Mike. “He punched me… the party came to a screeching halt,” Bob says. “I ended up with a black eye.”

Mikey confirms the hit. “I did punch him in the face one time, but that was back when we were younger and there MIGHT have been some drinking involved,” he says. Both men say they laughed right after. “We are best friend tag team champions,” Mikey says.

The pair also trade tall tales about each other. Bob says Mike was “a Jr Olympic world champion ice dancer.” Mikey claims the opposite. “He won an ice dancing gold medal at the 1998 Nagano Olympics in Japan,” he says. Mikey says Bob revealed it on his first night of drinking beers. “He drank about 12 Bud Ice and then put on a science fair medal I had at my house and told everyone about his Nagano victory.”

Their backup careers are just as strange. “If we were not in radio, we would be senior care home exotic dancers,” Bob says. Mikey remembers a more realistic start. The two once stocked shelves together in the back of a shoe store. “That’s where a lot of the magic of the show really started,” he says.

When the Show Gets Real

In September, the hosts talked on air about a listener named Canadian Bacon Brandon, who died by suicide. His wife reached out first. “It’s real life,” Bob says. “It was suicide prevention month. You never know what her talking about it on the show could mean to someone else listening.”

Mikey says the team cleared the segment with her before sharing it. Callers become friends over the years, he explains. “You get used to their voices and their little quirks when they call in. And then you get a message one day that just stops you.” As a result, the hosts do not avoid hard moments. “It’s in those moments that allow us to show our compassion and our humanity,” he says. Listeners answered with calls and kind messages for his family.

If you or someone you know needs support, call or text 988 in the U.S.

Stuff-A-Bus: The Championship Week

Bob calls Stuff-A-Bus “the biggest week of the year.” The station plans for twelve months, and the city shows up in force. The Friday finale carries the most weight. “The Friday morning show where we wrap it up and give the final bus count is the absolute closest we will ever get to feel what it feels like to win a championship for the city,” Bob says.

For Mikey, the week is personal. His father backed the drive every year. “Dad would always leave me a voicemail after the toy drive just telling us how proud he was of both of us and the city of Pittsburgh,” Mikey says. The first drive after his dad died hit hard. “Broke me pretty bad to not hear him.”

Now Mikey honors him in a quiet way. “I wear an old shirt of his every year now at Stuff-A-Bus just so I can feel like he’s still there with us,” he says.

Head to Head: The Speed Round

Each host got the same rapid-fire prompts. Here is how they stacked up.

Round 1: Who shows up to the studio first?
Bob:
“Mike loads everything in the am and is in first. The joy of not having a producer.”
Mikey: “Me. Unless we’re talking about the morning I trusted a fart that I shouldn’t have on the way in. Bob beat me that day.”
Verdict: Mikey, with a fart-sized asterisk.

Round 2: Who is the bigger planner and who is the bigger improviser?
Bob:
“I do the basic show prep email the night before and I think I am the biggest improviser also.”
Mikey: “Bob is definitely the planner, I’m the WILD CARD.”
Verdict: Both men claim the improviser crown.

Round 3: Who gets recognized more in public?
Bob:
“We both look like we belong in a Star Wars bar. Mikey is 6’9, he can’t hide anywhere. Pittsburgh is full of plenty of big guys with mustaches, I can blend in a little easier.”
Mikey: “Bob has an INCREDIBLE mustache and I think he gets ‘HEY BIG BOB’d a lot more than I would get ‘HEY MIKEY’d.”
Verdict: Bob, thanks to the mustache.

Round 4: Who is the worst loser?
Bob:
“Does anyone like to lose…”
Mikey: “We live in the CITY OF CHAMPYINZ! Can’t lose here! Probably me though.”
Verdict: Mikey confesses, and Bob dodges.

Round 5: “My co-host would absolutely lose a bet about…”
Bob:
“Trusting a fart.”
Mikey: “Being able to roll his R’s when trying to speak Spanish or say a Spanish word.”
Verdict: Bob lands the cleaner shot, and Mikey’s own story backs it up.

Why It Works

After 22 years, the formula looks simple. Two friends show up, trust each other and let the audience in. They stay honest about the hard days and silly about the rest. In the end, Mikey says it best. “I get to work with my best friend every day and I don’t take that for granted.”

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NAB Show New York: AI, Creators and Live Sports Take Center Stage

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NAB Show New York closed Thursday at the Javits Center after two days of media talks. AI, creators and live sports dominated the conversation.

What We Know: The event drew attendees from 72 countries, and 57% were first-timers. Additionally, 250 exhibitors and sponsors joined 156 speakers across 101 sessions. Meanwhile, specific panels covered AI’s impact on filmmaking costs, creator businesses, live production and the economics of sports rights. Speakers included Apollo’s Aaron Sobel, CNBC’s Alex Sherman, and Christine Cotter of 360i/dentsu. Also featured was NAB’s Curtis LeGeyt, Islanders co-owner Jon Ledecky, and Stathletes co-founder Meghan Chayka. In addition, NAB Show New York will co-locate with the SMPTE [Society of Motion Picture and Television Engineers] Media Technology Summit in 2027.

What they Said: Karen Chupka, Executive Vice President, Global Connections and Events at NAB: “From new business models to next-gen tools, industry leaders shared how they’re using emerging technology to move their businesses forward. That’s part of the value of bringing the people into the same room who finance content, produce it and develop the technology. They don’t all approach these questions in the same way.”

Aaron Sobel, partner, Apollo Global Management: “If you think about the cost that can come out of the system [filmmaking costs], AI can reduce a budget for a movie 5, 10, 15, 20%. Not today, [but] in a few years.”

What Remains Unclear: Organizers haven’t released full attendance figures yet, though they’ve promised more details in the coming weeks. Additionally, organizers haven’t said how the SMPTE co-location will change the show’s format in 2027.

What It Means: The industry is shifting from debating AI to pricing it in. If Sobel’s forecast holds, cheaper production could reshape who profits from content. While easier tools force creators to prove why their work stands out. Meanwhile, live sports remain the anchor that keeps audiences, advertisers and local newsrooms funded. Additionally, the SMPTE tie-up signals that the business and technical sides of media are converging. As a result, the next few years will likely reward companies that adopt AI wisely and own their audiences. 

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Clay Travis Calls On Broadcasters To Push Leagues In Placing Large Signature Events On Broadcast TV

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Clay Travis called on broadcasters to win back sports’ biggest events at NAB Show New York. Otherwise, he warned, the average fan could soon face paywalls for everything.

What We Know: Travis spoke Wednesday on a panel that NAB President and CEO Curtis LeGeyt moderated. Additionally, he has spent months pressing Congress on the Sports Broadcasting Act of 1961. In June, he testified that the NFL’s streaming-exclusive games undercut the law’s intent. Meanwhile, NAB wants lawmakers to confirm the act covers only free, over-the-air broadcasting. In his remarks, Travis argues that fans are paying too much for the escape that sports provide. Which in turn, should motivate broadcasters to push for more games on broadcast television.

What They Said: Clay Travis feels too many people are ignoring the fact that all sports could go behind paywalls: “Get more big signature events on broadcast television. Over the last decade plus, we have lost a ton of them. There have been a lot of people asleep at the wheel, allowing the average sports fan to be gouged by the average sports league. I think about this all the time because eventually they’ll put everything behind a paywall if they can.”

Clay Travis pleads for the NAB to push for more big sports events on broadcast television: “We have to push back, and have more big signature events on major broadcast networks. We need to have the ability for so many people to have access for free on broadcast television.”

Clay Travis believes the sports fan is asked to pay for too much: “In this day and age, when so many people are stretched so thin. Asking somebody to have to pay for all of this different additional streaming costs to be able to watch the U.S. men’s soccer team, or your favorite college basketball team in the NCAA tournament, or your favorite NFL or college football team, I just think we need to push back in an aggressive way.”

What Remains Unclear: It remains unclear whether Congress will update the Sports Broadcasting Act for streaming. Likewise, it is not clear how leagues would answer new limits. However, Travis has called the frustration over cost and access bipartisan.

What It Means: For broadcasters, marquee events fund the local programming communities depend on. Ultimately, Travis argues fans stretched thin shouldn’t need a stack of subscriptions. Whether or not leagues hear his messaging is still up for debate. The NFL challenges that all their games are available on free over-the-air television in local markets of the competing teams. However, MLB, NBA, and the NHL have challenges with regional sports networks. This debate will likely continue into the next administration and beyond as technology continues to evolve fan behavior.

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Former NHL Player, MSG Network Analyst Ron Duguay Dies At 69

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Ron Duguay, a New York Rangers fan favorite and longtime MSG Network analyst, has died of cancer. He was 69.

What We Know: The Rangers confirmed Thursday that Duguay’s family informed the team of his death. Duguay spent 12 years as a Rangers analyst on MSG Network after his playing days. Before that, he played eight seasons in New York, including a run to the 1979 Stanley Cup Final. Overall, he tallied 620 points in 860 regular-season games with the Rangers, Red Wings, Kings and Penguins. The former forward was diagnosed with Stage 4 cancer that he told the New York Post originated in the colon, adding that he battled the disease for more than a year while losing his appendix and gallbladder.

What They Said: Statement by the New York Rangers: “The New York Rangers organization mourns the loss of Ron Duguay, one of the most popular players in franchise history. Ron’s signature skating style — with his hair flowing as he moved down the ice — captivated the (Madison Square) Garden faithful, and his skill, tenacity and charisma earned him the admiration of all New Yorkers. We join the hockey community in sending our condolences to Ron’s friends, family and loved ones during this difficult time.”

NHL Statement: “The NHL mourns the passing of Ron Duguay, a charismatic figure who made a lasting impression on the game. We extend our deepest condolences to Ron’s family, friends and the many fans who admired him throughout the hockey community.”

What Remains Unclear: The release did not specify when Duguay passed. In addition, it’s unknown how the Rangers may celebrate his memory this season.

What It Means: Duguay’s death removes a rare link between the Rangers’ on-ice past and their broadcast present. After the Rangers drafted him 13th overall in 1977, he became a 1981-82 All-Star and a Garden icon. Later, he brought that connection to MSG Network viewers for more than a decade. As a result, Rangers fans lose both a former star and a familiar voice.