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Denver Nuggets Set To Debut Spanish-Language Broadcast on Mobile App

BSM Staff
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Denver Nuggets Set To Debut Spanish-Language Broadcast on Mobile App

The Denver Nuggets will debut a Spanish-language audio broadcast tonight, marking a significant step in the franchise’s ongoing effort to better connect with Denver’s growing Hispanic community while expanding its overall media reach.

The new broadcast, which begins with the team’s home matchup against the Toronto Raptors, will stream through the Nuggets’ mobile app and feature a full game presentation, including pregame and postgame coverage designed to mirror traditional English-language offerings while tailoring the experience for Spanish-speaking audiences.

The initiative represents the first time the organization has produced a Spanish-language audio call, a milestone that underscores both demographic trends in the region and the league’s broader push toward inclusivity.

Veteran broadcaster Jena Garcia will handle play-by-play duties, while Mauricio Jaramillo joins as color analyst, forming a pairing that brings both experience and local credibility to the project. The broadcast will include 15-minute pregame and postgame shows, creating a comprehensive listening experience that extends beyond the final buzzer and offers additional storytelling opportunities.

Production responsibilities will fall to TICO Sports, a company with a growing footprint in multicultural sports coverage. The initial rollout will cover the Nuggets’ remaining 10 regular-season home games, giving the organization a meaningful sample size to evaluate audience engagement and long-term viability.

Tonight’s debut aligns with Somos Los Nuggets Night, the franchise’s annual celebration of Hispanic culture and heritage, adding another layer of significance to the launch.

The event will spotlight several community organizations, including the Mexican Cultural Center and the Latino Leadership Institute, reinforcing the team’s intent to deepen its ties within the local community while using its platform to elevate cultural awareness.

Team and production executives emphasized that the broadcast represents more than a new distribution channel, instead framing it as a strategic investment in audience development. Oscar Monterroso, co-founder and executive producer of TICO Sports, said the effort reflects a broader industry shift toward meeting fans on their own terms.

“This launch with the Denver Nuggets is more than a broadcast — it’s a commitment to meeting fans where they are and how they experience the game,” said Monterroso. “The Latino fan base is one of the fastest-growing forces in sports, and we’re proud to help bring Nuggets basketball to life in a way that is authentic, accessible, and culturally connected.”

Nuggets Vice President of Marketing Ron Chase echoed that sentiment, noting that the organization has identified its Latino fan base as both passionate and expanding, making it a priority to deliver content that feels authentic and accessible.

“The Nuggets have a passionate and growing Latino fanbase that we want to engage,” said Chase. “These broadcasts will offer an accessible and culturally authentic game experience for Spanish-speaking fans across Denver and the broader NBA audience.”

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

Is Media Still a Good Career Choice for the Next Generation?

Bob Lawrence
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Is Media Still a Good Career Choice for the Next Generation?

When I was young, there were only a couple of options for me to pursue. Go to medical school and become a doctor like my dad wanted, or be on the radio. I’m sure I disappointed him, although he never said it aloud.

I’m convinced it’s harder to be young today. Technology has certainly added “choice” for young people trying to decide whether to continue their education and where to invest their time, talent, and money. A career in media still offers something increasingly rare in today’s job market. Potential that is truly a mashup of creativity, influence, technology, and personality.

Today, media still includes those cameras and microphones. At its core, there is a plethora of opportunities. From streaming and podcasts to social platforms, digital content creation, branding, and storytelling. There’s also exciting emerging technologies, including AI-driven production. All of those options make media a wonderfully attractive and potentially lucrative career path for the next generation.

One of the biggest draws is the incredible amount of creative potential. This new generation has a proverbial boatload of it. If younger people want careers that offer creative freedom and the ability to produce ideas rather than simply execute tasks, media is holding that door wide open.

Media rewards originality. Not only from employers but also from those consuming the content. To make it even simpler, platforms like YouTube and TikTok have a low barrier to entry. Anyone with a smart device can build an audience almost instantly.

That accessibility makes media feel merit-based and independent compared to traditional industries.

Then, of course, there’s the cultural impact. Regardless of platform, media creates and shapes conversations, influences opinions, and can even drive new trends. In talking to college- and graduate school–age individuals, it became evident that many want to feel their work “matters” beyond just the paycheck.

Producing news, entertainment, sports, or branded content allows a career in media to contribute to cultural relevance. That sense of connection can feel energizing and motivating.

The industry also offers real flexibility. You might start in social media and then move into video production or transition into marketing. It used to be that moving from radio to TV or print presented challenges. Today, skills are far more transferable.

Experience in podcasting can lead directly to opportunities at streaming companies like Spotify. Storytelling experience in local media can also open doors at global brands like Netflix, Max, or Paramount+. Lifestyle mobility has become especially attractive to a new generation that values reinvention throughout life.

Now comes the tough part for those of us who have spent our careers in more traditional media. One sector that tends to suffer from a negative narrative—especially among younger audiences—is radio.

We’re all too aware of critics who frame radio as outdated or declining. However, that perception ignores the reality that radio remains the most consumed form of audio, still reaching tens of millions daily.

I firmly believe radio is one of the best entry points for young people. It needs fresh ideas and offers immediate, hands-on experience. Conversely, digital companies often have highly specialized roles. Walk into a radio station, and you’ll find employees developing multiple skill sets. This includes content creation, production, marketing, management, audience analytics, sales strategy, and live on-air performance.

When I was GM at RAB’s National Radio Talent Institute, we worked to fight the negative narrative by reframing what radio really is. I believe that effort has begun to pay off.

Modern broadcast facilities aren’t just studios, transmitters, and towers—they’ve evolved into true content creation hubs. Many major broadcast companies now produce podcasts, video series, social media content, live events, and local experiences.

Today’s talent isn’t just “on air.” They’ve morphed into multiplatform creators who have learned to expand their reach by building personal brands that connect with audiences far beyond AM/FM radio. Young people searching for a future can use radio to gain a wide range of experience in a relatively short period.

Experience that might otherwise take years to accumulate elsewhere.

Let’s not forget the human element, which serves as a powerful point of differentiation in a landscape driven by algorithms. Local radio personalities continue to connect with communities in ways global streaming companies often fail to replicate. That heartfelt connection builds loyalty, trust, and genuine relationships.

Those skills are incredibly valuable in any form of media. As brand strategist Scott Talgo said, “A brand that captures your mind gains behavior. A brand that captures your heart gains commitment.”

Ultimately, media offers something deeply and intrinsically human. It allows us to tell stories.

Storytelling has been at the heart of humanity for tens of thousands of years. We are wired for stories. From the time we can speak, we ask our parents to “tell me a story.” Data bores people. Stories engage and touch our souls visually, emotionally, and intellectually.

Working in local media means creating compelling stories, and that is uniquely valuable.

For young people seeking careers that offer passion, influence, technology, and opportunity, media—in any form, including radio—isn’t just an option to consider. It’s one of the few industries where original creativity and a lucrative future can grow together.

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 World Baseball Classic Exposed MLB’s Biggest Issue

John Lund
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The World Baseball Classic Exposed MLB’s Biggest Issue

Opening Day is a holiday. It always is. Hope sells in baseball better than anything else, with perfect grass, clean records, and the idea that maybe this year will be different. For a day, baseball feels like it owns the sports world again.

Then, somewhere around mid-May, reality sets in. You’re watching a 6–2 game on a Wednesday night, and half the lineup is getting a maintenance day. The crowd is light, and the broadcast is filling innings with stories that have nothing to do with the game because, frankly, the game itself doesn’t demand your full attention.

Then the World Baseball Classic shows up and punches you in the face with what baseball looks like when people actually care. Not kind-of care. Not “check the score later” care. Real, invested, lose-your-mind-over-every-pitch care.

This is where MLB should be paying very close attention because the numbers and the noise are telling the same story.

Team USA games in this year’s World Baseball Classic consistently pulled over 3 million viewers, with marquee matchups pushing toward 5 million on FOX. Even more telling, several of these WBC games became the most-watched television events of the day. Not just within sports, but across the entire media landscape.

Meanwhile, across much of Major League Baseball, local ratings have been flat at best and down in several markets, with younger viewers increasingly disengaged. National broadcasts still deliver when the Yankees, Dodgers, or a big October moment shows up.

However, on a random Tuesday in June, baseball too often becomes background noise. It’s something you have on, not something you lock into. The WBC flipped that completely. It wasn’t background, but was the only thing on, and you didn’t just watch—you couldn’t look away.

Aaron Judge caught heat for saying the atmosphere in the World Baseball Classic was better than a World Series game, but people twisted it because that’s what we do now. He didn’t say it mattered more. He said it felt better, and if you watched even five minutes of those games, you know exactly what he meant.

Every pitch had tension. Every swing carried weight. The crowd didn’t sit back and politely observe—they lived every moment. It sounded more like a World Cup match than a regular baseball game. That’s not something MLB can script into existence with a marketing campaign or a few extra camera angles.

Here’s the uncomfortable truth for baseball: you cannot manufacture urgency over 162 games.

You can improve the pace, and MLB has. The pitch clock was a necessary fix, and it has made the game more watchable. But pace isn’t passion. Pace keeps people from changing the channel. Passion is what makes them not want to.

That’s what the WBC exposed as missing far too often during the MLB grind.

Watch a game in June and look around. Half the crowd is on their phones—not checking stats, but scrolling, texting, and doing anything except watching the field. It got to the point where MLB had to extend netting down the lines.

Not just because the game is faster, but because people weren’t paying attention anymore.

That’s not a criticism of the fans. It’s a reflection of the product. When the game doesn’t demand your attention, people will give it somewhere else.

This is where the media piece really comes into focus because the World Baseball Classic isn’t just better baseball in a vacuum—it’s a better television product. It’s built for how people consume sports now. It’s short, intense, and easy to follow. Every game feels like it matters because there aren’t 161 more coming behind it.

There’s no “we’ll get them tomorrow.” It’s all happening right now.

MLB, on the other hand, is still largely built on volume. There are 2,430 regular-season games, and while that creates inventory, it also dilutes urgency. Not every game can feel important because, structurally, they aren’t. Fans know it. Media knows it. The players know it and act like it.

Add in the fact that finding a game has become harder than it should be—Apple TV here, Peacock there, and regional sports networks in various states of uncertainty—and you’ve created friction in a marketplace where convenience drives consumption.

The WBC doesn’t have that problem. It’s on, big, and you know where to find it.

Other leagues have already adjusted to this reality. The NFL has built-in urgency because there are only 17 games. The NBA has leaned into personalities, storylines, and now even in-season tournaments to create something resembling urgency in the middle of the schedule. International soccer has always thrived on national pride and limited windows that make every match feel massive.

Baseball is still asking you to commit to a six-month relationship and promising it will get good later. That’s a tougher sell than it used to be in today’s microwave media landscape.

Consumers want a gourmet meal in 60 seconds or less.

None of this means MLB should try to become the World Baseball Classic. It can’t, and it shouldn’t. You can’t replicate national pride, and you can’t fake what countries like the Dominican Republic, Venezuela, and Japan bring to international competition. Those players are wired to represent something bigger than a franchise, while American players are conditioned to chase championships at the league level.

That difference doesn’t make one approach right or wrong, but it does create a completely different energy.

What MLB can do is learn. It can create more moments within the regular season that actually feel like events instead of treating every series as interchangeable. MLB could lean into personality, culture, and identity instead of sanding everything down into a generic presentation. It can make the product easier to access because if people can’t find your games, they won’t watch them.

The most telling part of all this is that the players didn’t change. The talent didn’t change. The game didn’t suddenly evolve into something new. What changed was everything around it—the stakes, the crowd, the urgency, and the feeling that something real was happening in that moment.

The World Baseball Classic didn’t fix baseball. It exposed it.

Baseball isn’t boring. It never has been. However, the way it’s packaged over the course of a long MLB season too often allows it to feel that way. Right now, the most electric version of the sport isn’t happening during the MLB calendar. That’s not a talent issue. It’s a presentation issue.

Until MLB figures out how to inject even a fraction of that urgency, that energy, that can’t-look-away feeling into its everyday product, Opening Day will keep feeling like a party.

Everything after it will feel like a slow fade-out.

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 Crash Leans on His Passion for Radio in Growing Community at 98ROCK Tampa Bay

Mike Stern
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How Crash Leans on His Passion for Radio in Growing Community at 98ROCK Tampa Bay

So many people in this industry are true, dyed-in-the-wool radio professionals. They know everything about the history of station call letters, formats, and other hosts. They always keep an eye on what’s happening in the small, insular world we call radio.

But every once in a while, you come across someone who loves the medium. Someone passionate about the craft without letting the job define them. That’s Crash from 98ROCK in Tampa Bay, host of the Crash and AJ Show.

“I never thought (radio) was going to last very long. I’ve always had other passion projects, but they’ve been paying me to do it for 38 years so I’m going to keep doing it,” Crash explained.

Those passion projects include writing and performing music. Crash also has a book he has been working on for a long time—one he feels is close to being ready for the world. Last month, Crash was recognized by ranking in the Barrett media Top 20 Rock and Alternative Shows category. While he appreciates the recognition from those in the industry, being recognized does not drive him.

“I’m not big into competing with other radio shows or anything like that. I just love entertaining people. Working with AJ and Producer X, we get up to entertain people,” said Crash. “If we get recognized for it, then that is the cream on top of an already good cake.”

Entertaining listeners and helping them jumpstart their mornings means keeping content mostly light. However, sometimes the content mix can include occasional heavier stories making it on the air.

“We try to stay away from hard news unless we have to,” Crash says. “If it were completely up to me, I would only do compelling, funny, and interesting stories with no hard news at all. We want to keep everybody positive. Hopefully they’ll remember something we said that brightens their day.”

Perhaps the biggest challenge each morning is achieving that goal while also playing seven or more songs per hour. While an all-talk morning show presents its own challenges, creating content that stands out among a heavy music rotation is equally difficult.

This is where the musician in Crash comes through. Acting as his own virtuoso, he explained his approach to combine music with content enhancing the show’s rhythm.

“There’s a cadence and a pace to our show,” he says. “It’s like a drumbeat that’s constantly moving us forward. Any conversations and dialogue we have—if it’s over a 10-second intro or going into a break—have to keep that cadence and forward momentum going so it doesn’t sound like we’re stopping down.”

That need to maintain momentum becomes even more pronounced because his co-host, AJ, also serves as the station’s program director. Her involvement ensures the show stays aligned for maximum ratings credit.

“Everyone’s got to keep their eye on the clock. We know that we’ve got PPM stuff to take care of as far as timing and splitting stop sets,” said Crash.

That focus on ensuring opportunities are maximized applies to each and every segment. When the show dives into longer content, it must meet a high standard. Not just content that the program considers quality, but also leaving the listener with something to remember.

That includes several benchmarks that play key roles in the show. These include “Shove It Friday,” a feature Crash has done for so long that he almost takes it for granted.

“That’s probably the best idea that I’ve had,” said Crash. “It’s turned into a clinical purge of the crap that you build up during the week. The goal is to get it out of your body. Say your name, where you’re from and who or what you want to tell to shove it.”

Another feature is The Mystery Riff, which he has developed in different forms across multiple markets. In Tampa Bay, the latest version features a snippet of a song played by a featured musician. This feature is framed for the show’s social media pages along with the on-air.

Crash provides clues throughout the morning and awards a prize later in the show if someone correctly identifies the song.

Another segment—unusual for a rock station—is their Monday feature with “Star Goddess,” an astrologist who has become a fan favorite. Using the talkback feature on the iHeartRadio app, along with traditional phone calls, listeners can ask her questions.

He says the segment has grown so much that it now exists as its own podcast.

The show also takes a distinctive approach to social media. While many programs aim for constant visibility across platforms, Crash and his team focus on a specific goal.

“We want to make sure we are one of the first scrolls people get in the morning. When you wake up, whatever your protocol is. Whether you’re going to get your coffee or waking and baking. Whatever you do. When you get that phone, we want to have an opportunity to show you what we’re doing and give you an opportunity to listen,” explained Crash.

Each post includes a link to tune into the show to drive listening on the iHeartRadio app. Crash compares the strategy to fishing every morning. Like experienced anglers, they constantly experiment with new types of bait.

Posts may highlight Shove It Friday, The Mystery Riff, or daily prize offerings. Recently, however, they have started incorporating more personal content between show-related posts.

“It’s about what we are like off the radio. Here’s a little taste of non-radio Crash, or non-radio AJ, or non-radio Scott (Producer X) with his new baby. It kind of humanizes us to the audience,” says Crash.

To understand Crash beyond the microphone, consider the final thought he shared during our conversation.

“I was excited to do this interview,” said Crash. “While I don’t really consider myself as much of a radio guy, it was a chance to talk about the show and more importantly to give kudos to my coworkers AJ and Producer X. They’re like brother and sister to me.”

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 March Madness Could Benefit From More Than One Broadcast Partner

John Mamola
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Why March Madness Could Benefit From More Than One Broadcast Partner

March Madness captures the attention of the entire nation. After the first day of action, this year is no different. People plan extended lunches, call in sick, and find ways to mask their desktops with static images of spreadsheets, all for the love of the shared experience of college basketball.

CBS Sports, in partnership with TNT Sports, has done a masterful job presenting March Madness for many years. One Shining Moment and onions all around. It’s the single biggest tournament in college sports, with 68 teams all vying for the opportunity to call themselves champion.

It has also long been a product airing on these networks. Since 1982, CBS has served as the NCAA’s primary television partner for the tournament. Yet no one debates whether March Madness should have a single television partner like the College Football Playoff. It begs the question: after 44 years on CBS, is it time for March Madness to have more than one television home?

College basketball is as hot as it has been in recent years. Viewership across all networks that broadcast the sport nationally increased during the past regular season.

CBS drew the highest viewership, averaging 1.42 million viewers across its 30-game slate. That’s up 10% from last season and marks the network’s most-watched regular season in seven years.

ESPN also saw similar gains, finishing with its most-watched season in 11 years. FOX Sports experienced growth as well, averaging 1.21 million viewers across its broadcasts. That’s up a whopping 38% year over year. FS1 also posted gains, rising 25% year over year.

Without question, live sports across the board have benefited from the new Nielsen Big Data + Panel measurement system. Since its launch last September, the NFL, NHL, NBA, and college football and basketball have all shown rising viewership trends. While some may argue that more people aren’t necessarily watching, the fact remains that more viewers are being counted. That reality benefits leagues and networks alike through increased rights fees and advertising revenue.

Last year, FOX Sports college football analyst Joel Klatt said the College Football Playoff is making a mistake by having a single television partner. His reasoning centered on presentation.

“There is no playoff that should be a single television partner. It just shouldn’t,” said Klatt in early January about the College Football Playoff. “Because the presentation is important, in particular, when you’re down to this point in the sport where you’re trying to showcase games. Let’s face it. It would be better if every network was giving an A-level broadcast versus a single presenter. In particular, when that single presenter has a deep relationship with one conference with college football.”

At the time, I disagreed with Klatt’s argument. I argued that fans value consistency in a fragmented media landscape, using first-round viewership figures as evidence.

At a time when sports broadcasts are splintered across cable channels, streaming apps, and subscription tiers, the College Football Playoff’s greatest strength may be its simplest: clarity. Fans know where to go. Casual viewers know exactly what button to press.

However, sports fans also crave new, fresh, and innovative experiences. March Madness has long maintained a consistent feel, look, and presentation. Despite the fresh faces and upsets, the CBS Sports broadcast can feel worn and dated.

You can’t say that about the College Football Playoff. ESPN has done a masterful job introducing new and creative ways for fans to engage. Alt-casts offer fresh perspectives, angles, and analysis beyond traditional play-by-play. Unique camera angles provide a bird’s-eye view with visuals rarely seen during the regular season.

Given everything March Madness represents on CBS, do Klatt’s ideas carry more weight for college basketball? The sport has just as many, if not more, national media agreements as football. Much of the on-air talent featured on CBS comes from other networks and partners.

Would that model work on FOX Sports, which has ties to the Big Ten, Big East, Big 12, and Mountain West? Gus Johnson is synonymous with college basketball, yet he is no longer part of the March Madness broadcast.

Would this model work for ESPN, which currently holds the rights to the entire women’s NCAA tournament? More than likely, yes. Consider the innovative ways ESPN could apply its College Football Playoff experience to its presentation of March Madness.

As much as fans may desire consistency in a fragmented world, college basketball needs a new coat of paint on its signature event. For everything March Madness already gives sports fans, expanding to additional network partners could breathe new life into a tournament that arrives quickly and fades just as fast.

For all the tradition, nostalgia, and familiarity CBS has built into March Madness, the question isn’t whether the tournament has been presented well. It has. The real question is whether “well” is still good enough for where sports — and sports media — are headed.

Because in 2026, standing still is the fastest way to fall behind.

March Madness doesn’t need to abandon what makes it special. One Shining Moment will still hit. The upsets will still captivate. Office pools and buzzer-beaters will still define the calendar. However, the way those moments reach fans should evolve just as much as how fans consume them.

Expanding to multiple network partners wouldn’t dilute the tournament — it would amplify it. More voices, perspectives, and innovation. More ways to meet fans wherever they are and however they choose to watch.

Consistency once made March Madness easy to find. Now, creativity will keep it impossible to ignore. If college basketball is as strong as the numbers suggest, then its biggest stage should reflect that same energy — not just on the court, but on the screen.

Because the madness shouldn’t just live in the games. It should live in the broadcast, too.

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How Chris Stigall Went From a Card Table to National Syndication with Salem Radio Network

Garrett Searight
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How Chris Stigall Went From a Card Table to National Syndication with Salem Radio Network

In 2019, Chris Stigall departed 1210 WPHT in Philadelphia. As he sat at a card table in his home, attempting to start a podcast, he didn’t know if he had a future in radio.

Now he’s on hundreds of stations across the country.

The Salem Radio Network host recently surpassed his first full year in national syndication. And the path to get there was far from guaranteed.

The terms of his original deal tell the real story.

“Salem thought enough of the show and the audience was receptive enough in the early going,” Stigall said. “When I signed, a tentative start was six months. That’s not something we made public, but it was effectively, ‘Hey, we’re going to try the show for six months and see how it goes. If it’s a dud, then we’ll agree to part as friends.’ I got a call six months in, and they said, ‘Let’s just go ahead and extend this thing to the full three years that they had the right to pick up.”

Rethinking Talk Radio

Stigall’s now in year two of that three-year deal, reflective about how it’s grown and honest about what he didn’t expect. Decades of instincts built as a local Philadelphia host needed rethinking the moment he went national.

“You mentioned things like the weather or traffic or the game last night — things that I would instinctively come in and talk about as a shared local experience,” he said. “You kind of have to think now more along the lines — and here’s an honest criticism I got — ‘he’s too Philly centric.’ I thought that was so funny because as a non-native Philadelphian who worked a long time in Philadelphia, trying to become ingratiated to the city of Philadelphia, to launch a nationally syndicated show, only to hear criticism that I was too Philadelphia-centric, was hilarious.”

He’s not entirely surprised by the challenge. Stigall spent years as a local host who was always drawn to national topics. He credits Rush Limbaugh as an early influence on his thinking.

“I remember he always used to say that doing local just for the sake of being local bored him, and I felt the same,” Stigall said. “There is a belief — and I think it’s still a healthy belief — that talk radio has to be local in order to be relevant or survive. I am more along the lines of what Rush used to say: if you do talk in an entertaining way, people will listen with a tin can and a string. I don’t know that it’s necessarily about being local or national or whatever. It’s just about being entertaining, hopefully.”

Going National

Still, building a national audience takes time. Chris Stigall’s candid about that reality, too.

“Conventional wisdom has always been, at least since I’ve been in this business, that it takes a show two years to really get its sea legs and feel familiar and comfortable to the audience and to the hosts,” he said. “We’re just wrapping up our first year and entering year two.

“It feels more comfortable than last year. But clients and audience members still don’t really know who this Chris Stigall guy is yet. It’s very hard. You’ve been doing something for 25 years, only to start a syndicated show and realize there are people that have never heard of you in their lives. You’ve got to prove yourself all over again.”

He found comfort in something Dave Ramsey once told him. “I’m a 15-year overnight success,” Ramsey said. Stigall laughed, recalling it. Ramsey’s point was simple — years of work often look like sudden arrival to outside observers.

Dealing with Digital

Beyond the audience, another adjustment has taken hold. Salem’s push into digital and video now has Stigall broadcasting on the Salem News Channel alongside his radio show. He didn’t seek the transition — but he’s embraced it.

“I’ve always been in love with radio. I’ve always loved audio most, and so to be conscious of a camera and lighting and how you look — that sort of thing is not my favorite, I won’t lie,” he said. “But I also understand that it’s absolutely crucial. Salem is not sitting back resting on their laurels, saying, ‘Well, we came all this way as a broadcast company and that’s the horse we’re going to continue to ride.’ They recognize that along with broadcasting, you have to have a complementary digital strategy. They’ve really poured their heart and soul into trying to figure out how to thread that needle and coexist.”

Remembering where he started has kept his footing through it all. He remembers when a card table in a spare room and a fading career were all Chris Stigall had.

“I lost my job a few years ago in Philadelphia. I thought I was done. And I thought I’d seen my best days. My career was over. And God had other plans,” he said. “When I really became repentant and thoughtful about my journey, and why it worked, and how I got here, and actually really started to hand it over spiritually — that’s when good things started to happen.

“Something I’d always hoped for — syndication and to be heard on a platform like this — I didn’t think there was a possibility. And yet, he made a way,” said Stigall. “I’m just eternally grateful. I don’t want to say proud of it because I don’t really see it as my doing. It’s a real gift. It’s a special gift, and I don’t take it for granted.”

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Why Rush Limbaugh is Responsible for the Current Conservative Media Civil War

Garrett Searight
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Why Rush Limbaugh is Responsible for the Current Conservative Media Civil War

Rush Limbaugh didn’t start a fight. He ended one — for decades. And now that he’s gone, everyone left standing wants to throw punches.

Think about the conservative media landscape for a moment. For years, it was simple. You had Fox News. You had Rush Limbaugh.

That was largely it. Two destinations. Two dominant forces. The pie was split clean down the middle, and everybody ate well.

Now? That same pie needs to feed 5,000 hungry mouths. Megyn Kelly has a podcast. Tucker Carlson has grown his digital footprint. Ben Shapiro runs a media empire. Mark Levin still commands a hell of an audience on news/talk radio. Candace Owens built her own platform after getting pushed out of someone else’s and has millions of loyal fans.

They’re all fighting — not just for audience share, but for identity. For legacy. For the title nobody’s officially handing out anymore.

And it’s gotten ugly.

Kelly and Carlson have traded shots. Shapiro and Owens went to war so publicly it became mainstream news. Levin’s taken swings at figures who’d seem like natural allies. Kelly attacked Levin’s manhood, literally. These aren’t Democrats they’re targeting. They’re “teammates.” Or at least, they used to be.

So what happened?

Rush Limbaugh happened. Or more accurately, his absence happened.

For roughly three decades, Limbaugh dominated conservative talk. He didn’t just hold the top spot. He held it so firmly that challengers never really got traction. Nobody grew up in Rush’s shadow and became a rival. You either worked around him or you didn’t work at all. His gravitational pull was that strong.

That created a generation of conservative commentators who never had to fight for the top. They built audiences. They built brands. But they never had to claw their way to the summit — because someone else permanently occupied it.

Rush’s death in 2021 changed everything. It left a vacuum that no single person was ever going to fill. His influence was too wide. His talent was, frankly, too rare. It made him insurmountable.

One person couldn’t absorb all of that. Everyone agreed that no one was going to be able to singularly replace Rush Limbaugh. But that didn’t stop everyone from trying. Every figure in that space looked at the open throne and thought the same thing: that’s mine. Not ours. Mine.

So they fight. They’re tearing each other down. They’re calling each other grifters, sellouts, and frauds — not because they necessarily believe it, but because a smaller field means a bigger slice. The content is no longer about principles. It’s not about policy. It’s about survival. And when you’re worried about your survival, you’ll go to unbelievable lengths to survive.

That’s why you’ve seen such nastiness become commonplace in these circles in recent months. You’re seeing conservative media figures see their influence grow from adolescence to adulthood. But when you’re not taught how to handle adversity or conflict in adolescence, that conscience isn’t just going to grow out of nowhere. Many of these figures had to grow their personal brands in the shadows because Rush Limbaugh blotted out the sun. Now that an opportunity to be in the limelight has persisted, they’re learning on the fly. And that’s not always a good thing.

I won’t say Rush Limbaugh is directly to blame for this mess. That’s not entirely fair. He can’t control what happened after he was gone. And shouldn’t be knocked for dominating the conservative landscape for as long as he did. That takes an unbelievable amount of skill.

But his dominance — built on genuine ability, not just luck — meant nobody ever developed the instinct to share. The conservative media space never had to grow up while Rush was alive.

It’s growing up now. In public. On YouTube. In podcast form.

It’s not pretty. But it’s what happens when the adult finally leaves the room.

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 Rock Radio Needs to Stop Ghosting The Audience

Keith Cunningham
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Why Rock Radio Needs to Stop Ghosting The Audience

Every week, people smarter than me remind those of us in RockTernative Radio about the “best practices” for being successful. But let’s focus on this one: be wherever the audience is — go where they are — meet them on their turf.

Hard to argue with, right?

It’s not a new strategy. Stations in the ’70s, ’80s, and ’90s went to every circus, concert, and mall opening. They even drove vans around trying to meet the masses wherever they were. I know, I drove the station van.

Then people went “world wide web” crazy. So, to meet listeners on their turf, radio rushed to build websites and social pages on platforms like MySpace and Facebook.

You know what happened next. The smartphone. Everyone developed an app, “digital” became the most overused word in all of media, and now it’s a totally different competitive environment. For the first time in history, listeners didn’t need to find a radio — they had one in their pocket.

There’s no denying where the audience is — on their phones. It’s the center of their universe. Socializing, news, shopping, navigating, love hunting, you name it. It’ll even track their kids.

Now think of the phone like that hot new club in town. Everyone wants a reserved table. It’s THE place to be if you want to be relevant.

What if your brand had a reserved table every night? What would you do with it?

There are four types of table owners.

  1. Promoters: They sell seats to whoever will pay.
  2. No-Shows: The table is usually empty.
  3. Zombies: Frequently there but invisible, passed out in the corner.
  4. Hosts: The ones everyone wants to hang with.

It’s true that most radio brands fall into being table owners 1, 2, or 3.

Just because a brand has a table — a website, app, and social pages accessible on phones — it doesn’t mean they’re really meeting the audience on their turf.

Many brands technically exist on phones, but they aren’t truly present. Or at least not meaningfully present. Presence means answering comments. Responding to DMs. Showing up when people are talking. Being part of the moment, not just one-way posting and ghosting.

Short of hiring a game-changing talent, I’d argue improving these relationships is the biggest growth opportunity for all of RockTernative.

Yet, look around…

  • Profiles heavy on unwanted ads
  • Endless loops of self-promotion
  • Asleep at the wheel when sh!t happens and everyone flocks to social
  • Websites templatized, nationalized, outdated
  • DMs, comments, texts — ignored

The irony is everyone talks about the importance of digital. Social is digital. But I’ve heard radio execs say — out loud — there’s no ROI in social; we’re not investing there. That’s because they’re measuring it like a banner ad. They’re not thinking like brand builders.

Social is not a banner ad.

Social isn’t a widget or a simple line item in a budget. It’s fluid and emotional — and a big part of the brand/fan relationship.

Look outside radio for a moment — consider Linkin Park, Pardon My Take, or brands like Wendy’s, 7-Eleven, or Liquid Death — they’re not measuring every post with a calculator. They understand some simple truths:

  • Social is the hot club
  • It’s also the town square
  • It drives other lanes
  • Being present matters

If I DM McDonald’s, I get a response. If I reach out to a radio station, it’s usually crickets.

When ratings are neck-and-neck and advertisers demand results, guess what breaks those ties? Relationships.

And the brands that win close ball games are the ones listeners feel closest to.

  • The ones giving answers to questions
  • Responding to DMs, showing up in comments
  • Being there when it matters most — and even when it’s less critical
  • The ones pulling up to that reserved table every night

The spirit here is vision, prioritization, connecting with the audience, and being attentive to what moves them. Because what moves them also moves revenue. Building stronger relationships isn’t expensive, but it has become a necessary expense.

Budgets are tight — they will always be tight. But I can walk into any cluster and find ways to cut spending without reducing headcount. And some of the naysayers are dead wrong: investing in engaging social personnel will bring great ROI.

How? Why?

Because the brands with the best fan relationships sell the most cars, case leads, and blue pills.

The phone is the hottest club in town, and RockTernative already has a reserved table.

Which table owner are you?

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 Needs Its Own Old School vs. New School Debate

Pete Mundo
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Why News/Talk Radio Needs Its Own Old School vs. New School Debate

As has been written about and discussed plenty on Barrett Media and elsewhere this week regarding the sports radio wars between the “old school” and “new school” hosts and program directors around the country, I was thinking about the back-and-forth from the lens of News/Talk radio.

I realized I wish more of the old school were out there knocking the new school. Frankly, it’s a compliment when this happens. And it’s been happening since the beginning of mankind. Every generation gets older and thinks it did it better than the up-and-coming generation. It doesn’t matter if it’s a job, parenting, walking to school uphill both ways, or talk radio. Every generation has a general belief that it was better than the one coming up behind it.

That’s human nature.

But in News/Talk, it’s unlikely that there’s as much of that going on. And is it because, in too many instances and at too many stations, we are stuck doing it like it’s still 1996 instead of 2026?

Can you even really find a bunch of retired, prominent News/Talk hosts who would knock today’s version of the format? Or would they nod along and agree that the format sounds great? No offense to those who have hung up their cleats, but if the answer is the latter, then the industry hasn’t done a good job of developing and adjusting to the next generation.

Is it possible that this is part of the reason that the format continues to deal with age issues within its listener demographic?

This isn’t meant to knock any of the legendary hosts who spent decades behind the microphone with a local or national audience. However, if you’re not growing and adapting, you’re dying. Every generation has different interests and approaches shaped by what the world looked like during their formative years. We can argue whether that’s better or worse, but it doesn’t matter. It’s more about adapting to the next generation’s expectations.

So, as I’ve watched the likes of Angelo Cataldi, Joe Benigno, Spike Eskin, and others go back and forth, I got jealous. Who is knocking us on the News/Talk side? Anyone? Bueller? And maybe that just means that as an industry, we are doing it too much like it’s 1996 and not enough like it’s 2026.

Everything from the variety of topics to how the hosts approach and deliver them, to news updates, traffic reports, liners, imaging, promos, and more — are we doing our part to make our content appealing to a new generation? And while there’s no doubt that our content is naturally more likely to be of interest to a slightly older demographic than sports, it doesn’t necessarily need to have the perception gap that exists between the two formats.

And while there are plenty of stations around the country taking the format into the next generation, many are falling behind. As a result, perception becomes reality. And that perception hurts all of us.

As for what’s next, it seems like an opportunity to do a self-check on how — and if — we’re positioning ourselves for not just demos like 55+, 45-64, or 35-64, but even a strong 25-54 showing as the format moves forward.

And then maybe one day, we too can have our own war of words between generations. There are plenty of opinion-makers in our format who would enjoy and thrive off the sparring as well!

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.

Nexstar Media Group Closes on Acquisition of TEGNA Following FCC Approval

BNM Staff
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Nexstar Media Group Closes on Acquisition of TEGNA Following FCC Approval

The FCC has approved the deal merging Nexstar Media Group and TEGNA, with Nexstar stating is has now closed on the deal in the aftermath.

The Department of Justice and FCC both signed off on the acquisition. The deal now gives Nexstar Media Group ownership of 265 local TV stations around the country.

With the approval of the deal, Nexstar Media Group now reaches roughly 80% of U.S. TV households. That figure well surpasses the 39% cap limited by federal regulations. That was a point of contention from dissenters, who had argued that the deal wasn’t in the best interest of Americans and television consumers. On Thursday, eight state attorneys general launched a lawsuit seeking to block the approval.

However, with both the FCC and DOJ signalling their approval, the deal is moving forward.

In a statement, Nexstar Media Group founder and CEO Perry Sook shared gratitude for government regulators approving the deal.

“This transaction is essential to sustaining strong local journalism in the communities we serve,” Sook said. “By bringing these two outstanding companies together, Nexstar will be a stronger, more dynamic enterprise—better positioned to deliver exceptional journalism and local programming with enhanced assets, capabilities, and talent.

“We are grateful to President Trump, Chairman Carr, and the DOJ for recognizing the dynamic forces shaping the media landscape and enabling this transaction to move forward,” concluded Sook.

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.

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