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Brandon Tierney: Sports Radio Is Less Relevant Than It’s Ever Been in My Lifetime

BSM Staff
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Brandon Tierney: Sports Radio Is Less Relevant Than It’s Ever Been in My Lifetime

Brandon Tierney agrees with the spirit of Joe Benigno’s recent comments about WFAN, yet he believes the conversation requires more context, particularly when comparing the station’s past dominance to its current place in a rapidly evolving media landscape.

Speaking on his BT Unleashed program Monday, the former WFAN host addressed Benigno’s assertion that the station will never return to its former glory, a claim rooted in the larger-than-life era of Don Imus, Mike Francesa and Chris Russo that helped define sports talk radio in New York.

While Tierney acknowledged that period as uniquely influential, he pointed to structural differences in the industry that make direct comparisons difficult.

“Back then, being a star on WFAN was pretty easy. There was nowhere else to go,” Tierney said in response to Benigno’s comments. “That’s just the reality of it. That’s the reality of the history of the station. Back then, if you were on the air, you were almost by default a rock star. You were a persona that is almost impossible to replicate today.”

Tierney’s comments reflect a broader shift that has reshaped not only WFAN but the entire sports audio business, where listeners now divide their attention among podcasts, streaming platforms and social media rather than relying on a single dominant terrestrial outlet.

“It’s not a knock on the current talent, and that’s not what Joe [Benigno] was going for,” said Tierney.

As a result, Tierney suggested that the pathway to becoming a “rock star” in sports radio no longer resembles what it once did, regardless of market size or station heritage. Although he did not dispute Benigno’s underlying point about the uniqueness of WFAN’s earlier era, he was careful to separate nostalgia from evaluation. He noted that the challenges facing today’s hosts stem less from talent deficiencies and more from an increasingly fragmented audience.

“It’s [sports radio] less relevant than it ever has been in my lifetime,” Tierney said. “That’s a fact. People can protest that, and that’s fine. Just look at the revenue numbers and see what’s going on in the world in terms of content. That’s the only answer. That’s the reality of what’s happening.”

That distinction, according to Tierney, remains critical when assessing WFAN’s current standing, especially as longtime listeners continue to compare the station’s present-day lineup to its past icons. He emphasized that while the influence of sports radio has diminished in an era of on-demand content, the medium still plays a role in shaping daily conversation, even if it no longer commands the same singular attention.

Ultimately, Tierney’s perspective aligns with Benigno’s acknowledgment that WFAN cannot recreate its peak years, yet it also reinforces the idea that the station’s evolution reflects broader industry changes rather than an isolated decline.

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.

‘Pardon My Take’ Wins 2026 IHeartPodcast Award for Best Sports Podcast

BSM Staff
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‘Pardon My Take’ Wins 2026 IHeartPodcast Award for Best Sports Podcast

Pardon My Take added another major accolade to its growing list of achievements, taking home the Best Sports Podcast honor at the 2026 iHeartPodcast Awards.

The Barstool Sports podcast, hosted by Dan “Big Cat” Katz and Eric “PFT Commenter” Sollenberger, topped a strong field of nominees that included New Heights with Jason and Travis Kelce, The Zach Lowe Show from The Ringer, Club 520 from The Volume, and The Ringer Fantasy Football Show, all of which have carved out loyal audiences and strong industry reputations in their own right.

Held Monday night at SXSW in Austin, Texas, the iHeartPodcast Awards brought together some of the most recognizable voices and personalities in the medium, highlighting both the growth of podcasting and the increasing influence it holds across sports, entertainment and culture, with the ceremony taking place at ACL Live at the Moody Theater.

Comedian Ego Nwodim hosted the event, which streamed live on VEEPS, aired across select iHeartMedia radio stations.

While the awards spotlight a wide range of categories and genres, the Best Sports Podcast distinction remains one of the most competitive, given the influx of athlete-driven shows, network-backed productions and independent creators all vying for attention in a crowded space.

That context makes the continued success of Pardon My Take even more notable, especially as the show has maintained its identity by blending satire, locker room-style humor and insightful interviews, creating a product that resonates with both diehard sports fans and casual listeners alike.

Additionally, the program’s consistency and ability to evolve without losing its core voice have played a key role in its longevity, allowing it to remain culturally relevant while many competitors have struggled to sustain similar momentum.

The ceremony also featured appearances from a wide array of presenters and personalities, including Clayton Echard, Eric Andre, Iliza Shlesinger, Jennie Garth and Karen Kilgariff, along with podcast figures and digital creators who continue to shape the medium’s direction.

Podcast of the Year winners Hannah Berner and Paige DeSorbo were among those recognized during the evening, while iHeartMedia also honored Jay Shetty, Terry Gross and Hrishikesh Hirway with Icon Awards for their contributions to the space, underscoring the diverse impact podcasting now has across multiple genres.

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 Industry According To….RJ Curtis, CRS

Keith Cunningham
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The Industry According To….RJ Curtis, CRS

Thank you for checking out ‘The Industry According To’. This series runs each Tuesday, and features radio and record industry executives, managers, programmers, talent, artists, and professionals from all areas of the business world. For future guest consideration, email me at keithblackboxgroup@gmail.com.

Today we check in with a man who should have a country music museum named after him, RJ Curtis. Few people have a more impressive resume of leadership. RJ has helped shape country radio for decades. He has programmed big brands, worked inside labels, served as the format’s written voice in trades, and even sat on key industry boards. If you’re attending CRS this week, say hi to RJ and thank him for such a great event. He is the Executive Director.

So, let’s dive in.

CRS Prediction

Keith: CRS officially starts tomorrow but everyone begins connecting in person today. What’s the one topic you hope dominates hallways this week that moves the format and industry forward?

RJ: First, let me say thanks to you and Barrett Media for featuring CRS ’26 this week.

I don’t know if it’s possible for one topic to be the sole takeaway from a four-day seminar that has such a robust agenda like CRS, and I admit to being biased about that. Based on what I’ve seen observing panel prep sessions with moderators and speakers in recent weeks, I’m encouraged by two things.

First, we’re presenting a unique research project each day and I’m confident these will trigger conversation, interpretation, and calls to action at every segment of our industry. The CMA will share fascinating data on consumption behavior, music preferences and long-term potential with teens – not just for country music, but all genres. I’m so glad CMA has studied teens in this way, and I’ve wanted CRS to look at this demo for years, because today’s teen will be tomorrow’s adult and affinity is built early, because listening to music is a top priority for teens and dominates their activities – more than social media.

Country music and radio listening are not a lost cause with this demo and I see opportunities. We’ll also present our annual perceptual study – CRS has a 30-year history of commissioning these projects. We’re looking at radio usage of course, and the deep, meaningful impact personalities can have on listener loyalty. But we also wanted to see where streaming fits into the consumption landscape and it’s obviously huge, but not mutually exclusive with radio. I’ve talked to some programmers who don’t believe that. They should come to this presentation. Finally, as we have for the past three years, we’re sharing a national online music test conducted by Nuvoodoo. A lot of stations don’t have resources for reliable music research, so we think this is a valuable resource.

Second, as I’ve watched our three Cycle of A Song panels come together – where we follow an universally impactful song from the past year grow essentially from farm to table – the peripheral takeaway for me has been how much collaboration from disparate parts of our business is required to achieve that success and more importantly, how every player in that chain understands – and respects -the absolute necessity of each other. The streaming partners understand radio’s role and vice versa. Management, marketing, promotion and the touring players will demonstrate that nobody gets this done in a vacuum. It is very emblematic of why CRS was created in the first place. Our mantra, “Growth through Sharing” remains true 57 years after the first CRS. This makes me very happy.

Country and Radio Support

Keith: Country radio has long felt more unified than other formats, and the artists outwardly support radio. Why is it that country artists remain so publicly supportive of radio when artists in other genres often don’t?

RJ: I think it’s because country fans aren’t just fans of the music. It’s not a utility or a commodity, it’s a lifestyle. The songs still tell stories about experiences, relationships, and hardships. The best country songs strike a nerve that sets off memories and emotions. So, fans feel they know these artists – or want to know them as friends. Radio is the original street team for country artists and music. The connective tissue between the artist and fans.

A great radio station doesn’t just play an artist; they cultivate a relationship with them – champion them and build careers. When artists see that loyalty, they pay it back. Again, back to my bias about this genre – sorry not sorry – but we are unique. For some artists, this quality is just inside of them and for those who don’t get it at first, this is why labels invest in media training.

Gold and New

Keith: What matters more for country radio — breaking new artists or protecting established ones?

RJ: Equally important, in my opinion. This is my 46th year in country music, which I can’t even believe I’m saying – or admitting – right now. And some things have always been true. In any given cycle there’s five to seven” superstar” acts dominating airplay, touring and sales. Now streaming is in that mix. Let’s see, off the top of my head right now I can count Luke Combs, Lainey Wilson, Morgan Wallen, Jelly Roll, Chris Stapleton, Jason Aldean, Post Malone -and gaining really fast, Ella Langley, with Megan Moroney in the mix, too. Hmm… that’s nine. And these five to seven groups have turned over many times over the years.

In 2013, among the top artists were Carrie Underwood, Luke Bryan, Miranda Lambert, Rascal Flatts, George Strait, and Kenny Chesney. So, we’ve done a solid job of consistently developing new stars. But we’re a balanced format too. Our fans are primarily adults and they like familiarity. That’s why the big songs from these big artists have staying power. Country programmers often use these criteria for adding songs: Is this something I’ll be playing a year or two from now? I think country programmers have done a really good job with that balance over the years.

Artist Development & Radio

Keith: When you programmed country radio in Los Angeles and Phoenix, radio was one of the most critical tools for artist development. What role does radio realistically play today when it comes to artist development?

RJ: Country radio is the greatest finisher out there. Nobody can land the plane better and achieve critical mass for an artist and song better than country radio. When you get the entire reporting panel and everybody else spinning a song in heavy rotation it becomes ubiquitous. That success creates great potential for successful touring, sales, merch, TV appearances, placement in TV shows and so many other business development opportunities. Radio isn’t perfect. It has its challenges and gets shit on a lot. But it has a lot of superpowers, too. If it weren’t around and part of the plan, things would be a hell of a lot harder for this genre.

Do We Need Another Country Chart

Keith: Country is so big. When it comes to radio charts or even formats, we have Top 40 and Rhythmic, Hot AC and AC, Alternative and Rock, Classic Rock and Classic Hits, Hip-Hop and Urban. With Country being so sonically diverse, should there be more than one “country” chart for radio?

RJ: I’ve heard this argument many times over the years. It’s not a loud conversation by the way. It has felt more like a low murmur or rumble. I’m no chart savant, so I’m probably way out of school on this but because I think country is a such unique format that services so many generations of fans so well, I think splintering country would have unintended consequences that would dilute the format and mute some of its impact and influence. I think the fact that we have a chart measuring airplay and another that considers consumption with airplay and sales means we’re getting an honest look at how different songs perform with different metrics. I may be oversimplifying that, but I don’t think we’re ready for sub genres at country right now.

Streaming at Country

Keith: Streaming has clearly changed how labels operate, and programmers in formats like CHR and Hip-Hop closely track streaming data. How much has streaming changed the way country programmers make decisions?

RJ: Based on some of the conversations I’ve listened to in panel prep for CRS ’26, I think it’s becoming a bigger, more influential part of the dashboard for PDs. I referenced the CRS perceptual study and our look at streaming numbers with our fans. Based on that, I think we’d be shortchanging ourselves if we continued to ignore it or think that data is some kind of voodoo. Information is power. It’s not the end all, be all or a silver bullet for radio PDs but it seems to be helping PDs recognize a story or movement with a song earlier or at least puts it on their radar.

Country & Rock

Keith: Country and Rock have always flirted with each other, but it seems more like a marriage is underway. There are touring collabs with country and hard rock artists, artists covering rock songs, etc.. Is this rock country blending more of a modern and temporary moment or do you see it growing further?

RJ: This format has always ebbed and flowed with music cycles, but I always feel like it finds its way back to its core eventually. That said, there’s so much music available now from so many platforms. We can listen to anything, from any genre, any time, or at the same time. Nothing is mutually exclusive anymore. Adult rock listeners probably were exposed to some country music at some point in their music intensive mid-late teen years or have recently been exposed to country because of country’s expanding sonic borders. 

Based on my experience, I think adult country fans – which is to say, core country fans – have always liked some rock texture in their mix. I can remember years ago when many country acts included a rock cover in their set and the crowd went wild. The many collabs at country are driving this trend obviously, and personally, I think it’s cool. It helps broaden our listener base. And because I have an endless capacity for shameless plugs, the CRS research project asked a series of questions specifically about collabs and the results are quite interesting.

Taylor Swift and Nickelback

Keith: Nickelback reached massive crossover success, yet rock radio moves on. Taylor Swift goes from teenage country artist to being a global pop superstar, yet Country radio still embraces her as one of their own. What explains the difference in mindset?

RJ: Country radio is the house that built her. She was great to radio and radio was great to her and great for her. When she released 1989 and openly proclaimed it as a pop record, I don’t remember the country community of radio feeling jilted or betrayed. I felt like they were proud that an artist they championed was achieving success on a major scale. She stayed connected to this community in many ways. She’s a genuine person and artist and that always resonates with country radio. I may be crazy, but I think she still has a true country album in her. Maybe “Folklore” and “Evermore” are as close as we’re going to get to that but she’s an amazing songwriter who can pivot to any style she’s interested in.

The Risk Factor

Keith: On a 1-10 scale — where 1 means “country radio plays it far too safe” and 10 means “too much programming risk is being taken” — where would you rate the format, and why?

RJ: I’m gonna chicken out and go right down the middle with a 5. I wish programmers and groups would take a lot more risks with talent and well, everything, but I give everyone working in radio a lot of grace. This is not a glamorous business anymore. It’s survival of the fittest in a game of attrition.

I know a lot of programmers who are creative, aggressive and basically mad scientists at their very core, in a good way. They don’t have the time or resources to realize their wildest dreams. Talent that does a live show and tracks several others, PDs who oversee multiple stations in a cluster and even in different markets. There’s not enough hours in the day to keep their head above water and no chance at a reasonable work/life balance that cultivates inspiration. I hate what our business has done to them. We eat our own and yet, they remain passionate about our music, artists and their communities. They are mission driven. These people are my heroes and some of the greatest people I’ve ever met.

Is CRS the Thing Now?

Keith: CRS has evolved beyond being a traditional format seminar. It has become more of an industry gathering from people across radio and records. What does CRS offer that other industry gatherings don’t?

RJ: Community. Collaboration. Support. CRS has always fostered that environment, and a culture that believes the genre is bigger than all of us and we must do everything we can, with everyone we know, to not just sustain it but to expand it.

I mentioned the CRS mantra earlier: “Growth Through Sharing.” This is our North star. CRS was created so that different industry segments – radio and records back in the day – would better understand each other and work together as much as possible for the collective success of everyone. If you’ve been to CRS you know, you can feel this at every event. It’s palpable. It’s like a family reunion. In recent years and moving forward, we’ve worked to expand the event to include all stakeholders in our industry – many whose business didn’t exist as recent as 10 years ago – with educational sessions designed to grow their business, too. We started a Digital Music Summit tract. We’re discussing country music as a global business now.

The subject matter is more sophisticated, discussion is at the highest level, and we have our industry’s best thought leaders join us. Plus, there’s incredible music all week long. All of us got into this business because we love music. It is the greatest instrument for uniting a crowd of people from all over the country. I know the following term is often connected with a church community, and I don’t offer it in that context here, but I do love it because it reminds me of what I experience on an emotional level at CRS: Everybody’s Welcome, Anything’s Possible, and Nobody’s Perfect.

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.

Tony Massarotti Explains Why ‘Felger & Mazz’ Aren’t Slowing Down Dominating Boston Sports Radio

John Mamola
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Tony Massarotti Explains Why ‘Felger & Mazz’ Aren’t Slowing Down Dominating Boston Sports Radio

Sports radio has always been built on debate. Conversations where opinions are shared and supported by factual evidence. When 98.5 The Sports Hub launched in August 2009, many within the industry debated how its legacy would compare to other sports radio brands across the country. What cannot be denied, however, is the massive success story the Sports Hub has created. A station led by the afternoon duo of Mike Felger and Tony Massarotti for the entirety of its successful existence.

For eight straight years, 98.5 The Sports Hub has ranked No. 1 in the Barrett Media Major Market Sports Station Rankings. A major reason is the consistency of Felger & Mazz. The program also ranked as the top major market afternoon show in the latest Barrett Media rankings. It marked the third straight year and fifth time overall.

“Any recognition you can get from your peers, those are the people live it and know what it’s like,” said Massarotti. “Those always carry a little more weight than others.”

For 20 straight quarters, Felger and Mazz have sat atop the Boston sports radio mountain. The market is defined by passionate sports fans who fuel the region’s conversations every day. New storylines and rumors fill the air across New England, and Felger and Mazz have held the mantle as a destination for Boston sports fans since 2009.

According to Felger, the last time the show wasn’t at the top of that mountain came in the spring of 2011. Tom Brady was still a Patriot, ‘Big Papi’ was still a Red Sox, and the Boston Bruins were about to win their most recent Stanley Cup championship. Despite the long run of success, Massarotti says the day-to-day approach for the program has never changed.

“No matter how long it’s been, you always worry about maintaining your focus and intensity for the next one. It’s the challenge that’s at your fingertips every day,” notes Massarotti. “Over time you start to recognize that not every show can be great for any number of reasons. But the drive is always there. You never go in thinking you can mail it in today. None of us look at it that way.”

Explaining Boston Sports Radio

A native of the area, Massarotti believes the program has its finger on the pulse of the Boston sports fan. Before taking the microphone at 98.5 The Sports Hub, both Felger and Massarotti worked in print journalism for the Boston Herald and Boston Globe, respectively. The two worked together and separately at competing publications, but their respect for each other and their chemistry never wavered.

From their early days as writers to nearly 20 years hosting afternoons on The Sports Hub, Massarotti says Boston fans’ passion elevated sports media. He says it also shaped their time on Felger and Mazz.

“I try not to overthink it,” Massarotti said with a laugh. “It’s a unique fanbase. I don’t know how else to describe it. People really care about the home teams, and it’s what makes it a great sports media town.”

Massarotti believes one of the most unique aspects of Boston sports fans is the level of accountability they demand from the teams they support. He noted that sense of accountability remains at an all-time high and helps guide the show’s daily content decisions.

He also says he leans on Felger’s instinct for identifying what the audience wants from Felger and Mazz. Over time, Massarotti has learned to trust his partner’s sense for how to approach each day’s topics.

“Mike’s [Felger] on top of it, and I sort of defer to him on that,” explained Massarotti. “I will try to simplify and do the best show we can do today, tomorrow, and the day after that. Mike has a tremendous grasp on what interests people and will stimulate them as far as engagement. That has always worked well for us.”

The Power Of Television

When curating content, Felger and Mazz is one of two programs simulcast on NBC Sports Boston. The station provides more than eight continuous hours of live programming for the network. Clips from those shows are later curated for social media. Massarotti said their program resembles a radio show on television. He noted industry trends increasingly move in the opposite direction.

While he insists he doesn’t pay much attention to the camera during the show, he understands the value of having another platform where audiences can consume the content.

“It’s a radio show first, and a TV show second. But there are times where either side could be more significant than the other, but it helps us in both ways,” said Massarotti. “On days where people aren’t in the cars, they’re still consuming the product.”

Many sports radio brands now distribute video through platforms like YouTube or Twitch. However, the NBC Sports Boston agreement prevents the show from streaming live on those services. Massarotti said he does not spend much time thinking about where audiences consume the product. He acknowledged the industry continues evaluating new opportunities.

“In many cases, a lot of shows aren’t simulcast,” said Massarotti. “The ability to get on a streaming platform of some kind, in our case we’ve already had it. Of course, everybody thinks about how we could expand it further… I’m kind of a simpleton. Whether it’s for radio, TV, streaming, you still must do the show. I just want as the show to reach as many people as possible.”

Legacy

Despite the daily debates Felger and Mazz host about sports, the industry has long debated which sports radio program deserves the title of the greatest of all time. Recently, Barrett Media CEO Jason Barrett reflected on the legacy of Felger and Mazz compared to WFAN’s Mike and the Mad Dog.

“I think we’re getting to a point where you can make a case for Felger and Mazz for being on the Mike and the Mad Dog level,” said Barrett. “I don’t know if they’re there yet, but that station went on in 2009. It’s now 2026, and all they’ve done is win for 15 years.”

Now halfway through their 17th year together in afternoons, the show has delivered massive ratings success. Despite that résumé, Massarotti says he rarely thinks about the program’s legacy.

“I don’t spend a lot of time thinking about what it looks like from the standpoint of twenty thousand feet in regard to the rest of the country. I’m just not wired that way,” notes Massarotti. “I’m certainly flattered and honored by any comparisons, but it still comes back to the same thing. Day to day it’s about going in, doing the show and making it work with the people you work with.”

Massarotti humbly insists that while many in the industry recognize the show’s success, the real challenge lies in maintaining that same level of effort.

“Keep the pace. Legacy is decided by the people who listen and watch the show. That’s ultimately how it goes,” explained Massarotti. “Look at what Stephen A. Smith has become. I would tell you that it’s a phenomenon. But from his perspective, he gets up and goes to work just like everyone else. On this side of it, it’s incredibly nice for anyone to make comparisons like that.”

After years of sitting atop the mountain and continuing to earn recognition from his peers, Massarotti believes his career is in a good place. His career spans newspapers and radio, and it includes writing five books and earning a Marconi Award. Even so, Massarotti says he doesn’t take any day for granted and continues to follow the same model that has guided every opportunity he’s received.

In an industry constantly chasing the next platform, the next distribution method, or the next viral moment, Felger and Mazz remain proof that the core elements of sports radio still matter most.

Strong opinions. Authentic chemistry. A deep understanding of the audience.

Those ingredients helped turn a brand-new station in 2009 into the dominant sports radio force in Boston for more than a decade. The debate about the greatest sports radio shows of all time will continue across the industry, because that conversation is woven into the fabric of the format itself.

But the longer Felger and Mazz continue stacking ratings wins and connecting with Boston sports fans, the harder it becomes to keep their name out of that discussion.

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 One Problem with Tucker Carlson Perfecting the Art of Owning the Digital News Cycle

Garrett Searight
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The One Problem with Tucker Carlson Perfecting the Art of Owning the Digital News Cycle

Tucker Carlson is many things — provocateur, ratings magnet, lightning rod. Whatever you think of him, he’s mastered the art of dominating a news cycle.

His recent claim that the CIA is working on a criminal referral against him for texting contacts in Iran was vintage Tucker: explosive, dramatic, and perfectly engineered to detonate across social media.

And detonate it did. The internet went sideways for about six hours.

Here’s the problem, though. We’ll move on. We already have. That’s the real story here — not the CIA claim itself, but, above all, what happens after the claim. Nothing. We don’t circle back. We don’t demand resolution. And we just scroll to the next outrage.

Chris Cuomo put it plainly: there’s no verified evidence that Carlson was actually surveilled by the CIA, and no confirmed criminal referral is underway. He made a serious accusation, one that would’ve triggered congressional hearings in a different era. Reporters would’ve camped outside Langley. Now? It’s a trending topic that aged out by dinnertime.

That’s not entirely Carlson’s fault. It’s ours. It’s the ecosystem’s.

Today’s News Cycle

The digital news cycle rewards the drop, not the follow-through. It’s wired for ignition — not investigation. Audiences aren’t conditioned to wait for confirmation. They’re conditioned to react, share, and refresh. By the time a story gets complicated, everyone’s already somewhere else.

Tucker Carlson understands this better than almost anyone in media. He’s built a second act on it. Make the charge. Let it spread. Never worry too much about the receipts, because the receipts will arrive after the audience has left the building. That’s not a criticism — it’s a diagnosis. He’s playing the game the way the game is actually played in 2026.

But Cuomo’s pushback matters, even if it ultimately arrives late. He’s pointing at something real: a claim about the CIA targeting an American journalist is either one of the most significant press freedom stories of the decade — or it isn’t true. It can’t just be Tuesday’s talking point.

The Big Issue

The uncomfortable reality is that the digital media landscape — the one Carlson routinely owns — has a built-in accountability gap. Attention is the currency, and attention doesn’t have staying power. A story lives or dies in the first few hours. If it doesn’t close in that window, it doesn’t close.

That’s maybe thee most corrosive byproduct of how news works now. It’s not misinformation, exactly. It’s incompletion. Claims go out, land hard, and never get audited. The follow-up, however, — the “actually, here’s what we found” piece — gets a fraction of the traffic and none of the emotional energy. Most readers never see it.

Carlson’s CIA story deserves a real answer. Either the federal government is targeting a journalist through back-channel legal maneuvers — which is a massive story — or the allegation doesn’t hold up under scrutiny. Both outcomes matter enormously. One should scare every press freedom advocate in the country. The other should raise hard questions about accountability in the new media space.

We won’t get that answer. Not because journalists won’t try — some will. We won’t get it because by the time it arrives, nobody’s subsequently asking the question anymore.

That’s the real scandal here. Not what Tucker said. What we did with it.

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

Three March Madness Ideas Where Sports Radio Can Earn Their One Shining Moment

John Mamola
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Three March Madness Ideas Where Sports Radio Can Earn Their One Shining Moment

March Madness is officially here. Another three weeks of college basketball filled with upsets, pageantry, and a bunch of players many will never remember for the rest of their lives. One shining moment is what every player dreams of when lacing up their sneakers over these next three weeks. A moment that will live on in eternity.

Monday following the release of the NCAA bracket is also the biggest day when most sports radio programs turn into bracketologists. They try to prove their bullet points are the guide to a successful bracket, despite barely watching much regular-season college basketball all year long. Watching and listening from afar, it’s fun to hear how programs approach the tournament and fill out a bracket using any sort of system imaginable.

But do listeners care? Do they care about the tournament itself and how trustworthy on-air talent can be in assisting them with their bracket? For everything March Madness frames itself as being, it’s not an opportunity to simply pick up the subject matter because games are coming. That’s why talent should avoid being bracketologists this week and instead focus on being entertainers.

Here are three unique ways sports radio talent can approach March Madness while potentially welcoming new audiences in creative ways.

Let’s start with a basic truth: most sports radio hosts have spent the last five months talking about the NFL, the Olympics, baseball free agency, and which player just unfollowed his team on Instagram. Suddenly, the bracket drops and they’re expected to know the defensive rebounding rate of a mid-major program from the Missouri Valley Conference.

Instead of pretending otherwise, lean into the ignorance.

Hosts could treat the bracket reveal like a cultural expedition rather than a scouting report. What exactly is a Gael? Where is Oral Roberts located? Why does every small-school mascot look like it was created by someone who lost a bet?

And can you name a player who ever played for the California Baptist Lancers? The 13th seed in the East region.

Listeners actually enjoy that exploration because it mirrors their own experience. Most people filling out brackets are not studying Utah State’s backcourt or watching Tuesday night games on streaming services that require three passwords and a sacrificial goat just to log in.

They’re Googling schools, texting friends, and saying things like, “I think I’ve heard of them before.”

Make the show about discovery.

Turn each unfamiliar program into a segment. Look up the town population. Read the most absurd Yelp reviews for restaurants near campus. Call a random local sports bar and ask if the bartender believes the team can beat its competition.

Suddenly a random 12-seed becomes an entertaining story instead of a statistical talking point.

The NCAA tournament has always been about underdogs and schools most fans never think about until mid-March. Sports radio hosts can tap into that spirit by making curiosity the bit instead of expertise.

Because the truth is listeners aren’t tuning in for advanced scouting reports. They’re tuning in to laugh at a host thinking Queens University is in New York City. It’s not.

Every sports radio station in America runs a bracket challenge. Everyone fills one out. Everyone swears this is the year their system finally works.

By Friday afternoon, half of those brackets are already obliterated.

So instead of doing the same predictable segment where hosts explain why a No. 6 seed has “great guard play,” turn the bracket into something completely unrelated to basketball.

Build a “Bracket of Life.”

Best fast-food fries. Best sports movie. Worst sports takes of all time. Greatest sports radio drops. The possibilities are endless, and listeners will engage because they actually have opinions on the topic.

For example, imagine a 64-team bracket featuring sports movie characters. Rocky Balboa vs. Ricky Bobby. Roy Hobbs vs. Happy Gilmore. The debates practically write themselves, and callers will argue about it with more passion than whether a Big Ten team can survive the first weekend.

The best part is it doesn’t even have to be a field of 64. Why not 32 or even a Sweet 16?

Another variation could involve local flavor. A station in Tampa might run a bracket of the best local restaurants or beaches. In Chicago it could be the best deep-dish pizza spots. In Cleveland it might be the worst sports heartbreaks, which could probably fill a 128-team field.

Sorry, Cleveland.

The genius of this approach is that it keeps the tournament format while giving hosts a playground to be creative. It also encourages audience participation in ways traditional bracket talk rarely does.

Listeners will vote, tweet, call, argue, and defend their picks. Meanwhile, the actual NCAA games provide a natural backdrop to the show.

Ironically, by ignoring the basketball bracket, hosts might create segments that are far more entertaining than breaking down a matchup between schools most people couldn’t locate on a map.

March Madness is less about basketball analysis and more about the strange social rituals surrounding the tournament.

Every office has a bracket pool. Every office has that one coworker who insists they have a “system.” And every office has someone who picks based entirely on mascot strength.

Sports radio should treat those stories like gold.

Instead of pretending to analyze games, open the phones and invite listeners to confess the weirdest things happening in their office pool.

There will be no shortage of material.

Someone will have a coworker who fills out five brackets and claims whichever one survives is their “real” entry. Someone else will reveal that their boss banned bracket talk during meetings, which immediately caused the entire staff to start whispering about upsets like they’re trading classified information.

There are also the people who pick teams based on colors, uniform combinations, or which mascot would win in a hypothetical fight.

These stories are funny because they’re relatable. They capture the absurdity of March Madness better than any statistical breakdown ever could.

Hosts could even take it a step further by revealing their own terrible strategies.

Maybe one host picks winners based on which school has the better nickname. Another chooses teams from cities they’ve actually visited. A third host might rely entirely on the coin-flip method, proudly declaring it their “advanced analytics model.”

The more ridiculous the method, the more entertaining the conversation becomes.

And when that random 13-seed inevitably beats a powerhouse on Thursday afternoon, it validates every nonsensical bracket strategy imaginable.

Which, if we’re being honest, is basically how most people win their office pool anyway.

March Madness works because it’s unpredictable, emotional, and occasionally absurd. Trying to sound like a basketball savant during a tournament filled with chaos misses the point entirely.

Sports radio is at its best when it embraces personality and fun over expertise. The hosts who succeed during the NCAA tournament aren’t necessarily the ones breaking down pick-and-roll coverage. They’re the ones turning the madness surrounding the tournament into great entertainment.

Explore the weird schools. Build brackets about anything but basketball. Let listeners share the chaos happening in their office pools.

Because in three weeks, most people won’t remember who the fifth-leading scorer on a Sweet 16 team was.

But they will remember the segment where a radio host spent ten minutes trying to figure out what a Billiken is — and whether it could beat a Blue Devil in a fight.

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 the COVID-19 Pandemic Affected Radio Six Years Later

Kevin Robinson
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How the COVID-19 Pandemic Affected Radio Six Years Later

The 6th anniversary of the COVID-19 pandemic is upon us. It was an unprecedented time for the world — including radio. The time to hunker down arrived as case counts climbed and uncertainty spread. Schools and offices closed, travel slowed, and masks became routine. Phrases like “two weeks to flatten the curve” and “six feet apart” became part of our vernacular.

March Madness was canceled for the first time in its history. Wimbledon didn’t happen for the first time since World War II. The NBA and NHL put their seasons on pause. Spring training was cancelled, and baseball didn’t open their season till late July.

The PGA pulled golfers off the course during the first round at The Players Championship — which was played this past weekend. The PGA Tour canceled five other tournaments, including the 2020 (British) Open, while postponing more than a dozen additional events.

The COVID-19 pandemic also significantly shifted radio consumption. According to Edison Research, pre-pandemic listening occurred in the home nearly 50% of the time. As for out-of-home listening, most of the remaining usage took place in cars or while listeners were away from home.

During the peak of COVID-19 restrictions in 2020, at-home listening jumped sharply. Reports showed as much as 70% of audio listening occurred at home during the remainder of that year.

Post-pandemic, that share settled back to just over the normal mid-50% range of radio listening at home. Still slightly higher than the pre-COVID average. This suggested lingering work and lifestyle changes tied to remote and hybrid routines.

When it came to local radio, true owner-broadcasters became a community lifeline for hundreds of smaller markets. News directors across America became trusted voices explaining confusing daily mandates and regulations. Local broadcasters also became a force of reason. Constantly battling misinformation spreading across social media and streaming platforms.

These professionals delivered timely, credible, region-specific information from live newsrooms with immediacy.

On the entertainment side of radio programming, the vast majority of live show hosts changed their broadcast homes. Suddenly broadcasts from spare bedrooms, closets, or makeshift home studios set up around kitchen tables were necessary.

As far as radio workflow goes, the pandemic dramatically accelerated the pace of work. Hosts, producers, and content creators now often operate from home setups — or anywhere with an internet connection — rather than exclusively from in-station studios. Although clear data is limited, estimates suggest nearly 50% of radio audio is now created away from a traditional studio.

Before 2020, remote contribution certainly existed, especially in newsrooms. However, work-from-home production was far less common. The pandemic forced many stations to adopt remote production out of necessity.

In many cases, that approach remains the norm today.

There also are no tangible numbers showing the percentage of radio audio delivered live versus pre-recorded. Still, there is something special about a live radio program. The kinetic energy of being in the moment. Hearing music as it plays, and interacting with listeners through calls or digital platforms. The environment creates a unique experience.

On the flip side, live radio brings risks. Fumbling a break, missing timing, or creating a technical snafu. If a show could be better pre-recorded, why not do it?

The first time a major-market show in a prime daypart was fully pre-recorded happened long before the digital revolution — well before the COVID-19 pandemic. You have to go back nearly 30 years for this surprising but very real story.

Chicago’s B96 was a Top 40 juggernaut throughout the 1980s and well into the 1990s. Even today, the station still stands tall. B96 was a cume monster and consistently topped the Arbitron 12+ rankings.

In 1988, B96 teamed Eddie Volkman and Joe Bohannon for morning drive, creating the duo known as Eddie & JoBo. The pair quickly made their mark and often flirted with controversy.

Five years into their tenure, JoBo aired a rumor suggesting that a local TV anchorwoman was pregnant by a Chicago Bulls player. That false rumor later involved NBC 5 anchor Joan Esposito, even though she initially remained anonymous.

The insinuation led Esposito to file a multimillion-dollar defamation lawsuit against B96, CBS, and JoBo. She alleged the rumor damaged her reputation as a journalist and affected her negotiating position during contract discussions.

In May 1994, B96 fired Eddie & JoBo in the aftermath of the Esposito suit after they leaked details of the settlement to the Chicago Sun-Times. This violated a gag order associated with the agreement. The defamation case ultimately resulted in a public apology and a significant settlement — reportedly $1 million — by CBS.

Eddie & JoBo later found a morning show in Philadelphia before eventually returning to B96. This is where the story becomes relevant to the discussion about the value of pre-recording a show.

After B96 rehired the duo in 1997, management — including Program Director Todd Cavanah and General Manager Don Marion — took the unusual step of monitoring every second of the show. They recorded everything and delayed segments while sitting in the control room to approve content before it aired.

Every. Single. Break.

“Either Don Marion or Todd Cavanah sat in the studio every second of the morning show. Jobo refers to us as ‘being pre-recorded’ back then.” Eddie Volkman was quoted about that period.

It is also reported that even when they were eventually given the green light to curate live content, Eddie & JoBo — along with Cavanah — believed the show sounded better when recorded. They reportedly had little interest in returning to a fully live format.

Pre-recording breaks can sharpen content through tight editing, clean production, and stronger pacing within the music. Talent can remove mistakes, refine break construction, and build lean-forward storytelling.

Live broadcasting, however, still delivers spontaneity, authenticity, and real-time audience connection that pre-recording cannot fully replicate.

The COVID-19 pandemic ultimately served as a stress test for radio. Many positive developments emerged as broadcasters adapted and improvised. Remote recording from virtually anywhere with a reliable internet connection is now routine. Recording content and time-shifting segments has become a practical reality.

So the question remains. Would you encourage your talent to pre-record an entire show if the practice consistently produces a better product?

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 570 KVI’s Ari Hoffman Sued the Washington State Legislature

Garrett Searight
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Why 570 KVI’s Ari Hoffman Sued the Washington State Legislature

When 570 KVI radio host Ari Hoffman traveled to Olympia to cover the Washington State Legislature, he expected to do his job.

What he didn’t expect was to be turned away at the door — and told he wasn’t even a journalist.

Now, he’s fighting back in court, arguing that the legislature’s decision to deny him a press pass is a direct violation of the First Amendment.

“I was going down there anyway to do my show from down there where I talked to legislators and stuff. The Republicans were more than happy to have me. But I wanted to be able to go to press conferences and be able to see what was going on,” said Hoffman.

“The Democrats hold the press conferences in their wings, which is an area you need access to, and the Democrats don’t want people like me in their wings. So I applied for a press pass to go there so that if there were any press conferences that day or anything else going on, I could be on the floor.”

The denial didn’t come without explanation — but Hoffman found that explanation deeply troubling. The legislature’s argument wasn’t simply that he failed to meet some standard definition of a journalist. Instead, they took aim at his advocacy work, using it as justification to shut him out entirely.

“Their claim was that because I advocate for issues, then I don’t get to be a journalist. I am now some kind of lobbyist or advocate. And I said that’s ridiculous because papers like the Seattle Times do endorsements all the time. And talk about issues all the time. They literally have sections of their paper paid for by groups that have agendas. So to say that I advocated for an issue because I went and spoke at a few events is beyond ludicrous when you have the Seattle Times, which does this all the time,” Hoffman stated.

What makes the denial even more frustrating, Hoffman says, is how inconsistent it’s been. While the Democratic-controlled House has refused to grant him access, other offices haven’t had the same objections.

“People like me have applied for press passes from the Washington State Senate, which is also controlled by Democrats — they gave it. The governor’s office? They also gave it. But for whatever reason, the legislature — the House — is being very childish and saying, ‘No, we don’t want you there.’ The House speaker, Lori Jenkins, is the biggest problem,” the 570 KVI host shared.

The practical consequences of being denied a press pass go well beyond missing a few press conferences. Without access, Hoffman says accountability becomes nearly impossible. And officials know it. He’s watched elected leaders dodge his requests for comment for years at a time.

“The last mayor of Seattle did not get back to a single request for comment I had for four years. The governor of Washington has not responded to a single request for comment I’ve had for the entire year-plus he’s been in office. They can duck you. They can dodge you and not have to answer those questions. And then you have to go to public disclosure to get these documents, which can sometimes take months, if not years. I had one request that took me four years to get back,” commented Hoffman.

The local media landscape hasn’t helped matters. Ari Hoffman says that while fewer and fewer mainstream outlets are even bothering to staff the capitol, those that remain have largely sided with the legislature rather than defending press freedom.

“The Democrats in the Washington State legislature do not like being transparent. There are very good laws on the books regarding how open records things have to be in Washington. The Democrats have spent the past couple of years trying to find ways of using executive privilege to cover them up. What typically happens is they’ll see a post from somebody like me and go, ‘Oh, this story’s getting a lot of clicks. We should go cover it.’ It’s kind of sad. For the most part, a lot of people are not paying attention to the Washington State legislature,” Hoffman said.

Perhaps the sharpest edge of Hoffman’s frustration isn’t aimed at the legislature at all. It’s directed at the very outlets that he believes should be standing beside him. Some journalists have quietly admitted the situation is wrong. He says they won’t share support publicly, though.

“Some of them will say behind the scenes, oh, this is ridiculous what they’re doing to you. I’m like, great, why don’t you put that on social media? Why don’t you say that out loud? The most disappointing thing about this is, aside from conservatives and aside from people who are independent journalists, there’s been zero support from the mainstream media,” shared Hoffman.

He’s especially critical of how the Seattle Times handled coverage of the very hearing related to his case — opting to run wire copy rather than send their own reporter.

“For the media not to say, we may disagree with these guys, but they have the right to speak just like we have the right to speak — that’s probably the thing that’s worse for me. They showed up to the hearing to sit there and watch, not cover the event. The Seattle Times published the AP’s coverage rather than their own coverage of a local event,” Hoffman stated.

Hoffman says the courts are the only remaining path forward. It’s a fight he believes extends far beyond his own microphone.

“If we have a free open press, then it should be for everybody. We have the First Amendment, and it’s not being upheld,” said Hoffman.

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.

News/Talk Radio Has a Blind Spot and It’s Costing You Listeners

Peter Thiele
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News/Talk Radio Has a Blind Spot and It’s Costing You Listeners

Besides politics, what’s going on with your audience? Considering that most news/talk radio stations are targeted towards men, what are the dudes doing outside of work and family lives?

I asked ChatGPT and got some good examples. These are important because they allow news talk radio to be more than a one-trick pony.

Golf… It is still very popular. Try getting a tee time on a Saturday or Sunday on short notice — it is very difficult. I am a very casual golfer. The attraction is a few hours away from all of your worries as you get mad at yourself for slicing a drive or three-putting on the green. Golf is a commitment if you are going to be any good at it. I know people who hit a bucket of balls a few times a week. They visit the driving range at lunch or on the way to work. It is cathartic and really helps build concentration.

Fishing… It is an easy activity with little equipment needed. You can technically fish on a whim. You may not be on the shore of your favorite spot for more than 20 minutes, but it allows the participant to focus on things other than financial problems, family dynamics, and work. If your listener catches a couple of fish, it’s dinner! Very healthy activity.

Fitness… When you hit the gym, you help create a healthy body and brain. The stats say that people who work out are happier. Fitness spawns endorphins — those little hormones that automatically make us feel better. If you are feeling kind of sad, hitting the gym can turn that around. I wonder how many people affected by the mental health crisis work out on a regular basis. Most people are sedentary. We work in a studio or at a desk; there is not a lot of movement. I used to work with a guy who would change clothes during his lunch hour and work out. He brought his lunch and worked out for 20 minutes every day.

Outdoor recreation… I know people who go for a motorcycle ride on the weekend to explore their community. There is something very exciting about being on a motorcycle. Many people hike as well. If you own a dog, those critters love being with you — take them on a two-mile hike and they’re happy, and so are you. The beauty of hiking is that you can encounter nature usually close to home. You likely live near a hiking trail.

What about camping? Spend a couple of days away from everything. This is very tough for news talk people. We are hardwired to be connected to the news, and two days without your phone or computer can create anxiety about missing something. I have some good news for you: the Earth rotated before you were born, and it will continue to orbit the sun after you die. Off the grid is a good thing.

Home activities… Little home construction projects are awesome. If you enjoy tinkering around the house, this is a great pastime, and frequently these moments arise out of necessity. You may have a water heater die and have the know-how to replace it yourself. What about smoking meat and grilling? My father would light up the grill before walking in the house every day. Lots of men love this — they brag at the office about the brisket they prepared the night before. What about woodworking or restoring cars? These are very common and make for a great hobby.

How do these activities apply to us? This is what your listeners are doing on a regular basis. When is the last time you referenced these activities on your show or station? You don’t need to use these items as a topic, but if you reference what is going on in people’s lives, you create a deeper level of connection. Perhaps you can recount a moment of frustration over ruining a brisket in your smoker and ask listeners for tips. Yes, that could work as a topic.

Your listeners need to escape their daily grind, and your radio show is that escape. News/talk radio falsely assumes that its listeners are a one-trick pony. There is more to life than the news cycle, the president’s latest social media post, those rascally Democrats, and other frequent topics. We must be multidimensional. Your listeners are very busy — you will get more connectivity by meeting them where they are.

Recounting a bad golf outing is more relatable than bragging about being at a dinner with the governor. Speaking of mental health: if your life revolves entirely around the news cycle and you are unable to focus on other activities, you will not be happy. Don’t lie to yourself. There is so much more to life, and to the lives of our listeners. More people will be participating in these activities than watching or attending a city council meeting, yet I hear talk shows focusing on a city council meeting where ten people showed up to complain about the homelessness problem.

This is all about providing a listener-focused experience.

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.

Orion Samuelson, Longtime WGN Radio Agribusiness Reporter, Dies

BNM Staff
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Orion Samuelson, Longtime WGN Radio Agribusiness Reporter, Dies

WGN Radio has announced the passing of Orion Samuelson. He died Monday at 91.

Samuelson spent 60 years with the station. He began in 1960 and retired in 2020. He served as head agricultural broadcaster for WGN Radio. Samuelson hosted the National Barn Dance and reported on farm business news during his illustrious career.

Samuelson also hosted the early morning TV show Top O’ The Morning. He hosted U.S. Farm Report from 1975 to 2005.

Samuelson earned several honors during his career. These included the Honorary FFA American Farmer Degree and the American Farm Bureau Federation Distinguished Service Award. He was inducted into the Scandinavian-American Hall of Fame, National 4-H Hall of Fame, and NAFB Hall of Fame. And he was also part of the inaugural WGN Radio Walk of Fame class and the National Radio Hall of Fame.

He was granted the Lincoln Medal. It is the highest civilian honor in Illinois.

“Orion Samuelson’s name resonates very much like his signature voice,” said WGN Radio VP and GM Mary Sandberg Boyle. “It’s difficult to articulate the significance of his broadcasting career. He was the farmer’s champion, but his friendly style built rapport with everyday listeners too.

“A consummate gentleman with an inspirational work ethic. Equally at ease with kids in 4-H or presidents. Working with Orion is a privilege I will forever hold dear.”

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