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Don Lemon Tells Jimmy Kimmel: The Trump Administration Wanted to Instill Fear in Other Journalists By Arresting Me

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Don Lemon made an appearance on Jimmy Kimmel Live! on Monday evening, and shared some insight into how he’s feeling after being arrested last week.

During the discussion, Lemon recounted being confused as FBI agents arrested him in a Los Angeles hotel for his role in a Minnesota church protest. The Department of Justice has argued Lemon, and other protestors, broke the FACE Act, which prohibits the disruption of religious services.

Lemon told Kimmel that his lawyers had contacted federal authorities and offered to turn himself in. However, he claimed they received no response until after he was arrested.

Kimmel called the situation a waste of resources, which Don Lemon agreed with.

“Well, you’re right about more than just a waste of resources,” said Lemon. “They want that. They want to embarrass you, they want to intimidate you, and they want to instill fear. So that’s why they did it that way.”

When asked how he was processing the situation, Don Lemon shared that he was unsure.

“I don’t know – that’s an honest answer,” Lemon said. “I’m ok. I’m not going to let them steal my joy. But this is very serious. These are federal criminal charges.”

Don Lemon has continually asserted that he was not a protester, but rather serving as a journalist covering the event.

His attorney — Abbe Lowell — has shared that he will defend himself to the fullest extent possible.

“This unprecedented attack on the First Amendment and transparent attempt to distract attention from the many crises facing this administration will not stand,” Lowell said in the aftermath of Lemon’s arrest last week. “Don will fight these charges vigorously and thoroughly in court.”

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.

Josh D’Amaro to Succeed Bob Iger as Disney CEO

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Disney has announced it is appointing Disney Experiences Chairman Josh D’Amaro to succeed Bob Iger as the CEO of the company next month.

Beginning on Wednesday, March 18th, Iger will officially retire and D’Amaro will take over the role of CEO.

D’Amaro has worked at the company for 28 years. During his tenure, he’s led the largest segment of the company’s business, totalling more than $36 billion in 2025 and overseeing 185,000 worldwide employees.

He will succeed Iger, who returned to the company in 2022 after previously stepping away as its chief executive. Bob Iger will continue to serve as a senior advisor to Josh D’Amaro and work as a member of the Disney board until he retires from the company on December 31st, 2026.

“I am immensely grateful to the Board for entrusting me with leading a company that means so much to me and millions around the world,” said D’Amaro. “Disney’s strength has always come from our people and the creative excellence that defines our stories and experiences. There is no limit to what Disney can achieve, and I am excited to work with our teams across the company and brilliant creative partners to honor Disney’s remarkable legacy while continuing to innovate, grow, and deliver exceptional value for our consumers and shareholders. I also want to express my gratitude to Bob Iger for his generous mentorship, his friendship, and the profound impact of his leadership.”

“Josh D’Amaro is an exceptional leader and the right person to become our next CEO,” added current Disney CEO Robert A. Iger. “He has an instinctive appreciation of the Disney brand, and a deep understanding of what resonates with our audiences, paired with the rigor and attention to detail required to deliver some of our most ambitious projects. His ability to combine creativity with operational excellence is exemplary and I am thrilled for Josh and the company.”

The 54-year-old D’Amaro has served as the Chairman of Disney Experiences since 2020.

“Josh D’Amaro possesses that rare combination of inspiring leadership and innovation, a keen eye for strategic growth opportunities, and a deep passion for the Disney brand and its people – all of which make him the right person to take the helm as Disney’s next CEO,” said Walt Disney Company Board of Directors Chair James Gorman. “Throughout this search process, Josh has demonstrated a strong vision for the company’s future and a deep understanding of the creative spirit that makes Disney unique in an ever-changing marketplace.

“He has an outstanding record of business achievement, collaborating with some of the biggest names in entertainment to bring their stories to life in our parks, showcasing the power of combining Disney storytelling with cutting-edge technology,” said Gorman. “The Board believes he is exceptionally well prepared to guide this global company forward to serve our consumers around the world and create long-term value for shareholders.”

Furthermore, Dana Walden, who serves as the co-chair of Disney Entertainment, has been named President and Chief Creative Officer of The Walt Disney Company. Walden — who becomes the first person to take the newly created role — will report directly to D’Amaro.

“Dana Walden is an excellent leader who commands tremendous respect from the creative community,” said Iger. “Given that creativity is at the heart of everything Disney does, she is a wonderful choice to serve in this new leadership role. In the years since Dana joined Disney, she has accumulated great knowledge about the many facets of our businesses and brands, and is very well prepared to be President and Chief Creative Officer.”

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.

Adam Schein Adding YouTube Show with New York Post/California Post

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As the California Post comes to fruition as part of the New York Post, Adam Schein is adding a YouTube show with the brand.

Beginning on Monday, March 2nd, Schein will begin hosting a new digital show on YouTube for the brand from the Post’s New York studios.

Schein will continue to host his SiriusXM show on Mad Dog Sports Radio, in addition to continuing his work for the NFL on CBS.

In a post on social media, Adam Schein confirmed the news and shared his excitement for the opportunity.

“Can’t wait to bring my passion, opinions to a hard hitting, iconic brand like the Post!” he wrote.

The news of Schein’s new program with the New York Post and California Post comes on the heels of his earning sixth place on the Barrett Media Top 20 National Sports Radio Shows of 2025 earlier this week.

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.

Barrett Media’s Top 20 Major Market Sports Radio Morning Shows of 2025

Day two of Barrett Media’s Top 20 series continues with a look at the top 20 Major Market Sports Radio Morning Shows of 2025. Stay tuned to this website, our newsletters and XFacebookLinkedInTikTok, and/or Instagram to learn the results for the remainder of this series. Once the Top 20 is done, I will record a video discussing what stood out from this year’s process. That video will be posted on the Barrett Media YouTube page so be sure to subscribe to be notified once the video goes live.

As you review these results, please remember that they represent the collective feedback shared by our industry voters. Barrett Media does not vote in this process. Our role is to assemble the group, collect the votes, and present the information.

Important Information

#1 – These results are based on 2025’s performance. 2026 changes have no effect on the voting.

#2 – We ask our voters to supply photos and logos to avoid headaches. Some comply, but most don’t. It forces us to spend a lot of time digging for images to highlight everyone. For that reason, there are no photo changes unless it involves a mistake. Thanks in advance for understanding.

#3 – Our Major Market executive panel consists of thirty six (36) program directors and corporate executives from radio’s top broadcasting companies. They include Audacy, iHeart, Cumulus, Beasley, Good Karma Brands, Bonneville, SiriusXM, ESPN Radio, FOX Sports Radio, Radio One, and a bunch of independently owned and operated radio stations. Our voting group is large because we want feedback from every part of the country. We also do that to assure the results don’t favor any one media group.

#4 – The criteria for our voters included the ear test, originality, multi-platform impact, ratings success, clearance (national shows) and industry buzz. Keep in mind, our voters live in different cities, work for different companies, have different tastes, and value certain factors higher than others. This is not a perfect system but it’s one we feel good about using to showcase the industry’s best.

#5 – A total of 30 shows were eligible for voting consideration in the Major Market Sports Radio Morning Shows category.

And the Winner Is…

For the third straight year and the fifth time total, the voters selected Boomer & Gio as the top Major Market Sports Radio Morning Show of 2025. The WFAN morning team finished in front of Toucher & Hardy to earn the win. Congrats Boomer, Gregg, Jerry, Al and Eddie on the well deserved recognition.

I want to thank Dylan Barrett for creating the artwork, and each voter who participated in the process. Now without further delay, here are Barrett Media’s Top 20 Major Market Sports Radio Morning Shows of 2025.

Additional Notes:

  • Boomer & Gio finished seventy two (72) points ahead of Toucher & Hardy to score the first-place finish. WFAN’s morning show recorded a category best fifteen (15) first place votes.
  • Spots 21-25 belonged to Moser, Lombardi & Kane, Murph & Markus, Payne & Pendergast, Joe Rose, and The Locker Room.
  • The closest contest saw The Greg Hill Show edge Mully & Haugh by two (2) points.
  • Of the 30 shows to appear on submitted ballots, seven (7) received at least one 1st place vote.

BNM Top 20 of 2025 Remaining Schedule:

  • Wednesday February 4 = BM Top 20 Major/Mid Market Sports Radio Midday Shows of 2025
  • Thursday February 5 = BM Top 20 Major/Mid Market Sports Radio Afternoon Shows of 2025
  • Friday February 6 = BM Top 20 Major/Mid Market Sports Radio Program Directors of 2025
  • Monday February 9 = BSM Top 20 Major/Mid Market Sports Radio Stations of 2025

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.

Barrett Media’s Top 20 Mid Market Sports Radio Morning Shows of 2025

Day two of Barrett Media’s Top 20 series continues with a look at the top 20 Mid Market Sports Radio Morning Shows of 2025. Stay tuned to this website, our newsletters and XFacebookLinkedIn, Instagram and TikTok to learn the results for the remainder of this series. Once the Top 20 is done, I will record a video discussing what stood out from this year’s process. That video will be posted on the Barrett Media YouTube page so be sure to subscribe to be notified once the video goes live.

As you review these results, please remember that they represent the collective feedback shared by our industry voters. Barrett Media does not vote in this process. Our role is to assemble the group, collect the votes, and present the information.

Important Information

#1 – These results are based on 2025’s performance. 2026 changes have no effect on the voting.

#2 – We ask our voters to supply photos and logos to avoid headaches. Some comply, but most don’t. It forces us to spend a lot of time digging for images to highlight everyone. For that reason, there are no photo changes unless it involves a mistake. Thanks in advance for understanding.

#3 – Our Mid Market executive panel consists of thirty one (31) program directors and corporate executives from radio’s top broadcasting companies. They include Audacy, iHeart, Cumulus, Beasley, Good Karma Brands, Bonneville, SiriusXM, ESPN Radio, FOX Sports Radio, Radio One, and a bunch of independently owned and operated radio stations. Our voting group is large because we want feedback from every part of the country. We also do that to assure the results don’t favor any one media group.

#4 – The criteria for our voters included the ear test, originality, multi-platform impact, ratings success, clearance (national shows) and industry buzz. Keep in mind, our voters live in different cities, work for different companies, have different tastes, and value certain factors higher than others. This is not a perfect system but it’s one we feel good about using to showcase the industry’s best.

#5 – A total of 50 shows were eligible for voting consideration in the Mid Market Sports Radio Morning Shows category.

And the Winner Is…

For the fourth straight year, the top honor for Mid Market Sports Radio Morning Show of 2025 belongs to McElroy & Cubelic. The Birmingham based duo finished in front of Ken Carman Show with Anthony Lima to earn the win. Congrats to Greg, Cole and the entire WJOX staff on the well deserved recognition.

I want to thank Dylan Barrett for creating the artwork, and each voter who participated in the process. Now without further delay, here are Barrett Media’s Top 20 Mid Market Sports Radio Morning Shows of 2025.

Additional Notes:

  • McElroy & Cubelic finished fifty seven (57) points ahead of Ken Carman Show with Anthony Lima to secure first place. Greg and Cole also received a category best eleven (11) first place votes.
  • Spots 21-25 were occupied by Robby & Rexrode, SportsTalk with John & Vince, The Morning Sports Beat, DJ & PK, and The Press Box.
  • The closest contest saw Off The Bench finish one point ahead of The Morning Animals.
  • Of the 50 shows to appear on submitted ballots, eight (8) received at least one 1st place vote.

BNM Top 20 of 2025 Remaining Schedule:

  • Wednesday February 4 = BM Top 20 Major/Mid Market Sports Radio Midday Shows of 2025
  • Thursday February 5 = BM Top 20 Major/Mid Market Sports Radio Afternoon Shows of 2025
  • Friday February 6 = BM Top 20 Major/Mid Market Sports Radio Program Directors of 2025
  • Monday February 9 = BSM Top 20 Major/Mid Market Sports Radio Stations of 2025

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 Mike Francesa Believes Super Bowl Radio Row Has Lost What Made It Special

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The week before the Super Bowl has forever been a media circus. News outlets, television, social media influencers, podcasts, and sports radio stations from across the world now take hold of everything surrounding Super Bowl LX in San Francisco. However, the Super Bowl was not always the media frenzy we see today at the epicenter now dubbed Radio Row.

In fact, nearly 40 years ago, the concept of Radio Row began, although the story of its origins remains convoluted. While many credit Chris “Mad Dog” Russo and Mike Francesa for birthing the idea of broadcasting from the NFL’s crown jewel the week prior, its beginnings are still somewhat unconfirmed.

“There were years in the 1980’s where it was us and nobody else,” explained Mike Francesa. “We were in New Orleans in 1989, and there was another local station there that did one hour a day… I saw this story one year about the Hyatt versus another chain. They [Hyatt] wanted $40,000 and they moved us to the other chain. I don’t remember that to be honest, but it might have happened.”

While the official birth of Radio Row remains unknown, many give credit for the idea to the work of Mike & The Mad Dog from WFAN in New York City. The concept of broadcasting live from the Super Bowl never felt foreign to Francesa.

The Radio Hall of Fame broadcaster spent more than a quarter century, across two separate terms, serving as a guiding voice of afternoon drive in New York City. Among his many career achievements, industry insiders often credit Francesa and Russo with shaping Radio Row. What once involved a single show broadcasting from a hotel lobby has evolved into the largest media hub for the most-watched sporting event in the country.

“We had a very good relationship with the NFL, the Commissioner, and their hierarchy. So, we were in contact with them a lot,” said Francesa. “It became an annual thing, and began giving away trips to the Super Bowl, which were enormous… We just took the show and always went to Radio Row.”

Change Isn’t Always Good

Today, the idea of a local sports radio station giving away trips to the Super Bowl feels unrealistic. At the time, however, the promotion proved a smashing success for WFAN, and the concept grew steadily. That evolution, though, is where Francesa takes issue with the modern version of Radio Row. He believes it has grown too large and lost the spontaneity that once made it special for listeners.

“It’s very different now because there are so many vehicles now. They’re letting podcasts and merchandise in. It’s become like a convention now more than anything else and changed a lot. It’s just too many people and feeding off the same people. It had lost the spontaneity it once had,” explained Francesa.

In 2025, the Super Bowl approved more than 6,400 media members to cover the game in New Orleans. That number will likely rise as the event heads west to the San Francisco Bay Area. Radio Row alone expects to host more than 300 media outlets, spanning both digital and traditional platforms. What once resembled a sea of local radio stations has transformed into a mix of influencers, podcasts, sponsor-driven content, and NFL rightsholders.

Francesa recalls noticing a shift when the NFL began assigning preferred locations to league rightsholders.

“One of the big changes was they [the NFL] started giving rightsholders prominent positions. It really minimized local stations, including WFAN,” noted Francesa. “They were more interested in network stuff or rightsholders. That was very tough on us as a station.”

The Final Row Appearance

Radio Row now features rows of worktables, elaborate sets, and sponsored displays designed to attract attention. Bigger setups often draw bigger stars, creating a difficult decision for stations weighing the cost of attending. What was once a unique content opportunity has become an expensive gamble with no guarantee of high-profile guests.

For Francesa, that reality ultimately led him to stop attending Radio Row.

“They knew I was leaving WFAN, so that’s why I attended Radio Row a final time. At the end, I didn’t like being there much at all because it had gotten so big. It was really tedious,” explains Francesa. “If I wasn’t in the best position, I didn’t like it because I was spoiled for many years. Rightsholders were getting everything connected to the game. If you’re WFAN, you don’t want to be treated second fiddle.”

Today, Francesa sees Radio Row as a hub for commercialism and networking rather than exclusive content. Coaches and team personnel on the row are now former athletes and celebrities promoting products. He noted that Radio Row once served as a destination closely tied to the game itself, with WFAN positioned at the center.

That shift explains why Francesa has little interest in taking the BetRivers Mike Francesa Podcast to the Super Bowl. What once allowed WFAN and Mike & The Mad Dog to stand apart now feels diluted by rising costs and industry-wide budget cuts.

“The NFL has made everything there so expensive that I think it’s priced a lot of the local stations out of the market,” said Francesa. “Radio isn’t doing well right now, and it can blame itself for this. Radio executives can blame themselves for this. They didn’t ever figure how to monetize and co-exist with social media. They still don’t know going on a generation.”

The costs of broadcasting from Radio Row remain steep. Even after credential approval, stations must cover internet access, hotels, flights, and food. The league charges for access without guaranteeing the guests or content stations can deliver to local audiences.

“The NFL sells tickets and passes to make money off Radio Row now. If someone tried to open a lemonade stand, the NFL would try to take forty percent,” joked Francesa. “They are the greediest people in the world. They make more money than anyone in the world, and they want more money.”

Adapting To Podcasting

Francesa credits social media with reshaping the sports radio landscape. With millions of podcasts covering the league from every angle, he understands the challenge the NFL faces when granting Super Bowl access.

As Radio Row gets underway in 2026, Francesa will watch from afar while continuing to host The Mike Francesa Podcast. For the past four years, he has been central to BetRivers’ strategy of building a business around his personality. Francesa credits the vision behind the project to meeting sports fans wherever they consume content.

For a broadcaster who once relied on phone calls to drive conversation and ratings, success now means constant visibility across platforms.

“It’s such a different world now being promoted on so many different platforms. That’s what these companies want. It’s the way of the world now,” notes Francesa. “As long as they get the views they want, that’s the idea. That’s what’s more important to them than sitting there and taking phone calls.”

Francesa says he still values the immediacy of reacting to events as they unfold. He noted that a dedicated staff remains ready whenever he decides to go live on YouTube. After nearly four decades of entertaining sports fans worldwide, he does not take his audience for granted.

“I like the idea of knowing that the audience is waiting for me to give my opinion of what just happened. That immediacy is something I need. If I didn’t have it, I would really miss it more so than taking phone calls,” explained Francesa.

Super Bowl LX will likely rank among the most-watched television events in history. Two weeks of hype, commerce, networking, and content creation will continue driving interest. What began as a simple idea has evolved into a blueprint that leagues across sports now try to replicate.

From the early days of Mike Francesa and Chris “Mad Dog” Russo, the NFL and the broadcast industry still owe a debt of gratitude for an idea that forever changed how the Super Bowl is covered.

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.

What Super Bowl LX Radio Row Attendees Are Saying About the Day One Experience

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Super Bowl LX radio row is officially underway in San Francisco, California. The annual event brings out sports radio, media, and influencer brands from around the country. An endless row of tables, IP connections, and chairs fills the middle of the Moscone Center West convention hall like a mosh pit at a heavy metal concert.

This year marks my eighth Super Bowl radio row, albeit this time in a non-sports radio role. There wasn’t a flight packed with broadcast equipment or table skirts filling my backpack. The experience continues to evolve with time, yet the conversations with those who attend annually remain an absolute must. It is part of the networking game that rides shotgun to the Super Bowl radio row experience.

For me, the Sunday night and Monday morning conversations are the best and most insightful. The reason is rooted in experience, knowledge, and perspective. There is plenty of scuttlebutt that listeners, viewers, and social followers will see this week emanating from radio row. What the public does not see or hear is what those behind the scenes are saying so far about the San Francisco radio row experience.

As long as I have attended radio row, it has been an absolute must to grab the week-of-game credential early and scout who is coming to town. Sunday nights provide the calm before the storm in many ways. It is a fantastic opportunity to say hello, catch up, and begin planning and plotting for the week.

When the mics are off, the best information often surfaces. In my first 24 hours in San Francisco, I have had the luxury of finding out what those on radio row really feel about the experience so far.

Nick Kostos Radio Row (Barrett Media)
Nick Kostos Radio Row (Barrett Media)

The top item on the minds of those behind the scenes is the arrangement of the convention hall at Moscone Center. There are more than 130 double-table setups for outlets to call their workstation for the Super Bow week. In a typical radio row setup, many outlets have their own individual workspace. However, this year, that is not the case due to limited space.

During my first 24 hours on site, I spoke with several outlets. Many immediately raised concerns about their guaranteed work areas being shared with other outlets or brands. Some digital media outlets were assigned significantly smaller workspaces than originally planned when plotting their set designs.

One outlet in particular is working directly alongside its competition at the same shared space.

The concern is simple. It is harder to work effectively when you have half the space you typically use or planned to use all along. While there is room surrounding each table, every area is taped off, clearly marking the boundaries that can be utilized. Many of those I spoke with raised their displeasure with this event being that it was never voiced ahead of time to plan for.

Another top-of-mind discussion point revolves around scheduling. Most brands have decided to remain in their home markets for an additional day or two rather than treating the radio row week as it has traditionally been handled.

For example, ESPN Radio will not begin broadcasting until Wednesday morning. The Pat McAfee Show is also taking two days off before beginning its trek on Wednesday. FOX Sports Radio is also keeping a majority of their shows at home for the first couple of days. Of all the national radio outlets, Westwood One Sports was the one who stood out with three shows beginning their week on radio row on Monday.

Many national outlets with larger setups have also had to contend with labor costs and union regulations at the location. This has affected budget lines and overall plans, including setup size, the number of on-air talent making the trip, and the length of their stay.

In recent years, many brands have scaled back the number of days they broadcast from Super Bowl radio row, with some choosing to stay away entirely. In conversations with those who handle large guest rosters for radio stations to utilize throughout the week, this shift has also affected their business. Due to decreased early-week presence on radio row, many “runners” who compile extensive guest lists lose opportunities with celebrity bookings.

This directly impacts their bottom line and eliminates revenue opportunities that was once nearly guaranteed.

SportsRadio 610 Radio Row (Barrett Media)
SportsRadio 610 Radio Row (Barrett Media)

Radio row also remains a massive networking event for young and aspiring broadcasters. With the NFL granting more access outside of traditional radio, universities have found additional opportunities to send sports broadcasting students to the annual event. This year, more than 13 universities made the trip to the Super Bowl to cover radio row activities.

For those who have attended over the years, this represents a major positive for the future of the industry. Despite the expense of travel, lodging, and the costs associated with simply being present, these students have found a way. Much like many who return year after year, the opportunity is too significant to dismiss.

For all the frustrations voiced behind the scenes, the presence of students and young broadcasters roaming radio row tells a different story. They are not focused on table size or broadcast schedules. They are focused on a Super Bowl sized opportunity more than anything.

Perhaps that is the reminder this week offers the industry. Radio row is no longer about who has the biggest setup. It is about who still believes being here matters. As long as that belief exists, radio row will continue to evolve, not disappear.

Radio row at Super Bowl LX is a clear reflection of an industry in transition. Yes, the space is tighter and schedules are shorter. Budgets are often scrutinized to make the trip at all. Yet the demand to be present remains strong.

For veterans, newcomers, and students alike, the value of Super Bowl radio row still outweighs the challenges. The format may shift, but the purpose remains the same — connection, conversation, and the chance to be part of the biggest week in sports media.

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

How Glenn Beck Is Navigating The A.I. Opportunity While Guarding Credibility

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Radio stations, large and small, are finding that artificial intelligence is quietly becoming the newest staffer. A.I. is now assisting hosts and program directors in nearly every aspect of the operation. From writing promos, prepping interview questions, and streamlining digital platforms.

With time-starved staffs shrinking under growing expectations, artificial intelligence is not replacing creativity. Instead, A.I. allows broadcasters more time away from the studios and greater opportunity to be present in the community.

Just a few seasons back, the use of A.I. was considered extreme taboo. In reality, the industry has used forms of A.I. for decades. Digital recording and storage? A.I. Audio enhancement tools and editing suites? A.I. Internet-based show prep? A.I.

National shows and their hosts now openly admit A.I. is part of their presentation. That list includes Dave Ramsey where Ramsey Solutions, uses A.I. for content planning, listener engagement, and online publishing. Pat McAfee also has utilized A.I. for video editing, social clips, and show prep. Ben Shapiro and his Daily Wire ecosystem and teams have A.I. handle research and content production. Anderson Cooper has publicly discussed how A.I. is integrated into CNN’s newsroom operations, including his own show’s workflow.

Which brings us to Glenn Beck.

Two weeks ago, we wrote about radio professionals using A.I. to their advantage. We included the work of David Sams and his Keep The Faith platforms, spoke with Jeff McCarthy, Vice President of Midwest Communications, and interviewed Starved Rock Media President John Spencer.

Glenn Beck read the piece and asked to go deeper into his jump to A.I., including his Glenn Beck A.I. Podcast and The Torch George A.I. online archive, an impressive portal that provides access to Glenn’s historical documents.

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

Kevin Robinson – Tell us your overall thoughts about the use of A.I. – pros and cons.

Glenn Beck – I’ve been talking about this since the 1990s and warning against it. We’re at this place of tremendous opportunity and tremendous danger. We just have to be really careful.

I worry about people who say we’re not going to ever use A.I. There are things that you don’t want to do. I really appreciate iHeartMedia’s policy of no AI host, no AI music. That’s great. You’ll never hear me do my any of my Glenn Beck radio show using Glenn A.I. You WILL hear a separate marked Glenn AI doing small things.

It’s really important to make sure it’s authentic and never blur those lines. But to not use AI, just think of the world of radio liners alone right now.

I remember when worked in a KUBE-FM in Seattle. There were like four sunny days and we had sunny sweepers. We would have sweepers and liners that were marked just for sunshine and it would reflect. Now sweepers and liners like that can be generated immediately.

In a time when you’re having hosts record everything way in advance. Nobody’s sitting down doing radio like we used to with that immediacy and that connection. That’s part of radio’s charm.

Kevin Robinson – You said it’s [A.I.] going to become a tipping point where it becomes dangerous. That might even sway our opinions or control our minds. What are your thoughts now?

Glenn Beck – There’s two things. One is what it does to creative. The second one is what it does to truth.

As an example, you look at Gutenberg before Gutenberg. The Church and the kings owned the truth. Gutenberg took it and now owned the truth. So now truth started to spread. But truth was always the thing. Next came radio and radio made you experience the truth differently because you could hear the truth. Then came television, you can now see the truth.

The internet starts to chip away at trust. Not the truth, but trust.

A.I. is capable of forgetting the one big lie. Why not 500 million little lies? A.I. can make the truth irrelevant anymore because the truth can create whatever it is that’s most comfortable for you. A.I. will create and craft a truth for you.

So we have no more shared truth and truth is no longer relevant to operate anymore. That’s extraordinarily dangerous. We are five years away from all trust of any voice. There’s no gatekeeper on truth anymore.

Now is the time that you have to be very clear on A.I., how you use A.I., what your lines are on A.I. You must let your listeners know what you’re doing with A.I. at all times. Clearly watermark things, and guard you as a person or a voice because soon the only thing of value will be the trust that you have with the listener or the viewer.

That’s going to get harder and harder to hold on to. We’re in just this unprecedented, never before in human history era that’s quickly approaching. It will change your relationship with truth and people that you trusted and things that you used to believe, including your eyes and ears.

Kevin Robinson – What do you think A.I. will do for human creativity?

Glenn Beck – I’m really concerned. I’m an artist. I write, paint, speak and do all these different kind of venues. So I am very keyed in to the art form itself.

There is something unique and human that is required in that. You can generate good stuff but there’s going to come a time when it’s the human that matters. You’ll want it because it is human. It’s not at that point yet.

We’re going to go through a period where you’ll just consume it and it won’t matter to you. Because it’ll be good, be what you want, and be tailored exactly to you. There’s two kinds of people that I think we’re dealing with that will look at AI in completely different ways.

When I first said to my staff a year ago that I’m going to start moving in the direction of A.I., they were so confused. They recalled that I’ve been warning all of us about A.I. I understood that but that’s why we have very strict ethics with A.I. and we’ll have very strict rules with it.

There may come a time when we go, nope, no more A.I.

I look at A.I. as a computer. A tool that allows me to do the things I’ve never been able to do before.

Kevin Robinson – What are you doing with A.I. that you’ve never been able to do before?

Glenn Beck – I just wrote a series of about nine or ten songs for a Christmas album that I’m going to be putting out with my daughter. They are just demos, and not A.I.

I worked and reworked the demos and could never get them exactly right, but I got them into the ballpark. Now I’m hiring a composer to go back and look at it, make it right, look at the lyrics, and then put it to music that I can send it out for an orchestra.

That A.I. has saved me time with a composer which it would have taken me two years to get where I got in four months with A.I. I’ve never been able to do that. Personally, I couldn’t have done that.

Now I can create so much more exactly the way I want, and then pass it to humans to make it better. That’s using A.I. as a tool.

Kevin Robinson – What has A.I. done for researching content or analyzing data for your team?

Glenn Beck – We can do research now we couldn’t do before. Look what Data Republican is doing.

I used to pay a staff a million dollars a year to do research for me. We couldn’t get done what they’re doing now with A.I. People just know exactly what they’re looking for. They know how to look for it, check it, and know that it’s right. That’s tremendous.

Kevin Robinson – How is The Torch working? How did this come together using A.I.?

Glenn BeckGeorge A.I. is not Chat GPT. This is not A.I. off the shelf. We built this from scratch.

It is 30 years of every broadcast, book, and every speech that I have available. Everything that I’ve ever spoken for the last 30 years.

It took us nine months to get it just ingested and we’re still not fully there. It’s proprietary and fenced off, cannot reach outside, and cannot pull anything from outside of my library.

It can’t ‘hallucinate’. ‘Hallucination’ comes from A.I. It is required to remember everything in all of world history, and it can’t. Typical A.I. is good at remembering the beginning and the end. It gets fuzzy in the middle and it’ll believe it probably happened like this way.

That’s where your ‘hallucinations’ happen.

Our A.I. is trained and small enough that we force it to memorize everything so it cannot ‘hallucinate’. We’ve trapped it in a box so it cannot pull from the outside. Glenn A.I. is not Chat GPT.

Kevin Robinson – The 10 minute vignettes heard on Glenn A.I. are topical. How does that work and how does it know that?

Glenn Beck – We update that every day. Glenn A.I. has the current news. If I haven’t talked about it on the show, then we have to teach it and we give it scenarios. The same thing with George A.I. We have George A.I. draw from my archives which is the largest library of founding documents outside the Library of Congress and the National Archives.

We’re soon going to be sucking all that library into ours as well. But it’s only from the Pilgrims until about 1820. It can only pull what we have in the founding documents, anything that they spoke about, wrote about, or we know for sure directly influenced them.

We put those things in, and then we can get an approximate idea of what they might say. Everything past 1820 we have to give it a possible scenario. For example, if a scenario were happening in a city in Minnesota, and the President was saying this is an Insurrection Act, how would a certain founder have viewed the Insurrection Act.

People say, Glenn just created something. It sounds strangely sounds exactly like him, but it doesn’t know who I am. We’ve asked it. Tell me who Glenn Beck is. Who’s George Soros? What’s the Tides Foundation? Who’s Barack Obama? Who’s Jimmy Carter? What happened in the Soviet Union? It doesn’t know, and it can’t answer.

Kevin Robinson – Is The Torch part of GlennBeck.com or an independent entity?

Glenn Beck – Always separate. It will never be taken as a Glenn Beck statement and put into our archives that are used for Glenn A.I. because it’s not me. Only the stuff created by me, and it will always be marked. That’s why Glenn A.I. has hair and I barely have any left.

We’re trying to make it look almost a little like Max Headroom, so you always know we’re not trying to fool you. That’s not me. Information from George A.I. is only reflective of the documents that we have. Spoken word from shows going back to the year 2000 – when I started doing talk in Tampa. So it goes back to my first talk shows.

Kevin Robinson – What’s your thoughts on A.I. – now or in the future?

Glenn Beck – Anything and everything is possible. If it’s not possible today, it is possible in the very near future. With George A.I., we type in the script and it generates in less than two minutes.

I urge people to think in big, bold strokes but be very careful. You are dealing with a devil in the box. Guard your credibility because it’s the only thing you have. Believe me, in five years, credibility will be everything. That’s the only thing that’s going to count, and the only thing that will matter in five years.

The call for guarding credibility should be the headline readers take with them. His warning for discipline and transparency in a space of unlimited possibility must be practiced across all formats. While sounding the A.I. alarm for decades, Glenn Beck and his team continue to navigate the treacherous balance between artificial intelligence as a powerful creative tool and a profound threat to truth that could sow distrust.

Glenn’s use of A.I. is impressive. From building tight, controlled systems like George A.I. and Glenn A.I. to compressing years of musical composition into months, Glenn insists technology must remain fenced, labeled, and ethically governed.

The future of media will include A.I. Those who project authenticity will find trust to be their most valuable currency.

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….Dave Van Dyke, Bridge Ratings

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. To be considered as a future guest, email me at keithblackboxgroup@gmail.com.

Today we hear from an industry veteran who is an expert in data and isn’t afraid to discuss the uncomfortable reality, Dave Van Dyke. He’s the President and CEO at Bridge Ratings Media Research and has built a decades long career of using data to help brands better understand the marketplace, consumer behavior, and the best path forward.

So, let’s dive in.

The Reality Check

Keith: From everything you’re seeing in data these days, what’s the single biggest audience shift radio needs to understand and deal with immediately?

Dave: Most of the audience is less engaged than ever. There are so many options to satisfy mood, interest and curiosity that radio has become part of the mix. This is because – in general – the audience of most formats realizes they can be satisfied in other ways. Radio’s challenge is to rise to the occasion and remove thinking out of the radio silo and compete in the entire landscape of choices.

In many ways, though, radio has an opportunity to improve engagement and attention. The industry needs to be more courageous and willing to take some risks.

Listeners no longer tolerate waiting—for songs they don’t like, for long commercial blocks, or for content that isn’t relevant to them.

  • Smart speakers, podcasts, and streaming music have retrained audiences to expect instant control: skip, pause, replay, choose.
  • Even older demos (45–64)—traditionally radio’s stronghold—are shifting toward on‑demand audio faster than expected.
  • Time‑spent‑listening is dropping, even when cume holds steady, because people dip in and out instead of staying for long stretches.
  • Car dashboards are no longer radio‑first, and that’s where the erosion is most visible.

Ratings Relevance

Keith: The Nielsen Rating Point still shapes much of the radio economy. Streaming platforms tend to build their revenue model around deeper, behavioral-based data and outcomes. Are traditional radio ratings still the barometer for long-term industry growth — or is radio competing in a general market that now rewards a different definition of success?

Dave: Traditional ratings no longer tell the whole story. With attention fracturing from many sources, advertisers want to see an audience that is engaged. The attention economy is the next best way for advertisers to have a greater understanding of how their advertising can achieve ROI.  Share of attention really sheds light on radio’s challenges and potential.

Streaming Illusion

Keith: Radio often compartmentalizes its battles as being station vs. station but you’ve been very vocal about how that thinking must change and it’s less about the brand across the street and more about competing with the other platforms. What changed in the last few years that makes streaming a bigger threat or opportunity than it used to be?

Dave: What changed was that radio discovered a market it did not know it needed.  Even before mass streaming became mass appeal, radio was complacent thinking their competitor was across the street. Streaming services caught radio flat footed.  Streaming filled a need and that radio hadn’t considered before 2014. If it had had a better understanding of audience’s needs it would’ve seen engagement with its music programming was fading. If the industry would’ve seen this data and acted on it by being more courageous and creative, it might have blunted the impact by offering a compelling version of itself. Talent, marketing aggressively, learning to sell digital.

The Advertiser Disconnect

Keith: When advertisers choose newer platforms over radio, what’s the real decision driver for them in their data – is it perception, innovation, targeting, immediate proof of performance, or something else?

Dave: It’s primarily accountability and proof of performance. There is a bit of follow the leader gaining momentum as more advertisers and agencies became comfortable with using digital platforms. Radio has done a good job countering the accountability question, but it still lacks the technology to match proof of performance.

Audience Passion

Keith: Many will say the more a brand chases cume, the more it risks chasing away its core. When advising clients, how do you recommend balancing cume/core or passive reach vs. passionate loyalty?

Dave: In today’s competitive climate, we advise to build on the core, the fans, the audience that already listens – the heaviest of listeners.  We do research for our clients that exposes the traits and needs of their most loyal consumers, then the station is more proactive with programming adjustments based on this intel and invests in powerful marketing so the market can see how the station fits into the competitive landscape.

Done properly, it is possible to use that research date to expand the cume by applying  the intel discovered about the core.

A radio station does not need an audience of millions; it needs to be relevant to your bubble. Why does a listener choose this station over silence? What emotional work does radio perform in a distracted world?

Talent

Keith: From a listener behavior standpoint, what matters more today: a strong music brand or a brand with personalities?

Dave: No doubt personalities are a critical element of the station brand. Every on-air element must reflect the brand, and personalities can better communicate the essence of the brand.

Commercials

Keith: Everything has commercials now, even Red Zone and Netflix. “Too many commercials” has always been a red flag in your data but since ads aren’t going away, where’s the real Mason-Dixon line? I’m asking about minutes per-hour, minutes per-break — what’s acceptable and tolerable for listeners, and what simply becomes obnoxious and starts doing real damage?

Dave: Ah, the trickiest decision that must be made. The answer lies in limiting spot loads especially in today’s competitive climate in which multiple non-radio competitors are raising awareness of radio’s soft spot. 8 minutes an hour in two-minute breaks, reducing promos, branding sweepers and other noise will make the audience member more comfortable with the experience of spending time with a station.  If there are too many elements in an hour, we have seen this amplifies listener discomfort and can cause sensitivity to nonessential interruptions.

Radio Investment

Keith: Brand investment comes in many forms — research, talent, promotion. marketing — what is the investment hierarchy, top to bottom, your data recommends that many broadcasters may have out of order?

Dave: (1). Research – it’s needed to establish benchmarks for all that follows. Follow the research to determine audience response to (2) talent presentation. (3) Promotion and marketing learn from the previous two tactics.

The Trust Factor

Keith: The reality of today is there are AI fakes around every corner and nearly everything is sponsored or paid for, so what helps make an audience genuinely build trust with a voice, show or brand?

Dave: The human voice is a trust anchor. Radio’s intimacy is powerful. Consistent human presence is inherently harder to sound authentic. Talent that builds relationships with their audience generate a trust level AI can’t, even the latest AI tech that attempts this action.

The parasocial bond radio creates naturally is a competitive advantage against algorithmic content. Realtime curation – filtering the nose – becomes a core value proposition.

The Future

Keith: I’ve seen some of your thoughts online about the future and what radio can and may look like. Please share your view on what successful future radio brands will be doing as early as maybe even today, next year, a few years from now.

Dave: What Successful Radio Brands Are Doing Now (2026):

Successful radio brands are already behaving like multi-platform media companies —blending traditional reach with digital precision, building emotional brand identities, and monetizing through community, content, and cross-channel influence. The winners aren’t just broadcasting — they’re connecting, converting, and evolving in real time. 

Next Year (2027):

  • Shift identity from “radio station” to “local audio network”—the medium is audio, distribution is omnichannel
  • Build expertise verticals: hosts become authorities in specific areas (local politics, music, community issues) rather than generic entertainers
  • Continue to diversify revenue beyond traditional ads: memberships, live events, community storytelling partnerships

2028-2030:

  • Become curators of local reality—the verified source for “what’s actually happening here” when deepfakes and AI content proliferate
  • Practice radical localism: deep community embedding that AI can’t replicate (neighborhood knowledge, generational relationships, hyperlocal context)
  • Evolve into event producers and civic conveners, not just broadcasters—real-world gatherings create authentic content and irreplaceable community bonds

The Core Shift:
Stop asking “How do we get people to listen to radio?” Start asking “How do we become essential to people’s daily lives using audio? “​​​​​​​​​​​​​​​​

If Ratings Went Away

Keith: Given there doesn’t appear to be a new measurement system or company waiting in the wings, if Nielsen disappeared tomorrow — it’s just gone. What fills the void first? Listeners wouldn’t know, but do you see a mass exodus from advertisers, a new standard of measurement built by broadcasters emerging, would it be every AE for themselves?

Dave: What Fills the Nielsen Void:

Immediate Solutions:

  • First-party data from station apps and streaming becomes the new currency—stations know exactly who listened, when, and for how long
  • Connected car data emerges as census-level measurement (automakers already track what’s playing in every vehicle)
  • Broadcaster consortium forced to create shared measurement standard under advertiser pressure

The Shift:

  • Move from reach/frequency to performance metrics—QR codes, promo codes, attribution tracking like digital advertising uses
  • Multiple competing measurement systems coexist rather than one monopoly (messier but potentially more accurate)

Reality Check:

  • No replacement gets built until Nielsen actually fails—expect 12-18 months of chaos and deals made on relationships
  • Fragmented measurement requires educating advertisers to think differently about buying audio

What Broadcasters Should Do Now:

  • Invest in owned streaming platforms and listener accounts for proprietary measurement
  • Start shifting advertiser conversations toward performance and first-party data
  • Participate in industry measurement working groups before crisis hits​​​​​​​​​​​​​​​​

The One Metric

Keith: Your research studies curate dozens of data points from top-of-mind awareness to cume patterns to perceptual images of music and talent — what’s the one data point you look at first to decide if a brand is healthy or in immediate jeopardy?

Dave: Time-spent, repeat usage, audience churn = engagement. Healthy brands have audiences who’d fight for them. Jeopardy brands have audiences who’d shrug and find alternatives.

The Uncomfortable Truth

Keith: What’s the hardest truth about radio’s future that your data keeps pointing to but the industry isn’t ready to confront yet?

Dave: I keep coming back to engagement factors. Is radio capable of holding on to its listeners because they love what you’re doing, they’re fans or is the audience just automatically punching that button and only filling a void – a relief from the distractions of their day.

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.

Can Cable News Copy the Pat McAfee/ESPN Model?

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Cable news has spent the last decade staring at the same problem from different angles and still asking the same question. How do you regain relevance during the day when fewer people are watching television live? Sports television may have accidentally handed over a compelling answer when Pat McAfee signed his licensing deal with ESPN.

The move didn’t just change the ESPN lineup. It reframed how legacy networks might partner with creators who already know how to win online.

McAfee didn’t need ESPN to prove he mattered. He arrived with a massive digital footprint, a loyal audience, and a style that already felt native to younger viewers. ESPN didn’t buy a traditional show and hope it caught on. The network licensed a proven product and let it be what it already was, just with a larger megaphone. That distinction matters, especially for cable news executives searching for daylight between relevance and irrelevance.

There’s no shortage of creators performing well in digital spaces right now. They aren’t hypothetical. They’re already pulling audiences that many cable news daytime shows can only dream about. Dan Bongino’s return to Rumble this week drew more than 150,000 viewers live. That number alone would rival or exceed the ratings of several daytime cable news programs. He’s far from alone, too. Steven Crowder often pulls more than 50,000 live viewers at a time, while it isn’t uncommon for Benny Johnson to see more than 20,000 viewers at any given moment.

Political commentary, culture analysis, and opinion-driven shows thrive on YouTube, Rumble, X, and podcasts every single day.

None of this means cable news should start throwing around nine-figure deals. The roughly $85 million agreement ESPN reached with McAfee makes sense in sports, where personalities can drive advertising, sponsorships, and cross-platform engagement. That math obviously doesn’t work for Fox News, MSNBC, CNN, Newsmax, or NewsNation. Still, the underlying concept is worth serious consideration. Licensing an established digital show could inject relevance into time slots that currently struggle to matter.

Daytime cable news has become a graveyard of modest expectations. Networks often settle for shows that don’t embarrass them rather than programs that energize audiences. Meanwhile, creators online are building passionate communities without the benefit of cable distribution. That imbalance feels increasingly absurd. Cable still offers reach, credibility, and advertiser comfort. Digital creators bring urgency, authenticity, and an audience that actually shows up.

Fox News has already experimented with this approach. The network essentially lifted a YouTube show and introduced it to its cable audience with The Will Cain Show. The results were immediate. Cain’s transition proved that audiences don’t always need reinvention. Sometimes they just need access. That’s a lesson other networks shouldn’t ignore, especially outside of prime time.

Critics will argue that digital creators are too raw, too partisan, or too unpredictable for cable news. That concern isn’t entirely wrong. It’s also not new. Cable news has survived far bigger risks than a live-streamed opinion show. The bigger risk is continuing to program safe, forgettable hours that no one talks about and few people watch.

Licensing deals also offer flexibility. Networks wouldn’t need to own the shows outright. They could test runs, limit contracts, and maintain editorial standards while still allowing creators to keep their voice. If it doesn’t work, move on. If it does, you’ve found something cable news desperately needs: daytime programming people actively choose.

The industry keeps waiting for audiences to return out of habit. That’s not happening. Viewers are forming habits elsewhere, and they’re doing it in real time. Borrowing from the Pat McAfee model doesn’t mean copying sports television wholesale. It means acknowledging that relevance now starts online, not on channel guides.

Cable news doesn’t need saving, but it does need adapting. Partnering with proven digital voices could be a smart place to start. Ignoring them feels less like caution and more like denial.

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.