Paul Marshall is no longer serving as assistant brand manager and morning host at Audacy’s 98 Rock in Sacramento, marking another high-profile programming change inside the company’s rock portfolio as the industry continues to adjust staffing levels amid broader economic pressures.
Marshall shared the news publicly via Facebook with is departure coming less than a year after Marshall returned to KRXQ rejoining the Sacramento rock outlet where he once served as music director and afternoon host from 2001 to 2004 during an earlier chapter of his career.
“Well…this one hurts. As of right now, I have been what they call R.I.F.d. It’s another way of saying laid-off. I lost my job,” wrote Marshall. “TBH…I’m not sure what I’m gonna do. I’m pretty numb. If anyone knows of a radio gig or music programming position available, I sure could use the lead. Thanks.”
That reunion had paired familiarity with leadership responsibility, as Marshall stepped into both an on-air morning role and an assistant brand manager position designed to help steer the station’s sound and strategy in a competitive Northern California market.
Before returning to Sacramento, Marshall spent more than a decade building his resume in Phoenix, where he programmed and hosted afternoons at 93.3 KDKB until the station shifted formats in 2014. Following that change, he transitioned to KSLX, where he worked nights before moving into mornings in 2015 and later middays in April 2023.
During his most recent stint with Audacy, Marshall’s reach extended beyond Sacramento, as he also contributed on-air to additional rock stations within the company’s portfolio, including stations in Greenville, South Carolina, and Chattanooga.
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There’s some truth to the saying that you aren’t really working in radio until you’ve been fired. However, getting let go one time doesn’t necessarily qualify you to discuss the state of the industry. Earning the right to weigh in and criticize the radio business should require more than that. While everyone is entitled to an opinion, the ones worth hearing come from people who have experienced highs and lows, success and struggle.
With the annual State of the Union address approaching, it seemed like a good time to find someone with the experience to truly weigh in on the industry. Enter Todd Clem, better known as Bubba the Love Sponge.
Dating back to Terre Haute in 1986, Clem’s career includes a little bit of everything. He’s had major ratings success at stations like 93.3 WFLZ and 98 Rock in Tampa Bay, along with a long run hosting afternoons on Howard 101 at Sirius Satellite Radio. He’s also been fired, taken to court and acquitted of charges related to his show. Also he’s been sued several times, and served as the catalyst for F.C.C. fines.
Clem’s past adventures have been written about exhaustively and don’t need to be rehashed here. When you look at the totality of his career, it’s clear he has the breadth of experience to speak to the state of the industry and where it’s headed.
Unfortunately, he’s not overly optimistic.
“I’ve done this a long time and have hundreds of thousands of hours behind the microphone. From my vantage point, radio’s not dying. But it’s not helping itself right now either,” says Clem. “iHeart, Audacy and Cumulus trying to justify the percentage of growth in their podcasting wing while terrestrial radio continues to lose money, it’s a slippery slope.”
In his opinion, the biggest problem is a lack of great hosts. “They’ve run off all the good talent,” said Clem.
He also believes the industry will struggle to develop new stars for several reasons, starting with a lack of strong mentors. Clem recalled his background working in step with Randy Michaels, Mark Chase, B.J. Harris, Brad Harden, and Mark Driscoll.
In addition, the road to becoming a radio star is more difficult today than ever before.
“If a kid is interested in radio, we’re going to say we’ll pay you fifteen dollars an hour for four hours a day to be a board op,” Clem says. “Plus, we’re going to expect you to build a social media following on your own.”
The future of the industry becomes even more challenging because of high-tech options. Large companies like iHeartRadio, Cumulus and Audacy now have been equipped with these tools at their disposal which didn’t exist earlier in Clem’s career.
“Now they can use AI instead of live hosts. It’s where they’re going, or they can voice track it,” said Clem. “You get a guy that sits behind a production board. He does afternoon drive on forty-six iHeart stations cranking out speed breaks. That’s not personality radio.”
That’s not to say Bubba hasn’t embraced new technology. His show currently airs on five terrestrial radio stations and is available on more than ten additional digital platforms. Many of which focus heavily on video, including YouTube, Twitch and Rumble.
“Radio guys got in radio because we are ugly and fat. That way we could lie to women about how good looking we are. They’d come down to the radio station,” joked Clem. “Now you can’t do that because it’s all visual. You have to support your radio show with visual aspects.”
Because of that shift, his video editor may be the most important person on staff. Someone who can not only setup and record, but also edit in real time for distribution on the number of Clem’s social media channels. Video clips across multiple platforms not only generates revenue, but it also attracts new fans.
“If I were to talk to some young person, I would tell them before you become a radio guy or a content creator, learn how to video edit. That’s the skillset that you need. Go learn that trade and the world is yours,” said Clem. “How many times have you gone down on a rabbit hole on YouTube. Finding something new and thought ‘I’m going to start going to this channel more often.”
The fact that many hosts lack a digital footprint like his represents another area of concern for Clem. With the consumer moving to prefer a video presentation over the traditional radio signal, Clem warns that inaction may lead to a quicker end than a future.
“All these terrestrial radio hosts that haven’t carved out a digital space, they’re f****d. They don’t own anything. They don’t own their name, image, or likeness. I’ve owned all my content since I was on the Power Pig (WFLZ) in 1992,” said Clem referencing his website BubbaArmyHQ where fans can access archival content . “You can literally subscribe and go back and listen to my old 98 Rock shows. It’s basically a library of the last 25 years.”
Several platforms that carry his program today allow viewers immediate access through live chat, another innovation Clem has had to adjust to. Sometimes that connection enhances the show, but it can also spiral out of control if not left in check.
Bill Belichick is a first ballot Hall of Famer. So why make him wait? Standards or a petty slap from voters who lost control? pic.twitter.com/vn3PhhwgxQ
“Listeners will immediately start engaging you. But it can get under your skin because they want to get your attention, so they try to be shocking,” explained Clem. “I call it ‘chat cancer’ and tell my co-hosts you can’t let them have that much control over you.”
Although he criticizes how major radio companies use AI, that doesn’t mean he ignores its potential. In fact, Clem crafts out assets for his program and it’s staff to ensure the program is not being left behind in the race of radio utilizing AI.
“I’ve got a $2,000 a month AI budget. We run the show through AI, and it suggests the spots that make good shorts and reels for all the social media platforms,” said Clem.
Another change Bubba has witnessed involves how hosts attract and build audiences.
The days of shocking content such as listeners eating pubic hair burritos or weekly features like No Panties Thursday have largely disappeared. Once again, technology plays a role. Clem notes that it used to be far more difficult for listeners to complain about a show’s content. Now, with everything available everywhere, including video, complaints travel instantly.
“Now they have a visual record and can literally send it anywhere to as many people as they want with the click of a mouse,” Clem says.
Today, he argues, outrage comes through opinion. Whether it’s conservative talk radio, which he refers to as “mad white guy radio,” or sports talk, which he believes remains one of the last formats that can still be shocking, polarizing opinions capture consumers’ attention.
Another element that gives Clem a unique perspective is his history of outside business investments. Over the course of his career, he launched a company that sold beepers branded with his name and logo. He later started Love Sponge Limousines, five Planet Bubba nightclubs and ten Bubba Ale House restaurants.
The common thread among those ventures, he explains, traces back to advice he received from former Jacor CEO Randy Michaels.
“He said to me that the public’s perception of you as a star is going to be based on how much you make them treat you like a star,” explained Clem.
Having assets other hosts didn’t, such as branded beepers, a limo company and nightclubs, served dual purposes. They were strong business models that generated revenue without requiring him to invest his own capital, and they elevated his larger-than-life image.
“You have to be showbiz,” says Clem. “This is show business and too many radio personalities are not in show business.”
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There is no debate about the amount of attention women’s sports has earned over the past several years. From record viewership to revenue, the audience has made its voice loud, and networks are noticing. Last year, the WNBA regular season was the most-watched regular season since 1998, averaging just under a million viewers per game for national telecasts.
The numbers are not just impressive in basketball, either. Last year’s NWSL championship between Gotham FC and the Washington Spirit averaged 1,184,000 viewers on CBS and Paramount+. That number alone pushed the average for the NWSL’s seven postseason matches to an 18% increase compared to the year prior, averaging 550,000 viewers per contest in 2025.
When ESPN lost Sunday Night Baseball as part of its mutual opt-out with Major League Baseball, questions emerged about whether a program would replace the long-running benchmark. Yesterday, ESPN took a leap of faith in its counterprogramming approach and announced ESPN Women’s Sports Sundays as that replacement. It is a bold statement and a defining moment for women’s sports. Will the effort meet or exceed last year’s success?
To be clear, ESPN’s announcement is for a limited run. This is not the expansive Sunday Night Baseball schedule that sports fans have grown accustomed to. The nine-week programming slate, which will include 12 games in the summer months, represents a low-risk approach. Exact dates have not been revealed. The effort likely will not overlap with ESPN/ABC’s coverage of either the Stanley Cup Final or the NBA Finals.
ESPN to launch 'Women’s Sports Sundays'
Debuting this summer, it's a first of its kind weekly primetime franchise showcasing the best of women’s sports in premium windows
Instead, the months following the conclusion of the NHL and NBA seasons — and before the regular-season start of the NFL — need live programming. Network television takes the summer off, as does much of the country. Kids are out of school, and daily habits shift as the heat rises across the country.
ESPN described the strategy as a bold commitment to elite competition, consistency, and storytelling. The network said the goal is to position women’s sports as the main event on Sunday nights. The games will go head-to-head with NBC’s live coverage of Sunday Night Baseball. If the latest NBA viewership figures on NBC are any indication, MLB’s shift from cable to network television should generate increased interest and audience.
It was always going to be a challenge for ESPN to retain the audience it held for decades on that Sunday night appointment. That’s why the announcement should be considered low risk yet high reward.
Allowing an added spotlight for your partners is good business. WNBA and NWSL games will draw a larger audience than any cornhole tournament or random axe-throwing competition the network could air on a Sunday night in the summertime.
The goal for ESPN isn’t to replace Sunday Night Baseball’s audience. It is to use the appointment to draw a different audience to more of what the network offers all summer long.
It’s no secret that ESPN lost interest in covering baseball the way it once did. The sport moved to the back burner as interest in the NBA and NFL became a greater priority for the network. MLB Commissioner Rob Manfred noticed and said as much. I grew up watching Baseball Tonight and enjoyed the coverage it provided to the sport and the voice it helped create.
Last season, ESPN’s Sunday Night Baseballaveraged 1.83 million viewers per game, up 21% from the year prior. While many may credit the new Nielsen Big Data + Panel measurement introduced in September, viewership was trending upward before the implementation of that method.
Now, with the Sunday night real estate open, ESPN is opening the door to the latest hot property drawing attention across the country.
The goal isn’t to exceed viewership; it’s to see whether it can match the number baseball delivered the year prior. This isn’t just about showcasing stories; it’s about determining whether the tide of women’s sports can continue to rise with a primetime window.
ESPN has never been afraid of a challenge, and this is simply its latest test.
This announcement should also serve as a catalyst for the ongoing WNBA CBA negotiations. With fewer than three months until tipoff, the league’s largest network partner has added urgency to negotiations. ESPN’s visible commitment to the sport’s future within its signature weekend window should motivate both owners and players to reach an agreement sooner rather than later.
For the NWSL, the league has never had a better opportunity to showcase its product. It has recorded four straight years of viewership growth, including a 30% rise among women ages 18–34 just last year. The league also grew its social following by 27% year over year across its platforms. In addition, it marked a third consecutive season averaging 10,000 fans per match, the longest streak in league history.
Now, with an exclusive Sunday night window on the largest sports cable network during select weeks, the potential upside is clear.
For ESPN, the reward could prove instrumental to its generational success. The network has long committed to the growth of women’s sports through its espnW division and rights deals with the WNBA, NWSL, and others. It has also served as the exclusive home of the NCAA Women’s Basketball Championship for more than three decades.
There’s no guarantee that ESPN Women’s Sports Sundays will replicate the numbers Sunday Night Baseball delivered. It may not need to, but why not at least try while the iron is hot?
What ESPN is betting on isn’t a one-for-one trade in raw audience. It’s momentum, trajectory and cultural currency. Women’s sports are no longer a novelty — they are appointment viewing for a growing, younger, and more engaged audience. That audience is still forming habits. Still choosing its platforms. Still deciding which networks feel invested in its passion.
By planting a flag for women’s sports on Sunday night, ESPN isn’t simply filling a programming hole. It’s staking a long-term claim.
If the window delivers even modest results, the network still gains ground. ESPN would deepen ties with two ascending leagues. It would also reinforce its alignment with one of the fastest-growing segments in sports. That’s the floor.
But the ceiling? The ceiling is far more compelling.
If even one of those games breaks through — if a rivalry ignites, if a star becomes a household name, or if ratings climb week after week — ESPN will not simply have replaced Sunday Night Baseball. It will have reshaped its Sunday night identity around a new growth engine. It will have helped redefine what a Sunday night sports appointment looks like for the next generation.
That’s the difference between risk and vision.
This may be a calculated gamble. But in a media landscape chasing growth wherever it can find it, the upside isn’t incremental.
It’s potentially massive.
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.
Earlier this week, Apple Podcasts announced that it would be adding video functionality for shows hosted on its platform.
That strategy mimics that of Spotify and YouTube. It also comes after Netflix has spent millions — perhaps hundreds of millions — to acquire the rights to programs that will air exclusively on its platform.
Make no mistake about it, the move is a monumental one of the podcast industry. Apple Podcasts is one of the largest platforms for users. For many, it is the original introduction to listening to podcasts.
But, is adding video functionality too little, too late for Apple Podcasts? We asked podcast experts for their opinions on the topic.
“They have a lot of catching up to do so it’s not a given this works, but Spotify has had a series of problems fluidly monetizing video and audio, and YouTube is primarily video,” said Amplifi Media CEO Steven Goldstein. “Apple could be a better publisher experience. But so many people no longer use Apple for podcasts.”
“We called this in mid-December and said we are in a new era of Liquid Content, meaning the ‘What’s a podcast?’ era had come to a close,” Goldstein continued. “However, there has been, and continues to be tons of audio-only listening and that’s not likely to go away – taking a walk, in the car, etc. That doesn’t go away. Some of the top shows today, like The Daily from The New York Times is audio-only. For content creators, there are lots of decisions to be made affecting costs and consumption.”
Coleman Insights Vice President of Research Insights Jay Nachlis said the move provides just as many questions as it does answers.
“As I would imagine most don’t know, Apple introduced RSS video in 2005. They had an audio/video toggle before it was cool, but got rid of it,” Nachlis said. “They never stopped supporting video via RSS; they just effectively stopped highlighting it.
“Their newly announced HLS tech sounds encouraging, but to your point, this is a much bigger challenge than making a technical shift. The focus they put on technical capabilities now needs to be matched by an equal focus on perception and positioning, because that’s ultimately how this move will be judged. Younger consumers aren’t growing up with an Apple Podcasts habit. Can they convince consumers who are already at YouTube for video and Spotify for audio to open the native Apple Podcasts app?”
Signal Hill Insights President/CEO Paul Riismandel point-blankly said it’s too early to tell if it’s too-little, too-late for Apple Podcasts.
“Apple is introducing a whole new mechanism for distributing video podcasts that is remarkably different from YouTube or Spotify, because the video files themselves are hosted and served from the podcaster’s hosting platform,” said Riismandel. “Because of this there are some advantages for podcasters with Apple’s approach. Chief among them is the ability to manage their video podcasts alongside their audio podcasts in the same platform. The second advantage is the ability to serve dynamic video ads using the same platform they use to serve dynamic audio ads. In principle, that simplifies things for the podcasters, their sales teams, and advertisers.
“Using a hosting platform that is independent from the playback platform is how audio podcasting has worked since the dawn of the medium. However, YouTube videos are only hosted and distributed by YouTube, and Spotify videos are only hosted and distributed Spotify, which represented a shift in that model,” he continued. “If Apple Podcast users change their habits to consume video there, then it probably isn’t ‘too little.’ We know that most podcast consumers actually use more than one app or platform for their podcasts. So this change might help Apple retain more users who otherwise might shift to over to YouTube or Spotify to watch video versions of their shows.”
Riismandel added that just over half of U.S. adults consume podcast monthly, which means that there is still plenty of growth for the medium, arguing against the idea that it’s “too late” for Apple to make a dent.
While opinions on whether or not it’s too little too late for Apple Podcasts were slightly mixed, those Barrett Media spoke with were largely in agreement that this is a big move for both the company and the podcast industry as a whole.
“This is seismic,” said Goldstein. “It’s a structural shift to podcasting. Apple has been losing share to Spotify and YouTube. Generationally, most newer podcast shows have a video component. To stay in the game, Apple needed to make the move. What’s really important is they didn’t just turn on video, for the first time they will be a toll taker and monetizing video podcasts.”
“This is a potentially good move for Apple on two fronts,” Nachlis added. “As our research has indicated, consumers increasingly value the option of alternating between audio and video podcasts, so Apple is meeting a moment that has bubbling for years. There are also potential creator and advertiser benefits relative to other platforms they are attempting to address.”
“The question is how much change this represents,” said Riismandel. “Consumer adoption will be the thing to watch. One important factor will be how much video podcast content is available when the new version of Apple Podcasts goes public. The second important factor is how attractive that video content is for Apple Podcasts users. Will this entice them to change their habits, to consume video on Apple’s platform?
“If we look to Spotify, we can see that user adoption of video was slow at first, but has been steadily growing. In part, that’s been helped along by Spotify actively promoting video in-app,” he concluded. “Also, this isn’t a change that yet affects all podcasters. Only four hosting platforms are supported by Apple: Simplecast, Omny Studio, Art19 and Acast. If a podcaster uses a different host, like Transistor, Blubrry or even Spotify for Creators, then they can’t yet serve video to Apple Podcasts using this new system.”
Apple did not give a firm timetable on when the new functionality would be available in the Podcasts app, only stating that it would be launched later this spring.
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The easiest way for rock radio to become more habitual and stickier is to stop thinking about it as a 24/7 product.
Rotation strategies change from format to format — many rockers need Zoloft if “Enter Sandman” plays twice a day. Some CHR programmers panic if Powers doesn’t play twice an hour.
Neither strategy is wrong. Different library sizes, audience behaviors — different strokes for different folks. But either way, rock radio still programs like listeners are there 24/7.
At RockTernative, we love Nirvana but really only love them once every 90 minutes. And if an artist only has two hits, they’d better spin 12 hours apart or the spreadsheet army will hunt you down.
For non-programmers, this strategy is meant to spread out rotations so a song like “Everlong” is heard by the whole audience over time, but never too often by any one listener. It makes sense.
But such critical thinking isn’t always being done with radio’s other, more important content.
Non-music content isn’t scheduled for nonlinear listening; it’s fixed to a clock. Morning shows, countdowns, features, even afternoon or night jock content — we’ll do that at the same time every day or week, but we’ll make sure our songs and artists are spread out evenly.
Consistent benchmarks can be powerful — I’m not hating on “Gimme 5 at 5” — and while there are differences between non-music content that changes daily and a song that is always the same, it doesn’t change the bigger picture here.
If something is so good that we’re paying for it and scheduling it, why only air it once?
I remember Fred Jacobs sharing a quote he liked from Tom Calderone. To paraphrase, radio is famous for doing great things once.
Tom is right. Radio — especially rock radio — does great things, but rarely repeats them. Under Tom, MTV relentlessly replayed its best moments — the VMAs, reality shows — so no one missed them. And back then, MTV was the king of kings. They knew they didn’t need 24 hours of unique content every day. No one can keep up with that.
That thinking still exists at big outlets.
ESPN will air the exact same SportsCenter back-to-back, sometimes three times.
Cable news airs some primetime shows twice each evening.
Let’s give the radio news wheel some credit — it was ahead of its time — repeating the biggest daily news hits several times each hour.
Radio, at times, gets unfairly called “old media,” but this is where the thinking is actually old. The data is front and center. No one is listening 24/7. Listeners usually check in for 10 minutes at a time. The heaviest listeners aren’t there every day or for multi-hour stretches, and most have habitual zones for listening.
Yet rock radio works hard to fill 24 hours with mostly unique content every hour. That isn’t necessary in 2026. It’s ok that many hours are filled with standard fare music, but:
Most morning shows don’t repeat content later in the show, later in the day, or even later in the week.
That great night jock bit at 7 p.m. isn’t replayed — ever.
The countdown show that PDs obsess over and advertisers love only airs once.
The interactive noon feature with great ratings isn’t heard by anyone who doesn’t listen at noon.
Data also shows the majority of P1s can’t name all the jocks and features a station has, and they quickly forget what they’ve heard.
So really think about it. Programmers are smart to make sure the biggest crossover hits like “Under the Bridge” are spread out and heard by all listeners, but the same care isn’t given to radio’s paid-for, exclusive content.
Takeaways:
When the morning show knocks something out of the park, replay it several times throughout the day and again early the next morning, or most will miss it.
That great request feature that listeners love so much? If it’s that great, do it a few times each day or most will miss it. If it’s not that great, why do it in the first place?
When Ozzy passed and sweat and tears went into producing a tribute, did it air several times, or did most miss it?
Radio creates great content every day.
But it’s time to burn the 24/7 mindset and schedule more reruns so those great moments are heard by everyone.
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.
Pod Save America landing a weekend show on MS NOW is more than a programming footnote. It’s a signal flare.
When a podcast brand that built its following outside traditional TV gets a cable slot, it confirms something the industry has been circling for years. There is now a real, working pipeline from podcasts to cable news, and MS NOW is smart to tap it.
This isn’t happening in a vacuum. Fox News already showed the blueprint with Will Cain. Cain proved himself in radio and podcasts before taking over the 4 PM ET hour. The transition didn’t feel forced. His audience followed, his voice fit the format, and Fox filled a key slot with someone already battle-tested. That’s the model, and MS NOW is now running its own version.
Pod Save America and other Crooked Media shows are uniquely suited for this experiment. They’re polished, disciplined, and built around hosts who know how to carry long-form conversations. These aren’t viral hit-and-run podcasts. They’re appointment listening for a loyal audience that already treats the hosts like trusted guides. Cable news executives love that kind of relationship, even if they don’t always say it out loud.
What makes this move especially compelling is the low-stakes nature of it. A weekend show doesn’t come with the same pressure as a weekday prime-time slot. Ratings expectations are lower. The audience is more forgiving. Both sides get room to breathe. MS NOW gets fresh voices and a built-in fan base, while Crooked Media gets a national television platform without the burden of immediately carrying the network.
That balance is the best of both worlds. If the show clicks, MS NOW looks savvy and forward-thinking. If it doesn’t, the network hasn’t burned valuable weekday real estate. For Crooked Media, it’s a chance to prove the brand translates visually, not just aurally. Podcasts live in the imagination. Cable news lives in the living room. Bridging that gap matters.
The broader takeaway is what this says about talent development. Cable news used to be the destination. Now it’s often the next step. Podcasts have become the farm system. Hosts learn how to structure arguments, manage guests, and build audiences before ever touching a studio camera. By the time they arrive on TV, they’re more prepared than many traditional hires.
That preparation shows up in confidence. Podcast hosts are used to talking without a teleprompter. They know how to pivot mid-thought. They’ve already built muscles for audience engagement. Those skills translate cleanly to cable, especially on weekends, where the tone can be looser and more conversational.
There’s also a branding advantage here. MS NOW gets to signal who it’s courting. By aligning with Pod Save America, the network is making its ideological lane unmistakable. That clarity matters in a crowded cable landscape. Viewers don’t stumble onto channels anymore. They choose them, often with intention.
For Crooked Media, this is about scale. Podcasts can be massive, but television still carries cultural weight. Being on MS NOW confers legitimacy in circles that may never open a podcast app. It’s another door opened, another audience reached, and another proof point for advertisers watching closely.
Expect more of this. Networks need talent that arrives with audiences attached. Podcasters want platforms that extend their reach. The incentives line up neatly. Fox News saw it with Will Cain. MS NOW is seeing it now. The podcast-to-cable pipeline isn’t theoretical anymore. It’s operational, and it’s only going to get busier.
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 race for attention is never-ending. It’s harder than ever to cut through, and it’s easier than ever to be forgotten. That reality puts immense pressure on news/talk content creators to consistently produce, stay relevant across all platforms, and engage audiences at all times.
Granted, most content creators love what they do and would hardly call it “working for a living.” But they must balance quality and quantity while delivering both at an ever-growing, almost obscene rate. Radio hosts are no longer competing only with other radio hosts; they’re competing on Facebook, X, Instagram, YouTube, podcast platforms, and everywhere else imaginable.
With the rat race unrelenting, finding ways to break through it is imperative. Sometimes that comes from things you can control or strategically plant. Other times it’s simply luck of the draw. In just the last week, three prime national examples have illustrated this reality.
Barrett Media reported that Don Lemon has seen a 73% increase in Substack subscriptions since his January 30 arrest, while also adding 140,000 subscribers on YouTube. Mr. Lemon should cut a commission check to President Trump, who undoubtedly helped the personality’s cause with free promotion of his independent news outlet.
Lemon gets the attention, dabbles with the victim card, and grows his business.
Meanwhile, overseas, Tucker Carlson claimed he was briefly detained at an Israeli airport this week. The U.S. Embassy denied the claim. I’m not going to determine who’s telling the truth, but a quick Google search of Tucker Carlson reveals dozens, if not hundreds, of online publications covering both sides of the story.
Do you think this will help Tucker when he drops his next episode on the Tucker Carlson Network? You bet.
Last but not least, Stephen A. Smith continues to flirt with a 2028 presidential run. He has discussed it on CBS Sunday Morning, on his show, and Bill O’Reilly encouraged him to pursue it on NewsNation this week. No matter what Smith ultimately decides, he has already done his job by directing the news cycle squarely onto himself.
As long as he remains a media star, he’s doing exactly what he’s paid to do. There’s zero downside and plenty of upside. Smith is smart and winning.
Each example shows how personalities continue to battle for attention, hearts, and minds in an increasingly crowded space. Standing out grows more difficult by the day. Some may dislike the tactics, but these three personalities hold different political viewpoints and compete in the digital arena with their own individual shows. All while drawing attention to their platforms to drive views, streams, and downloads.
They’re succeeding and doing exactly what it takes to “win” in media in 2026 and beyond.
The barriers to entry in the media space are lower than ever. Thanks to technological advancements, podcasting, YouTube, and the camera and microphone on your smartphone. However, cutting through still remains more difficult than ever.
It takes consistency, quality, time, and deliberate brand building. Ultimately, finding unique ways to stand out in your space. Whether in local radio or on national digital platforms, this represents the challenge we all face.
Whether you’re left or right, in news or sports, love or hate each of the personalities listed above. If you set your bias aside, you can learn something from every one of them.
Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.
I’ve been asking coaches questions for 30 years. Tough ones. Awkward ones. Ill-timed ones. Questions after gut-punch losses, euphoric wins. Inquiries that made coaches like Mick Cronin squirm and made players bristle. Questions where I had to recalibrate mid-sentence because I could feel the temperature in the room rising.
Some that didn’t come out exactly like I had it in my head. That’s the job.
Which is why watching UCLA head coach Mick Cronin unload on a reporter after an 82–59 loss to Michigan State this week wasn’t just uncomfortable — it was revealing.
The question? About the Michigan State student section chanting at a former Spartan now wearing a UCLA uniform. Context. Atmosphere. Narrative. Something that could be part of a feature. A sidebar. A column. A radio hit. A television package. Because everyone in the media has a different viewpoint and job to do.
Cronin’s response?
“I could give a rat’s a** about the other team’s student section. I would like to give you a kudos for the worst question I’ve ever been asked.”
When the reporter tried to clarify, Cronin escalated: “Are you raising your voice at me?”
That’s not competitive fire. That’s a coach swinging at a piñata because he can’t punch the scoreboard.
With UCLA basketball, expectations are always enormous. Pressure is mounting. Cronin had just watched his team get run off the floor. Earlier in the game, he ejected his own player in a moment that raised eyebrows nationally.
Frustrated? Of course. But part of the job — a big part of the job — is how you handle the media when you’re frustrated. This moment won’t motivate his team, rally alumni, nor help UCLA recruiting. It won’t strengthen the brand of a once-proud blue-blood basketball program.
If anything, it exposes cracks. Some will call it intensity. Competitive nature. Passion. I call it desperation.
If I’m UCLA — a program that once had John Wooden walking the sideline — I’m asking myself whether this is the man to lead it forward. Not everyone is as cerebral as Wooden. Times have changed. The media ecosystem has gone from The Flintstones to The Jetsons. Coaches can say they don’t read it, don’t watch it, don’t listen to it — but they know exactly what’s being said.
Yes, it’s different now. If you have a phone and an internet connection, you can technically be “media.” A kid in his mom’s basement can fire off takes behind a keyboard. That has to frustrate someone who has dedicated his life to the craft at an elite level.
But that’s why you get paid the big bucks. And sometimes, you get paid big bucks not to coach anymore.
I’ve lived the other side of that podium. Jim Harbaugh would dissect every syllable of a question to determine if there was a negative tone. He’d challenge wording and test you. It was part strategy, part theater. There’s always been a cat-and-mouse game between coaches and media. Some coaches use you. They’ll send a message to their team through your question. They’ll flip a narrative and turn it into motivation.
The savvy ones understand the dance.
I’ve joyously interviewed Michael Jordan live while champagne was being poured on his head. I’ve delicately asked Kyle Shanahan what it feels like to lose the Super Bowl in overtime 20 minutes after it happened. You earn your way, and over time, with most of them, you gain respect — because you show up. You face them, explain yourself and own what you say.
There’s a method to asking tough questions. You’re trying to draw something out. You’re serving your audience, adjusting on the fly, and balancing tone and timing. But you have a job to do, and while many people think it’s all fun, being firm but fair is part of the gig. No matter what angle you’re chasing.
The thing is, coaches don’t always know the angle. They don’t know if that question about a student section chant is part of a larger human story about a player returning to a hostile environment. They don’t know if it’s a quick radio soundbite or a 1,200-word column.
So how is it automatically the “dumbest question ever”? It isn’t.
Here’s where Cronin really stepped over the line: If the roles were reversed — if a reporter, in a snarky tone, shot back at a coach, “Are you raising your voice at me?” — that reporter would likely be off the beat. Credential pulled. Reputation damaged. But when a coach does it? It’s called “intensity.”
No. It’s unprofessional.
Coaches coach. Players play. Reporters ask. We’re not fans in the press room and not there to clap and cheer. We’re there to inform, analyze, and sometimes press on uncomfortable subjects. Mutual respect matters. I respect your living. Respect mine. There’s no need to embarrass. No need to intimidate or imply one job is more important than the other.
Cronin’s outburst wasn’t leadership or strategy. It wasn’t motivational genius. It was frustration spilling over in public view. At a place like UCLA, when frustration starts showing cracks in the armor, administrators eventually ask hard questions of their own.
That’s how this works. We all have a job to do. Sometimes the toughest questions aren’t asked in the press conference — they’re asked in the athletic director’s office.
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Those of us in sales learned early on that everything builds toward that simple act of “asking.” Inevitably, we’ve got to ask for the meeting, for commitment, and of course, we should ask for the order. Very often, we must ask for more. Requests for more time, more revenue, or a longer commitment.
Despite this universal requirement, the moment the need for asking arrives often triggers a surprising amount of fear. It’s a paradox of sorts, as most sellers don’t fear the hard work that comes with the job. The fear is actually in saying the words aloud because they believe it may take the conversation in an entirely different direction.
This “fear of asking” is, without a doubt, one of the most common and costly barriers in a salesperson’s life.
It tends to poke its nasty little head out in the subtlest of ways. For instance, salespeople tend to over-explain and keep presenting long after the prospect is ready. This leads to the classic “Selling past the close.”
Oftentimes they miss the buying signals and client questions that telegraph extreme interest, allowing strong opportunities to quietly drift away. Some may end up saying, “Well, think about it and let me know,” instead of directly asking for a decision.
Of course, sometimes they avoid asking for a larger dollar spend because they think in terms of their own money rather than from the perspective of the client’s business needs.
In truth, we all know that asking brings reality to any outcome, whatever it is. It’s like asking your boss for a raise. Until your ask is articulated, hope lives on. The moment you ask, you invite a yes or a no. Even for a seasoned sales representative, a no becomes personal, even though we all know intellectually that it isn’t.
Any form of “no” can feel like judgment on our competence, personality, or even personal self-worth.
We all want to be liked as professionals. We pride ourselves on our ability to build relationships, solve problems, offer solutions, and become trusted partners. Asking for the sale makes so much of what we do seem transactional or pushy, even when it’s completely appropriate.
The fear isn’t just “What if they say no?” It’s “I could damage the relationship.” So instead of asking, we wait for a signal that rarely comes.
There is also a fear of uncertainty that may be sparked by less confidence or less experience. Sellers often hesitate to ask because they may not have true belief or confidence in the offer itself, which might be a function of not fully understanding the prospect’s needs. When value is unclear, asking will always feel risky.
For a salesperson, that translates to talking more versus testing whether the message was received.
Ironically, it all becomes problematic because without a direct ask, the prospect begins to experience frustration. They’ve been patient, listened, and now they’re interested and waiting for direction. When a salesperson fails to ask, it only creates confusion and doubt. Self-confidence signals competence, but hesitation telegraphs uncertainty, even when the sales solution is strong.
Don’t misunderstand overcoming the fear of asking. In no way does it suggest becoming aggressive or manipulative. Instead, it simply means reframing your own perceptions of the ask. If a salesperson truly believes their service, product, or solution will help their customer, then asking is not a pressure tactic.
Rather, it offers clarity and gives the prospect the ability to decide.
Preparation helps, too. That’s why a strong CNA or discovery meeting is essential. Asking good questions in the early meetings confirms your own understanding and helps outcomes feel more comfortable. As a result, the ask becomes a natural next step rather than a leap of faith.
Ultimately, the most successful salespeople separate their own value and sense of identity from any outcome. “No” is never a judgment. It’s just information. I love the adage, “Failure isn’t in getting a ‘no’ – it’s never giving your client a chance to say ‘yes’”.
I have been selling (in one form or another) my whole life, and the truth is that the fear of asking never fully disappears. But we learn to ask anyway because we know that progress depends on it.
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Craig Carton did not mince words when reacting to ESPN’s plan to launch Women’s Sports Sundays this summer, delivering a blistering critique during Thursday’s edition of The Craig Carton Show on SportsGrid in which he questioned both the strategy and the long-term direction of the self-proclaimed Worldwide Leader.
Carton opened with a dramatic flourish, declaring that “ESPN just died” and arguing that the network’s decision to replace a 35-year Sunday baseball programming tradition with a themed women’s sports block signaled the end of an era.
“This is not a knock on the fabulously talented women that play professional sports,” said Carton. “They are very good at what they do when compared to other women. The reality is that there’s never been a television audience for it until Caitlin Clark started playing basketball in the WNBA.”
He acknowledged that the WNBA capitalized on Caitlin Clark’s popularity with record attendance and ratings. However, he questioned whether that surge can sustain a full summer programming strategy. He specifically wondered about consistency without Clark in marquee matchups.
Carton also questioned what he described as a lack of clarity around the concept. He wondered what Women’s Sports Sundays would include beyond live games. He speculated about possible studio shows and on-air talent pairings. Carton suggested that vague messaging from ESPN invited skepticism. He questioned how the block would be executed and who would lead the conversation each week.
“You’re going to get a nine week run all summer long. By the way, what does that mean? Bespoke studio programming? What does that mean,” questioned Carton. “Are we going to have a bunch of non binary transgender athletes commentating on athletics. I don’t know what it means.”
In perhaps his most pointed comment, Carton argued that if Clark is not featured prominently in every Sunday night showcase, ESPN risks undermining the very ratings lift it appears to be chasing.
“If Caitlin Clark is not playing in every single Sunday night game on ESPN, then you’re dumber than you act,” said Carton.
Carton went further and proposed a different strategy. He suggested leaning into reality-style competition programming featuring prominent female Olympians.
“First thing I would do is I take the 10 hottest female Olympic athletes and I have them do stuff like a Survivor. I would bring back Battle of the Network Stars. I would put that on instead,” joked Carton.
ESPN has positioned Women’s Sports Sundays as an extension of its expanding commitment to women’s leagues and championships, particularly as advertisers and younger demographics increasingly embrace those properties.
Across nine consecutive weeks and 12 different games, ESPN will deliver women’s sports matchups, providing what it labeled as “the biggest moments, rivalries and stars across women’s sports on ESPN networks in premium windows.”
RIP ESPN 1979-2026: Replacing Sunday Night Baseball with Women’s Sports Sundays!
“ESPN just passed away! It’s a wrap for what used to be the "Worldwide Leader”… after a 35-year old Sunday programming mainstay, they have decided to go to Women’s Sports Sundays! The reality is… pic.twitter.com/GhAZ3jYeKh
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