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John Catsimatidis Responds to Curtis Sliwa’s Comments About 77WABC Exit

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John Catsimatidis has fired back at former 77WABC host and New York City mayoral candidate Curtis Sliwa. Sliwa filled in for Mark Simone on Monday on 710 WOR and shared that he’s considering returning to news/talk radio. However, Sliwa reiterated that he will “never” return to WABC. The longtime New York talk show host claims he was backstabbed by WABC hosts and executives during his mayoral campaign.

In a post on 77WABC’s X account, John Catsimatidis defended the station’s handling of Sliwa’s campaign coverage. The Red Apple Media CEO rejected the notion that the outlet failed to support its former host.

“Curtis, for the record, WABC gave you approximately 180 days of unlimited airtime when you were running for mayor, which is invaluable,” Catsimatidis said.

According to Catsimatidis, the station’s support only changed after a formal complaint was filed by Joseph Hernandez, which management addressed. He also noted the broader political climate at the time influenced the station’s final decision in the weeks leading up to Election Day.

“Seventeen days before the election we followed the concern of the majority of New Yorkers — including Republicans, Independents and common-sense people — who would rather have a Democrat versus a socialist,” he said.

Catsimatidis framed the situation as a matter of balance.

“For the record: 180 days of unlimited access to the public versus 17 days when there was no hope,” he wrote.

Despite Sliwa’s recent criticism, Catsimatidis added that he chose to remain publicly supportive after the election.

As of the time of this story, Sliwa has yet to address Catsimatidis’ response. WOR has not made an official announcement about Sliwa joining the New York talk radio outlet in a permanent role. Sliwa is however scheduled to appear at a WOR event in mid-March alongside Mark Simone and Larry Mendte.

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NBC Sports Sees 87% Leap In Viewership In Early NBA All-Star Game Returns

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The NBA All-Star Game returned to NBC for the first time in nearly a quarter century and immediately produced the kind of audience the network hoped would validate its investment in reclaiming league rights.

NBC Sports announced that Sunday night’s 2026 NBA All-Star Game, built around the revamped USA vs. The World concept, averaged 8.8 million viewers across NBC, Peacock and Telemundo, according to preliminary Nielsen figures and Adobe Analytics digital data.

That total represents the largest All-Star audience since 2011 and an 87% jump from last year’s 4.7 million viewers.

The broadcast peaked at 9.8 million viewers between 7:00 and 7:15 p.m. ET as Team USA secured a 48-45 win over the World squad, capping a tightly contested finish that kept viewers engaged deep into the window. The audience spike coincided with the final possessions of the game, a sign that the new format delivered competitive tension that recent exhibitions have struggled to maintain.

Anthony Edwards earned MVP honors after scoring 32 points and adding nine rebounds and three assists for the victorious Americans, while Victor Wembanyama poured in 33 points with eight rebounds and two blocks for the international side. The star power, combined with national pride as a storyline, gave NBC a narrative hook it aggressively promoted throughout the week.

The All-Star broadcast also benefited from strategic scheduling. NBC placed the game between extensive coverage of the Milan Cortina Winter Olympics, creating a sports-heavy Sunday that kept viewers within the NBCUniversal ecosystem for much of the day. Olympic coverage in the live afternoon window and primetime combined to average 26.6 million viewers across NBC, Peacock, CNBC and USA Network.

Through Sunday, nine of the first 10 days of Winter Olympics coverage surpassed 20 million viewers, according to official Nielsen Big Data + Panel measurements and preliminary figures. Overall, the Milan Cortina Games are averaging 24.5 million viewers across NBCUniversal platforms, marking the strongest Winter Olympics performance at this stage since the 2014 Sochi Games.

Streaming continues to play a central role in that growth. Peacock has helped drive a record 10.3 billion minutes streamed for the Milan Cortina Olympics, a figure nearly 50% higher than the combined total of all previous Winter Games.

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Anderson Cooper to Exit 60 Minutes

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Anderson Cooper has long been a fixture on 60 Minutes for CBS News. That, reportedly, is about to come to an end, however.

According to a report from Breaker’s Lachlan Cartwright, Cooper has informed CBS News that he will not renew his contract to contribute to the venerable news program.

Cooper originally joined the news magazine in December 2006. During his time with 60 Minutes, he has continued to host his Anderson Cooper 360 primetime program for CNN.

In a statement, Cooper confirmed his exit from the show.

“Being a correspondent at 60 Minutes has been one of the great honors of my career,” Cooper said. “I got to tell amazing stories, and work with some of the best producers, editors, and camera crews in the business. For nearly twenty years, I’ve been able to balance my jobs at CNN and CBS, but I have little kids now, and I want to spend as much time with them as possible, while they still want to spend time with me.”

CBS News thanked Cooper for his time with the program in a statement.

“For more than two decades, Anderson Cooper has taken 60 Minutes viewers on journeys to faraway places, told us unforgettable stories, reported consequential investigations and interviewed many prominent figures,” the network said. “We’re grateful to him for dedicating so much of his life to this broadcast, and understand the importance of spending more time with family. 60 Minutes will be here if he ever wants to return.”

The news that Anderson Cooper will depart 60 Minutes comes as CBS News undergoes widespread changes under the tutelage of Bari Weiss. Before Weiss’ arrival, the news magazine underwent its own restructuring, as longtime executive producer Bill Owens exited for what he cited as philosophical differences when the company reached a settlement in the lawsuit brought forth by President Donald Trump. That lawsuit was in regard to a 60 Minutes interview with then-Vice President Kamala Harris in advance of the 2024 election.

The network subsequently named Tanya Simon as the new Executive Producer of the show, with Draggan Mihailovich being named the new Executive Editor.

60 Minutes has remained in the headlines following Weiss’ appointment as Editor-in-Chief of CBS News. A controversy erupted in December after she pulled a story surrounding CECOT from airing hours before the program was set to broadcast, stating that it wasn’t fully reported. It later aired to little fanfare.

Reports surfaced last month questioning whether Anderson Cooper still fit into the overall culture at CBS News. Rob Shuter wrote in a Substack column that sources shared that Cooper’s status as “a talented gentleman” no longer fit the vision of CBS News, stating that the Weiss-led regime “wants alpha,” “someone who commands the room,” and “projects dominance.”

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Dan Zampillo Joins Gamut Podcast Network

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Dan Zampillo is heading back into the podcasting spotlight, this time with a growing network that continues to expand its national footprint. Zampillo announced on LinkedIn that he has joined the Gamut Podcast Network as an executive producer. The sports audio veteran adds another experienced voice to a company focused on building premium, personality-driven audio programming.

The move reunites Zampillo with a side of the business he has helped shape for years. Throughout his career, he has worked across digital audio, sports media and branded content, developing shows and talent strategies designed to connect with loyal, niche audiences while also appealing to advertisers seeking scale and engagement.

Now, he steps into a leadership role where creative oversight and talent development will sit squarely on his shoulders.

Zampillo brings a wealth of experience to the table from his roles both in traditional and digital sports media. He has programmed 97.1 The Ticket in Detroit, ESPN 980 in Washington D.C., and The Fan in Columbus. He also served as operations manager of ESPN Los Angeles. In addition, Dan spent time with SiriusXM as its director of programming for several channels and worked with The Ringer and Spotify for four years as an audio executive. He has also worked for Prize Picks and WGN Radio in Chicago.

Gamut has worked to position itself as a destination for hosts who want production support without sacrificing creative identity. Bringing in an executive producer with Zampillo’s background reinforces that strategy.

For Zampillo, the opportunity represents another chapter in a career defined by adaptation and evolution.

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Nick Bahe Added To Westwood One’s Coverage Of The NCAA Tournament

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College basketball analyst Nick Bahe will take on an expanded national role this March after announcing that he has signed a multiyear agreement to serve as Lead Studio Analyst for Westwood One’s coverage of the NCAA Men’s Basketball Tournament and Final Four.

The agreement formalizes Bahe’s elevated position with Westwood One, which holds exclusive national radio rights to the men’s tournament and distributes every game from the First Four through the national championship to hundreds of affiliates and digital platforms nationwide.

“Happy to announce that I’ve signed a multi year deal to be the lead studio analyst for Westwood One for the NCAA Tournament and Final Four,” wrote Bahe. “March Madness is the greatest sporting event and I’m so excited to cover it again with the great people at Westwood One!”

As Lead Studio Analyst, Bahe will anchor pregame, halftime and postgame coverage, in addition to contributing analysis throughout the network’s comprehensive tournament programming.

For Westwood One and its parent company, Cumulus Media, the NCAA Tournament remains a cornerstone property that delivers appointment listening and significant advertiser interest during a three-week window defined by buzzer-beaters, bracket-busting upsets and rapidly shifting storylines.

Bahe’s basketball background provides a strong foundation for the assignment. He began his collegiate career playing two seasons under Bill Self at the University of Kansas before transferring to finish his career under Dana Altman at Creighton University, where he started every game as a senior and served as team captain. During his college career, Bahe participated in three NCAA Tournaments and one NIT appearance, experiences that now inform his postseason analysis.

Bahe transitioned from playing to media with notable success. A sports talk radio veteran, he hosted Game Time with Nick Bahe on 1620 The Zone in Omaha. He was named Nebraska Sportscaster of the Year in 2016.

In addition to his new Westwood One role, Bahe serves as a college basketball analyst for FS1, where he has called games and contributed studio analysis. He has also worked with the Big Ten Network and CBS Sports Network, while continuing as the radio color analyst for Creighton men’s basketball.

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Apple Podcasts Launching Video Capabilities to Compete with YouTube, Spotify, and Netflix

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Apple has announced it is launching video functionality in its Apple Podcasts app later this year in an effort to compete with YouTube, Spotify, and Netflix.

In a statement, Apple Senior Vice President of Services Eddy Cue said the moment marks a milestone for the organization.

“Twenty years ago, Apple helped take podcasting mainstream by adding podcasts to iTunes, and more than a decade ago, we introduced the dedicated Apple Podcasts app,” said Cue. Today marks a defining milestone in that journey. By bringing a category-leading video experience to Apple Podcasts, we’re putting creators in full control of their content and how they build their businesses, while making it easier than ever for audiences to listen to or watch podcasts.”

The development is expected to be launched on the platform later this spring. The company began testing beta versions of the functionality on Monday.

In the announcement, Apple said that users will be able to “switch seamlessly between watching and listening to shows.” Users will be able to alter playback speeds from 0.5x to 3x speed, and will offer a new “Enhance Dialogue” mode, in addition to being able to offer transcripts in 13 languages.

Both vertical and horizontal video formats will be made available in the HTTP Live Stream (HLS) technology. Apple will charge participating ad networks an impression-based fee for the delivery of dynamic ads in HLS video on Apple Podcasts starting later this year.

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FOX Sports Announces Return of SPEED With New Show Featuring Kevin Harvick and Will Buxton

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As the engines roared and the spotlight intensified at Daytona International Speedway, NASCAR’s most visible event once again doubled as a launching pad for industry news. This year’s Daytona 500 delivered more than dramatic racing and packed grandstands as FOX Sports used the moment to unveil a new content play featuring one of the sport’s most recognizable voices.

During its race broadcast, FOX Sports announced the creation of SPEED with Harvick and Buxton, a new video podcast pairing NASCAR champion and network analyst Kevin Harvick with fellow Fox broadcaster Will Buxton in a cross-discipline project designed to connect multiple racing audiences under one digital umbrella.

The show, which is scheduled to launch on YouTube on Monday, February 23, will not limit itself to stock car racing. The program will feature a wide-ranging motorsports conversation that extends beyond NASCAR into IndyCar, Formula One and other racing properties competing for fan attention across an increasingly fragmented media environment.

Harvick, who transitioned to television following a decorated Cup Series career, has already established a foothold in digital media with Kevin Harvick’s Happy Hour, a podcast that debuted in 2024 and quickly gained traction among dedicated racing listeners seeking driver insight delivered with credibility and candor.

Buxton, known to open-wheel audiences for his work in IndyCar and Formula One coverage, brings a global motorsports perspective that complements Harvick’s stock car pedigree, and Fox executives appear to be betting that their contrasting styles and backgrounds will broaden the reach of the network’s racing portfolio while encouraging crossover viewership between disciplines.

The revival of the SPEED branding also nods to FOX’s earlier motorsports television presence, a strategic move that blends nostalgia with modern distribution by placing the content directly on YouTube, where video podcasts continue to attract younger viewers and international audiences who consume racing coverage outside traditional broadcast windows.

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Barstool Sports’ Brandon Walker: NBC Olympics With Snoop Dogg More Valuable Than NBA All-Star Game

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Barstool Sports personality Brandon Walker is not shy about critiquing major networks, and on Monday’s edition of Mostly Sports, he turned his attention squarely toward NBC Sports over its handling of Sunday night programming during a crowded sports calendar that included both the NBA All-Star Game and ongoing coverage of the Winter Olympics.

Walker questioned NBC’s decision to preserve Olympic programming in primetime while shifting other marquee properties earlier in the day. Albeit the NBA announced the game time would shift due to their network agreement with NBC this season, Walker framed the move as a deliberate.

“NBC owns the world. NBC has everything,” Walker said. “NBC had the Super Bowl in the middle of the Olympics. Then had the NBA All Star game in the middle of the Olympics. But they’re not going to stop having the Olympics. They still want their Olympics prime time, so they moved everything up.”

His comments suggest that NBC’s scheduling strategy reflects a long-held belief. The network views Olympic coverage as having a distinct primetime identity. It appears reluctant to dilute that brand. That remains true even when competing properties could draw significant viewership in the same window.

Walker then sharpened his tone by contrasting the NBA’s exhibition showcase with NBC’s personality-driven Olympic features. He specifically highlighted the prominent role of Snoop Dogg within the broadcast.

“We could watch the NBA All Star game on Sunday Night prime time or we could watch Snoop Dogg find out what speed skating is in real time,” Walker joked. “We can watch him go to somebody’s training facility and be like, wow, what are you what are you doing? That’s crazy, and that’s what we that’s what the Olympics are these days.”

NBC has leaned heavily into celebrity integrations throughout its recent Olympic presentations, often pairing athletes with entertainers to create shareable moments designed to resonate beyond traditional sports audiences.

Walker, however, argued that the approach risks overshadowing the athletes themselves when the storytelling centers too frequently on a celebrity’s reactions.

“I don’t think they [NBC Sports] have what they think they have,” Walker said. “I think they believe America wants to view the Olympics through Snoop Dogg’s eyes. I don’t think that’s the case. I’m as entertained by the guy as the next guy. Give me twice an Olympics, that’s plenty. But every night. Whoever the medal hopeful is for America, they go to an interview with Snoop Dogg where he’s just mystified by the fact they can stand up on skates.”

NBC has consistently defended its broader Olympic strategy as an effort to expand reach and modernize presentation for evolving audiences, emphasizing cross-platform accessibility and entertainment value alongside competition. Still, Walker’s critique highlights an ongoing debate about whether celebrity-driven features enhance Olympic storytelling or gradually shift the spotlight away from the competitors whose performances anchor the Games. Also the events that drive interest annually being less valuable to networks than the Games themselves.

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Curtis Sliwa: It’s Time for Me to Get Back Into the Mix with Talk Radio

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Former 77 WABC host Curtis Sliwa has been away from a permanent place in the talk radio landscape in New York since departing the station to run for Mayor in the Big Apple last year.

However, he says it is time for him to get back into the game in New York.

While filling in for 710 WOR midday host Mark Simone on Monday, Sliwa said he’s received urges from power brokers in the city to not return to the airwaves.

“I gotta tell you, a lot of people would tell me, ‘Don’t go back to talk radio. You’ve done it for 35 years,'” Sliwa said. “People have wanted me to do videos or podcasts. I’ve got a lot of Gen Z’s and millennials now following me … They don’t listen to talk radio. Come on. Let’s be honest. They don’t listen to talk radio. It’s people 55-plus. But the other day, my wife said on Valentine’s Day ‘You got a mission. Everywhere we go, people say, ‘Hey, would you come back and save talk radio?’

“So stay tuned, ladies and gentlemen,” Sliwa continued. “It’s time for me to get back into the mix of talk radio, in addition to all of the other things I’m doing.”

During his monologue, Curtis Sliwa reiterated his claim that he would never return to 77 WABC after he felt he was backstabbed by those both on-air and behind the scenes at the station during his run for Mayor.

While he did not announce any concrete plans for when or where he would return to news/talk radio permanently, Curtis Sliwa is billed as appearing at a 710 WOR event alongside morning host Larry Mendte and midday host Mark Simone later this week.

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Stephen A. Smith Believes He Is Not The Face Of ESPN

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Stephen A. Smith is one of the most recognizable figures in sports media, yet he is not ready to claim a title that many viewers and critics casually assign to him. During a recent appearance on CBS Sunday Morning, Smith addressed the perception that he serves as the face of ESPN, offering a measured response that blended humility with an acknowledgment of the audience’s influence on his stature.

“I don’t know if they’ve made me the face of ESPN,” Smith said. “I don’t even try to consider myself that half the time. I work, and I put in the work. The people decide who the face is. I would tell you, they recognize that, and they’ve rewarded me accordingly.”

The comments reflect a theme Smith has leaned into throughout his career: visibility is earned daily rather than assumed. While his presence across marquee programming has made him synonymous with ESPN for many viewers, Smith suggested that such a designation ultimately belongs to the public, not the personality.

At the same time, he did not dismiss the significance of his role. Instead, he emphasized that recognition from both management and audiences stems from sustained effort and reliability, qualities he believes shaped his latest contract with the network.

Smith also explained why financial security has not altered his approach to the job.

“I take credit for this, I’ve proven I’m trustworthy,” he said. “In other words, I’m not the kind of guy that’s gonna take the money and run. I’m not the kind of guy that’s working my tail off, and then all of a sudden I got the money. So suddenly I’m not gonna work my tail off. The same things that I did to achieve what I achieved. I will strive to continue to do, plus elevate on top of that to make them not out to be liars. Now, hopefully over the next four and a half years, I’m able to pull that off. That is clearly the goal.”

Consequently, Smith framed his continued workload as validation rather than obligation. He said it reflects the confidence ESPN showed when structuring his contract. Smith added that maintaining, and even elevating, his output serves both personal pride and corporate credibility. That stance carries added weight as media contracts and on-air talent face increased scrutiny.

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