Sportradar AG is expanding its footprint across regional NBA broadcasts through a new multi-year agreement with NBC Sports Regional Sports Networks, a move designed to further modernize how fans consume live basketball telecasts.
Beginning with the 2025-26 NBA season and running through 2026-27, NBC Sports RSNs will integrate Sportradar’s NBA Advanced Data and GameFrame technology into hundreds of live game broadcasts across multiple NBA markets. The partnership centers on using real-time data and artificial intelligence to deliver enhanced storytelling, deeper analysis and more visually engaging coverage during live action.
At the heart of the agreement is GameFrame, Sportradar’s AI-powered broadcast solution that converts live player-tracking data into on-air graphics, animated replays, shot charts and customized visual elements. The technology is designed to help announcers and analysts break down plays as they happen, offering viewers clearer insight into spacing, movement and decision-making on the floor.
For NBC Sports Regional Networks, the deal represents another step toward evolving its local NBA coverage at a time when fans increasingly expect advanced analytics to complement traditional commentary.
“Enhancing the viewing experience is essential to our NBA coverage across regional sports networks,” said Jon Slobotkin, senior vice president of content and live programming for NBC Sports Regional Networks. “Sportradar’s GameFrame offers a new way to add data-driven insights directly into live coverage, bringing visually stunning stories that resonate with today’s fans.”
Sportradar and NBC already share a long-standing relationship across multiple sports and platforms, and executives on both sides view the expanded NBA agreement as a natural progression.
“This agreement builds upon our long-standing relationship with NBC and reflects how we continue to expand the ways we support their live sports coverage,” said Brian Josephs, vice president of the Americas for Sportradar. “As NBC continues to evolve how it serves fans across platforms, Sportradar is helping deliver the data-driven tools that bring greater clarity and context to live games.”
The timing of the partnership aligns with a broader industry push to differentiate local and regional broadcasts in an increasingly fragmented media landscape. While national NBA telecasts often debut new production elements, regional sports networks play a critical role in experimenting with presentation tools that enhance nightly coverage for team-focused audiences.
By embedding advanced data directly into live game broadcasts, NBC Sports RSNs aim to provide more than surface-level statistics, allowing fans to better understand why plays succeed or fail. That approach also gives on-air talent additional tools to explain the game in real time without disrupting the flow of live action.
Founded in 2001, Sportradar has grown into one of the sports industry’s leading technology providers, operating at the intersection of sports, media and betting. The company works with major leagues, federations and media partners worldwide, covering more than one million events annually while also operating an integrity services division focused on safeguarding competition.
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Barrett Media’s Top 20 series for Sports Radio has reached its conclusion. Today, we recognize the format’s top Sports Radio Stations in Major and Mid-sized Markets. Starting on Tuesday, we shift to the Top 20 in News/Talk radio and television. The series then pivots to Music Radio from February 23-March 4.
To stay updated on all of the Top 20 Major and Mid Market lists across the entire industry, keep an eye on this website, our newsletters and X, Facebook, LinkedIn, TikTok, and/or Instagram. After the Top 20 series is done, I will record a video discussing the key takeaways from this year’s results. That video will be posted on the Barrett Media YouTube page. Be sure to subscribe to be notified once it’s 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 39 brands were eligible for voting consideration in the Major Market Sports Radio Stations category.
And the Winner Is…
98.5 The Sports Hub in Boston. This is the eighth straight year that The Hub has been voted the best Major Market Sports Radio Station. The brand has been recognized with the top honor a total of nine (9) times in this series. Without question, it is recognized by sports radio’s finest as the cream of the crop among sports radio stations. Congrats to Mary Menna, Rick Radzik and the entire Hub team on the well deserved honor.
I want to thank Dylan Barrett for creating the artwork for this series, and each voter who participated in the process. Now without further delay, here are Barrett Media’s Top 20 Major Market Sports Radio Stations of 2025.
Additional Notes:
98.5 The Sports Hub enjoyed a sixty four (64) point win over Sports Radio 94WIP. The Hub scored the most first-place votes in the category with twelve (12).
Spots 21-25 belonged to 97.3 The Fan, Sports Radio 610, Altitude Sports 92.5, 680 The Fan, and WQAM.
The closest contests saw 95.7 The Game and Seattle Sports 710 edge 106.7 The Fan and KNBR by one (1) point each.
Of the 39 Sports Stations to appear on submitted ballots, eight (8) received at least one 1st place vote.
Barrett Media produces daily content on the music, news, and sports media industries.Sign upfor our newsletters to stay updated and get the latest information right in your inbox.
Barrett Media’s Top 20 series for Sports Radio has reached its conclusion. Today, we recognize the format’s top Sports Radio Stations in Major and Mid-sized Markets. Starting on Tuesday, we shift to the Top 20 in News/Talk radio and television. The series then shifts to Music Radio from February 23-March 4.
To stay updated on all of the Top 20 Major and Mid Market lists across the entire industry, keep an eye on this website, our newsletters and X, Facebook, LinkedIn, TikTok, and/or Instagram. After the Top 20 series is done, I will record a video discussing the key takeaways from this year’s results. That video will be posted on the Barrett Media YouTube page. Be sure to subscribe to be notified once it’s 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 54 brands were eligible for voting consideration in the Mid Market Sports Radio Stations category.
And the Winner Is…
104.5 The Zone in Nashville. This is The Zone’s first category win since 2016. The station ranked third in 2024. Congrats to Allison Warren, Paul Mason, and the entire Zone staff on the well earned recognition.
I want to thank Dylan Barrett for creating the artwork for this series, and each voter who participated in the process. Now without further delay, here are Barrett Media’s Top 20 Mid Market Sports Radio Stations of 2025.
Additional Notes:
104.5 The Zone registered a nine (9) point victory over WJOX. The Zone and WJOX finished tied for the most first-place votes in the category with three (3).
Spots 21-25 belonged to 102.5 The Game, KSL Sports Zone, SA Sports Star 94.1, ESPN Las Vegas 1100, and 99.1 The Sports Animal.
The closest battles included 97.1 The Fan and 1010XL holding off 104.5 ESPN and 93.5/107.5 The Fan by two (2) points each.
Of the 54 Sports Stations to appear on submitted ballots, eleven (11) received at least one 1st place vote.
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SuiteRadio has announced it has added industry consultant Mike McVay as a strategic advisor to help grow the company’s increased original broadcast programming.
The 2025 Radio Hall of Fame inductee will help expand the SuiteRadio lineup with additional programs while helping grow the footprint of the already established offerings.
“The level of high-quality content and multiplatform approach of SuiteRadio is unique, and that excites me,” McVay said. “Add to that the creativity of their leadership team and how they view media, and this opportunity is going to be groundbreaking, and that makes it magnetic.”
“We are fortunate to have top talent like Rowdy Yates in the SuiteRadio tent,” added SuiteRadio COO Pat Fant. “As Talent Wrangler, Rowdy has identified new voices that we are about to bring into syndication. Mike will be key to our rolling out these strong new daypart shows that cross into several new format lines. SuiteRadio is committed to content that’s compelling, and not cookie-cutter.”
The Houston-based company offers radio syndication shows like The Rowdy Ride Home, Ridin’ with Rowdy, and Rowdy on the Rise — all hosted by Rowdy Yates — with more programs like The Dan Gallo Show, Smokin’ & Toastin’,and The Otis Advisory also in the fold.
“I’m beyond excited about adding Mike McVay to our team and RFC and SuiteRadio,” the company’s President, Cruz Cruzer, added. “His invaluable experience and knowledge of radio and audio streaming are a perfect match for us.
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 NFL season came and went like a thief in the night. The grand finale from Santa Clara was filled with all the pageantry and substance any network would desire from a Super Bowl. From the action on the field to the commercials and a halftime show that had the nation buzzing for months, Super Bowl LX will go down as a memorable moment in time, despite two teams that brought familiarity to the broadcast itself.
For NBC Sports, Super Bowl LX served as the crown jewel in a month filled with massive live sports appeal. The network’s ability to carry the Winter Olympics, the Super Bowl, and next week’s NBA All-Star Game is something no other network can claim.
Yesterday marked NBC Sports’ 21st Super Bowl broadcast. It was the debut of Mike Tirico as the lead play-by-play announcer of the game for the first time. While the official viewership results are not available yet, here is what stood out as the best and worst of what NBC Sports presented for Super Bowl LX.
The Good
It is a difficult task to plan five hours of pregame coverage for a single game. However, this is the biggest football game of the calendar year. There are storylines, player profiles, and interesting quirks that NBC threw into the pregame coverage, many of which stood out among the rest.
With the game in San Francisco, it was good to see members of the San Francisco 49ers involved in the pregame broadcast. Fred Warner and head coach Kyle Shanahan were stars in their own right. Warner looked and sounded like he has been on the mic for some time. He added perspective and insight you would expect from someone who plays Seattle twice a year. Where he fell short was in providing insight from the Patriots’ side of the coin, which was needed from the NBC pregame crew.
You could say the same about Shanahan. His on-camera comfort came through the screen, and his personality was a highlight as well. At one point, when asked about the Seahawks’ defense and how to attack it, Shanahan joked that he had not scored much against Seattle this season, acknowledging he was there for his “expert advice.”
Another highlight of NBC Sports’ pregame coverage was a discussion between Tony Dungy and Rodney Harrison about Bill Belichick and Robert Kraft missing Hall of Fame election. Dungy respected the voting process and declined to reveal how he voted. Harrison, however, challenged the committee’s decision. He directed his criticism at Dungy, who is part of that voting group. The former Patriots player said the committee got the vote wrong. Overall, both handled the exchange professionally. The moment also captured the week’s biggest talking point.
Maria Taylor was on point as usual, guiding the coverage from start to finish. Noah Eagle was a nice addition to the broadcast, contributing a couple of solid on-field interview moments during the pregame. Additionally, Tom Brady’s presence in NBC Sports’ opening montage for the game broadcast raised an eyebrow or two.
Green Day opened the game broadcast with a non-political performance of three songs from one of their fourteen albums. Fans of Dookie or Nimrod were likely confused by the lack of callbacks to the band’s Bay Area roots, as no tracks from those albums were included. NBC’s altered scorebug was a nice addition. Although it was not drastically different from the one used throughout the season.
Then there was the game call itself. Mike Tirico is no stranger to calling NFL action on network television, so I had no concerns heading into his first Super Bowl broadcast. It did not sound like a first time. In a game filled with few moments of excitement, Tirico met the moment when it mattered most. There were no stumbles, no mentions of the wrong player, and he allowed the story to be told by the sold-out crowd when the atmosphere filled the air. We will get to Tirico’s broadcast partner shortly in the negatives.
Tirico rose to the occasion late in the game when the action demanded it. Back-to-back touchdowns by both teams, followed by a defensive touchdown for Seattle, sealed the deal for the Seahawks. Seattle and Tirico both reigned supreme on Sunday night.
NBC Sports has consistently excelled in presenting the game with elite camera angles, visuals, and music choices. The final shot of Charlie Puth singing the national anthem felt award-worthy. He looked skyward as the flyover approached. Additional shots featured the Golden Gate Bridge, fans, and soldiers overseas. An eclectic mix of grunge and classic rock rounded out the broadcast.
NBC's cameraperson nailed this shot of the Super Bowl flyover during Charlie Puth's rendition of the anthem.pic.twitter.com/1VuUDKslHl
The Super Bowl LX halftime show with Bad Bunny looked visually stunning and delivered a bushelful of energy. I do not speak fluent Spanish, but the messaging of the moment was easy to read. Unity, love, and a passion for music drove the performance. It felt like a movie set in a small town where the community comes together to celebrate life. Was it political? Overall, no, but the closing message said all that needed to be said.
The commercials also provided entertainment during an underperforming game. Highlights included Xfinity Cable’s Jurassic Park remake, Dunkin’ leaning into 1990s sitcom nostalgia, and Lays telling a story about passing the torch. I was also pleasantly surprised by the number of sportsbook ads that aired, as they did not feel overly excessive given how many sportsbooks advertise with the league.
Viewership figures will be released Tuesday, but overall, NBC Sports has plenty to be proud of. The broadcast was well balanced and held the audience’s attention despite a lackluster game for much of the contest.
The Bad
Cris Collinsworth had a rough night at the office for NBC Sports. I’ve always believed that Collinsworth talks more than any analyst on network television. With that volume comes exposure to mistakes, blunders, and the habit of repeating the same phrases over and over again. At least once every quarter, Collinsworth’s repetitive use of “this game will come down to” became nauseating. At one point, he cautioned viewers to watch for a fake punt that never happened. Tony Romo gets buried for those types of predictions when they fail to materialize, and Collinsworth should be treated no differently.
Did anyone have the word “concession” on their bingo card? What was the over/under on its usage by Collinsworth via DraftKings? Every great play was labeled “amazing,” and the flip-flopping on key points was just as excessive. Collinsworth praised the Patriots at one moment for how the running game was helping their pass protection, only to credit the Seahawks’ creative defense on the very next series for generating heavy pressure on Drake Maye.
Mike Tirico: "Cris, all of a sudden, there's a rhythm to the New England offense…"
Cris Collinsworth: "[Drake Maye] is reading the defense now… a couple of the best plays that he's had so far…"
The low point came on Drake Maye’s first interception, followed by Collinsworth saying, “I got nothing for you.” That’s solid analysis from a seasoned veteran in the booth, especially considering the play before he said Maye was starting to find rhythm within the offense.
Overall, Collinsworth was carried by the brilliance of Tirico, not the other way around.
Super Bowl LX should also serve as a prime example of why a rules analyst is unnecessary. Terry McAulay spoke twice during the entire game, yet earns a salary for that role. Of all NFL broadcasts, the Super Bowl provides the booth with more angles and replay access than any other game of the year. There is simply no reason for the position, and this performance capped off a lackluster year for everyone occupying it.
Shifting to the pregame coverage, Kit Hoover was also unnecessary at the NFL tailgate to introduce Teddy Swims or other musical acts. Alcatraz was a great idea for NBC Sports, but nothing meaningful was done with it. Why not have discussions staged inside a cell with Jac Collinsworth, Tony Dungy, and Rodney Harrison? The opportunity was there, but the execution felt more like a pit stop at a gas station than a destination segment.
History being made with the first live broadcast from Alcatraz for the Super Bowl LX pregame show.
And why only Alcatraz? Pier 39, cable cars, Coit Tower, or Chinatown could have easily been incorporated. There was also nothing from Napa or Sonoma, which rank among the top reasons people visit the Bay Area in the first place. NBC’s plans for showcasing the region felt extremely limited.
While Kyle Shanahan and Fred Warner were strong additions, why were there no additional players featured who faced the Patriots this season? NFL Honors was held in town last week, and numerous players were already present for sponsored appearances. Yet not one representative from the AFC East appeared.
Coco Jones’ performance of Lift Every Voice and Sing was buried near the end of the pregame coverage, nearly an hour before kickoff. That placement felt wrong. The performance should be positioned closer to America the Beautiful and the National Anthem.
Melissa Stark’s pregame interview with Drake Maye was also puzzling. Stark could have asked the second-year quarterback about his shoulder injury during the interview but chose not to. The confusing part came immediately afterward, when Stark mentioned the information she had gathered about Maye’s shoulder only after she had already wrapped the interview.
Finally, the commercials lacked punch. This isn’t necessarily NBC’s fault, but there is a severe lack of creativity in the advertising space. Maybe they should use AI to spice up the presentation. Several major brands missed the mark given the price tag they paid. Advertisers should seriously reconsider airing spots early in pregame coverage or releasing them on social media days in advance. People go to the theater to see something they haven’t seen before. That sense of surprise is what once made Super Bowl commercials must-see television. Hopefully, that magic can return next year on ESPN.
Overall, Super Bowl LX will be a forgettable moment in NFL lore. Two teams entered with little star power, and the game didn’t meet the moment. The worry all week on radio row was a blowout win, and that’s exactly what happened. Seattle’s defense was just too much for a second year quarterback in New England.
For NBC Sports, the overall product wasn’t perfect—but it never is. What it did succeed in doing was reminding viewers why the Super Bowl still matters as a television event, even when the game itself falls flat. The production rarely lost its footing, the presentation felt big, and the broadcast mostly stayed out of its own way.
In an era where audiences are quicker than ever to tune out, that still counts for something. Super Bowl LX may fade quickly from NFL memory, but NBC Sports once again proved it understands how to frame the moment, even when the moment doesn’t fully cooperate.
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Losing people in our musical landscape is tough. When they are only 47, it is unbelievable. I remember when Brad Arnold’s 3 Doors Down’s Kryptonite landed on my desk as a radio programmer.
Who didn’t hear that song? It was the top rock radio song in 2000, and the band’s debut, The Better Life, went multi-platinum. 3 Doors Down broke through on their local rock station in Mississippi and always supported the radio community. I remember the first time I had them on my radio show, their live shows, and their activism. They were one of the true original rock radio bands.
We lost 3 Doors Down leader Brad Arnold on Saturday after a valiant battle with kidney cancer.
The word that comes to mind when I think of Brad is gentle. He was a kind soul and a dynamic powerhouse on stage. In person, he was kind, funny, and soft-spoken.
3 Doors Down was a powerhouse band during a changing-of-the-guard moment in rock radio. The band’s first monster hit, Kryptonite, was written when Brad was just 15 in his high school class. It broke them instantly. Their debut, The Better Life, went six-times platinum. Their sophomore release, Away From the Sun, was equally successful with singles Here Without You and When I’m Gone.
The band continued to make records with Seventeen Days, 3 Doors Down, Time Of My Life, and Us And The Night.
Brad and the band formed The Better Life Foundation in 2002, originally focused on making “a better life” for children in need. Over time, the foundation evolved to help hurricane victims and support Habitat for Humanity.
The Better Life Foundation concerts have included notable performers such as Shinedown, Lynyrd Skynyrd, and Alter Bridge.
Brad was open about his addiction. Also the loss of his 3 Doors Down bandmate Matt Roberts in 2016 at age 36 to a prescription drug overdose. He always shared his journey to sobriety and faith, which he proudly embraced.
I was lucky to catch 3 Doors Down in 2024 when they opened for Creed at the iconic Madison Square Garden. The band killed it and the crowd loved them. Hit song after hit song, much in part because of Brad’s ability to make a massive, sold-out crowd feel like they were in his garage.
Just a few months later, in May of 2025, he was diagnosed with stage four cancer. It was hard to believe.
I caught up with Brad not long ago for an interview as we discussed the pressure of coming up with a second record and the success of their second release, 2002’s Away From the Sun. Brad has called the emotionally charged feeling of the band’s second release his favorite.
*Editor’s Note: Answers have been edited for clarity and length.*
Terrie Carr –Away From The Sun was such a special record, as second records can be when you are following up a monster debut. Seventeen weeks on the charts, multiple platinum singles. A record that meant a lot to a lot of people because we were coming off a time that was so tumultuous in the country.
Everybody gravitated to this record. What was it like putting it together and why it was special to you guys?
Brad Arnold – By the grace of God, we had such a big record with The Better Life. It’s a lot to follow up with as 23-year-old kids. We were 20 when we got signed, and I was 21 when we went on the road with The Better Life.
When we started writing Away From the Sun, we had been through so much in those two years. We’d been through a lifetime on that record and played so many places. It was the first record where we realize this was our job. We have to write a record!
This was the first time we had to do so. I’ll never forget the writing process of that record. We wrote it down in Mobile, Alabama, and we rented a house over there. We wrote that record in about three or four months. Maybe it was longer. I can remember each song, and it’s crazy how singing each song can take you right back to where you were when you wrote it.
TC– Total time travel, right?
BA– Absolutely! I think about writing with our original guitarist, Matt, who passed away. It brings me back to memories of him, and I like it.
I like to think about conversations that we had, the situations, and the inspirations for the songs. A lot of them are not really happy memories. They are still valuable memories when you think about what inspired the songs.
Here Without You is about being away from my wife at the time, but it’s really more about the idea of being away. When I’m Gone really hit a chord with a lot of military people. It opened the door for our relationship with the military. We are all from military families. My dad was in the Air Force, and Chris, our guitar player, was in the Navy.
We’ve always been very military-oriented. We did the tour and shot the video for When I’m Gone on that tour. There wasn’t even supposed to be the video for that song. We had already shot a completely different video.
Then, in the year that followed, we heard from so many soldiers about how much it meant to those on deployment or while away. Even more so with Here Without You, because they would sit there and listen to that song on the phone with their wife.
Both of those songs have taken on a new meaning with Brad Arnold’s passing. He will be missed. Condolences to his wife, his family, his fans, and his beloved pup.
Covering a presidency is hard work on a good day. Covering Donald Trump has always been something else entirely. Last week, when Kaitlan Collins found herself on the receiving end of a public berating from the President, the exchange wasn’t just uncomfortable. It was a reminder that some assignments come with no possible path to winning.
This isn’t really about Collins, though she happened to be the target. It’s about a dynamic that’s followed Trump from the campaign trail to the Oval Office. The President is allowed to act however he wants. The moment a journalist responds like a human being, the journalist becomes the problem.
Watch the tape again and put yourself in Collins’ chair. She’s asking questions as part of her job. She’s not shouting, not editorializing, not being unreasonable or acting improperly. What she’s doing is the thing the White House press corps exists to do. Then the President unloads.
At that point, her options were gone.
If Collins had defended herself, the reaction would’ve been swift and predictable. She’d be labeled classless. Unprofessional. Disrespectful. The irony wouldn’t be acknowledged. It never is. The same people excusing the President’s behavior would’ve demanded higher standards from the reporter he was dressing down.
Agreeing with him wasn’t an option either. Nodding along or backing down only rewards the behavior. It tells Trump, and anyone watching, that this approach works. It emboldens the next outburst and raises the odds that the next reporter gets the same treatment, or worse.
So she stood there and took it.
This is the trap that’s defined Trump-era coverage from the beginning. He escalates. The press absorbs it. If anyone pushes back, the conversation shifts away from presidential conduct and toward media decorum. Suddenly, tone matters more than substance. Power goes unexamined while manners are endlessly dissected.
None of this is accidental. Trump understands leverage. He knows the press fears becoming the story. He knows many outlets would rather move on than risk losing access. That imbalance is the real issue, and it’s one the media still hasn’t figured out how to fix.
The solution doesn’t come from the person being attacked. It can’t. I’ve said it before and I’ll say it again. Until someone who isn’t currently under fire steps in, nothing changes.
Imagine a different moment last week. Trump berates Collins. Another reporter speaks up. Not loudly. Not theatrically. Just clearly. “This isn’t OK. It’s unprofessional, it’s unbecoming of a President, and you’re being ridiculous.”
That shouldn’t be radical. It shouldn’t be controversial. It should be expected.
Instead, the silence is deafening. Many in the room look down. Others wait for the next question. Everyone calculates risk. No one wants the next barrage aimed their way. So the behavior goes unchecked, and the precedent hardens.
The idea that the President of the United States is beyond reproach should alarm every journalist in that briefing room. It should alarm viewers, too. A press corps that can’t call out misconduct in real time isn’t holding power to account. It’s managing it.
This isn’t about politics. It’s about standards. If the press accepts that verbal abuse is part of the job, it becomes part of the job. If reporters won’t defend each other, no one else will.
Kaitlan Collins didn’t fail last week. The system around her did. And until the people standing safely on the sidelines decide to speak up, we’ll keep watching the same no-win scenario play out again and again.
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In 2024, Nielsen Audio announced a major methodological change. After at least 60 years of “five minutes gets you the quarter hour,” Nielsen changed to three minutes in PPM markets. To no one’s surprise, AQH estimates increased across the board when the change was implemented in January 2025. Cume was also up a bit, but the biggest surprise, at least to me, was how many listening sessions were only three or four minutes long.
The year of increases is now over. I checked Kalshi and Polymarket, and the smart money is betting — I mean trading — on overall radio audience estimates declining year over year. Much like when stations started installing Voltair units in the mid-2010s, the bump lasted one year, and I expect the decline in radio listening to continue.
However, Nielsen may have another ace up its sleeve. While I’ve heard rumors to this effect, someone has now put it in print: Nielsen is considering going to “one minute earns the QH.” This development reminds me of the old Doobie Brothers song, “Minute by Minute,” which could be the way radio and local TV are measured soon. Bill Harvey, who has been around the audience measurement business for decades, writes a column for MediaPost. Here’s what he published on January 28:
Stations have been losing ad revenue share to digital for some time, as is the case nationally with networks, and were frustrated that the MRC viewability standard for digital video was two seconds, while in local TV, the industry convention has always been a five-minute rule in order to get credit in the Average Quarter Hour (AQH) metric. TVB, CIMM, and stations asked Nielsen for relief from this unfair situation and, at the request of buyers and sellers, Nielsen is examining the possibility of changing to 1MQ (a viewer viewing one to 15 minutes in a quarter hour would be credited as audience to that quarter hour) and has begun to deliver Impact Data for clients to examine what this could mean to their business.
While his comments concern local TV, you can bet that if the local TV dog goes to 1MQ, then the radio tail will be wagging with it. The comparison to the MRC digital viewability standard has been noted in this column several times. Two seconds is pathetically low, but as a friend mentioned to me, this was something of a compromise with a crowd that preferred one second. Can you pick up any advertising message that lasts two seconds? Is that a legitimate “impression”? Remember iHeart’s “blinks”? At least those were six seconds long, if memory serves.
I watched Jon Miller’s RAB webinar last Wednesday, partly to see if he would make any mention of 1MQ for radio, but the topic never came up. He did cover other relevant Nielsen topics, and I’ll offer my thoughts in a future column.
Let’s think about the implications of a one-minute rule for radio for a moment, even if only for PPM. Audience estimates will increase. However, we won’t know how much until Nielsen Audio runs some sample data with nearly every instance of listening credited. Once again, the industry will be offered a one-year opportunity to improve the listening experience, promote and market, and try to win new audiences from other sources. And if Nielsen does this “right” — “right” is defined as what Ed thinks is best — the one-minute rule would apply to diary markets as well, even if the effect would be smaller. This potential change sounds positive for the industry.
However, there’s a fly in the ointment. Nielsen’s pricing remains exorbitant based on what the industry can afford in 2026. All the negative Nielsen policies will still be in place, such as “Subscriber First” and the Network Policy that is currently being litigated. In other words, the same toxic relationship between Nielsen Audio and the U.S. radio industry won’t change, except that our ratings will be better — for one year. And the expected decline that will resume one year after implementation will come from a higher level of listening, but it is inevitable.
If higher ratings will help business, this potential change will give the industry one more year to come up with a plan to either bring Nielsen’s prices down by trading cost for a less granular service, or to find and encourage competitors to come into the radio space. Eastlan is already there, and The Media Audit is still around as a competitor to Scarborough. DTS AutoStage, while in the early stages, shows promise. There are other companies that are kicking the tires with new methods that may work.
A challenge to Nielsen Audio would be positive for radio, both commercial and noncommercial. However, it requires some level of cohesion by the industry, which doesn’t seem to happen that often. I heard Mike Hulvey, RAB’s head, say multiple times on last week’s webinar that radio is stronger when it works together. He’s right, but let’s move past the words and on to the actions.
Let’s meet again next week.
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In the Classic Rock/Hits formats, stations must constantly walk a line between living in the past and being a contemporary media outlet. All the music is older, and so are many, but not all, of the listeners. As we continue trying to survive in a 25–54-obsessed media buying environment, attracting new, younger listeners while not losing the station’s core is a constant struggle. NBC, with its recent acquisition of broadcast rights for the NBA and MLB Sunday Night broadcasts, now finds itself in a similar situation.
A recent article in Front Office Sports website points out that, as the home of the NBA from 1990 to 2002, NBC was the network of record during what may have been the league’s most popular era. It was when Michael Jordan was in his prime and the Chicago Bulls won all six of their championships.
NBC’s connection with baseball goes back even further. The network has been home to thirty-nine World Series broadcasts, including being the first to televise the Fall Classic in 1949. It was also where the Game of the Week and Monday Night Baseball lived for more than forty years, starting in 1957.
So, let’s look at some of the tactics NBC is employing to tap into the nostalgia of the network’s history while not ignoring the need to attract younger fans:
Personalities
On the basketball side, NBC invested in, and heavily promoted, having Michael Jordan as a “special contributor.”
While plenty has been written about how impactful, or not, these segments have been, the hype of tying basketball coverage back to one of the greatest to ever play, who was synonymous with the years NBC covered the league, appears to be paying dividends with big ratings.
On the baseball side, the network is bringing back Bob Costas, one of the most respected sports broadcasters of a generation, who spent forty years involved with NBC’s baseball broadcasts.
At 73 years old, Costas said this will likely be how he wraps his storied career. “I don’t need a brass band and a parade, but if we can do some good work, have some fun, and it feels like the right concluding chapter, I think everybody will be gratified by that.”
Production Value
The network is tapping into even more nostalgia through graphics and other parts of its production. For basketball, they brought back the instantly familiar “Roundball Rock” theme that kicked off games in the nineties.
While we have yet to see a baseball broadcast, NBC executive producer Sam Flood says, “There will be an acknowledgement of nostalgia,” in their plans.
Innovation
The network is not only relying on nostalgia to bring in audiences. For the NBA, analysts are delivering “on-the-bench coverage” from positions located near the teams on the floor.
They are also working with augmented reality in the studio to create more in-depth breakdowns of the action, and games on Peacock include a “Performance View” with real-time statistics.
Again, while we have to wait to see what they have in mind for baseball, Flood has promised similar updates to the traditional broadcast.
Now, let’s consider how that applies to our radio world.
Talent
Tapping into heritage talent in your market can make a giant difference in how your station is perceived. Much like NBC did with Michael Jordan, that doesn’t have to mean a full-time position. There may be other creative ways to leverage a name synonymous with the music on your station without a major commitment.
Production
Sparing use of jingles, IDs, produced elements, and sounds from the early days of your station, or even another local station that was in your format, can easily tie your station to the market’s history without completely disrupting your contemporary presentation.
Innovation
While looking back for inspiration, continuing to find new and unique ways to present the music, to be part of your market, and to tie the station to current events and trends will help ensure that you remain intriguing to new, younger listeners.
There isn’t a simple blueprint for how to leverage nostalgia. No one handed the team at NBC a roadmap.
Instead, I’m challenging you to think outside your usual boundaries to find ways to create unique connections that only your station can deliver.
It’s not easy, but the results, much like the ratings NBC’s basketball games have been pulling, could be worth it.
Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.
Turning Point USA saw several million concurrent viewers for its All-American Halftime Show, running opposite the NFL’s official Super Bowl Halftime Show on Sunday.
The show — featuring Kid Rock, Lee Brice, Brantley Gilbert, and Gabby Barrett — saw over 5 million simultaneous viewers on the Turning Point USA YouTube channel.
Other avenues available for the stream included Charlie Kirk’s YouTube channel, which topped more than a million concurrent viewers, while an additional 225,000 viewers watching on Rumble channels from TPUSA and Charlie Kirk.
Viewers could also watch the performance on Daily Wire+, Real America’s Voice, Trinity Broadcasting Network, Charge!, and The National News Desk.
Blake Neff, a producer for The Charlie Kirk Show, said on social media that “the audience kept going up throughout the competing show.”
The country music stars’ performance aired directly against the NFL’s show, featuring rapper Bad Bunny. His show included surprise appearances from Lady Gaga and Ricky Martin, among others.
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.
