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The Business of Engagement: Why Players Return to Certain Casino Platforms

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The Business of Engagement: Why Players Return to Certain Casino Platforms

Near midnight, a player opens a familiar app. The screen loads cleanly, the balance appears, and the lobby already reflects last week’s choices. No announcement, just a product doing what it promised the night before.

Across North America’s regulated markets, that quiet reliability sits at the center of the business model. Operators chase sign-ups, but they also track the second session, the third deposit, and the return after a stretch of inactivity.

The American Gaming Association reported U.S. commercial gaming revenue of $71.92 billion in 2024, a fourth straight annual record. It also reported online casino revenue of $8.41 billion that year in the seven states with full-scale legal iGaming, a sector where repeat sessions are measured and taxed like any other consumer business.

Ontario’s regulated market publishes monthly snapshots too. For operators, the totals read like a scoreboard and an early warning when momentum cools.

Trust begins at the cashier

For many customers, loyalty forms at the payment screen, not the roulette wheel. Deposits that clear quickly, withdrawals that arrive when expected, and terms that match the fine print can decide whether a platform feels worth revisiting.

Identity checks, geolocation prompts, and anti-fraud controls add friction, but they also signal that the platform is part of a regulated ecosystem rather than a pop-up website. When those systems misfire, players notice fast.

New Jersey’s Division of Gaming Enforcement reported $253.0 million in internet gaming win for November 2025, up 18.2% from a year earlier, and $2.64 billion year-to-date through November. Figures at that scale, often cited alongside a list of sweepstakes casinos for players, rest on payment systems and compliance processes that have to work every day, because a single failed cash-out can end the relationship.

The Lobby Is Curated, Not Just Stocked

Casino catalogs are large and often built from the same suppliers. The differentiation shows up in presentation: lobby layout, search tools, recommended rows, and seasonal campaigns that make a library feel new.

iGaming Ontario’s monthly Market Performance Report shows $9.333 billion in cash wagers in November 2025, and $406.2 million in non-adjusted gross gaming revenue, with about 1.297 million active player accounts that month.

Inside the product, that activity is nudged by small decisions: what appears above the fold, which live tables look busiest, and how quickly a player can return to a favorite title.

In Ontario’s November snapshot, casino wagers made up the bulk of cash wagers, with betting and peer-to-peer poker taking smaller shares. Platforms tend to treat that mix as merchandising, leaning into products that keep sessions frequent while still presenting variety.

Bonuses, VIP, and the rules around inducements

Rewards are among the most visible retention tools, and among the most regulated. Points, tiers, and personalized offers turn play into status and, at times, into pressure.

Ontario’s framework is unusually explicit. In a March 2025 enforcement announcement, the Alcohol and Gaming Commission of Ontario said operators are prohibited from offering inducements, bonuses, and credits in broad public advertising, and it tied those limits to harm prevention.

In October 2025, AGCO issued a monetary penalty against theScore tied to alleged failures to meet responsible gambling and player protection standards. The regulator described proactive monitoring and intervention as core expectations, and CEO and registrar Dr. Karin Schnarr said failures on that front betray player trust and undermine the integrity of the regulated market.

The commercial effect is that incentives move deeper into the customer lifecycle. Public-facing marketing leans on brand and product identity, while the most specific offers tend to appear after account creation and, in Ontario, after active consent for direct marketing.

Personalization is sold as convenience, but it is built from behavioral inputs: session history, product preferences, and responsiveness to offers. In regulated markets, those inputs can tailor the experience, but the messages attached to them increasingly run through consent gates and compliance review.

Recent-play tiles, tailored suggestions, and reordering the lobby can keep a customer inside the platform without sending an extra message at all.

The line between engagement and overreach has become part of competition. A platform that sends fewer, clearer messages may trade short-term reactivation for long-term trust, while a more aggressive strategy risks complaints and regulatory attention.

Responsible gambling signals inside the product

Regulators increasingly describe safer gambling tools as product features, not add-ons. In Michigan, the Gaming Control Board’s December 2025 revenue release paired monthly performance figures with reminders about help resources and self-exclusion tools, treating consumer protection as a routine context.

Ontario enforcement has framed the legal market as a safer alternative to unregulated sites without comparable safeguards, a theme it repeated in its October 2025 penalty announcement involving theScore.

Operators also describe stability as a retention advantage. The returning customer a platform wants is not only the most active one, but the one who can keep playing without escalating into crisis, because the engagement trail that drives marketing can also become evidence when something goes wrong.

Final Thoughts

Players return for ordinary reasons that add up: fast cash-outs, familiar layouts, offers that feel timely, support that resolves problems instead of looping. Engagement, in that sense, is built through operational details as much as through games.

In North America’s regulated markets, those details now sit under public reporting and public enforcement. The business of engagement increasingly looks like the business of accountability, because the same tools that keep users coming back can also be the tools regulators scrutinize.

How Scott Shapiro Navigates Change at FOX Sports Radio

John Mamola
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How Scott Shapiro Navigates Change at FOX Sports Radio

There are few radio executives who have witnessed the evolution of sports talk firsthand like Scott Shapiro. From his early days as a producer at 790 The Zone in Atlanta, his drive and passion for the industry have helped elevate him up the corporate ladder. The craft he loves is evident in the lineup he has assembled while working over the past decade with FOX Sports Radio and Premiere Radio Networks.

Three years ago, Shapiro was elevated to the role of senior vice president of FOX Sports Radio & podcasts for Premiere, a position that continues to evolve with time. As the industry changes, so do the responsibilities for Shapiro.

“I love the challenge. I’m growing and still learning. My role now is certainly different than it was three years ago,” explained Shapiro. “The oversight stretches far beyond the radio network. It dives deep into podcasting and digital.”

By many accounts, FOX Sports Radio is considered among the best syndicated sports radio networks in the country. With more than 630 radio stations and 17 million monthly listeners, the brand commands respect across the industry. With heavy hitters like Dan Patrick and Colin Cowherd, Shapiro’s goal remains building on existing strength, while understanding that the audience lives everywhere and at all times.

For much of Shapiro’s tenure, he worked in concert with former iHeartMedia executive Don Martin to grow FOX Sports Radio. A giant in the sports radio industry, Martin spent more than two decades with FOX Sports Radio. When Martin departed his role in November of 2024, he remained available to help continue building what he and Shapiro created together.

“I’m learning from him still every day. He’s [Martin] not a stranger, but a core consultant to what we do,” says Shapiro. “We’re still very much in concert with the big decisions the network is making. I talk to him daily, and he’s been a big part of helping our video strategy and how we’re selling it. Any big picture elements we’re working hand in hand every day. He’s one of the closest mentors I’ve ever had.”

Doug Gottlieb’s Exit

You can learn a lot from a mentor, but the industry always presents challenges no one can prepare for. FOX Sports Radio said goodbye to afternoon drive host Doug Gottlieb at the conclusion of 2025. The longtime sports radio host chose to walk away from his daily role to dedicate more time to his position as head coach of the Wisconsin–Green Bay men’s basketball program.

Shapiro said the effort Gottlieb put into balancing both roles for more than a year was unprecedented, although he admitted he had concerns about whether Gottlieb could sustain the dual responsibilities long term.

“I wouldn’t be honest if there weren’t any concerns. No question. This is something that no one has ever done. It made everyone scratch their heads,” said Shapiro. “How he did it for that long? I give him credit, and the show was still great.”

Gottlieb told Barrett Media earlier this month that he met with Shapiro and Martin when he accepted the Wisconsin–Green Bay role in 2024. The decision was to attempt both jobs for one year and then reassess. Shapiro noted that while concessions were made on both sides, expectations for Gottlieb were clearly defined.

When Gottlieb informed Shapiro of his intention to leave the radio show at the end of 2025, the conversation was not an easy one.

“It was very emotional. You think how much he’s put into this business, and how much he’s putting into coaching. It’s hard to walk away,” said Shapiro. “It was a very real and raw conversation. Frankly, he deserves to be celebrated the way he was on his last show.”

Adding Stugotz & Company LIVE

Although the network fully supported Gottlieb’s decision, the timing allowed Shapiro to prepare for a successor. Just days after Gottlieb’s final program, FOX Sports Radio announced Jon “Stugotz” Weiner as the new host for the two-hour weekday slot.

Shapiro’s relationship with Weiner dates back two decades, including a brief overlap during their time at ESPN Radio. When Weiner stepped away from his longtime role with The Dan Le Batard Show in the spring of 2025, Shapiro reached out to see what his plans were.

“When he made public that he was taking a step back from Meadowlark Media, I called him that day. Just to check in with him and continue an ongoing conversation. Certainly, I didn’t expect anything to materialize like this,” explained Shapiro.

Shapiro followed the independent work Weiner built after leaving Le Batard’s brand, including several podcasts that developed loyal audiences, followed by the launch of a video platform with title sponsors driving revenue. Impressed by the momentum, Shapiro asked about Weiner’s interest once Gottlieb’s plans became clear.

“I asked if he would be interested in going back and doing live radio. I wasn’t sure what his answer was going to be. He’s had a very successful career in radio and beyond it,” noted Shapiro. “He almost fell out of his chair with excitement over the possibility of doing it, which was great.”

Shapiro credits Weiner’s experience cultivating audiences across both terrestrial and digital platforms as the reason for his confidence in the new program. Stugotz & Company LIVE is positioned as an extension of the podcast Weiner founded, featuring strong personalities, a playful tone, and a guest roster that rivals the best in the business.

“If the radio show is anything like the podcast, in terms of opinions, tone, pace, and humor, we have a tremendous radio show here,” explained Shapiro. “To me, there was zero risk in what his [Weiner] capabilities were running point. I’ve heard it for twenty years.”

The Priority Of Digital

The new show represents the latest FOX Sports Radio program included in the brand’s expanded video streaming efforts. Digital growth remains one of the biggest challenges Shapiro is actively working to address, as audiences continue discovering content through new platforms.

With the support of the iHeartRadio app, Shapiro believes FOX Sports Radio has an advantage few national syndicators can match.

“Video is now a major priority [for the company], and that’s been a big part of my role. We’re a full platform provider now,” said Shapiro. “We want to be where we’re at now, but we want to continue to grow. Terrestrial is still our bread and butter, but the digital numbers excite us. It’s not a duplicated audience.”

According to Shapiro, FOX Sports Radio ranks as a top-three destination on the entire iHeartRadio app. That performance aligns with more than 94 million podcast downloads in 2025 and a growing live-streaming cume. The metrics reflect a network keeping pace with a rapidly changing industry.

Change On The Way

Shapiro consistently credits both his team and the creators themselves. FOX Sports Radio currently features two Radio Hall of Famers in Dan Patrick and Colin Cowherd, both of whom have delivered strong results throughout Shapiro’s tenure. However, the lineup will see change in early 2028, as Patrick has announced plans to retire following the Super Bowl in Atlanta, Georgia.

“The great thing about Dan is he’s made no secret what his plans have been. He’s been a great partner in that all along,” said Shapiro. “The good thing is we have plenty of time. Time gives you the luxury to make good decisions and be very thoughtful toward them. We’re very prepared for it.”

Regarding Cowherd, who was inducted into the Radio Hall of Fame this past year, Shapiro said the topic of retirement has never come up. At 62, Cowherd’s creative process has not slowed.

“He just re-signed a new deal. Certainly, no talks of an exit plan. He’s still bringing his fastball,” noted Shapiro. “Who knows, but he’s still performing. He’s still a destination for reaction to the big story of the day and remains very top of mind for sports fans.”

Now three years into his leadership role, Shapiro remains as motivated as ever. His focus centers on improving incrementally and continuing to find new ways to showcase the product he has helped build.

While no one can predict how audiences will consume content tomorrow, the challenge remains evolving alongside sports fans anytime and anywhere.

“We love where we stand now. Ultimately with my role, I try to create a little time every day where I can just learn,” notes Shapiro. “I owe it to the team to put them in the best opportunity to succeed. That’s what I’m trying to do with my commitment to the whole group.”

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.

Did Barstool Sports Pull Off the Greatest ‘Work’ in Sports Media History

John Mamola
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Did Barstool Sports Pull Off the Greatest ‘Work’ in Sports Media History

The world of professional wrestling has been built on the success of the work for generations. The concept is simple. Deceive the audience in order to elicit a desired response. That deception can range from an injury that swerves a long-term storyline to “writing off” a key figure, only for their return to become more impactful within the narrative. It’s often difficult to determine what’s real and what’s not, both in professional wrestling and at Barstool Sports. That’s not a shoot, by the way.

The digital content giant is no longer the renegade shock-and-awe operation it once was. Today, the company operates as a major business, collecting checks from Netflix and partnering with network television. Attention for attention’s sake is no longer the objective. Expansion and corporate alignment now drive the strategy.

With the New England Patriots back in the Super Bowl, Dave Portnoy has once again flooded social media feeds. He’s a sharp businessman who understands how to generate headlines in unconventional ways. Using fanboy bravado to fuel business interests has long been his specialty. So when Portnoy recently asked on social media whether Barstool’s ban from official NFL events had ended, it raised an eyebrow. Much like The Rock sizing up an opponent, the moment invited one simple question: was this a work all along?

It had been several years since the Patriots last appeared on the Super Bowl stage. In 2019, Tom Brady led his team to one of the most memorable comebacks of the modern era. Still, the story extended far beyond the field. Barstool’s influence among Patriots fans and its relationship with ownership helped generate headlines that lived well beyond the final whistle.

Barstool’s founder had already established a reputation for spectacle. In 2015, he was arrested after handcuffing himself to the front desk at NFL headquarters during a sit-in protesting the league’s punishment of Brady in the Deflategate scandal.

That moment ignited a run of attention-grabbing stunts as Barstool leaned into owning the moment. It echoed a time when sports radio stations thrived on similar tactics, back when the format held greater cultural weight with fans.

Merchandise featuring Roger Goodell’s face with a clown nose flew off the shelves. Barstool personalities joined league conference calls. Headlines, likes, shares, and engagement ruled the strategy. Barstool executed it exceptionally well, and the brand grew into a national force.

In 2019, following the sit-in years prior and the league pulling credentials, PFT Commenter donning false credentials was escorted off the floor at NFL Opening Night. Shortly afterward, Dave Portnoy himself was escorted out of the Super Bowl, conveniently captured on video for mass consumption.

The timing felt almost too perfect. Someone was already in position to film the entire exchange, with Portnoy sporting a mustache and sunglasses inside the dome.

At the time, Barstool personalities being “banned” from Super Bowl-related events became a significant story. Yet since then, the company hasn’t slowed down. Barstool has continued to cover the NFL while attending the Super Bowl every year, building massive production hubs and churning out content at scale.

That’s what makes Portnoy’s recent question about whether the “ban” has ended so amusing. Was there ever truly a ban, or did it only matter when his team was involved that year? That’s the essence of content creation.

Over time, Barstool Sports has proven that access means little without execution. The credentials and proximity other outlets depend on for Super Bowl success have never been essential to Barstool’s model. They operate differently and have for quite some time.

Rather than chasing relevance, Barstool became the destination. The company grew its audience, revenue, and reach while creating its own events, podcast tapings, and watch parties. It leaned on the Super Bowl without relying on the NFL. Celebrities came to Barstool instead of the company chasing the stars of the weekend.

Today, Barstool Sports partners with FOX Sports. The NFL also maintains a major relationship with FOX Sports. Barstool partners with Netflix. The NFL does as well. You often see Barstool personalities attending NFL games each and every year since. Cheering on their favorite hometown teams from seats to suites for all to see.

So did anyone seriously believe a ban realistically existed for a rapidly emerging promotional engine driving NFL interest and hype? Could Barstool have been present at league events like any other sports media outlet over the past five years? It’s hard to argue otherwise.

This may stand as the single greatest work in the history of sports media, and I count myself among those who bought into it.

That’s the brilliance of the entire approach. In professional wrestling, the best work feels just believable enough to spark debate long after the bell rings. Barstool Sports has mastered that same craft within modern sports media.

Their blueprint wins, whether the controversy was real, exaggerated, or manufactured.

If a ban ever existed, it didn’t matter. If it never existed, it mattered even less. The narrative still drove attention, fueled conversation, and reinforced Barstool’s ability to thrive without permission, credentials, or traditional access.

That’s no longer rebellion. That’s leverage.

In an era where access is often mistaken for relevance, Barstool proved the opposite. The company didn’t need the NFL’s blessing to remain in the spotlight. It only needed a believable narrative, a willing audience, and the confidence to sell the work.

And like the best wrestling angles, the only thing that truly matters is this: it worked.

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

Why Radio Should Always Believe In The Song, Not The Algorithm

Mike Gunz
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Why Radio Should Always Believe In The Song, Not The Algorithm

Every Friday, millions of music fans wake up and immediately head to their favorite streaming platform to listen to the latest releases. By Monday, many of those same tracks already feel old in today’s fast-paced world.

For music radio programmers, this unfortunate trend feels all too familiar. It’s taken over not only the music industry, but society in general. Thanks largely to personalized algorithms suggesting, or outright dictating, what audiences should be interested in. Soon after, social media jumps on the trend before eventually peer-pressuring listeners to move on from the very same thing that was just considered a “must-listen.”

In a world dominated by algorithms and viral trends that move faster than a 56K dial-up modem connecting to AOL, famed producer and Goldfinger frontman John Feldmann believes the music itself is what matters in the end.

“The song is king,” said Feldmann, who has produced albums that collectively have sold over 35 million worldwide. “If you’re chasing the latest sound these days, it’s never going to work.”

The Panic! at the Disco and Blink-182 producer’s words ring true for both artists and programmers. They attempt to determine which songs have lasting power versus those that are merely the “hit of the day.”

Algorithm Reliance

Feldmann stresses a Do It Yourself (DIY) mentality. A mindset that he referenced several times during our conversation at Jelly Roll’s Goodnight Nashville location.

“We got in a van and we played shows when Goldfinger first started. I’ve probably played over 10,000 shows in my life,” he said. “If you’re in a band and you’re a new artist, go to every single show and just stand outside and busk — it’s not brain surgery, just busk!”

He mentioned the true way to growth was by earning one fan at a time. Feldman experienced that during his entire career from coast to coast.

“We played 385 shows in 1996, we kept touring,” he continued, while also shouting out KROQ-FM in Los Angeles for being the first to play the band’s 1996 single, Here In Your Bedroom. “That moment when KROQ played the song was huge, but I also had to continually grind after that if I wanted it to last.”

Feldmann believes that same hustle and mentality gives artists their best chance to thrive. Rather than experiencing only a short-lived viral moment. Going viral isn’t necessarily bad, but an artist needs a foundation to maximize and build upon it when, if ever, that viral moment comes.

New Becomes Old Quickly

The DIY philosophy becomes even more important in today’s digital age, as artists compete every week for New Music Friday placement.

“When you listen to New Music Friday. You have the best writers and producers competing against each other song after song. Taylor Swift, Turnstile, Bring Me The Horizon and Megan Moroney all releasing songs on the same day,” noted Feldmann.

With such a competitive field of artists and producers, I asked Feldmann how he approaches creativity in these algorithm-driven times.

“I just make music that I love,” he said. “I don’t make music to chase a trend, or try to get viral on TikTok. I just make music that I love. It takes a lot of other variants, but I still believe that song is king.”

A Winning Formula

One artist Feldmann credited is British singer and songwriter YungBlud, who has grown a massive following. Not only for his pop-punk and alternative music, but also for how he presents and promotes himself to his fanbase.

“I worked a lot with YungBlud and he’s taking over [the industry right now]. He’s hitting everything that an artist needs to. He’s never stopped touring and never stopped writing music,” explained Feldmann. “No matter what the naysayers may say, Dom [YungBlud] is winning. He is absolutely winning.”

Feldmann credits the British musician for using his social media presence to explain to fans the music and songs he is creating. Ultimately, that openness builds a connection listeners appreciate and are willing to support beyond a short-lived viral TikTok moment.

The Programming Lens

Feldmann’s advice applies to music programmers as well. You can’t consistently rely on what is viral at the moment to help your station or brand thrive. Instead, the industry should focus on artists releasing songs with emotional impact, even if they do not strictly follow popular trends.

If they do follow trends, they should elevate the music to another level.

“People in general, but especially creatives are so scared to be judged,” said Feldmann. “If you feel it in your heart and you know it’s what you want to do. Put it out.”

The crowd responded in Nashville with a massive ovation following those words. If you’re a music programmer, artist, or producer, that same ovation could be yours if you believe in yourself.

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

Why Radio Needs to Embrace the Fractional Workforce

Phil Becker
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Why Radio Needs to Embrace the Fractional Workforce

Radio loves tradition. It’s one of our superpowers. That — and naming stations after animals.

It’s also, at times, the thing that keeps us stuck defending structures that no longer match the reality of business.

As January comes to a close, most operators face the same familiar pressure: revenue softening, tighter budgets, fewer people wearing more hats, and they aren’t free hats from the promo closet. You haven’t had those since 2014.

That pressure usually leads to one of two outcomes: freeze spending and hope, or make cuts and pray. Both of which, by the way, sound like excellent album titles.

There’s a third option radio hasn’t fully embraced yet, despite the fact that nearly every other category already has.

It’s the fractionalized business model.

Fractional Is Already Everywhere

Outside of radio, fractional contributors are commonplace.

Creative agencies. Marketing strategists. Designers. Social media managers. Account executives. Legal counsel. CFOs. CTOs. CMOs. C3POs (just seeing if you’re really reading or skimming. Hey, Mark Adams!).

Entire companies now operate with elite, part-time specialists over slow-moving, full-time myopic traditionalists.

One of my long-standing Phil-Osophies from managing several thousand people is: It’s better to have an A-player for part of the week than a C-player all week long.

Radio still tends to frame staffing as binary: on or off staff. Inside the building or not invested. Me? I’m more nonbinary.

Rob Base Was Wrong

In many large and major markets today, it’s not unusual to see stations operating with two people covering enormous operational ground. It takes more than two.

PDs are now doing what I call the 7 Transmitter Challenge. Sounds like a TikTok trend, but we’ll get to that.

  • Monitor what’s on air
  • Monitor what’s on the app
  • Monitor what’s on the stream
  • What’s on Instagram
  • What’s on TikTok
  • What’s on Facebook
  • What’s on the website

And this is if your PD is only programming one station. Yes, there are still a few people who have that luxury. Wild, I know. I don’t mean the station is named Wild (hey, Dan Hunt!).

It’s almost impossible to deliver 24 hours of on-air and online content with 50% fewer resources. Maybe it’s time we move to a 12-hour content clock. More on that in a future article.

Enter the Three Wise Kens

Yes, the PD is ultimately responsible for the product. That doesn’t mean the PD has to do every task personally.

Once your station architecture is built—your strategy, your sound, your rules—music scheduling becomes a data entry job. Important, yes, but still a data entry job. Making sure Sabrina Carpenter doesn’t play back-to-back and sound-coding Harry Styles’ “Aperture” is not the highest and best use of a PD’s time. Also, how would you sound-code that song? Do you have a lo-fi Berlin disco category?

That’s where fractional expertise comes in.

Kenny J, widely regarded as Country’s most trusted ear, can be accessed fractionally. Not as a full-time line item, but as a specialist who brings pattern recognition from multiple markets and deep format fluency without the overhead. Plus, he might be related to Juicy J or was that Jessie J, I don’t remember.

Kent Phillips, through Timeless Cool, provides scheduling and music strategy support. Some readers may ask, “Shouldn’t the PD be doing the log?” To me, that sounds like traditional PD thinking (pretty dumb).

Your PD should be coaching talent, shaping brand, building culture, finding the local content that matters, building trust with their staff, creating memorable audio moments that aren’t music, watching those seven transmitters listed above, and helping sellers drive revenue.

Then there’s Ken Jennings. He seems to know a lot — maybe worth an interview (zoom).

Three Kens. Three specialists. No payroll tax.

“But Won’t Fractional People Care Less?”

Let’s address the objections head-on.

“They won’t care like the staff does.” Caring isn’t measured by hours clocked; it’s measured by outcomes. Fractional experts build their reputations on results not through hitting reply all to your SuperBowl squares email.

“You can’t outsource culture.” Correct. Fractional doesn’t develop culture—you do. Fractional team members support what you drive.

“This is just consulting with a new name.” No. Consulting is an aircheck, a market visit, and a Mediabase report. Fractional partnerships are ongoing, operational, and embedded in real day-to-day work.

“Our market is too unique.” Every market believes this. The truth is that pattern recognition across multiple markets reveals blind spots insiders can’t see.

“We tried consultants before and it didn’t work.” Then you hired advisors,not executors. Fractional works because it stays in the system long enough to adjust, learn, and deliver.

“Coordination in the station outweighs it.” Only if leadership isn’t clear. Fractional thrives under strong internal direction and collapses under none.That’s not a full time staff or fractional problem. That’s a management one.

Big-Company Horsepower Without Big-Company Headcount

Jimmy Steal—whose experience spans New York, Los Angeles, Chicago and more is available to coach talent, develop marketing plans, and ideate promotions that smaller or mid-size stations could never have afforded in the past.

Paired with former iHeart and Entercom winning programmer Tim Richards at Collective Heads, they deliver some of the most effective audience analyses available—turning data into actionable decisions, not TL;DR reports with a JPG of your logo.

Larger broadcast corporations have in-house analytics teams and in-house marketing teams to act on that analysis. Fractional partners like Timmy and Jimmy put that same firepower into the hands of operators who previously had neither.

Plus, Tim and Jim rhyme—and it’s okay to use people not named Ken.

The 24/7 Advantage

There’s another advantage radio hasn’t leveraged: time zones.

Fractional team members don’t sit in the same building or at times even the same country. With qualified specialists across multiple regions, stations can effectively become 24/7 content machines again. While one market sleeps, another is building, editing, scheduling, analyzing, or planning.

Content can’t stop, won’t stop. Man… Diddy really ruined that phrase for me.

Nothing Lasts Forever

Fractional is part-time. It’s not payroll. No benefits burden. No contracts.

If your quarter turns around and you want to go back to “the way we’ve always done things,” you can. That phrase can be read as good and bad and that’s kind of the point.

Fractionalism is about replacing people. It’s about giving the people you do have the resources they don’t. It frees them to focus on what’s happening inside the building and what’s coming through a screen or a speaker, while others help handle the work that if we’re being honest was probably being overlooked.

The Phil-Osophy

Cost control keeps you alive.

Excellence gets you growing again.

And for stations willing to rethink structure, this might be the smartest move of the year. Or at least the smartest move of the year so far.

It is only January

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

How Hard Questions About ICE and Cell Phone Video Changed Everything

Lauren Ashburn
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How Hard Questions About ICE and Cell Phone Video Changed Everything

The wall-to-wall coverage by cable and broadcast networks, day after agonizing day, showed the country erupting in outrage over the killing — and the administration’s explosive response — to the death of ICU nurse Alex Pretti at the hands of ICE agents in Minneapolis.

For the first time in the ICE saga, the administration buckled in the face of relentless, hard-hitting questioning by top anchors, including Kristen Welker, Dana Bash, and Fox’s Griff Jenkins, among others. It was the kind of confrontational journalism that made its mark and drew blood.

With anchors repeatedly cross-examining top administration officials, the message became clear: the story wasn’t holding up. Videos surfaced, and the narrative cracked.

Dana Bash, co-host of CNN’s State of the Union, came out swinging, grilling Border Patrol Commander-at-Large Greg Bovino in a fiery, no-holds-barred interview, demanding answers as to why Pretti was killed in cold blood. The next day, Bovino was banished from the city along with a handful of agents, and Border Czar Tom Homan was dispatched to the scene. Co-host of Fox & Friends Brian Kilmeade had suggested bringing in Homan three times on the show.

Pretti was pinned to the ground by several agents, one of whom took his gun — which he had a legal right to carry and conceal — and it was then, as cellphone video makes clear, that he was shot 10 times. They could have handcuffed him at that point; instead, the agents opened fire.

“Dana, first he was there in the scene. He was in the scene actively impeding and assaulting law enforcement to the point…,” Bovino said.

Bash retorted, “He wasn’t impeding it. He was filming it, which is a legal thing to do in the United States of America.” Bovino countered, “Dana, let’s don’t freeze-frame adjudicate this now. He was there for a reason. And that reason was to impede law enforcement, to the point…”

She kept going. “What evidence do you have of that?” Bash didn’t let Bovino hide behind talking points, and viewers — including the Commander in Chief — noticed.

On NBC’s Meet the Press, Kristen Welker went for the jugular, tearing into the administration’s narrative that Pretti was “brandishing a weapon” at ICE agents and acting as a “domestic terrorist,” as Secretary of Homeland Security Kristi Noem proclaimed right after the shooting.

Welker’s prosecutorial style forced Deputy Attorney General Todd Blanche to go on the defensive. Welker asked, “Did you see him at any point brandish a gun?” Blanche replied, “You can’t see everything that’s happening. There are a lot of angles we don’t see.”

She then pressed him on the actions of the agents more broadly. “Are they acting humanely?” Blanche answered, “Yes, our agents are acting humanely.”

Even on Fox News, Griff Jenkins, co-host of Fox & Friends, turned up the heat in what is normally friendly territory for the administration. He interrogated Blanche, asking why video evidence painted a dramatically different picture than the official line.

“With all due respect, sir, my question is more pointed… it doesn’t appear to most of the country that have watched the available video… it does not appear to have met that definition of domestic terrorism.”

Blanche acquiesced. “Look, I don’t think anybody thinks that they were comparing what happened on Saturday to the legal definition of domestic terrorism.” Blanche blinked, and Jenkins’ questions reflected a growing discomfort, even among conservative viewers.

The administration’s spinners took a beating, and it led President Trump to do what he hates to do: back down. He thinks it gives the media — who he calls the “enemy of the people” — a major victory.

But he really had no choice, with even hyper-partisan Republican lawmakers like James Comer, head of the Oversight Committee, encouraging Trump on Maria Bartiromo’s show on Fox to consider pulling ICE from Minnesota.

Under the glare of TV spotlights, and as protests swept Minneapolis and the country, the coverage continued to flood every hour of cable news, especially on MS NOW. The administration’s claims, confronted with stark video evidence that most people have seen, unraveled.

The intense questioning by top anchors left the public wondering why a 37-year-old ICU nurse, who worked with veterans, could die at the hands of those sworn to protect him. He’s the second American citizen to die, following the killing of mother of three Renee Good, who had just dropped off her child at school. Across the media landscape, critics rejected the administration’s attempt to blame the victims — even if they made mistakes — as a prime example of trigger-happy, badly trained federal agents.

Imagine what would have happened if there hadn’t been cellphone video and viewers were left to rely solely on the administration’s insistence on blaming the victims, branding the dead nurse a “domestic terrorist” who was allegedly brandishing a weapon.

For the most part, this was exceptional journalism done by highly trained professionals who chiseled away at administration efforts to deny what so many of us could see with our own eyes.

That constant refusal to accept false claims, declaring them flatly contradicted by video evidence and replaying it again and again, was not only good for the profession. It was good for a country that remains badly shaken by the fatal and unnecessary killing of two American citizens.

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

How Rich Valdes Is Using AI to Take His Show Global on Roku

Krystina Alarcon Carroll
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How Rich Valdes Is Using AI to Take His Show Global on Roku

On Friday, Rich Valdes announced he is joining Raul Acosta’s Festiva TV on Roku, which will utilize AI to translate his content into Spanish for Latin American and Caribbean audiences.

Barrett Media caught up with Valdes to talk about the new initiative and the role AI is playing on his show.

Krystina Carroll: Congratulations on the syndication! Tell me more about this new venture. Your show is going to be AI-dubbed in Spanish? This is blowing my mind. Tell me how this came about.

Rich Valdes: I was helping Curtis Sliwa with his mayoral campaign and got in touch with Raul Acosta (Oro Solido), who was interested in endorsing Curtis Sliwa. We started talking, and he was like, “Yeah, look, I’m a fan of yours. I’ve seen you on TV, and you do great work.” I was like, “Oh, thanks. I had no idea you even knew who I was.”

We hung out one time, then had a meeting, and he said to me, “You know, I have a TV network that is popular in the Caribbean and Latin America that we use to promote our music content. We’ve also just gotten into doing some news — international news from Latin America and the Caribbean — but we don’t have much from a United States perspective. We could really use that type of commentary because of all the changes we’re seeing.” This was before Maduro was arrested, but the writing was on the wall. With the election of Javier Milei and the Bolivian president, there seems to be a shift toward the right in many Latin American countries.

Oro Solido said, “I think conservative commentary would be good,” and he added that they could translate my content through AI.

(A note: Valdes speaks fluent Spanish, but translating the show through AI would avoid him having to do a second show.)

RV: I also wanted to get into more of the streaming television and video-sharing side of the industry with Rumble and YouTube. It’s a different world today than it was even three or four years ago. In the last two and a half years, I can’t remember the last time somebody asked what radio station I’m on. It’s almost always, “Where can I watch your podcast?”

KC: Do you have to pre-record anything for the AI so that when it translates your voice into Spanish, it sounds like you?

RV: Yeah, basically, the way I believe it works — and don’t quote me on this — is that you can do the stream live in English, and then it eventually gets stored in the cloud somewhere. That’s when the AI dubbing takes place. Then the production team moves that file over and puts it up. So I guess somewhere between you watching it and me saying it, this happens. It’s interesting because I do speak Spanish, but I’d be doing a completely different show. We’d need a whole different slate of guests, and not every guest speaks Spanish.

KC: For non-Spanish speakers, does the AI give them a generic, robot-like Spanish voice?

RV: No, it translates everybody’s voice in their own voice, which is pretty cool. That’s the technical stuff I’m not deeply involved in, but I know we’re working on it. Our scheduled release is in February. I haven’t put out a specific date yet because we want to make sure everything works really well. I don’t mind doing a soft launch around the Super Bowl and then continuing to build.

I’ve got a really interesting first guest lined up, and I’m excited about that. As soon as I’m able to say who it is, I will. I’m just waiting on a couple of confirmations. The idea is to make my existing show better, kick it off on video-sharing platforms, and make it much more robust in Spanish — Rich Valdes en Español on Roku.

KC: What can people expect video-wise from this? Not a new show, but this expansion of your show?

RV: It’s totally an expansion. I’m partnering with GMF and Oro Solido’s media company, and the production studio we’re using overlooks Times Square. That’s going to be a really cool addition — doing the show with Times Square as the backdrop and bringing guests into a brand-new location right in the center of New York City.

Radio is king. It’s the love of my life, and it always will be. I adore radio because there’s a skill set involved — respecting the clock, hitting breaks on time, broadcasting live, not talking over guests, and giving the audience the most important information in the time you have. That’s a skill I truly love.

I also love the ability, when there’s no guest, to take 10 or 12 minutes and do a strong monologue or tell a meaningful story. You can do that in streaming, but you don’t always know when people will hear it. On radio, you know they just heard it because you can go straight to the phones and get instant reaction.

I’ve always joked that Twitter is cool, and it doesn’t really matter how many followers you have — radio is better. People are listening in real time, and if they want to tell you how they feel, they’ll call you and tell you. That’s something I’ll always love about radio, and through technology and AI, we’re bringing that functionality into both the podcast and TV versions of the show.

We’ll have prearranged call-in times during production. People can call our 800 number — 877-VALDES-1 — and be part of the video and podcast versions of the show. They can also call 24 hours a day and leave a message if they miss us. Our production team can then incorporate those messages into the show. It really expands access for people who couldn’t call in before.

KC: For your non-Spanish-speaking audience, you’ll still be available on all your iHeart stations and everywhere people normally find you?

RV: Absolutely. We’re still on iHeartRadio every day. The podcast will be on Apple Podcasts and Spotify. None of that has changed. I’m still doing the same show I’ve done since 2018. It’s just more condensed now — typically an hour, sometimes two when warranted. There’s been a shift away from longer shows, not one I personally like, but it’s driven by audience habits.

KC: Is there anything I missed or anything you’d like to add?

RV: I’m thankful for the blessing Christ grants me and excited about this Spanish syndication opportunity.

As media continues to grow, integration is happening organically because people consume so many different types of content. Look at Stephen A. Smith. For decades, he was a staple in sports broadcasting. Then he expanded into cable, podcasts, and eventually commentary beyond sports. He realized he had a platform and something to say.

That’s what’s happening across media. People might listen to rock, oldies, reggaeton, or hip-hop, but they’re also deeply interested in news, politics, culture, and society. Those interests are merging. More people are on TikTok and Instagram, and consumption patterns are evolving.

That’s why I’m excited about partnering with Global Media Federation, owned by Raul Acosta — the lead singer and merengue legend of Oro Solido. I grew up listening to their hit after hit. They’ve expanded beyond music into television, media, and events.

In my conversations with Acosta, we’ve talked about politics in the Dominican Republic, Puerto Rico, and the broader Caribbean. These geopolitical issues affect everyone. I’ve always covered a wide range of topics — entertainment, mental health, politics, and news — and now more people are interested in that blend.

Teaming up with a media company that has such strong reach into the Hispanic community from an entertainment standpoint is a golden opportunity for me.

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.

Does the Program Director Role Have a Rosy Future in News/Talk Radio?

Garrett Searight
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Does the Program Director Role Have a Rosy Future in News/Talk Radio?

Nearly two years ago to the day, Jason Barrett posed a question that still echoes through my brain, and maybe even news/talk radio hallways. Is being a program director still appealing? It was a fair question then. It might be an even more urgent one now.

The role of a program director has always been demanding. It has never been a 9-to-5 job. It is pressure-packed, highly visible, and often thankless. Yet it remains one of the most influential seats in any radio building.

I believe the answer to Jason’s question is yes. Being a program director is still appealing. At least, it should be. What I’m less certain about is whether everyone in leadership feels the same way.

That doubt creeps in when you look around the industry. Some stations — some of the most prominent, you could argue — no longer have a true programming leader. Others have the title filled, but the authority stripped. In a few cases, the job has quietly disappeared altogether.

That should worry people.

If owners and executives can point to a station and say, “They don’t have a PD, and they haven’t missed a beat,” that’s not a great harbinger. It sends a message. It suggests the position is optional rather than essential.

Radio has always been good at rationalizing change. Sometimes too good. When budgets tighten, roles get blended. When headcount shrinks, responsibilities stack. The program director’s job can start to look like a luxury.

It isn’t.

There is still real value in a good programmer. Not just any programmer. That distinction matters more now than ever.

If all you want from a program director is someone to schedule logs, approve vacations, and make sure there’s sound coming out of the speakers, then no. The future for that version of the job is not especially rosy.

AI can do some of that. Corporate structures can handle the rest. You don’t need a visionary for basic maintenance.

But that’s not what great program directors do.

A strong PD puts together a plan. They align strategy with local reality. And they get a staff pulling in the same direction, even when resources are thin, and morale is tested.

They coach talent. Not just on content, but on preparation, pacing, and purpose. They help hosts become better versions of themselves. That doesn’t happen by accident.

They also understand revenue. Not in a buzzword way, but in a practical one. They see opportunities for sponsorships, events, podcasts, and digital extensions. They know how programming choices impact sales conversations.

Most importantly, they help shape a station’s voice in its city. They understand the audience. They know when to lead a conversation and when to listen. That kind of instinct can’t be pulled from a spreadsheet.

Without that leadership, stations risk drifting. They may sound fine day to day. They may even post decent numbers for a while. But over time, the lack of direction shows.

Culture erodes. Talent stagnates. Innovation slows.

It’s my hope that people across the industry still understand the value a good program director brings to a brand or company. Respect for that role matters. So does empowering it.

Because you often don’t realize how important a programming leader is until you don’t have one. By then, the damage may already be done.

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.

Sid Rosenberg Celebrates 10th Anniversary at 77 WABC

BNM Staff
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Sid Rosenberg Celebrates 10th Anniversary at 77 WABC

Tuesday marked a milestone at 77 WABC for morning host Sid Rosenberg. He’s now been at the New York news/talk station for a decade.

Rosenberg celebrated the event with a special seven-hour broadcast, leading the discussion on the station from 6 AM-1 PM. Throughout the day, he was joined by several hitters, including Sean Hannity, John and Margo Catsimatidis, and even President Donald Trump called into the program.

“Ten years at WABC has been the honor of my career,” said Sid Rosenberg. “This station gave me a microphone, a family, and the freedom to be unapologetically myself every morning. I’m incredibly grateful to John and Margo Catsimatidis, Chad Lopez, and the entire WABC team for believing in me, and to the listeners who’ve been with me through every high and low. This anniversary isn’t about looking back — it’s about how much more we’re going to do together.”

Additionally, the President of the New York State Broadcasters Association, Dave Donovan, called in to congratulate Rosenberg on the milestone.

“Sid Rosenberg is one of the most authentic voices in radio today,” said Red Apple Media owner John Catsimatidis. “For the past 10 years, he’s connected with listeners in a way that’s real, passionate, and fearless. WABC is growing, we’re investing in the future, and Sid is a huge part of why this station’s best days are still ahead — not just in New York, but around the world.”

“For 10 years, Sid Rosenberg has delivered compelling, fearless, and impactful radio every morning on WABC Radio,” Lopez said. “He’s a defining voice of WABC and a major reason the station continues to grow, influence, and lead.”

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.

Seattle Mariners Radio Voice Rick Rizzs To Retire Following 2026 Season

BSM Staff
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Seattle Mariners Radio Voice Rick Rizzs To Retire Following 2026 Season

Rick Rizzs, the longtime radio voice of the Seattle Mariners and one of the most recognizable figures in Pacific Northwest sports media, announced that the 2026 season will be his final year as the club’s primary radio play-by-play broadcaster, closing a career that has spanned more than five decades behind the microphone.

Rizzs, who joined the Mariners in 1983, said the decision reflects a desire to spend more time with family after 40 seasons calling games in Seattle and 43 years broadcasting Major League Baseball overall. While he plans to remain active throughout the 2026 season, his schedule will be adjusted, with a full slate of home games and a reduced number of road broadcasts.

“I’ve been blessed to live my dream as a baseball play-by-play announcer for the past 51 seasons,” Rizzs said. “Calling Mariners games has been the highlight of my life, and the connection with fans across the Northwest has made it unbelievably special.”

The announcement comes as the Mariners prepare to celebrate their 50th season in 2026, a milestone that will now double as a yearlong farewell tour for a broadcaster widely viewed as the franchise’s signature voice. Mariners Chairman and Managing Partner John Stanton described Rizzs as an essential part of the organization’s identity, noting the consistency and passion he has brought to the booth across four decades.

“Rick has become the Voice of the Mariners,” Stanton said. “His energy, iconic calls and genuine love for this community shine through every broadcast. We look forward to celebrating him throughout the 2026 season as he concludes a Hall of Fame-caliber career.”

Rizzs’ tenure in Seattle includes two distinct chapters. After nine seasons with the club from 1983 to 1991, he spent three years as the lead radio voice of the Detroit Tigers before returning to Seattle for the memorable 1995 season. Since then, he has remained a constant presence through multiple eras of Mariners baseball, ultimately becoming the longest-tenured broadcaster in franchise history.

Beyond the booth, Rizzs has built an extensive legacy through community service. In 1995, he co-founded the Toys for Kids nonprofit, which has provided new toys to more than 360,000 children in the Pacific Northwest during the holiday season. The organization has also awarded college scholarships and expanded programming to support families facing housing insecurity, food scarcity and limited access to basic school supplies.

A native of Chicago’s South Side, Rizzs is a 1975 graduate of Southern Illinois University. He began his broadcasting career in minor league baseball before serving as sports director at WBNS Radio in Columbus, Ohio, where he called Ohio State football and Triple-A baseball. That path ultimately led him to Seattle, where his voice became synonymous with summer nights and Mariners baseball.

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.

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