Fanatics Fest has quickly become one of the sports industry’s most reliable engines for unscripted moments, the kind of viral flashes that traditional media companies have spent years attempting to manufacture. That momentum is now influencing one of ESPN’s longest-running franchises.
According to a report by John Ourand at Puck, with Fanatics announced last week along with the formation of Fanatics Studios, The ESPY Awards are making a return to New York City. As part of a partnership with Michael Ratner’s OBB Media that will assume production responsibilities for several projects, that will also include this summer’s ESPY Awards. As part of that shift,
The event has been a staple in Los Angeles every summer for the last 25 years.
The awards ceremony is currently scheduled for Wednesday, July 15, a date that positions it squarely alongside a packed sports calendar. It will air the night after Major League Baseball’s All-Star Game and just one day before Fanatics Fest begins its four-day run at the Javits Center from July 16–19. In additon, the FIFA World Cup final will also take place that weekend at nearby MetLife Stadium.
The reporting states that ESPN has not yet finalized a venue for the ESPYs, but the geographic overlap with Fanatics Fest is intentional. The strategy reflects a broader recalibration of how ESPN approaches an event that has struggled in recent years to produce lasting cultural moments despite its star power.
Ratner, who also serves as CEO of Fanatics Studios, has acknowledged that the ESPY’s could use a way to repackage the compelling content it provides. Fanatics Fest, by contrast, has demonstrated an ability to turn a convention-style event into a magnet for athletes and creators. Much of that success stems from Fanatics’ deep business relationships across professional sports, which make athlete participation both seamless and expected.
The show will remain on ESPN and continue to be produced with Full Day Productions. Ratner has indicated that the focus will be on tapping into the surrounding energy rather than reinventing the format. That includes an emphasis on unscripted moments, potential new award categories, and greater social media integration.
ESPN has not commented or released any official announcement on this year’s ESPY Awards ceremony.
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Netflix is continuing to announce dates for the debut of several popular sports podcasts streaming exclusively in video form on the platform. The latest additions represent a mix of sports analysis, culture-driven commentary, and crossover programming, underscoring the company’s growing interest in podcast-driven engagement.
Four additional sports-focused podcasts will launch on Netflix on January 26, marking a significant influx of recognizable talent and established brands. A fifth show will follow on February 1, adding NFL-focused content ahead of the league’s offseason calendar.
Among the January 26 debuts is Joe & Jada, hosted by Grammy-nominated hip-hop stars Fat Joe and Jadakiss. The twice-weekly program blends discussions around music, sports, and culture, while also featuring interviews with influential figures across those worlds. The show has built a loyal audience through candid conversations and topical relevance, positioning it as a strong fit for Netflix’s push toward broader lifestyle and sports-adjacent content. Currently, Joe & Jada is produced by The Volume and Roc Nation with video available on YouTube.
Also launching that day is New Rory & Mal, hosted by Rory Farrell and Jamil “Mal” Clay. The podcast has become known for its sharp commentary and unfiltered takes on culture and sports, often driven by the hosts’ chemistry and willingness to challenge prevailing narratives. Its arrival gives Netflix another voice aimed at younger, digitally native audiences who gravitate toward personality-driven formats. The podcast was signed by The Volume in February of 2025 and also currently has video populating on YouTube.
Basketball fans will find familiar ground with The Mismatch, which pairs Chris Vernon and David Jacoby for in-depth NBA discussion. The show focuses on league trends, transactions, and on-court analysis, while leaning into debates that reflect both hosts’ long-standing media backgrounds. Its inclusion strengthens Netflix’s NBA-related offerings at a time when year-round basketball conversation continues to drive strong engagement.
Rounding out the January 26 lineup is The Rewatchables, hosted by Bill Simmons alongside rotating contributors from The Ringer. While not strictly sports-focused, the podcast’s popularity and ties to sports media culture have made it a cornerstone of Simmons’ audio portfolio. The show examines films that viewers return to repeatedly, blending nostalgia with analysis in a format that has proven highly adaptable.
On February 1, Netflix will debut The McShay Show, hosted by longtime NFL draft analyst Todd McShay. The podcast dives into prospect evaluation, front-office insights, and ongoing mock draft updates, offering timely content as teams prepare for the scouting combine and draft season.
The Mismatch, Rewatchables, and The McShay Show fall under The Ringer/Spotify. These podcasts were part of the agreement between Spotify and Netflix.
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Adam Carolla is returning to radio, joining The Megyn Kelly Channel on SiriusXM later this month.
As part of a new multi-year contract extension with PodcastOne, The Adam Carolla Show will be added to the newly launched SiriusXM channel. The show will air on Tuesdays through Fridays from 7-9 AM ET beginning on Monday, January 26th.
“PodcastOne is thrilled to extend our relationship with Adam,” PodcastOne President Kit Gray said. “Adam has paved the way for podcasters around the globe, and his podcast is continuously growing with audiences and with advertisers. We’re proud to be working alongside one of the greatest in the business as he sets the tone for success in the genre.”
The Adam Carolla Show launched in 2009 after his talk radio show ended. In September, the show surpassed 4,000 episodes.
It joins The Megyn Kelly Channel, which was launched in October. The channel houses The Megyn Kelly Show, as well as other politically focused shows.
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It’s no secret that the radio industry has evolved significantly over the last thirty years, but it’s easy to forget just how different things are now compared to what they once were.
As an example, let’s contrast two hosts. In the late eighties, there was Tom Joyner, who was known as “The Fly Jock.” He hosted mornings on KKDA in Dallas when he was offered the afternoon show at WGCI in Chicago. Instead of choosing between the two, he created an unheard-of arrangement where he flew between the two cities every day, doing a live show in each for over eight years.
Now meet Theresa Clanton, also known as Theresa Rockface on social media. She would probably look at Joyner and say something to the effect of, “two shows a day, that’s adorable.” That’s how much times have changed.
Clanton does five live shows every day around the country for iHeartRadio. The only thing she’s missing is the frequent flier miles, as all the magic originates from her home studio.
She starts her day with a morning show in Salt Lake City. That’s followed by middays shows in Indianapolis, Charlotte, and Dallas, before hosting afternoons on her home station, KTBZ, in Houston. Throw in a show for one of iHeart’s Premium Choice Rock channels, and you can see how Joyner’s example seems quaint.
Five live shows every day. Not voice-tracked the day before like so many out-of-market shows are.
“I prefer to basically do it in real time,” says Clanton. “I’d feel like I’m putting out a subpar show if I’m just throwing out information that’s not current. So yes, I do it live and I think it pays off because I get a lot of feedback from listeners all over the country.”
The drive to do all the shows in close to real time also helps alleviate any imposter syndrome. Clanton wants to ensure that listeners in each individual market can identify with her content, building that personal attachment to the listener.
“I don’t want to feel like a fraud if somebody’s listening to me in Salt Lake City, but they know I’m in Houston,” says Clanton. “They’re not mad about it because I’m putting in the effort to talk about their city and deliver up-to-the-minute content.”
Joyner didn’t have the luxury of the same type of technology available that Clanton does. That includes iHeart personnel in each of her markets who help with prep by providing information about what’s going on. Clanton noted that this is vital to remaining consistent with the audience in real time. However, she doesn’t stop there.
“I’m an overachiever, which will be the death of me. I do my own research so I’m just constantly looking city by city for information. I’ve learned the local websites, news spots, even social media,” said Clanton. “I know Instagram accounts that are tied to each city that will always show me things I’m not getting in my prep. It’s a constant news cycle. It’s like a tornado in here.”
She learned to be organized and well prepared while working with Rod Ryan on the morning show at KTBZ for nearly ten years. That experience alone left an impression on her that she applies every day to her work across multiple markets.
“Looking back, I took so much from it. The structure, prep, and weeding out what you need to and don’t need to talk about. Every aspect of doing that show helped me do these shows today,” she says.
During their time together, the morning show was highly successful. Over time, there came a point when Clanton wanted to control her own destiny instead of continuing her successful tenure with KTBZ.
“Once we got going, the show was number one. We built so much over the time I was there. It was like this ride that was just escalating and getting bigger and bigger,” she noted. “After a time, I wanted to get off the ride. I wanted my own ride.”
Of course, that wasn’t an easy decision. Leavoing a successful morning show and move into the lower-profile music dayparts. Her bosses told her that it could backfire, considering how host positions in those time slots were being condensed.
“They said you’re taking a risk doing middays, but I was willing to take that risk and leave the Rod Ryan show because I wanted my own little island,” Clanton explained.
Betting on herself paid off handsomely. Her show at The Buzz led to weekend shows and then prime-time slots at other stations, eventually building to where she is today. Along the way, Clanton, not surprisingly, embraced social media, which is where her alter ego, Theresa Rockface, was born.
Unfortunately, the story of how she arrived at that name, isn’t as exciting as she’d like it to be.
“It’s the dumbest story on the planet,” Clanton says. “I’m a huge Britney (Spears) fan. I love her. Shaved head, crazy wild woman, I love her.”
When Twitter/X was still a fledgling platform, when she was co-hosting mornings the big news dropped that Spears had started tweeting. So, during a commercial break, Clanton decided to open an account to see if she could get Spears to tweet back at her.
Opening the account in a hurry, she hit a snag when choosing a handle.
“I just made it up on the spot. I was like Theresa… Rockface. Screw it, I’ll change it later,” Clanton said.
The name stuck, and everyone liked it so much that a dumb, in-the-moment joke ended up becoming her name on every social platform. What’s surprising, though, is that the content on Theresa Rockface’s channels is not at all what you’d expect to find.
“I’m a multi-faceted person,” she explains. “I’m a rock chick and a tomboy, but I’m a girly-girl too. There is a whole different side of me. I wanted to connect with women as well as men. So, I decided on my socials, why shouldn’t I just do what I want and do girl s**t.”
The approach worked. Posting about fashion, jewelry, and other non-rock content opened up a whole new audience. The goal was to use social media as an alter-ego and showcase a different side of her personality, which has truly worked to her benefit.
“It’s opened another world as far as clients,” explained Clanton. “More importantly, I don’t want to be detached from women because I’m only on rock stations. I love outfits and girl s**t. That’s who I am.”
While her personality has many facets, Clanton’s success has nothing to do with gender. Her belief is simple; she’s competing with everyone in the industry.
“I tell women don’t worry about if it’s a guy or a girl you’re up against. Don’t feel like because you’re a woman, you’re not going to get the part or get where you need to be,” explained Clanton. “I am proof that is absolutely not true. I’ve been told I wasn’t good enough and pushed through so many stereotypes. I’ve built a career because I’ve been authentic.”
She finishes with this thought for anyone trying to grow in the business.
“It’s all about your talent. Put everything else aside and f***ing focus on your talent. Deliver good shows, be true to who you are, and just go. That’s the best advice,” she explained
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Chris Oliviero is one of the brightest minds in the sports radio industry. He is highly respected, and the success of his career backs that up. His words carry significant weight, particularly given his leadership of one of the format’s most influential brands, WFAN.
When Oliviero sat down for a lengthy interview with Andrew Marchand of The Athletic this week, his comments on Craig Carton’s return to WFAN caught my attention. I have also had separate conversations with people involved. My interest sharpened once I saw Oliviero address the situation publicly.
After hearing the Audacy executive discuss several changes at WFAN, a subtle inconsistency emerged in some of his responses. That leads to a simple but important question: which is it? Is WFAN positioning itself for the future, or is it continuing to lean on the past?
Carton’s return to the station for a third time was headline-worthy. Every chapter of his WFAN run has produced strong ratings results. There has also always been a revenue upside attached. Since his debut in 2007, Carton has ranked among WFAN’s most impactful personalities since its launch nearly 40 years ago.
Carton is a throwback. He’s a hit record that sold millions of copies and one that fans still remember and enjoy. The key word, however, is throwback. His voice helped guide a generation of New York sports fans to make WFAN their home.
That was then, this is now.
The challenge for any sports radio station today is evolving for a younger audience. Not necessarily convincing that audience to listen to the traditional radio, but inviting them to engage with the brand wherever the content lives. That is why Oliviero’s explanation for moving away from sports updates makes sense.
Why no more 20/20 updates? What's up with the overnights?
“WFAN may be the last broadcast sports radio station still doing the typical updates,” explained Oliviero to Marchand. “We recognized technology had changed. Information and scores could be readily available on other platforms, and people were coming to us for the opinions, etc. So we did stop doing them.”
While Oliviero pushed back on the idea that the station “eliminated” updates, choosing instead to frame the move as an ending, the reality is clear. The content no longer exists in the form it once did. Several employees tied to that role are also no longer with the station, including Erica Herskowitz and Rich Ackerman, who announced their departures last month.
In that quote, Oliviero acknowledged a shift in audience behavior. He’s 100% right. Fans now turn to their phones for scores and breaking information, while tuning in more for perspective and opinion. That logic is sound and mirrors decisions many sports media brands made more than a decade ago.
“We reinvested those dollars in off-air staff that’s driving our video, video producers, social producers. So to me, that’s what any smart business has to do. You have to start to shift your resources. So we thought it was better to do that,” Oliviero said, describing how funds once used for updates were redirected toward digital growth.
Once again, Oliviero demonstrated forward thinking by reallocating resources to meet the audience where it already exists. The objective is clear: expand reach, strengthen the WFAN brand, and accept that radio alone is no longer the primary destination. Many stations across the country continue to chase that same balance.
“WFAN is going to be 40 in 2027. That’s a long, solid, four-decade run of success,” he said. “You’re not going to have success over multiple decades if you just keep doing the same thing and you’re not confident enough to evolve.”
Which brings us back to Craig Carton.
If the focus is truly on evolving WFAN for the future, why return to Carton instead of continuing to build around the lineup announced in 2023?
“The new lineup card of WFAN continues to exemplify the station’s extraordinary depth of talent with all-star veterans and next-generation voices,” Oliviero said in June of 2023. “This roster, with the additions of Tiki [Barber] to afternoons and Sal [Licata] to middays and including the market-leading Boomer & Gio morning show, will continue WFAN’s now nearly 40-year dominance of the sports conversation in New York.”
The past can be a valuable teacher, but it is not a place to live. How does another reboot of Craig Carton, paired with yet another co-host in the same time slot, represent the evolution Oliviero described?
In his comments to Marchand, Oliviero made it clear there was immediate interest once Carton’s FS1 program was canceled. That reaction is understandable given Carton’s long history with the brand. Still, it raises a critical question: did Oliviero truly believe the lineup he praised two years ago represented the future he envisioned?
Or was this decision driven by the fear of Carton landing with a competitor, even one that no longer competes in the ratings the way it once did?
What was said by Oliviero in his interview with Marchand and what ultimately happened do not fully align. You can’t preach moving into tomorrow while in the next breath welcoming back yesterday. Programming a top-tier brand in a major market is never easy, but mission statements matter.
If evolution is the goal, sports radio brands must fully invest in the future rather than repeatedly rebooting the past in search of a different outcome.
Some personalities have already chosen that path. Brandon Tierney seized his opportunity to evolve, building a YouTube channel that now exceeds 13,000 subscribers and continues to grow. He is producing content independently for the same platforms WFAN is reinvesting in. Sal Licata has now launched his own channel as well, producing similar digital-first content.
This is not just a WFAN story. It is a sports radio story. Legacy brands across the country are navigating the same tension between proven voices and future growth. Chris Oliviero understands those stakes and the changing landscape, but the challenge is what matters most and can brands be brave enough to invest in it.
True evolution does not come from recycling familiar voices. It comes from empowering the next generation to carry the brand forward. WFAN’s next chapter will not be defined by what it is remembered for. It will be defined by what the station chooses to build. That future depends on intentional investment moving forward.
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Every fall, we jump back on the broadcast carousel. Tony Romo unleashes a barrage of “Jims,” social media sharpens its pitchforks, and Tom Brady earns a “most improved” sticker from the Twitterverse. Cris Collinsworth? Still crooning his way through Sunday night as if he’s discovered football is round—for the third time.
And what do we do? We start the annual dance of outrage, confusion, and hot takes, all while networks make it rain contracts the size of quarterback paychecks for guys with headsets and catchphrases.
Let’s get real. John Madden wasn’t just good—he was football’s Robin Hood, delivering gifts of knowledge with every “BOOM!” He didn’t analyze; he evangelized. Circles, arrows, sound effects for days. He explained the game like your favorite uncle, except your uncle never served a turducken on national TV. Comparing anyone to Madden? That’s like entering your local pie-eating contest and realizing you’re up against Pac-Man. Everyone else is just fighting for crumbs.
Howard Cosell? The man invented taking sides. You loved him, you hated him, but you never ignored him. He made Monday Night Football feel like Shakespeare with shoulder pads.
Phil Simms, at his best, was a playbook whisperer—until he wandered off into infomercial territory. Early Simms: football sensei. Later Simms: the guy who won’t leave your living room.
Troy Aikman—sharp, opinionated, and blessedly brief. You trust him like you trust your GPS, except he rarely reroutes you through nonsense.
And then there’s Cris Collinsworth—Southern charm and a legal requirement to mention Patrick Mahomes at least once per quarter. Sometimes it fits. Sometimes it’s like randomly dropping Floyd Mayweather into the actual weather report.
He says weird stuff—the kind that makes you pause and go, wait… what? But underneath it all is pure Madden-style love for the game. He gets genuinely fired up over a great block, a sharp route, a perfectly timed blitz. He may ramble, but it’s honest. It’s joy. In a booth full of buzzwords and brand management, Collinsworth still sounds like a guy who’d watch film on a porch swing with sweet tea and a grin.
Now step onto the Tony Romo rollercoaster. The former magician who now seems to have misplaced his rabbit.
When Romo first picked up the mic, every viewer became an honorary offensive coordinator. He predicted plays, decoded coverages, and made us feel like Belichick for a minute. But here’s the curse: once you’ve pulled off a miracle, no one wants to see you juggle.
Romo started electric. Now he looks like he’s searching for a plug.
These days, Romo’s broadcasts feel like karaoke night at a sports bar—loud, enthusiastic, but woefully off-key. More “wow,” less substance. He claims he was under the weather during Bills-Jaguars last weekend. Fans don’t hand out medals for effort; they hand out memes.
Romo seems bored, trying to be cute and funny while hoping nobody notices. The truth is out, Tony. The preparation isn’t there. The enthusiasm feels fake.
Tom Brady is improving—better timing, better rhythm, less cyborg. Still, he sounds like he’s reading a quarterly report, not a play chart. Fans want lightning, not LinkedIn. Brady’s better, but he’s still finding his voice, and Twitter’s stopwatch is ticking.
One awkward pause and you’re trending—just not the way you want.
Meanwhile, Greg Olsen may be number two on FOX’s depth chart, but he’s become a fan and peer favorite alike. In 2025, fan polling consistently ranked him among the most liked NFL commentators, and he earned Sports Emmy nominations for his work in the booth.
Why? Because he gets it right. He breaks down plays, tells you what actually happened in a concise, smart way, then quietly steps aside. No grandstanding. No viral thirst traps. He’s the broadcast equivalent of a perfect New York cheese slice: unassuming, but exactly what you crave.
Let’s face it—analysts aren’t just voices anymore. They’re social media content waiting to happen.
Every sentence is a potential screenshot. Every groan becomes a soundboard classic. Cosell never went viral for mispronouncing a name. Madden never got ripped by a twenty-something online for one too many “booms.” Now your worst call gets more replays than the Super Bowl. The booth has no safety net. Misspeak, and you’re immortalized in pixels.
So what do fans actually want?
Analysts who are sharp, quick, and just a little dangerous. Smart without being smug. Tell us something we can’t see. Take us somewhere we can’t go. Explain the why, not just the what. Give us a story, not an analytics report. Let the moment breathe—don’t fill every silence with static.
You’re there to complement the dish, not overwhelm it.
What we don’t want? Rambling. Don’t talk down to us, but don’t be Captain Obvious either. Be funny, passionate, opinionated. Be real. Teach us something we can impress our friends with later. And for the love of football, don’t step on the touchdown call.
In the end, we’re all searching for the secret sauce: Madden’s joy, his curiosity, his ability to teach without talking down, and to entertain without trying too hard. That’s the unreachable magic—the thing every analyst is chasing and few ever catch.
Tom Brady and Tony Romo in an intense battle to see who can give their best insight in a playoff game. Really came down to the wire but I think Brady pulled it off in the end. Really close. pic.twitter.com/uZylDh5cse
Tony Romo took hits from linemen for years. He played through pain, second-guessed every Sunday in America’s most football-crazed city. But this? The booth? The hits are quicker, invisible, and permanent. One forced “wow” and you’re the internet’s chew toy for a week.
Passion isn’t optional. The audience can spot a fake before the snap.
Brady spent decades controlling the game, but the booth moves faster than an unblocked edge rusher. No helmet. No clock. Just a mic and millions of critics waiting for him to stutter.
So the next time you gripe about Romo’s “Jim” count, ask yourself, what do you really want? Do you crave the joy of Madden? The been-there of Brady? The charm of Collinsworth? Or just a fresh meme for the group chat?
Maybe the perfect commentator is a myth—a unicorn with a telestrator. Maybe that’s the point. In a world where every voice is one viral moment from infamy, the only thing more dangerous than the booth… is believing you’ve figured it out.
Now, who wants to analyze the next play?
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“How? How is it possible?” That was my first reaction when I saw the report on Barrett Media that only 3% of political advertising thus far has been spent on terrestrial radio.
That almost seems impossible. Meanwhile, digital media has earned 34% of all political advertising to this point. Connected TV has secured 22% of political marketing, while cable is just behind at 21%. 19% of election cycle spending has been earmarked for broadcast television.
But … 3%, really?!
I understand the challenges all traditional media outlets are facing, but there is arguably not a more efficient spend for politicians than radio, where there is a true one-on-one connection with the listener in a way they can’t pay for on YouTube, digital static ads, or even broadcast TV.
Now we understand that political candidates often like to look at themselves on TV. Heck, that’s a big reason many of them end up wanting to run for office anyway. They want to be noticed around town. They want to become semi-famous. And they want the high Q scores and notoriety that can come with the job.
But when you combine an engaged audience — one that can’t fast-forward, that is connected to the local communities where candidates are running — along with a very competitive bang for their buck, terrestrial radio should be blowing away its 3% number reported by AdImpact.
Radio is fighting an uphill battle against the visual appeal of television, along with the attractiveness of digital media in today’s environment. But collectively, we need to do a better job explaining what makes our medium appealing to politicians and their ad buyers.
There are plenty of studies suggesting that radio spending can be cost-effective and additive for political campaigns, along with three other main benefits: reaching across political divides; listeners who are often more engaged and less distracted, leading to better ad recall; and a proven ability to effectively reach voters not easily found through other media.
And speaking of some of those harder-to-reach voters, as the Hispanic demographic grows and becomes more politically active and less monolithic in its voting patterns, radio is primed to lead the way in reaching these voters. Radio remains the dominant ad-supported audio platform among Hispanic listeners, accounting for 55% of daily audio consumption in the third quarter of 2025.
Combined with podcasts, these two formats account for 76% of all daily ad-supported audio time among Hispanic adults, ahead of music services, which account for only 21%. According to Edison Research’s Share of Ear, radio is the top ad-supported audio source in cars, accounting for 76% of all in-car audio use among Hispanic consumers attributed to radio.
So as we kick-start 2026, radio needs to sell itself better, and much of that should start at the hyper-local level. The local campaigns in your market that can’t otherwise afford big TV ad buys may be the places where you can begin to sell the value of radio. It’s also a great place to hone your presentation on radio. Build success stories. Incorporate digital components, as many radio companies can, and take dollars from local television, where political silly season becomes nonstop repetition of smiling candidates and their families, who all eventually end up blending together.
We have a product that can work at an attractive price point in an overcrowded market. Which candidate(s), and which stations, are poised to take advantage in 2026?
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I know much more about rock radio than I know about tires. I know very little about tires. Tread, rubber, pressure — that’s about as far as I can get.
No one is hiring me to sell tires at their tire store.
I once sold cowboy boots, but I was last in sales. Who was on top? The guy from Wyoming who could tell you 20 different things about a pair of boots that you’d swear weren’t real — but were. He was so into it, he’d get parents to buy two pairs for their kids, one for now and another for when their feet grew. That’s a true story.
I could have done better if I studied and worked harder, but boots didn’t register on my passion meter, and that’s the blind spot many brands ignore when they hire.
I’ve lost count of how many RockTernative stations I’ve been inside where the sales staff didn’t feel like legitimate fans of the brand. AEs that LOVE the station and:
Listen closely every day
Know the artists and albums
Go to concerts
Crash the PD’s office just to talk rock news
Look the look, talk the talk, walk the walk
Actually notice when the brand makes changes
Every station usually has one or two rock P1s in the sales pit. You don’t have to be a tatted-up die-hard to be the top biller. Many top billers rely on relationships and don’t know the difference between Bad Omens and Bad Wolves.
And sometimes that’s OK.
Sales is a learned skill, relationships matter, and many avails just require answering the call, stating the numbers, and then some finessing — but that gravy train is slowing way down.
Data will remain important for sales. But with more platforms, options, and endless data that isn’t always compatible, the era of purely quantitative selling is fading.
For decades, some buyers would demand to buy Rock, Pop, or Country, but most just wanted GRPs — it was all about making decisions based on a dataset. And they used to choose between Station A and Station B. Now it’s Stations A vs. B vs. Podcast C vs. Influencer D vs. Platforms E, F, and G — and many of those datasets speak different languages.
And data won’t always give the answers a buyer or brand owner needs to know.
What does the brand stand for?
What’s the DNA?
Who IS the audience other than a broad, ambiguous demographic?
Is the audience a fit for our brand?
Someone who really knows and loves the brand can best answer those questions with a real testimonial, not a flashy deck.
I love to hear stories about rocker AEs that go out and create new business out of thin air. They don’t rely on numbers first — that’s not their pitch. They use their love and knowledge of the brand, music, and lifestyle to close the deal. Just like your friend who can convince you to check out a new band you’ve never heard of.
Rock audiences are among the most loyal — they drive results, just ask promoters and attorneys. And the fans that like their music a bit louder often look great in qualitative comps.
There may be a day when Nielsen isn’t the goalpost and the data we use is more complementary, not judge and jury. If you’ve been following the industry news this past week, those days may come sooner rather than later. Either way, this goes for all formats, especially those that don’t typically have the biggest cumes:
When given the opportunity — ask AEs: Could you sell this brand if ratings didn’t exist?
When they inevitably say “yes,” reply with, “How? Sell me on the brand right now.”
That simple exchange will tell you a lot. Do you have a trained seller that has to lean on the boots looking good and being popular, or will you hear about the quality of leather, the arch support, the protection they provide, and that you should feel some slip in the heel?
Anyone can read numbers and fake it, but for how long? Hire right. Your revenue will thank you.
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For as far back as I can remember, the unwritten deal between employer and employee was simple: show up, work hard, stay loyal, and the company would provide investment for the rest. When my wife worked for a major real estate company, they paid for all seven of her licenses and all the required continuing education courses. For most of us, all training, paths to growth, and even a sense of stability were considered part of the compensation package.
That model is changing. Today, the most valuable investment an employee can make may not always come from the company. Instead, it’s more about investing in ourselves.
Before you race to comment below and tell me how wrong that is, allow me to explain.
Self-investment isn’t a new concept. Your education is an example. You (and probably your parents) invested in your future so you could acquire skills that make you attractive to companies. Gen Z and Millennials, though, have begun to place less value on a college or university education, mainly because they no longer see the payoff down the road.
Vocational education and apprenticeships appear to be a better investment in their immediate futures. Meanwhile, those same companies that once looked for the sheepskin now move faster. They restructure more often, and pivot frequently based on market conditions, technology advances, and shareholder demands.
We’ve all seen that train of change barreling down the tracks toward us. Roles change. Teams change or even disappear. The truth is that entire skill sets can now become obsolete in just a few years.
Look at computer code engineers, who are seeing their roles evolve as AI can now write code without them. When we rely solely on employer-provided training or direction, we tie our future directly to decisions we don’t control.
Self-investment gives you that control back, and that control shouldn’t stop once you have a job. With the world in constant flux, your investment in yourself should respond in kind.
I recommend thinking about your career the same way you think about Social Security versus a 401(k) or IRA. Chances are Social Security will not be enough to carry you through your retirement years. Investing in your own retirement accounts is likely a much better bet.
My dad talked to me about saving for retirement when I started working. I thought it was absurd to think about that when I was only a teenager. He said, “Retirement age doesn’t creep up on you, son! It’s stealth and attacks quickly with a vengeance.”
Learning on your own and keeping up with trends gives you a huge advantage. When companies hire employees, they tend to train for the skills they need now, not for what will matter next. When you independently build skills in leadership, communication, technology, and industry trends, you give yourself a clear leg up. By staying ahead of the curve instead of reacting to it. You won’t need to wait to be told that you’re valuable; you can decide for yourself.
That mindset makes you more resilient and more employable.
There’s also a credibility factor. When you invest in certifications, side projects, continuing education, or even self-directed reading, it signals seriousness. It shows curiosity, ambition, and accountability. Managers notice this. So do future employers.
When you invest in yourself, you tend to bring fresh ideas to work rather than waiting for instructions. I have always strived to be a contributor rather than just a participant.
Self-investment also protects you from burnout and stagnation. When your growth depends entirely on the company, you can feel trapped when opportunities pass you by or dry up. Learning independently creates your own internal momentum. It reminds us that our identity and value are bigger than our titles. That forward motion is often the difference between feeling stuck and feeling purposeful.
I know that many will push back here, arguing that training should be the company’s responsibility. To some extent, that’s fair. Employers should provide tools, onboarding, and job development that allow us to perform well.
However, expecting a company to supply everything—from learning all skill sets to providing career clarity—puts an awful lot of power in one place. If at least some of that power is not in your hands, you’re at a clear disadvantage. Businesses exist to meet their own goals, not to design everyone’s future.
That responsibility has to be your own.
Investing in yourself doesn’t have to mean expensive degrees, either. It can be as simple as setting aside time each week to learn. Seeking out mentors outside your company, and building skills that align with where you want to be, not just where you are. This “Intentional Ownership” means you treat yourself as an investor with a desire to align your personal values and growth with companies that reflect the same ethics.
A values-driven mindset will always lead to more sustainable growth in your career.
In any job market, self-investment isn’t optional; it’s strategic. When you take charge of your own growth, you truly future-proof your career. That, in turn, makes you the type of person companies value most: adaptable, well-informed, and ready for whatever comes next.
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Rich Zeoli raised eyebrows earlier this month by announcing that he was departing his afternoon drive show on 1210 WPHT in Philadelphia to launch a nationally focused podcast.
Now, he isn’t going far. That new podcast is airing on the news/talk station from 6-7 PM, which Zeoli is grateful for.
An unabashed lover of the talk radio format and genre, Zeoli said he was motivated to leap to the podcasting realm by seeing how prevalent the on-demand nature of the game has become.
“It’s about giving people options in this day and age we live in,” he said. “There are some people that will get in their car, and they want to turn on the radio and hear the radio. They can hear me on the radio. There are other people that want to hear me when they want to hear me. I’ve had — in the last couple years — notes from people who say, ‘I caught your podcast this morning’, meaning the podcast version of my radio show. They’ll listen to it in the morning versus the afternoon. I think what this model does is it just accepts the reality that we are in an on-demand world.
“If you want to listen to the classic radio show, if you want to listen in your car, or on your radio at home, you can. You can also listen when I’m live-streaming it. Or you can listen to it five hours later. That’s the beauty about this day and age, and that’s what people want. People want to be able to hear the content when they want to be able to hear it. We’ve never lived in a time like this before where you can deliver that and the audience can get it and not have to worry about, ‘Oh, I missed the show today.’ There should never be an excuse to miss the show.”
The Rich Zeoli Podcast is streamed live at 2 PM ET each weekday. He’ll still remain a prominent figure on 1210 WPHT, making weekly appearances on various shows, in addition to his new program airing at 6 PM ET.
Zeoli said he was forced to look at the future of his career when making decision about what lay ahead. And he believes this is the best option for him moving forward.
“As much as I love talk radio and doing my radio show in Philly, I said, ‘I have to think about the next 20 years of my career.’ So I have to also find a way to get into this. Now, the conundrum was, I’m doing a four-hour talk radio show. I’ve got 3 kids. I got a puppy, I have a wife, I also didn’t want to then do a podcast, so I had to find a way that I could accomplish both, but still have a manageable life.”
Zeoli heaped praise on 1210 WPHT for their support and for accommodating the new endeavor.
The differences between a four-hour news/talk radio show and a one-hour podcast are stark, Rich Zeoli noted.
“When you’re doing an hour you have to be very sharp and concise,” Zeoli said. “You have to make sure that you’re getting your points in, and you have to be mindful of the fact that you’ve got to cover what you’re passionate about and give people everything. When I say everything, I mean, give them your 100% perspective on that. Also, to do it in an entertaining, informative way.
“It forces you to really think in terms of, ‘Ok, I don’t have four hours here. I’ve got an hour. So I’ve got to make sure that I am really crisp with what I want to say.’ So it actually forces me in a way to be an even better host, knowing that I’ve got to get my points across in a limited time versus having 4 hours to kind of develop it over the show and think about it,” he continued. “I got to make sure in this hour, I’m giving my audience everything that I’ve got and holding nothing back in the locker room. That’s forcing me to actually even work harder, prep harder, and I think it’s making me a better host, in all honesty.”
When asked what the most challenging aspect of launching a new podcast has been, Rich Zeoli laughed and said, “Soundproofing a room, believe it or not.” But he believes that the relatability of not producing the show from a stale studio, but rather a home office where three young children, that aforementioned dog, and his wife live help connect with the audience.
“It’s a lot harder than you realize to make sure that the acoustics are good when you have, 3 kids and a new puppy. And we’re getting our bathroom renovated, too. I just incorporate that into the show. So, if you hear my kids come home from school and the door slam, or the dogs barking — I mean, I brought the dog in and have him sit on my lap. I think just incorporating real life into that, which is also how I’ve been doing my radio show for the last 10 years. The audience knows my life. They know my kids, they know who I am, and I don’t hide from that.
“So, if I’m doing a segment and there’s a ‘Daddy!’, which has happened, I go, ‘Well, hang on a sec. My five-year-old needs me. Let me grab her.’ That’s what I’ve always loved about talk radio. It’s the same thing, I think, with podcasts, if you’re doing it right. I believe that I’m talking to one person at a time. I’m not delivering a show to a mass audience. It’s one individual listening at a time, and I’m talking to that person directly. And I want that person to know me and know my life, and then we form a connection, and we form an intimate bond. That is something that I think is so unique in this genre, and I don’t think that there are a lot of podcasts out there that don’t do that.”
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