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Scott Van Pelt: Those Outraged Over Lynn Jones-Liam Coen Interaction Need To “F***ing Relax”

BSM Staff
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Scott Van Pelt: Those Outraged Over Lynn Jones-Liam Coen Interaction Need To “F***ing Relax”

ESPN’s Scott Van Pelt weighed in this week on the controversy surrounding Jacksonville Free Press reporter Lynn Jones’ interaction with Jaguars head coach Liam Coen following the team’s Wild Card loss to the Buffalo Bills. Van Pelt, speaking on his SVPod, dismissed the outrage from some corners of sports media, calling the criticism overblown and misdirected.

“I gotta tell you, all of us, it ain’t that serious what we do. It ain’t that serious. No one’s solving the issues of the world. We’re not feeding the hungry, we’re not healing the sick, we’re not curing disease. We’re talking about a football game,” he said.

Jones, a longtime fixture in the Jacksonville community, received attention for offering words of encouragement to Coen after the Jaguars fell 27-24 to the Bills. Speaking during the postgame press conference, she told Coen, “I just want to tell you congratulations on your success, young man. You hold your head up, alright? You guys have had a most magnificent season and you did a great job out there today. So you just hold your head up, OK?”

While some praised the exchange, others argued it blurred the lines between journalism and cheerleading. Van Pelt emphasized that the outrage over Jones’ 20-second interaction was disproportionate.

“When I see people that are so aggrieved that a woman, who’s a fixture in the community and has been for 30 years writing for community newspapers. She takes 20 seconds to be human and kind, and your reaction to that is to be angry. As if someone were denied access to be in that room, or denied the right to ask their hard hitting question about the Jacksonville-Buffalo game. You gotta fu**ing relax, because it ain’t that serious.”

Van Pelt further noted that Jones’ comments did not impede the work of other reporters in the room. He noted that several questions following Jones’ comments were repeated questions, and Coen stood for seven seconds at the end awaiting further questions.

“Great writers were not denied access to this place because Lynn Jones was there. Anyone who was there was not so aggrieved by these 20 seconds that they couldn’t then ask their hard-hitting question that was going to get to the bottom of the 27-24 result. The net is it’s 20 seconds that didn’t negatively impact anyone in that room or prevent anyone in that room from asking their question,” said Van Pelt. “The collective outrage from people say that’s not the place in theory, no, but is it a big deal? No.”

In a landscape often defined by heightened scrutiny and polarizing commentary, Van Pelt’s defense of Jones underscored a reminder that not every moment in sports media requires a headline-grabbing debate. Sometimes, he suggested, a simple act of kindness should be enough.

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 informed right in your inbox.

ESPN Monday Night NFL Wild Card Broadcast Viewership Up 15% Year-Over-Year

BSM Staff
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ESPN Monday Night NFL Wild Card Broadcast Viewership Up 15% Year-Over-Year

ESPN’s exclusive presentation of Monday Night Football continues to deliver strong postseason results, with the network drawing a massive audience for its AFC Wild Card matchup between the Houston Texans and Pittsburgh Steelers on January 12.

The game averaged 29.1 million viewers across ESPN platforms, marking a 15% increase compared to ESPN’s Wild Card telecast one year earlier between the Minnesota Vikings and Los Angeles Rams.

The Texans’ road victory over the Steelers ranks as the network’s second most-watched Wild Card game since 2015. The audience total matched the 29.1 million viewers who watched Eagles-Buccaneers in January 2024. This reinforces ESPN’s growing ability to attract large national audiences during the NFL playoffs.

Viewership climbed steadily throughout the evening before peaking just ahead of halftime. Between 9:15 and 9:30 p.m. ET, the broadcast reached a high of 33 million viewers, reflecting heightened interest as the game’s early narrative took shape.

That surge helped solidify the telecast as one of the most-watched NFL games of the 2025 postseason to date.

The Wild Card matchup aired across ESPN platforms, with additional digital streaming contributing to the overall audience total. ESPN has leaned heavily into its multi-platform distribution strategy in recent years, a move that continues to pay dividends during marquee events such as the NFL playoffs.

Monday Night Football has long been one of ESPN’s cornerstone properties, and its postseason extension has become a valuable piece of the network’s broader NFL portfolio. The network’s NFL coverage for the 2025-26 season will continue with one remaining postseason telecast.

The network is scheduled to carry an AFC Divisional Round matchup on Sunday, January 18, when the Houston Texans travel to face the New England Patriots. That game will kick off at 3 p.m. ET and air on ESPN, ABC, ESPN Deportes and the ESPN App, with additional mobile viewing available through NFL+.

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Connoisseur Media Taps Audiospace to Expand Digital Strategy Across 240 Radio Platforms

BNM Staff
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Connoisseur Media Taps Audiospace to Expand Digital Strategy Across 240 Radio Platforms

Swiss-based Audiospace is making a statement in the U.S. radio space. The digital audio platform, developed by Brands Are Live AG, has landed a major competitive win stateside, securing a contract to build 240 digital radio platforms for Connoisseur Media.

The deal further cements Audiospace’s growing reputation as a go-to technology partner for radio companies looking to strengthen their digital footprint. The partnership aligns with Connoisseur Media’s aggressive expansion strategy under CEO Jeff Warshaw.

In the past year, Connoisseur Media added Alpha Media’s portfolio of more than 200 stations across 40-plus markets. It also acquired five high-profile San Francisco stations from Bonneville. As the company grows, so does the need for scalable, local-focused digital experiences.

“Our culture is about being local and meeting audiences where they are,” Warshaw said. “That means a first-class digital experience alongside great local programming. Audiospace understands radio. They’re not just building apps and websites — they’re helping us connect with listeners and unlock new revenue opportunities.”

Audiospace CEO Jan Müller echoed that sentiment. He pointed to mobile consumption as a critical driver of engagement and monetization for broadcasters. The first wave of Connoisseur websites and apps launched in early December, with additional rollouts scheduled in the weeks ahead.

The Connoisseur deal adds to a busy stretch for Audiospace. The company closed out 2025 by launching 66 apps for Seven Mountains Media. It now powers more than 400 digital platforms for over 220 U.S. radio stations.

Internationally, Audiospace continues to gain momentum, particularly in Germany, while also supporting broadcasters across Europe, Australia, Mexico, and beyond. With its focus on turning digital listening into actionable data and revenue, Audiospace is positioning itself as a key player in radio’s global digital evolution.

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Why Mitch Rosen Feels the Time Was Right for 670 The Score To Add 104.3 FM

John Mamola
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Why Mitch Rosen Feels the Time Was Right for 670 The Score To Add 104.3 FM

It wasn’t the normal Wednesday morning staff meeting at 670 The Score. While station staff were focused on capitalizing on another week of postseason football conversation, an announcement years in the making was dropped. It caught some staff by surprise and created instant excitement. After 34 years of Chicago sports talk, 670 The Score will be adding a full FM simulcast beginning on February 2.

“First and foremost, I think it’s great for our audience,” said Mitch Rosen, Vice President, 670 The Score. “There was some surprise because we had been talking about this for a while. However, we’re really excited about what’s to come.”

Rosen has overseen day-to-day operations at 670 The Score since 2005, guiding the brand to unprecedented heights. He has ensured consistent success in both ratings and revenue. Rosen has also led the brand’s growth in the digital space through podcasts and video streaming platforms.

He regularly has finished atop the Barrett Media Top 20 sports programmers in the country and is the inaugural winner of the Barrett Media Mark Chernoff Award. His resume speaks for itself, yet this announcement provides a new opportunity for the brand he calls home.

“You look at the great successful sports content brands around the country. WFAN in New York City, 94 WIP in Philadelphia, and 97.1 The Ticket in Detroit. They’re all on FM frequencies,” explained Rosen. “We’re fortunate to be a standalone AM yet do so well in Nielsen ratings over the years. It’s a testament to our team, and this gives us the opportunity to take it to the next level.”

Beginning February 2, a date Rosen dubbed “opening day,” 670 The Score will be rebranded as 104.3 The Score. All programming will be heard on both AM and FM. The Chicago sports radio brand evolves yet again, opening a new frontier for The Score in the latest chapter of its Windy City lineage.

The move itself was not instant, and the idea was not foreign. The first attempt at a full-time FM sports radio station in Chicago happened in 2014 when Tribune Broadcasting launched The Game 87.7. However, The Game bowed to their competition and signed off after nine months.

Over the years, Rosen says there have been many conversations about adding a full FM frequency to The Score.

“I’ve worked for and with some great people over the years: Rod Zimmerman, Rachel Williamson, Jimmy DeCastro, among others. Whenever a new market manager comes in, the first day I meet with them to go over The Score, they always ask what they could do for me,” said Rosen. “The first thing out of my mouth is I would love an FM. That’s not easy because we have some iconic brands on FM here in Chicago.”

While Rosen didn’t pinpoint an exact moment of change on the air, he noticed a shift from Audacy senior management in their focus to make the move official.

“When Chris Oliviero and Kelli Turner took over the reins in management at Audacy, I think this was a priority for Chicago,” notes Rosen. “Kevin Cassidy [Audacy Chicago market manager] was pivotal as well. Obviously, it took some time for all of us to cross the finish line. February 2, opening day, will be incredible.”

While the decision to make the move may now be settled, the true work for the outcome begins. With just under three weeks until the station shifts to a full FM simulcast, Rosen revealed all the changes that needed to be made. Leaning on the creative imaging mind of Russ Mitera to the digital and social wings of the radio station.

The Score began that transition immediately following the announcement, as social handles were updated and promotional messaging released to the audience. Rosen noted plans for massive cross-promotion among all Audacy Chicago brands, with a strategy already in place for execution.

“Similar to what WBBM NewsRadio did, we will promote the FM heavily. It’s all about the FM promotion to gain a new audience that might not be familiar with the brand,” explained Rosen. “We did an audit of all contributors and personalities. So come February 2, the power of promotion whereby everyone is going to help us.”

The Score serves as the radio flagship station for both the Chicago Bulls and Chicago Cubs. Beginning February 2, both teams will also benefit from the move to a full FM simulcast. However, on days when two teams play at the same time, the added flexibility of having a full FM signal along with the legacy AM 670 signal will benefit the franchises.

“The good thing is with Neilsen, you can split the AM and FM signals. You can place one of the teams on the AM Score brand, and one on the FM Score brand,” said Rosen. “In the past, we’ve been fortunate to have WBBM 780AM, and we would put a team on 780AM. Now we have the power to put both on The Score at the same time beginning February 2.”

Rosen noted that Audacy’s plans were always about keeping the 670 AM signal intact with the full FM simulcast. Rather than follow examples set by other brands nationwide, where the AM signal was gradually phased out, he said it was key to keep it for Chicago.

“At the end of the day, and it’s well above my head. It’s a strategic business decision,” Rosen said. “The great thing is 104.3 The Score is how we’re going to brand this station. But we’re still going to have a 50,000-watt blowtorch. We’ll have the power of FM and AM. It’s an incredible feeling.”

Beginning on February 2, Chicago sports fans will hear the change for the very first time. Their favorite Score programs will be heard on the FM band, over three decades after the station launched on 820 AM. However, the goal remains the same for Rosen. While the allure of The Score on FM is a welcome addition, the station’s growth and mission remain unchanged in all other aspects.

“I have a sign on my door that says every segment counts, and I truly mean that,” noted Rosen. “I firmly believe that the audience will come. It’s a great example of being a standalone AM and how we’ve performed in terms of ratings throughout the years. If we do that on FM as well, we’ll continue to live in the promised land.”

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670 The Score’s Move to FM Was Long Overdue but an Example for Others To Follow

John Mamola
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670 The Score’s Move to FM Was Long Overdue but an Example for Others To Follow

670 The Score is going FM. Sports radio on FM is nothing new. For many years, the industry has seen a shift in how sports talk content has become some of the most valuable assets a company can own. Study after study shows that audiences form trust, attachment, and connection with the local voices who cover the teams they care about. Sports are the most viewed products on television. Sports talk generates ratings, revenue, and attention across every corner of the content space.

Yesterday, 670 The Score announced that it was going FM—34 years after the station first broke through in the third-largest market in the country. For the casual listener, this may seem like just a flip of the switch. But the process behind the move is daunting.

Most sports radio stations around the country struggle to remain relevant on AM. 670 The Score was not one of those stations. Which begs the question shared by many in the industry. What took so long?

The Score’s move to FM wasn’t a surprise, there have been discussions for years about making the move. Even when all signs pointed to the transition as the right move over the years, hesitation persisted. While the Chicago sports fan will benefit from the switch, it should also serve as a warning for other markets. Plan, execute and evolve or risk stagnation.

Make no mistake—broadcast radio no longer holds the dominance it once did. Technology has shifted consumption dramatically. Podcasts, streaming services, and social platforms now provide sports content anytime, anywhere, in both audio and video formats. Yet one megaphone remains: broadcast radio itself.

It’s the ace up the sleeve that radio continues to hold.

The latest State of Sports Media data confirms the medium’s strength: 59% of sports audio listeners tune in via radio, compared to just 36% for podcasts. Moreover, six in ten sports fans consume sports-related content daily, with two-thirds averaging at least two hours per day. Sports fans are some of the heaviest media consumers around—a market any company should want to reach.

And yet, it continues to boggle the industry that podcasts command high ad rates despite smaller reach, while radio sells at lower rates but delivers larger audiences. Let’s move on and look at the resume.

670 The Score has been a traditional ratings juggernaut for years. It ranks near the top in nearly every daypart that matters for a sports radio station, generating revenue and consistently expanding its digital reach. Despite lineup changes and occasional controversy, the station performs exceptionally well in all metrics.

Yet, the station remained confined to the AM band.

Perhaps previous attempts at a full FM simulcast failed because the timing didn’t make business sense. Or maybe it was a case of “if it ain’t broke, don’t fix it”—after all, The Score was already performing well in every metric that mattered.

But in 2026, relying solely on AM is not just cautious—it’s limiting. A strong brand like The Score deserves a platform that maximizes its reach.

This hesitation offers a cautionary tale for other markets as well. Too often, broadcasters cling to AM signals out of inertia or fear of investment without fully appreciating the potential payoff. The Score’s FM move demonstrates that the reward is not just possible—it’s already built into the brand.

FM provides better signal penetration, higher audio fidelity, and a platform younger listeners can access more easily. The switch is not a gimmick; it is a necessary evolution for a station with decades of proven success.

Chicago sports fans will notice the benefits immediately. FM coverage improves reach in suburban areas, enhances in-home listening quality, and addresses the reality that AM is being phased out. For a station covering everything from Cubs and Bulls games to the hottest sports talk shows, the move ensures that a proven brand can continue to grow rather than state put and work towards continued adaptions to technological shifts outside its control.

The industry should take note. While the FM transition may seem long overdue in a city like Chicago, it is instructive for other markets that have delayed similar decisions. A station with a strong brand and loyal audience does not need to gamble on an untested formats or music playlist accessible on another service —it needs to invest in accessibility of content that people are craving.

The AM band is not build for sports radio’s future. The FM band continues to be the land of opportunity for those bold enough to invest in sports radio’s future. Isn’t that a gamble worth investment?

FM is not about changing content—it is about giving sports content the audience it deserves and can’t find anywhere else. Audacy’s decision to finally make the leap with The Score could serve as a blueprint for other companies evaluating their own AM properties.

Does 670 The Score have assets many other sports radio brands around the country do not have? Of course, but if sports content is king why not seek out the throne for its royalty on the FM band?

670 The Score going FM is about more than one station or one city. It is a reminder that sports radio remains one of the last bastions of traditional broadcast dominance. Even in the age of podcasts, streaming audio, and on-demand content, sports matters to people more than a playlist.

With millions of fans consuming sports content daily—and radio still commanding the largest share of that audience—the station’s move demonstrates the tangible value of keeping proven brands accessible. Radio companies should use this example to give their own markets the content that they seek.

For decades, the AM dial has been a home for loyal listeners, but accessibility matters more than nostalgia. Audacy’s decision acknowledges what should have been obvious for years: great sports content deserves a platform that matches its quality and a modern audience reach.

As other markets evaluate the future of their own AM properties, Chicago’s example will serve as both a challenge and an inspiration. Adapt or risk stagnation and possibly be left behind.

This is innovation. An FM move may not make headlines beyond the industry, but its impact will be measurable in engagement, ratings, and long-term sustainability. The greater majority of the more successful sports radio brands around the country have made the move. 670 The Score is just the latest and leaves this industry insider asking who’s next?

670 The Score has proven itself for decades. It is only fitting that it now finally has a platform that allows it to reach its full potential.

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 informed right in your inbox.

Why Monday Night Football Remains the Crown Jewel of NFL Broadcasting

John Molori
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Why Monday Night Football Remains the Crown Jewel of NFL Broadcasting

Monday Night Football (MNF) on ESPN/ABC has always been one of the glamour attractions on the NFL schedule. The brand remains as strong as ever thanks to the talent in the booth and on the field. Joe Buck, Troy Aikman, Lisa Salters, and Laura Rutledge are a powerhouse on-air team, combining experience, enthusiasm, and energy.

This quartet hardly needs an audition; however, the team will call next year’s Super Bowl 61, February 14, 2027, at SoFi Stadium.

Given their collective work in the Wild Card round game this past Monday pitting Houston vs. Pittsburgh, we can definitely count on a command performance worthy of next year’s glitzy Hollywood backdrop.

After the game’s opening intro and the usual musical prelude and fanfare, Buck and Aikman got down to business with a booth two-shot. When I see this pair on screen, I think of two words: presence and excellence.

Let’s start with presence. Whether it is a win-or-go-home playoff matchup or a blowout September tilt, Buck and Aikman bring a powerful demeanor and drama to the game. When you see these two square-jawed, proven, and professional dudes, you feel like it is going to be a big game.

Both men come from good stock in their own unique ways.

Joe Buck is the son of the late and legendary play-by-play announcer Jack Buck. He has followed in his father‘s iconic footsteps and created his own, damn-near unparalleled legacy. There is a lineage here—a torch that has been passed on, one lit by professionalism, preparation, and poise.

Aikman is part of his own broadcasting tradition. One of the true pioneers of Monday Night Football was the late Don Meredith. ‘Dandy Don’ joined Howard Cosell and Frank Gifford in creating the aura of MNF. Meredith made his name as a fine quarterback for the Dallas Cowboys, and Aikman, a fellow ex-Big D signal caller, has followed in his footsteps, paving the way for other Dallas QBs on TV like Steve Beuerlein, Tony Romo, and Jason Garrett.

Must be something in the Gatorade in that Dallas quarterback room.

In their pregame chit-chat, Buck and Aikman set the tone for the game in the Steel City. They always exercise the right amount of emotion and anticipation, never gushing or taking it over the top. Neither of them is afraid to push the envelope. Aikman offers strong takes, and Buck often uses humor to bring color and variety to the broadcast.

What I like most about Buck and Aikman is that they do not use a lot of inane superlatives. These are seasoned football guys—men who know and, in many cases, have been a part of the history of the game.

Buck has called some of the most memorable sports moments ever in both football and baseball, and Aikman won three Super Bowls as a Cowboys quarterback. They know the difference between good players, great players, and Hall of Fame players. This depth of knowledge comes out in every play call.

While many feel that a Monday Night Football game should not take place in the playoffs due to scheduling and competitive advantages, if Buck and Aikman are calling the action, count me in for sure.

This past Monday’s Wild Card contest was not only superlative due to Buck and Aikman, but also because of the aforementioned professionals working the sidelines. Salters is one of the best sideline reporters in the business. She has become as synonymous with MNF as Buck, Aikman, and the opening theme music. No one is better at offering relevant content before and during a game. Salters’ pregame appearances and live shots on other ESPN shows are also top-notch and quite effective in setting the scene for the game to come.

Laura Rutledge is an ESPN superstar—one of the new era’s foundation talents at the network. She could easily stay comfortably in her chair as the host of NFL Live and SEC Nation, but she has shown her versatility and toughness as a field reporter on the sidelines. Rutledge always has a bright and welcoming attitude, but do not mistake this for fluff.

She is a worker, looking for stories, angles, and updated injury reports to add real thickness to a game broadcast.

Speaking of thickness, it is a perfect word to describe the knowledge base of Buck. During the first quarter, he narrated a video montage of the Steelers’ first championship in Super Bowl IX vs. the Vikings in 1975. You could tell in his voice that Buck loved this look back at the nostalgia of the game.

After the video, MNF cameras caught a shot of Steelers president Arthur J. Rooney II up in the booth. The Steelers are known for the Rooney family legacy in establishing one of the most respected, steady, and successful organizations in sports, with six Super Bowl titles—tied with the Patriots for the most ever.

The talents of Buck and Aikman were clearly visible on a first-quarter play. Buck perfectly called a rollout pass from Steelers QB Aaron Rodgers to wide receiver DK Metcalf. On the replay, Aikman was adept at explaining the play design. He isolated the offensive line using the telestrator, noting that the goal was to secure the edge so Rodgers could get out of the pocket and find Metcalf open downfield.

In the second quarter, as the Texans were driving, Buck kept the focus on the field while simultaneously reporting that Houston running back Woody Marks was heading to the sideline medical tent. He then threw out some interesting stats on the Houston offense this season. This is one of Buck’s unique strengths—mixing in just the right amount of information with his play calls. He has an uncanny inner clock for the frequency and pacing of these tidbits.

Buck turned up the excitement as Texans quarterback C.J. Stroud rolled out and hit wide receiver Christian Kirk with the first touchdown of the game. In commenting on the replay, Aikman mentioned that the throw was actually a little behind Kirk, which made getting into the end zone more difficult. Once again, he ran through the play design, giving viewers a brief Football 101 lesson.

As always, the production crew on MNF was top-notch, with various angles on replays and a constant flow of pertinent graphics to combine information with the video.

With less than two minutes left in the first half, Rutledge had a nice recap of the Texans’ poor ball security early in the game. She revealed that Stroud and center Jake Andrews were practicing snaps on the sidelines, trying to fix the issues. This is the ultimate job of a sideline reporter—telling us something that we were not able to see ourselves.

Deep into the third quarter of what was, at that time, a pretty ugly game, credit the Monday Night Football production crew for getting some candid sideline shots, including one of Aaron Rodgers completely frustrated with the Steelers’ offensive showing.

With about 11 and a half minutes remaining in the fourth quarter, Rodgers was sacked and fumbled the ball. The pigskin was scooped up by Houston’s Sheldon Rankins and rumbled in for a touchdown. Buck had a seamless call on the huge play and cautioned viewers that Rankins may have been tackled before reaching the end zone. The touchdown was upheld, and as the game wound down to a 30-6 Houston rout, Buck wondered if this might be Mike Tomlin’s last game as the Steelers’ head coach.

As it turns out, he was prophetic, as Tomlin stepped down this past Tuesday.

The entire MNF team was spectacular and whet viewers’ appetites for the Texans at Patriots divisional matchup this Sunday at 3:00 p.m. EST on ESPN/ABC and for next season’s Super Bowl telecast. With games now on Sunday night, Thursdays, and even select Fridays and Saturdays, you can argue whether Monday Night Football is still the king of NFL game broadcasts.

What you cannot argue is that Buck, Aikman, Salters, Rutledge, and crew are truly the crown jewels.

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 informed right in your inbox.

What Jerry Cesak Taught Us About Going Big in Radio

Jim Ryan
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What Jerry Cesak Taught Us About Going Big in Radio

Radio lost another icon when Jerry Cesak passed away.

I worked with Jerry briefly back in 1979 at WDRQ in Detroit. I was the night kid, and Jerry did mornings. He left when the station went disco. His last song at that station was “I’d Love to Change the World” by Ten Years After.

Jerry Cesak didn’t change the world, but he made it a lot more fun for his listeners over many years. When I saw Art Vuolo’s video tribute for the Jeff and Jer Showgram, I knew I had to write this.

When has your station or your show done something bigger than life that really stood out? Back in 1991 in San Diego, the Jeff and Jer Showgram got thousands of listeners to show up wearing red, white, or blue, and had those listeners line up to create the largest American flag ever. Google it. You’ll find it remarkable. I’m sure someone at the station told them it was a crazy idea and not to do it.

I’d bet someone said the same thing to Kidd Kraddick when he started Kidd’s Kids to bring a smile to children and their families who needed it by sending them to Disney World. The charity continues today, over a decade after Kidd’s passing, and has sent more than 1,000 families on a life-changing trip. Both of these shows thought outside the box and looked for ways to be larger than life. We desperately need programmers and shows to think that way again.

Morning show coach Steve Reynolds is a dear friend, and he has always preached that his shows must do something big. Far too often, at the first “no” from legal, or the first “that’s too much work” from a promotion director, we abandon ideas and retreat to another caller 10 contest to achieve success. Stop. Radio is still, by far, the best call-to-action medium there is. Let’s use our voice to do something memorable.

Some stations do something big once a year for a charity. Chet Buchanan is famous for sitting on a billboard for toys. The morning shows at WNEW, Mix 104 in Boston, and B96 in Chicago all did stunts for toys that were a huge success.

But what’s next? Sit down with the most creative people in your organization, no matter what department they are in, and do a real brainstorming session. Look at holidays and events coming to your market. It may be too late to do the largest mass marriage vow renewal event for Valentine’s Day this year, but start planning it now for 2027.

We are all aware of radio’s diminishing average quarter-hour audience year after year. Local newspapers used to have someone covering radio. Now, in many markets, there aren’t even local newspapers. Social media helps, but the Meta algorithm doesn’t favor radio stations or shows unless you fall into a convenient niche. When one of my New York morning hosts started posting about his passion, wrestling, his followers immediately increased tenfold because the algorithm knew where to push his posts. But that did little for his radio show.

If you want people to think about your station or your show, you need to do big things that people will talk about. You can have the same effect that Christmas music programming had for AC stations as a cume-building marketing campaign that no one can afford. Let’s do something remarkable that would make Jerry Cesak or Kidd Kraddick proud. Go big.

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 informed right in your inbox.

Why Tony Katz Believes News/Talk Radio Hosts Can’t Ignore What Happens on the Online Right

Garrett Searight
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Why Tony Katz Believes News/Talk Radio Hosts Can’t Ignore What Happens on the Online Right

With barbs between conservative media figures being traded almost constantly, some news/talk radio hosts have said they are simply going to ignore what happens in those online circles. Tony Katz believes that’s a bad strategy.

While Candace Owens, Megyn Kelly, and Tucker Carlson sling insults at Ben Shapiro and Mark Levin (and vice versa), Katz believes those ignoring those stories are making a fundamental miscalculation.

“I don’t think anybody who has had any level of success or has any level of audience is worried — about on the radio side — what their boss is going to say if they know they want to say this thing to their audience,” Katz said. “But the idea of going more and more into the abyss is something that happens on the online side and doesn’t happen to the levels that are on the radio side. So the question is: do we decide to pay attention to recognize what’s happening on that online side?

“People are interested in what’s happening in their life, so the economic conversations, cultural conversations that we’re seeing in ‘news reports’ matters, but don’t deny that Candace, Tucker, and Megyn Kelly have huge audiences. They’re massive audiences. And those people are getting messages from them and getting information from them.”

Katz continued by arguing that who is arguing isn’t as important for news/talk radio hosts to discuss what they’re arguing about.

“These people have huge audiences, and we’re supposed to be engaging when something doesn’t actually pass the smell test, when they’re engaged in something that is truly valueless and dangerous. And that isn’t the necessary thing for the coalition. We’re supposed to say ‘That’s out.’ And if the conversation is, who are we to decide? Well, I think that we have an audience, and we’re supposed to tell the audience exactly where we are,” said Katz. “I think we should say so, and I don’t think we should ignore these people and this madness.”

The Tony Katz Today and 93 WIBC morning host argued that those who are afraid to take a stance on certain topics relating to what has those conservative media members quarreling likely don’t have a seat at the table in the first place.

“If you’re not willing to give your audience the level of conviction of, ‘Here’s where I’m at, and here’s why. You might disagree with me, and that’s okay, I’ll catch you tomorrow.’ If you’re afraid to do that, then where is the place for you? Certainly, I can’t imagine a radio place for you.”

While those figures are lobbing insults at one another, making themselves the story, Tony Katz believes that it actually highlights the differences between news/talk radio host and podcaster/conservative influencer.

“There’s no doubt that people can show that ‘I create content for the daily trend’ and look at all the success,” said Katz. “And I have found that being all MAGA, all the time, look at the money.’ And I’ve found that being all against MAGA all the time, look at the money. I think that the radio host offers better value, because I think they’re forced by format and by precedent. I think it’s a good precedent to say ‘Ok, here’s what’s being said over here. Here’s the nutty thing that got said, here’s what it is over here, here’s the way other’s look at it. And here’s why these people are wrong, and here’s my opinion on it.’

“I think the person who is just playing to one fiefdom at all costs is doing their audience a disservice, because you’re not giving the most well-rounded presentation of what the situation is all about,” he concluded.

Katz admitted that Megyn Kelly and Tucker Carlson have been wrong to court Nick Fuentes, and at times, speak highly of the controversial figure. He also added that Candace Owens has said “vicious” things about Turning Point USA and those close to Charlie Kirk in the months following his death.

However, he believed that nationally syndicated news/talk host Erick Erickson was wrong when quoted by Barrett Media earlier this week, saying he largely ignores the topic of the conservative media figures arguing with one another because it isn’t of importance to his audience. Tony Katz says it does matter to listeners.

“To pretend it’s not happening and say, ‘Oh, my audience doesn’t need to know about this’? That’s a mistake,” Katz argued. “Does it need to be the focus? No. Does it need to be part of you being an aware human being and and the fact that your audience is too — whether they say it’s a top line thing or not? I talk about food, I talk about bourbon, and cigars. I do it on Eat, Drink, Smoke. And I do it on my own show. Because sometimes you need a break from 24/7 politics. Also, it’s a recognition that other things are going on in the world. That you’re a well-rounded person that has more than just ‘Republicans, good. Democrats, bad,’ in your lifestyle.”

Katz concluded by stating that he believes what has been labeled as infighting highlights the differences between news/talk radio hosts and podcasters, and believes the advantage sides with the radio hosts.

“We’re the better content. We’re the better, more well-rounded content,” he reiterated. “There is actual conservatism being discussed from political right talk radio. There is depth in the subjects … here’s an opportunity to share that and show that. But part of the well-rounded is not ignoring what’s happening in the online space.”

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.

Can News/Talk Radio Still Catch the Video Podcasting Boat Before It’s Too Late?

Garrett Searight
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Can News/Talk Radio Still Catch the Video Podcasting Boat Before It’s Too Late?

News/talk radio keeps saying it is paying attention to video podcasting. The problem is that attention has not turned into action. While much of the audio world is sprinting toward video-first strategies, large portions of news/talk radio are still debating whether it really matters.

The rest of the media business has already answered that question. Netflix has reportedly paid tens of millions of dollars in recent weeks to podcast companies for access to video podcasts. CNN has struck a deal with Lemonada to bring several of its most popular shows to the network. These are not experiments. They are commitments backed by real money.

Notice what is missing from those announcements. News/talk radio is barely part of the conversation. Traditional news media figures are not lining up to cash those checks either. That absence should concern every programmer and executive in the format.

It is not because the content is lacking. News/talk radio produces hours of strong, opinionated, and timely programming every day. Many of these shows already function like podcasts in structure and pacing. Hosts talk directly to audiences. They react to breaking news. They build loyal communities. The raw material is there.

Politics is often blamed for the hesitation. Companies worry about aligning with one side of the aisle or the other. That fear is real and understandable. It has existed for decades in advertising and syndication. It is not new, and it is not going away.

There is a more basic problem hiding in plain sight. Many news/talk radio brands are not even streaming video. Some have no YouTube channels. Others have nothing on Rumble. TikTok strategies are nonexistent or abandoned. In some cases, social accounts are dormant for months at a time.

That makes the larger conversation almost academic. You cannot be included in the future of video podcasting if you are not playing the game at all. You cannot complain about being ignored while choosing not to show up.

It raises an uncomfortable question. How can you watch the industry and society change how they consume content and think, “yeah, this is good enough”? Audio alone is no longer the default starting point for younger audiences. Video is where discovery happens.

McDonald’s understood this years ago. The company spent decades marketing to kids because it knew early loyalty often lasts a lifetime. Camel cigarettes did the same thing, though that example comes with obvious baggage. The principle still applies.

News/talk radio leaders love to talk about finding the next generation of talent. Conferences are built around it. Panels dissect it every year. Far less time is spent discussing the next generation of listeners.

That might be the bigger problem. A great host without an audience does not solve anything. If younger consumers never develop the habit of engaging with news/talk brands, the pipeline dries up quickly.

The way people consume content has already changed. It did not ask for permission. If your entire strategy depends on AM/FM distribution, you are shrinking by default. That does not mean radio is dead. It means radio has to evolve.

Video podcasting is not a magic fix. It requires consistency, and patience when early numbers disappoint. It also requires accepting that clips and highlights matter as much as full shows.

The upside is obvious. New audiences are out there. Platforms are hungry for content. Money is flowing toward creators who understand how modern distribution works. News/talk radio can be part of that future.

The window will not stay open forever. Other voices are filling the space right now. If news/talk radio waits too long, the question will not be whether it missed the boat. It will be whether it ever intended to board it at all.

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 informed right in your inbox.

Mike Francesa Declines Comment on Craig Carton’s Return to WFAN

BSM Staff
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Mike Francesa Declines Comment on Craig Carton’s Return to WFAN

Former WFAN host Mike Francesa remained silent when asked about the latest round of lineup changes at New York’s iconic sports radio station. Appearing this week on Stugotz and Company, Francesa declined to offer any substantive commentary on WFAN’s revised weekday schedule, which includes Craig Carton’s return to the station earlier this month.

While the changes have generated widespread discussion across sports media circles over the past few months, Francesa made it clear that his personal stance has not changed since his departure from the station in 2020.

“I don’t ever comment on a WFAN. I never have since I left and I never will,” Francesa said. “So their lineup is their lineup.”

The comments were brief but consistent with the approach Francesa has taken publicly since ending his long-running tenure at WFAN. Despite being synonymous with the station for more than three decades, the Hall of Fame broadcaster has repeatedly avoided weighing in on internal programming decisions. This is true even as WFAN has undergone multiple leadership and lineup shifts.

Carton returned to the station earlier this month for a third run with WFAN. He was paired with Chris McMonigle in afternoons, while Evan Roberts and Tiki Barber were shifted to middays. Brandon Tierney and Sal Licata departed the station due to the roster shakeup with Carton’s return.

That said, Francesa did acknowledge the human impact that often accompanies major format adjustments. While he avoided any critique or endorsement of the current lineup, he expressed sympathy for those who may have been affected by the changes behind the scenes.

“I feel badly for anybody who lost their job,” Francesa said. “I don’t want to see anybody out of work. That would be my only motivation as far as the lineup. More power to them. Good luck to them. That’s it.”

Although Francesa remains one of the most influential figures in WFAN history, his comments underscore a deliberate distance from the station’s current operations. Rather than revisiting old rivalries or reigniting debates about programming philosophy. He appears content to let WFAN chart its own course without his input.

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 informed right in your inbox.

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