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Rudy Giuliani Launches Lawsuit Against 77 WABC, John Catsimatidis Over Firing

BNM Staff
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Rudy Giuliani Launches Lawsuit Against 77 WABC, John Catsimatidis Over Firing

Former 77 WABC host Rudy Giuliani has launched a lawsuit against the station and its owner, John Catsimatidis, for his 2024 firing.

Earlier this week, Giuliani filed the suit, stating that he was wrongfully terminated for sharing his belief that the 2020 election was “stolen” and “rigged” against President Donald Trump.

In a statement to the New York Post, John Catsimatidis says the filing has deeply hurt him.

“I’m very, very disappointed in my friend right now,” Catsimatidis said. “I have tears in my eyes. I always supported him during his tough times. President Trump couldn’t help him, he was out of office. I’m the one who helped him.”

Catsimatidis added that 77 WABC never actually fired Rudy Giuliani. He said that the former New York City Mayor was suspended, but that Giuliani never showed back up for work following the suspension.

The lawsuit filed by Giuliani coincides with another lawsuit against 77 WABC from Dr. Maria Ryan, who alleges she was discriminated against and was only paid $200 per show, paling in comparison to her colleagues at the station. Giuliani alleges he continually told management that there was “definitely a hostility in the workplace toward women.”

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

Why Armen Williams Returned to Radio to Help Build Westwood One Sports

John Mamola
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Why Armen Williams Returned to Radio to Help Build Westwood One Sports

The sports radio industry is full of challenges, from meeting goals for ratings and revenue to adapting to changing audience habits. To achieve success in sports radio requires dedication, hard work, and taking chances. Success is never guaranteed, and sacrifices are required to compete. Armen Williams found that success programming at SportsRadio 610 in Houston for three years when the sacrifices for success became too much.

“My seven- and ten-year-old kids began to ask why daddy didn’t come to their games and church on Sunday. That kept me awake at night,” explained Williams. “I had to get my personal life in the order it should be. Faith, family, friends, and work. It just got out of whack, and that’s no one’s fault but my own.”

Williams stepped down from his role with the Houston sports leader to focus on family. Never losing his passion for the industry, he worked two jobs remotely for some time while enjoying the balance he sought. In late 2025, Williams became aware of an opportunity to work alongside one of his mentors, Bruce Gilbert. The Cumulus/Westwood One executive reached out about a chance to reenter the arena, and Williams didn’t waste time making the decision.

“Whenever he [Gilbert] called and offered me the job, after I hung up, I called my wife immediately. I told her I just did the worst negotiation of my life,” joked Williams, recalling the moment when he knew he would be working alongside Gilbert.

Crafting Westwood One Sports

When Audacy and Cumulus Media announced the formation of Westwood One Sports in late October, the two companies wasted little time defining the timetable. By December 29, Bruce Gilbert and Armen Williams would be working in tandem with what Williams termed a “murderers row” of Audacy sports executives. The challenge was to build a new syndicated sports radio network in six weeks for a national launch.

“Bruce [Gilbert] painted the frantic picture very poetically and extremely accurately as well,” explained Williams. “He forewarned me that it was going to be an absolute chaotic scene for my first six weeks. He nailed it. It was one hundred percent, but we both knew what we signed up for. It’s been nothing but a blast, and I’m living a dream working for the people around me and the company I’m with.”

With no time to waste, Williams immediately got to work, diving into every single talent on both the Infinity Sports Network and BetMGM Network. A network where talent grabs instant attention and understands how to win in the multiplatform and social media space. Williams had his roadmap to follow.

“In building this network, we had a vision of hitting the market with a fresh and new sound. How do you do that in 2026? That was the challenge,” said Williams. “I didn’t know the answer when I started the search [for talent].”

Shaping A Lineup

Immediately, phone calls with talent, agents, programmers, and trusted minds around the country began. Reviewing reels, shorts, and social media became an hourly task. Williams says he was in near-daily conversations, working in tandem with Audacy executives such as Jeff Sottolano, Mitch Rosen, and Andrew Williams. He trusted their feedback along with Westwood One executive Ryan Maguire. Receiving guidance and support from Gilbert every step of the way.

“Bruce would constantly remind me that when it comes down to the final minute, I would have the final say [on talent],” said Williams. “He did an incredible job helping me through the vetting process. He provided me with the resources that I needed to get to the final destination. All while still giving me the feeling that I did have the autonomy to do what I felt was best.”

A self-admitted “Bruce Gilbert disciple,” Williams began locking in on a lineup that he felt could guide Westwood One Sports beginning December 29. The process was not easy for the many talents of both networks to navigate.

Williams noted that Gilbert attempted to personally meet with every Audacy individual from both now-defunct networks to inform them of the process.

“Bruce is one of the best I’ve ever met in my entire life at being transparent. Telling you where each person stands. It was our best effort to inform those individuals as quickly as we could on where we felt each person stood with our new vision,” explained Williams.

As the days wore on, talents on both networks began publicly announcing their upcoming departures with the end of the networks they represented. Williams knew entering the role would prove challenging and credited many who worked for both networks for their professionalism during the process.

New Age Thinking

The first name Williams was able to secure was for morning drive, announcing 24-year-old Drake C. Toll as the guiding voice for the daypart. A play-by-play announcer for the Savannah Bananas, content creator, and successful podcaster for the Locked On network, Toll came recommended through several channels of trusted advisors.

“We had a scheduled thirty-minute interview, and he’s the only guy that went beyond that. We talked for two hours,” said Williams. “I texted Bruce Gilbert and Ryan Maguire when I hung up and said I found the guy that we want to build the network around. Maguire responded with ‘that’s a pretty heavy thing to say.’ He talked to Drake the next day, and then told me I was right. We got the guy.”

Williams credits Toll’s creative spirit and dynamic, entertaining personality. He referenced Toll’s writing skills for the Bananas and his ability to execute flawlessly in front of tens of thousands of fans at such a young age as one of the more attractive traits. Also Toll fit the vision of being a multiplatform success story. That was the cherry on top for Williams in securing Toll for the new lineup.

“It’s clear that he understands the multiplatform, social media space more than anyone,” noted Williams. “He’s got this ability to flat out entertain at a level that most go their entire lives without even having that experience. He’s done it in less than three decades.”

Following the announcement of Toll, Westwood One announced the hire of Chris Bleck and Adam Abdalla from ESPN Chicago. The duo would take over the 12 p.m.–3 p.m. weekday program, something neither talent hesitated at the opportunity. From roommates in college to working together in their hometown with Good Karma Brands. Williams noted their desire to be great, which led to the acquisition.

While the Christmas holiday was a break for many, Williams remained hard at work, albeit remotely from his home in Texas. Much like Williams, Westwood One Sports is a fully remote radio brand. Talent are spread across the country rather than tied to a studio or singular market.

A new-age approach with a fresh outlook for success in a multiplatform era is what Williams considers the secret sauce.

“Being remote is an incredible tool in 2026. It allows a manager to give their staff more freedom in their day-to-day. Plus the ability to do more things for themselves and get in the right mental space every single day,” explained Williams. “I just want to work with good people and treat them the right way. If you have those two things, you’re going to win. Everything will fall into place.”

Defining Goals

Westwood One Sports is now live and on the air. The lineup is fully set, and the six-week sprint to define, arrange, and launch is over. Now, the pressure to perform is the goal. Another challenge Williams looks to take head-on.

From traditional tasks of increasing revenue to reach, Williams’ excitement is more focused on discovery: how does a radio network such as Westwood One find its audience through new and unique ways that separate it from competitors?

“A goal is to be mentioned in the same sentence with other platforms, shows, and broadcasts. To be in that mix. When you see the people we hired, we have a strategy of being disruptive in that space as a radio station at our core,” explained Williams of his goals for the first year of Westwood One Sports. “We know what’s been done and how it’s been done. What do we have to lose by doing it differently? Let’s just see what happens.”

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

Tony Romo Doesn’t Deserve A Demotion At CBS Sports

John Mamola
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Tony Romo Doesn’t Deserve A Demotion At CBS Sports

Does the broadcaster make the broadcast successful? Does Tony Romo, Greg Olsen, or Tom Brady draw additional eyeballs to the television? It depends on who you ask.

I’ve never believed the average fan tunes in to hear an analyst break down a game in real time. That’s what sports radio, podcasts, and daytime ESPN shows are for. I don’t know a single fan who praises Brady’s explanation of throwing into the wind. Nor do I see anyone obsess over Mark Schlereth’s telestrator skills. Most fans remember plays, moments, and outcomes—not who called them.

After CBS Sports’ broadcast of the Buffalo Bills’ win over the Jacksonville Jaguars, many in sports media are calling for Romo to be demoted. It wasn’t his best game, but was it really bad enough for CBS to reconsider their top analyst?

We all have our own individual preferences when it comes to the broadcasters we enjoy. Some like insights into the athlete’s mindset, and others like the element of a fan in the booth. That’s why local broadcasters thrive—the play-by-play voice with hometown bias, the former player offering a slanted take..

National broadcasts are different. In the NFL, there are production meetings, player/coach interviews, stat crews, and graphics teams. Broadcasters navigate a prepared game plan to enhance the viewing experience. Since 2017, Jim Nantz and Tony Romo have been those voices for CBS.

In the beginning, Romo was elevated to the top team immediately. Paired with Jim Nantz and Tracy Wolfson. The eyes of the nation seeing on how the 17-year veteran of the Dallas Cowboys would perform. After three seasons, Romo earned enough praise from media and CBS Sports executives to be awarded a ten-year contract worth a reported $18 million per season.

It set a new standard. Romo’s enthusiasm and insight were unique to the time. He became the shiny object sports media critics adored.

Now it’s 2026. Romo’s favorability in sports media has declined. He’s no longer the fresh face but more of the grizzled veteran. His predictability has wavered over time, and his enthusiasm has diminished. He seems more confused than knowledgeable. There is a sense that he plays to big names, as his depth of knowledge has suffered.

This is just a sampling of the complaints about Romo have been this season.

This past weekend, Romo compared the double-digit underdog Carolina Panthers to the favored Jacksonville Jaguars. Oh, the humanity that comparison! Romo also felt that something was going on with the officials on a second-half Josh Allen rushing touchdown—even though nothing was. What a fool!

For reference, CBS Sports NFL ratings speak for themselves. This season, the NFL on CBS is the top-rated show, averaging 25.8 million viewers—the third straight year. Thanksgiving’s Nantz-Romo broadcast drew 57.2 million, the most-watched regular-season game ever.

Should Jim Nantz and Tony Romo get credit for that? Does Tony Romo get blame if the number isn’t high enough?

Fans watch the game itself. Entertainment comes from the competition, not the commentary. Other sports programming relies on analysts because there’s no live contest creating drama.

There’s no reason why CBS Sports would take their $18 million man from the top booth in football and replace him with another name. For as much noise as some create over microscopic elements of a broadcaster, business is good with that broadcaster in the booth.

Yes, first-year analyst J.J. Watt has impressed many. But would his elevation to the top spot make a better broadcast? Would it increase viewership and escalate the amount of revenue CBS Sports could make on broadcasts?

For all the noise and clamoring from sports media about Romo’s work on the call, there’s only one entity he broadcasts for. If CBS Sports truly feels a change is needed, they will make it. However, ratings and revenues are not declining. Romo’s squeaky-clean image is still intact. Sure, he doesn’t make the rounds on talk shows like others, but he doesn’t need to.

At the end of the day, fans watch football, not a lecture on mechanics. Romo’s take might spark debate, but it’s the game that keeps eyes glued to the screen.

Critics will always have something to say—but 25 million viewers every week suggest CBS is doing just fine. Maybe football fans can overlook a non-perfect analyst when some sitting by a keyboard cannot.

Tony Romo may not be perfect, but he’s exactly what the top booth was meant to deliver: football, fun, and a viewing experience shared by all of us on gameday.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

Radio’s Most Obvious Missed Opportunity: A Culture-Forward Classic Hits Format

Phil Becker
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Radio’s Most Obvious Missed Opportunity: A Culture-Forward Classic Hits Format

Last week, I laid out what I believe is one of the most obvious format opportunities radio has missed: a women-led, culture-forward sports format that isn’t niche, novelty, or women’s sports podcasts on a broadcast signal.

The response told me two things.

First, the opportunity resonated. The amount of private outreach I received after that article made it clear that the interest, demand, and opportunity are very real.

Second, we don’t spend nearly enough time creating new formats for the oldest medium. Instead, we age ourselves faster by pretending there are only about 13 viable radio formats left.

This week, I’m here to make the same point again: the best ideas are usually the most obvious ones. We just talk ourselves out of them.

“Who else is in the format?”
“That’s not what I’d listen to.”
“Clients aren’t asking for that.”
“It’s not monitored on the panel.”

Or maybe we just don’t have enough media executives who actually came up through programming.

Whatever the block is, let me help you work through.

Welcome to the second installment of Phil’s Overly Obvious Formats : Chapter II.

The Format Hiding in Plain Sight (Again)

Radio keeps asking the same questions.

  • How do we keep diverse listeners as they age?
  • How do we stop losing relevance without chasing youth?
  • How do we modernize without sounding desperate?
  • How do we own a position when all the format lanes are taken?

(Something about this sounds oddly familiar.)

Still streaming. Still quoted. And still shaping culture. Still influencing fashion, language, movies, social, language and taste.

Classic hits. For black music fans.

Not as nostalgia. Not as “old school.” And Not as throwbacks.

Meet Unk

The format is called Unk. “The songs you never stopped living with.”

Unk (noun)
/unk/

The culturally fluent older person. A trusted source. See also: memory, lived-in classics, quiet confidence. Used affectionately, sometimes playfully, always respectfully.

Plus, Black Jack feels like something Meruelo would own, and I’d bet that name has a trademark on it.

Not Old. Not Urban AC. And not What You Think.

Let’s get precise, because this is where radio usually fumbles the bag.

Unk is not:

  • Urban AC with a deeper list
  • A “remember when” format
  • A pop-based Classic Hits station with a few Black artists sprinkled in
  • About being retro

Unk is classic hits for black music fans of any race — songs pulled from every coast, every region, and every era that matters.

It’s about playing what’s under-exposed, forgotten, or underserved.

Why This Works Now

Ten years ago, this would’ve been miscast as Throwbacks. Five years ago, it might’ve been framed as pandemic comfort food.

Today, I’d frame this as taste.

The core audience is 45–55, of any race. They have teenage kids. College-age kids. Adult age kids.
Cultural confidence. Gender balance.

They don’t need radio to teach them anything. They know everything about the genre.

This audience:

  • Grew up buying albums, cassettes, and CDs—and if you were a real music nerd (hi, it’s me), you even flirted with MiniDiscs for a minute (yes, I have Cooleyhighharmony on MiniDisc, rendering it both artistic and adorable).
  • Grew up accepting music of all kinds.
  • Was shaped by voices like Martha Quinn, Ed Lover, Carson Daly, Fab 5 Freddy, Downtown Julie Brown, Casey Kasem, Rick Dees, Don Cornelius, Pauly Shore, Bill Bellamy and Daisy Fuentes.

They’re nostalgic—but not stuck.

Radio didn’t lose them because the music stopped mattering. Radio lost them because the presentation got lazy, predictable, over-researched, and homogenized.

The Jack FM Comparison

Yes, this is a “few rules, more vibe” format.

But let’s be clear about the difference.

Jack FM is about Jack. His jokes, ego, name, songs, and insistence that he’s funny.

Jack is the out-of-touch uncle telling you how clever he is.

Unk is the opposite.

Unk is about the listener and the music. No ego. Air personalities with real names. Songs the listener wants—not what Unk wants.

The philosophy is simple: You know the music. We don’t need to explain it.

No forced puns. No dad jokes or “remember this one?” energy.

Turn Jack off. Turn Unk on. Can I say that?

A Structural Shift (Not a Playlist Change)

Like the women’s sports format I outlined last week, this isn’t about swapping content inside an existing format. It’s about casting storytellers who lived with, in, and around this missing music.

That means:

  • Culture narrators, not “in the building, you already know who this is” hype DJs
  • Hosts who care about you, the music, and the life you’re living now
  • Not radio congratulating itself for being “different.”

To this audience, you’re not different, you’re finally playing what they wished you had been playing the entire time.

What an Hour on Unk Actually Sounds Like

A sonically diverse, coast-to-coast, era-spanningsample hour:

  1. Mary J. Blige – Family Affair (2001)
  2. Johnny Kemp – Just Got Paid (1983)
  3. The Weeknd – Starboy (2016)
  4. The Whispers – And the Beat Goes On (1979)
  5. Destiny’s Child – Jumpin’, Jumpin’ (2000)
  6. Geto Boys – Mind Playing Tricks on Me (1991)
  7. Rihanna – Work (2016)
  8. New Edition – Candy Girl (1983)
  9. 2Pac – California Love (1995)
  10. Cherish – Do It to It (2006)
  11. Janet Jackson – Rhythm Nation (1989)
  12. Zapp – More Bounce to the Ounce (1980)
  13. Kendrick Lamar – Not Like Us (2024)
  14. The Notorious B.I.G. – Mo Money Mo Problems (1997)
  15. Zhané – Hey Mr. DJ (1994)
  16. Akon – I Wanna Love You (2006)
  17. Laid Back – White Horse (1983)
  18. Michael Jackson – Remember the Time (1994)
  19. Bruno Mars – I Just Might (2026)

The Audience Radio Can Bring Back Today

Unk is built for Black music fans who:

  • Still love music deeply
  • Don’t want to be yelled at
  • Don’t need validation
  • Buy cars, travel, spirits, wellness, and experiences

The magic here is simple: you’re targeting a life group that grew up on radio, has an affinity for radio, and might still choose you over Spotify—if you surprise them, respect them, and show them they’re valued.

In between 15 minutes of commercials, of course.

Where This Makes Immediate Sense:

  • Atlanta
  • DC
  • Houston
  • Chicago
  • Detroit
  • Los Angeles
  • Dallas
  • Philadelphia
  • Charlotte

Anywhere Black music is listened to, appreciated, and in demand.

P.S. The correct answer is everywhere.

The Phil-Osophy

Year one proves it works. Year three proves it scales. By year five, everyone claims they saw it coming.

They won’t be wrong. They’ll just be late.

(I feel like I’ve read that somewhere before).

-Uncle Phil

(Shout out to the late great James Avery).

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

How a Fatal ICE Shooting Became a National Media and Political Firestorm

Lauren Ashburn
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How a Fatal ICE Shooting Became a National Media and Political Firestorm

One woman is dead. The nation is on edge. And the Trump administration’s response to a fatal ICE shooting has turned a tragedy into a full-blown national outrage.

Instead of caution, restraint, or humility, Washington and the media, came out swinging, loudly, aggressively, and prematurely. And in doing so, may have poured gasoline on an already raging fire.

When Renee Good, a 37-year-old mother of three, was fatally shot by an ICE agent in Minneapolis, it ignited a political and media controversy almost unlike anything seen since the 2020 murder, also in Minneapolis, of George Floyd by a police officer. Floyd was a petty criminal, but his murder triggered a wave of riots.  

The fatal shooting of Renee Good, after she had dropped off her child at school, has fueled an ugly debate. It stirred up nationwide protests, viral online video disputes, debates between conservative and liberal media, and a mess for local law enforcement, President Trump, and the administration. And it has energized young and old who normally don’t pay attention to politics. 

Within hours of the shooting death, the administration had already settled on its story: the ICE agent was in danger, the shooting was justified, and critics were reckless. Homeland Security Secretary Kristi Noem quickly branded the encounter everything from self-defense to “domestic terrorism” just as the investigation was starting and before the public had seen all the videos.

Both sides raced to define the story before the probe could. Facts were still emerging. Various videos were incomplete, and context was missing. None of that slowed the furious coverage on cable news and websites. 

That rush to judgment — seen wall-to-wall on TV — didn’t calm tensions. It utterly inflamed them.

Vice President J.D. Vance defended the agent’s actions as self‑defense, yet tragic, and a “reasonable” response to a perceived threat. 

CNN’s Jake Tapper pressed Noem on “State of the Union” about why she didn’t wait for an investigation. She defended herself, saying “everything that I’ve said has been proven to be factual, and the truth.”

Federal officials said the ICE agent involved, Jonathan Ross, fired at Good’s head after she allegedly weaponized her vehicle against officers. Analysis of video from the scene of the shooting done by the New York Times shows Good’s vehicle was not aggressively advancing on the agent when Ross shot her not once but three times at close range, and appeared to be turning away from the officer. Good even told the agent she wasn’t mad at him, and then, in a perhaps panicked decision that cost her her life, tried to speed away. 

GOP leaders are defending the shooting and blasting liberal media for “misrepresentation.” 

Far‑right commentators emphasized Good’s identity, activism, and alleged obstruction, language that has sparked outrage on TV, online, and offline. 

On Fox News, the message was clear and unwavering: Back the badge, blame the press.

Jesse Watters focused on Good’s personal life. “The woman who lost her life was a self‑proclaimed poet…with pronouns in her bio.” Critics say that tactic felt less like analysis and more like character assassination. Coverage on Fox also highlighted criticisms from academics or protestors in ways that portrayed them as radical or extreme. And Fox headlines criticized Hillary Clinton for amplifying “left-wing murder” claims.

Fox also linked Ross’s perspective to his past experience, when he was dragged by a vehicle driven by an illegal-alien sex offender – and needed dozens of stitches – to justify his caution. The opposite can also be true that an agent with that kind of experience should not be put back on the front lines. 

ESPN host and famed social critic Stephen A. Smith straddled the fence, saying on his show this about the ICE agent: “From a lawful perspective…don’t expect him to be prosecuted. He was completely justified…from a humanitarian perspective, however, why did he have to do that?”

But not Tucker Carlson, who notably dissented from many conservative voices. He urged empathy and cautioned against treating the incident merely as political ammunition, insisting that conservatives “view it through a human lens,” and calling Good’s death a “human tragedy” rather than only a law-enforcement issue. 

Liberal and mainstream outlets told very different stories. It’s two Americas, two realities, and it became cable TV combat. 

Some liberal media framed the story as an abuse of power that demanded accountability. When talking to reporters, New York’s Democratic congresswoman Alexandria Ocasio-Cortez accused Trump of “assassinating” a young mother in the street. 

On Katy Tur Reports on MS NOW, a former ICE director in the Obama administration raised concerns about trust, saying her administration handled immigration with “a limited cadre of officers,” and didn’t go into schools or churches. “Why not work with the community instead of coming in like gangbusters?” 

And on Nicole Wallace’s ultra-liberal MS NOW show, Deadline: White House, Republican strategist and anti-Trump crusader Tim Miller of The Bulwark blasted the administration. “This is not America. People don’t want it.”

Jen Psaki, who not only has a primetime MS NOW show, but of course, Joe Biden’s former press secretary, spent a long time eviscerating ICE by relying on the latest video that she believes shows the utter recklessness of the agent.

During the confrontation, Renee Good told the agent, “That’s fine, dude, I’m not mad.” as he was using his cell phone to record Good and her wife, Becca Good,” who demanded: “You wanna come at us?” The agent cursed out Renee Good who had been participating in a protest in response to ICE agents spotted in the neighborhood.

Social media was worse. Clips didn’t have context, and commentary went viral at lightning speed. It seemed that every post became evidence, or propaganda, depending on who was sharing it.

The ICE shooting didn’t have to become a national firestorm, but the media, chasing clicks and confirmation, made sure it did.

This wasn’t just a failure of government restraint. It was, in part, a failure of media responsibility. The bottom line is that liberal media believe power must justify itself, and that a civilian death raises serious questions about use of force, and cries out for accountability. Conservative media say authority must be protected to maintain order. 

The ICE shooting didn’t have to become a national melee – but the media, chasing clicks and confirmation, and the administration playing politics, made sure it did.

And America is worse for it.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

Why Aesthetic Branding Is Vital To Earn Attention in an Algorithmic Ecosystem

Mike Gunz
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Why Aesthetic Branding Is Vital To Earn Attention in an Algorithmic Ecosystem

Artists are no longer just the musicians we see on stage. The algorithmic-fueled world of music listening and discovery continues to grow. Many artists realize that having a clearly identifiable branding may be what separates them from everyone else. Musicians are now marketers, creative directors, and storytellers — record labels be damned.

One of the best ways to do this is through aesthetic branding. Many newer artists are using social media as a “palette,” if you would, to introduce themselves and their music to the world.

Aesthetic branding allows them to have a visual identity that gives off a specific feeling and emotion. This captures the artist’s mood and the listener’s as well. No longer does an artist have to rely solely on radio or television to be heard. They can now do so from the comfort of their social media pages.

Music streaming platforms continue to move toward AI and algorithms — essentially dehumanizing the music experience. Aesthetic branding allows the artist to take control of their story in the way they desire, rather than what an algorithm may recommend.

From Sound To Strategy

“Aesthetics and storytelling go hand in hand,” independent artist Nicole Alexis explained. “Having a consistent visual identity has made it easier for people to connect with my music online. It starts telling the story before the music even plays.”

It’s worked. Alexis has over 300 thousand Instagram followers and multiple videos that have gone viral, earning millions of views on YouTube.

Her aesthetic has allowed not only her original music to be discovered, but also her cover songs to gain the attention of the artists themselves. Bands like Hoobastank, Breaking Benjamin, Dashboard Confessional, and more have all publicly complimented her on her unique renditions of their songs.

Not bad for an independent female artist who records, mixes, and produces all of her music herself.

“Visuals set the mood and give context to the emotion behind the song. This helps people understand who I am as an artist right away, so when they scroll past a video, it already feels intentional and familiar,” she further explained.

Marketing Plans and Album Rollouts

A coherent aesthetic brand allows an artist to create moments and momentum on their own. Artists don’t have to wait for traditional media to give them validation. In many ways, one could argue that music media is now far more reactionary than leading.

In recent years, mainstream artists like Olivia Rodrigo and Billie Eilish have built global followings. Not only for their music, but also for the branding around it and themselves. Both deserve credit for their hard work. Their immense success has also resulted in massive marketing budgets behind them — something emerging artists clearly don’t have the luxury of.

The good news is that newer artists and bands now have the ability to break through even without major financial backing. Artists are using effective aesthetic branding to create buzz and get people talking — which is ultimately what every artist hopes for.

In Color Uses Color to Amplify Story

Nashville-based alt-rock band In Color are a perfect example of this approach. When the band launched last year, they generated initial buzz on social media with a cryptic-style aesthetic before releasing their first song. The color coding, font choices, and overall mood attracted curious followers, who were then introduced to the music once it arrived.

“We want to be able to curate what we like when it comes to visuals and all of it. Not just the music,” In Color’s Matthew Hastings explained on The Gunz Show.

The rollout has paid off. Along with strong-sounding songs, the band has created momentum that has many within the industry paying attention. In Color is now gearing up for a headlining tour this spring that already includes sold-out shows in several cities.

“Haven’t had this much excitement and anticipation like this in quite a while,” one Instagram follower wrote on the band’s latest post which consisted of a four-second video clip promoting something set to be released in the coming days. A new song? A music video? In Color doesn’t say, but it doesn’t matter.

Their consistent branding has built loyalty among their fanbase, which continues to grow as more listeners discover their music. It’s a win-win situation that excites both the band and their fans.

“We just like to have every part of what we do be something that we like. The music creation aspect and visual process is fun, and we’re just getting started,” Hastings added.

A Necessary Component

It is increasingly difficult for artists to break out in today’s landscape. Especially with unpredictable and constantly changing streaming algorithms. That is why music media — including radio and podcasts — remains vitally important.

However, many artists now recognize branding as a necessary tool that can amplify their music. It creates a vibe and allows a story to be told on the artist’s terms. When executed properly, it can help grow a fanbase and lead to success doing what they love.

For the artists who do it authentically — without being phony — they are already ahead of the curve.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

One Way Conservative Radio Can Open the Tent to the Other Side

Garrett Searight
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One Way Conservative Radio Can Open the Tent to the Other Side

I appeared on The Mike Gallagher Show earlier this week to talk about the conservative media infighting seen from the likes of Megyn Kelly, Tucker Carlson, Ben Shapiro, Candace Owens, and Mark Levin, among others. While I was on hold, the Salem Radio Network host welcomed dissenting opinions from his own about the ICE-involved shooting in Minneapolis. Conservative radio doesn’t always do that. In fact, it rarely does.

Mike Gallagher made no bones about it: he only wanted to hear from those who disagreed with him. That caught my attention immediately. Plenty of times, conservative radio is labeled as an echo chamber. And, frankly, there are moments when that criticism is deserved.

Too often, the format feels safe, predictable, and insular. Hosts speak. Audiences applaud, nod along, and think “That’s exactly how I feel!”

Talking points bounce around the room without much resistance. That approach may feel comfortable, but it also feeds the perception that conservative radio has little interest in scrutiny or debate. That’s a problem for a medium built on persuasion and opinion.

In a similar vein to the old phrase “Republicans buy sneakers, too,” the idea that liberals don’t listen to talk radio simply isn’t true. They listen. They just do it differently. Many tune in to conservative voices specifically to hear what “the other side” thinks and feels. Sometimes it’s curiosity. Sometimes it’s frustration. Oftentimes, it’s fuel.

Those listeners are already there. The question is whether conservative radio chooses to acknowledge them or pretend they don’t exist. Because here’s the reality: nobody’s radio show has too many listeners. There isn’t a single host in America who can honestly say, “We’re good. We don’t need any more audience.”

So why not welcome them in?

That doesn’t mean surrendering principles or turning every segment into a shouting match. It doesn’t mean false balance or manufactured outrage. It means allowing disagreement into the conversation and trusting your audience enough to hear it. You can welcome dissent while still disagreeing — firmly, clearly, and respectfully.

Mike Gallagher did exactly that. He set the terms plainly. He wasn’t looking for affirmation or applause, he wanted pushback. And he invited callers who challenged his own position and let them speak without being rushed or ridiculed. That takes confidence. It also takes discipline.

One of the quiet weaknesses of talk radio — on both sides of the aisle — is how rarely beliefs are tested. I try to subscribe to the theory that unchallenged beliefs are easily held. When audiences only hear reinforcement, convictions harden without being refined. Over time, that leads to slogans instead of arguments.

Challenging your audience doesn’t alienate them. In many cases, it deepens loyalty. People appreciate hosts who are secure enough in their views to let sunlight in. They appreciate conversations that sound like real life, not rehearsed monologues.

Conservative radio doesn’t need to become something else to grow. It simply needs to trust its own ideas enough to expose them to disagreement. Strong ideas don’t crumble under pressure. They sharpen.

There is room on the dial for conviction and curiosity. There is room for firmness without hostility. And there is room for listeners who don’t agree with you — yet.

Open the door. Invite them in. Challenge them, and let them challenge you. I suspect many hosts would be surprised by what happens next.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

Why Katie Pavlich Believes Small Businesses Will Be Central to Her NewsNation Show

Krystina Alarcon Carroll
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Why Katie Pavlich Believes Small Businesses Will Be Central to Her NewsNation Show

She is the latest host to join NewsNation. Katie Pavlich is set to make her mark in the outlet’s 10 PM ET timeslot when she takes over the program next week. 

“I love current events. I love watching how things unfold, and I love having a front row seat to history,” Katie Pavlich told Barrett Media.

One major topic she is looking to tackle?

“I think there’s a lot of room there with our show to try and find some interesting businesses and small businesses and talk about their stories and even with the policies that are happening in Washington, D.C. and being implemented,” Pavilch beamed with excitement. “How [the laws made in Washington] affect [small businesses] more broadly. Having some firsthand experience with that will certainly help drive the right questions.”

The first-hand experience Pavlich is talking about: growing up the daughter of teachers turned small-business owners. “My mom was a professor, and my dad was a public school teacher for 35 years, but they also started these car washes from the ground up,” Pavlich, the former editor of TownHall.com, recalled. 

“We literally broke ground on the first one, and then we ended up building a second one. So it was really interesting to watch that whole process with building the business physically and then hiring employees.” Pavlich is no stranger to working hard. She didn’t just watch her parents hire employees; she worked at the car wash too: “cleaning out the vacuums and shoveling pits when it was freezing outside” it was all a right of passage for the now prime-time host from Arizona. 

Yes, you read that right, freezing cold in Arizona. It’s one of the many misconceptions Pavlich is looking to fix. “I grew up in the Northern part of Arizona, where the elevation is very high, and you get a lot of snow,” Pavlich postulated. “So it would be January, and I was out there with my brother, and we were doing our car wash chores.”

The hard work at the car washes also translated to knowing how to work hard in school, and be aware about the events going on in the world around her, too. She attended the University of Arizona, where she intended to study sports broadcasting. However, Pavlich said it wasn’t until the “Young America Foundation Conference that the light bulb finally went off and I was like, Oh, of course I should be going into political media.”

She’s spent the last 16 years learning the ins and outs of Washington. “I’ve seen a lot of different things happen, and it’s been really exciting to be in the middle of it all from the nation’s capital,” Pavlich said. 

It’s more than just her blue-collar upbringing, which gives Pavlich a unique perspective, but also her love of travel. “I’ve been in 30 countries. I’ve been to five continents and 48 U.S. States,” she noted, calling it a blessing to travel so much. It’s also given her the ability to “meet all kinds of different people, see and hear from different perspectives.” 

Pavlich added, “I think travel is such a great way to educate yourself [because] it’s one thing to read about things and even read two sides of a story, and to read two different perspectives or hear two different perspectives. But when you go visit a town… and just talk to people and understand the way that people live, I think, is a great way to understand humanity and to be a little [more understanding] when it comes to having tough discussions about big issues and why they live their lives the way they do.”

She also believes traveling internationally is: “Super important because it really makes you appreciate, at least for me, that I’m an American and I have the rights that I do and the freedoms that I do and how American policy impacts foreign policy.”

All that foreign policy often trickles down to those in the armed services, a group of Americans Pavlich plans on honoring weekly. Calling it R.E.D. Friday, Pavlich, a two-time New York Times best-selling author, said “RED” is an acronym for, “Remember Everyone Deployed.”

Her plan is to “try and feature videos from our men and women in uniform who are deployed either overseas or they are assigned a post somewhere in the United States, because you have to move all the time for that as well and that’s a sacrifice.” 

Katie Pavlich went on to say her show will feature those in the services, “what their name is, what they’re doing, so they can say hi to their family and just let them know that we appreciate what they’re doing for us every day so that we can be safe and free.”

For those looking to follow in Pavlich’s footsteps, she suggests, “Come to Washington, D.C., put your head down and work hard.” 

But it’s not for the faint of heart. “Everything’s happening so fast,” Pavlich avowed. “I always joke about how one year in D.C. feels like seven because you’re getting so much done even in just a day. There’s so much opportunity and even if you just came here for a couple of years, you could work and go work in your local media outlet as well.”

Pavlich is also on the board of the National Journalism Center through the Young America Foundation. She often also advises youngsters to “Say yes, be factual first, opinion second [because] everyone has an opinion.”

She also encouraged, “You can really cut your teeth on some real journalism. I started my career as an investigative reporter and wrote a book about a scandal that was happening in the Justice Department when I first moved to D.C. So, you know, working hard, saying yes, and staying humble, I think, is a good way to succeed in media.”

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

FOX, CBS, NBC Sports See Increased Viewership for NFL Wild Card Weekend

BSM Staff
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FOX, CBS, NBC Sports See Increased Viewership for NFL Wild Card Weekend

NFL Wild Card Weekend delivered strong ratings across all three broadcast networks, highlighted by FOX Sports’ Sunday presentation of the San Francisco 49ers’ victory over the Philadelphia Eagles, which became the most-watched telecast of the weekend.

According to Nielsen Media Research, the game averaged 41 million viewers, peaking at 47.76 million from 7:30 to 7:45 p.m. ET. The figure represents a 14% increase over last year’s FOX NFC Wild Card matchup between the Green Bay Packers and Philadelphia Eagles. The game also ranks as FOX’s most-watched Wild Card telecast since 2015 and the most-watched NFL Wild Card game on any network since 2022.

FOX’s Saturday afternoon matchup, featuring the Los Angeles Rams’ win over the Carolina Panthers, also drew significant attention. The game averaged 28 million viewers, peaking at just over 36 million, marking the best Saturday Wild Card telecast on any network since 2011. The Saturday broadcast was up 7% from last year’s comparable Chargers-Texans game, which averaged 26 million viewers.

CBS Sports followed with its early Sunday AFC Wild Card game, where the Buffalo Bills topped the Jacksonville Jaguars. The telecast averaged 32.71 million viewers, peaking at more than 41 million. The network noted that this marked the most-watched early-window AFC Wild Card game in CBS history and a 5% increase from last year’s comparable matchup.

NBC Sports closed out the weekend with its Sunday Night Football broadcast, featuring the New England Patriots victory over the Los Angeles Chargers. The game averaged 28.9 million viewers across NBC and Peacock, making it the most-watched Sunday Night Football telecast since Super Bowl LIX, according to NBC.

Overall, the numbers reflect a strong weekend for NFL viewing, with all three networks reporting growth or maintaining high levels of engagement compared to previous years. The data underscores the NFL’s continued dominance in broadcast television ratings, particularly during the postseason, where marquee matchups draw audiences well into the tens of millions.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

Prime Video Shatters Streaming Records With Chicago Bears, Green Bay Packers Playoff Matchup

BSM Staff
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Prime Video Shatters Streaming Records With Chicago Bears, Green Bay Packers Playoff Matchup

Prime Video shattered streaming records Saturday with its presentation of the Chicago Bears victory over the Green Bay Packers in the NFL Wild Card Playoff, drawing 31.61 million viewers and marking the most-watched game in the platform’s history, according to Nielsen’s Big Data + Panel measurement.

The figure surpasses the previous streaming high set last Christmas Day, when the Detroit Lions hosted the Minnesota Vikings to a 27.52 million-viewer audience. Compared with last season’s Saturday Wild Card matchup between the Pittsburgh Steelers and Baltimore Ravens, which averaged 22.07 million viewers on Prime Video, this year’s Packers-Bears game represents a 43% increase in viewership.

The game also reached a peak audience of 34.16 million viewers between 9:15 and 9:29 p.m. ET, establishing a new all-time streaming high for the service. Amazon’s internal data confirmed that the game drew the largest number of concurrent viewers ever and set a record for single-day global viewership on Prime Video.

“We could not have asked for a better game on Saturday,” said Jay Marine, head of Prime Video U.S., Global Sports, and Advertising. “Surpassing 31 million viewers and setting an all-time streaming record illustrates our remarkable growth in a relatively short amount of time. We’re thankful for all the fans who tuned in and will continue innovating on their behalf.”

In addition to the game, Prime Video’s NFL Wild Card coverage included a pregame show that averaged 3.05 million viewers, up 50% from last year’s equivalent broadcast ahead of the Steelers-Ravens game. The postgame Nightcap show also delivered record numbers, averaging 4.96 million viewers, a 40% increase over the previous season.

Saturday’s game ranks as the most-watched Saturday Wild Card contest presented in afternoon or prime time since 2020. The Packers-Bears matchup joins other high-performing NFL broadcasts on Prime Video, including last season’s Steelers-Ravens game and the Broncos-Chiefs Christmas Day matchup, which averaged 21.06 million viewers.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

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