Salem Media has announced it is extending its longstanding partnership with Triton Digital.
The company will continue utilizing the Streaming Services and Podcast Services through Omny, as well as measurement services from Webcast Metrics, Podcast Metrics, and Demos+. The expansion now includes Podcast Video Metrics for YouTube and will also utilize the Sounder offering from Triton Digital.
“Our long-standing partnership with Salem Media demonstrates the strength of collaboration built over many years,” said Triton Digital President and CEO John Rosso. “Salem’s portfolio spans a wide range of trusted formats and highly engaged audiences across streaming and podcasting. With this renewal, we are expanding our support through advanced measurement, monetization, and audio intelligence solutions that align with Salem’s continued digital focus.”
“Working with Triton Digital gives us the tools and insights we need to support our growing digital audio and podcast offerings,” said Salem Media Chief Digital Officer Jamie Cohen. “Their measurement, monetization, and new Sounder capabilities help us better understand our audiences and continue delivering content that resonates across platforms and with our audience.”
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Vinny DiMarco, the former market manager for ESPN New York under Good Karma Brands, has been named Chief Revenue Officer of Team Boxing League, he announced via LinkedIn.
In his new role, DiMarco will oversee revenue growth, strategic partnerships, and brand integrations as the league expands its team-based boxing format. Team Boxing League blends elite athletic competition with city pride and fan engagement. Its nationally televised events attracted more than 12 million viewers during the third season.
“Team Boxing League is transforming the sport of boxing with a team-based format that unites elite athletes, city pride, and a modern fan experience,” DiMarco wrote in his announcement. “The league operates at the intersection of competition, entertainment, and culture, and I am energized by the opportunity ahead.”
Team Lead Boxing also announced the hire of Danny Vella as Senior Vice President of Regulatory Affairs, further strengthening the league’s executive leadership as it continues its rapid growth.Vella joins TBL following four years as Executive Director of the Arizona State Boxing and Mixed Martial Arts Commission.
“Vinny and Danny each bring exceptional expertise that aligns perfectly with where TBL is headed,” said Kevin Cassidy, CEO of TBL Team Boxing League. “Vinny’s proven ability to drive sustainable revenue growth across complex media and partnership ecosystems will be critical as we scale, while Danny’s regulatory leadership and commitment to safety and integrity will ensure our expansion is built on the highest professional standards.”
DiMarco brings extensive experience in sports media and sales leadership to the role. He served as market manager for Good Karma Brands’ New York operations from January 2022 until July 2025. During his tenure, he managed the station’s day-to-day operations. He also spearheaded initiatives, including the launch of 880 ESPN New York, following the end of a local marketing agreement with Emmis Communications for the 98.7 FM frequency.
Prior to his market manager role, DiMarco was senior director of sales for ESPN Audio partnerships. He oversaw radio affiliate relationships and a growing sales team. His work helped position ESPN New York across multiple platforms, maintaining the network’s presence despite changes to the FM signal.
Despite the career shift, DiMarco emphasized gratitude toward mentors, colleagues, and industry partners who have shaped his career. On LinkedIn, he singled out Team Boxing League CEO Kevin Cassidy for placing trust in him. This came as the organization charts its next phase of growth.
“TBL is redefining what’s possible in professional boxing,” DiMarco said. “I’m excited to join the organization and help build innovative, scalable revenue opportunities that support the league’s long-term vision.”
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Fanatics and OBB Media are expanding their footprint in sports storytelling with the launch of Fanatics Studios, a newly formed joint venture designed to operate as a full-scale global studio focused on sports entertainment.
The venture positions itself as an independent content engine capable of financing, producing and distributing projects across multiple formats. Its initial slate includes feature films, documentaries, scripted and unscripted series, live event programming and premium digital content, all centered on the growing intersection of sports and popular culture.
By combining Fanatics’ vast ecosystem of athletes, leagues and commercial partners with OBB Media’s production experience, the companies aim to create a centralized home. The goal is ambitious sports-centered storytelling.
Fanatics has built its brand across apparel, collectibles, sports betting, events and media. OBB has gained recognition for producing culturally relevant content that has generated billions of views and multiple industry awards.
Fanatics Studios will debut with several high-profile projects already in development. Among the most notable is a wide-ranging content partnership tied to the LA28 Olympic and Paralympic Games. The deal includes film, television and digital productions spotlighting athletes and cultural moments. The content will lead up to the Games and reflect back on them. Additionally, the studio will produce the official Olympic film, planned for a theatrical release.
Football will play a central role in the studio’s early programming. The Fanatics Flag Football Classic is a live event to air on FOX from Riyadh, Saudi Arabia. It will feature current and former NFL stars, highlighted by Tom Brady’s flag football debut. The event will also anchor One More Drive, a multi-part documentary. The series follows Brady’s preparation for the competition and his potential pursuit of a Team USA spot.
Fanatics Studios is also expanding into marquee sports television. The company will collaborate with ESPN and Full Day Productions on the 2026 ESPY Awards. It will also enter a broader multi-year programming agreement with ESPN. The deal includes renewed coverage of Fanatics Fest.
Additional partnerships extend to WWE, Major League Baseball and the World Baseball Classic. Projects range from digital interview shows and lifestyle programming to a global baseball docuseries.
OBB founder Michael D. Ratner will lead the new venture, who will serve as CEO while continuing to oversee OBB Media’s other businesses. OBB Pictures will manage physical production for Fanatics Studios projects, while select pre-existing OBB Sports properties will remain outside the joint venture.
“I’m incredibly excited about launching Fanatics Studios and adding an important content and media business to our growing sports platform that also supports all of our existing businesses,” said Fanatics CEO Michael Rubin. “We could not have dreamed up a better partner in Michael Ratner and the team at OBB, and together we are going to continue pushing our mission of relentlessly enhancing the fan experience by creating content that brings fans closer than ever to the teams, players, sports, cultural moments and events that they love in a way that’s never been done before.”
The launch of Fanatics Studios further signals Fanatics’ long-term commitment to content, following its recently announced 10-year extension to co-produce Fanatics Fest, which returns to New York City’s Javits Center this July.
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After his defeat in the New York City mayoral race, Andrew Cuomo could find himself on 77 WABC, owner John Catsimatidis says.
Catsimatidis confirmed to the New York Post that a new weekly show with the former New York Governor is “in the works.”
Cuomo would become the latest in a long line of former New York politicians to join the station. Former Governor David Paterson, former Rep. Anthony Weiner, and former New York Mayor Rudy Giuliani have all hosted programs on the station, as did New York mayoral candidate Curtis Sliwa before his high-profile exit last year.
Catsimatidis himself also ran for the top office in the Big Apple in 2013.
On the Sunday edition of his Cats Roundtable program, John Catsimatidis alluded to an upcoming partnership between Andrew Cuomo and 77 WABC.
“I hear you may be talking a little bit more on WABC radio in the near future,” Catsimatidis said.
“I think your station has an audience that is participatory and large,” Cuomo said. “It’s very important that we understand what’s going on and have informed dialogue, and your station is a great vehicle to do that.”
A statement from a spokesperson for Andrew Cuomo said that the former governor “will continue to speak out on the important issues” on 77 WABC and “many other media outlets.”
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SiriusXM has announced it is launching a new morning show on P.O.T.U.S. hosted by Chris Cuomo.
Cuomo Mornings will debut on Tuesday, January 20th. The new program will be heard from 7-9 AM ET.
The move marks a return to SiriusXM for Chris Cuomo, who previously helmed a midday show for the satellite broadcaster until his exit from CNN in 2021.
“Too much of our politics is about teams instead of truth,” said Chris Cuomo. “Cuomo Mornings is going to be about breaking through those barriers, asking better questions, and bringing people into the conversation instead of talking past them.
“We need to prioritize common sense, accountability, and real dialogue, and SiriusXM’s P.O.T.U.S. channel is exactly where that belongs. I’m very excited to be back on the platform and to engage with callers every day. Let’s get after it.”
Cuomo will continue to anchor his primetime program on NewsNation, which airs at 8 PM ET. He has hosted the show since 2022.
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It was another chilly December night in Green Bay. A week before the Christmas holiday, the Green Bay Packers were still holding on to a playoff spot, and second-year head coach Doug Gottlieb led the Phoenix of Wisconsin–Green Bay to their second win in a row, defeating UCSB. During the postgame media availability, however, the focus shifted quickly. After Marcus Hall scored a season-high 25 points in the victory, his head coach made a stunning announcement.
After nearly a quarter century, Doug Gottlieb was leaving sports talk radio.
“It wasn’t until the night before that game that it dawned on me what radio really meant,” explained Gottlieb. “I talked to Josh Moon (Wisconsin–Green Bay Athletics Director) and Scott Shapiro (Senior Vice President, FOX Sports Radio & Premiere Networks), and they decided to let me do whatever I’d like to do, and however I’d like to do it.”
The decision to leave his daily radio program at FOX Sports Radio was not made overnight. When Gottlieb took the head coaching position at Wisconsin–Green Bay in May 2024, he chose to honor his commitments to both roles. He attempted to host a daily program on FOX Sports Radio while also taking on the responsibilities of a Division I basketball coach.
“Scott Shapiro, Don Martin (former EVP Sports, Premiere Networks), and I had agreed on trying it for a year, then see what we think,” said Gottlieb. “Once the season started, I got so immersed in everything I wanted to do here. I’m a perfectionist, and it became let’s try not doing this and see how my life works.”
The Decision
What ultimately helped shape the decision was a trip to the Virgin Islands, where the Phoenix played three games in the Paradise Jam tournament. The trip was filled with hiccups, including travel issues throughout. Wisconsin–Green Bay won two of three games and finished fourth in the tournament, but Gottlieb missed an entire week of programs on FOX Sports Radio. While he never considered leaving radio during the summer, the experience sparked a period of introspection.
“I was thinking do I miss it? Would I have been as good a coach if I was doing it? I don’t know,” noted Gottlieb. “Fast forward to the game against UCSB a month later, I wasn’t thinking about leaving radio during the game. I didn’t even think about it till the game was over and I collected my thoughts.”
A good coach stays focused on his players, and Gottlieb said he initially hesitated to make the announcement because he did not want to take attention away from his team’s victory. However, after weighing the logistics of media access, the decision was finalized.
Doug Gottlieb announces postgame that he's stepping away from his radio work:
"These kids owe a fully dedicated coach. You only get one shot at this thing. If there's any OUNCE of fatigue, or lack of preparation… I gotta be here for these kids"pic.twitter.com/T5tOMaGXSn
Gottlieb is a college basketball lifer. He played at both Notre Dame and Oklahoma State before competing in several professional leagues around the globe. When he transitioned into sports media, he expanded his passion for the game by calling contests for multiple networks on radio and television.
College basketball today looks far different from when Gottlieb played. The competition level is at an all-time high, and NIL has transformed recruiting into a financial arms race. That reality, he said, was the biggest surprise when he took on the role, particularly the sheer number of responsibilities involved.
“I’m running a business, not a basketball program,” explained Gottlieb, referring to budgets, travel, meals, and operations. “I’m the CEO of Green Bay men’s basketball. The part I love to do the most is coaching. I love all the other stuff too, but the job has evolved from paying players to running a business. You’re accountable for every single penny.”
Despite winning just four games in his first season, Gottlieb earned strong reviews from Chancellor Michael Alexander. He said the university never pressured him to decide whether to continue his radio career. Most of the program originated from his office in Green Bay, allowing him to remain fully accessible to his coaching duties.
The Adjustment Period
It has been nearly a month since Gottlieb announced his departure from FOX Sports Radio. He said he is still working through the stages of grief and now has extra time he is learning how to use.
“I can’t yet tell you how it affects coaching. I’ve always felt super prepared and rested. I feel a little restless to be honest,” explained Gottlieb, comparing the feeling to the months following his exit from ESPN in 2012.
He admitted the urge to comment on sports faded initially. However, while watching film of his next opponent during the Steelers’ win over the Ravens on the final night of the NFL regular season, the itch returned.
“That Monday I woke up, and we had a big game. I don’t have a radio show, and I’m like damn, I want to talk about that game,” joked Gottlieb. “I still text my radio crew guys funny things, but I miss it. My life now still has a level of stress, but there’s also some downtime to be a better parent and leader.”
Looking back, Gottlieb said he would still advise his former self to attempt both jobs. While he does not regret the experiment, he is not leaving sports media entirely. He is currently developing a podcast that would allow him to contribute on his own schedule.
FOX Sports Stugotz
As for his successor, Gottlieb wished success to former ESPN Radio teammate Jon “Stugotz” Weiner. He admitted he is unsure what to expect from the longtime Dan Le Batard Show co-host in his former radio timeslot.
“I don’t know what Jon [Weiner] does and have never heard him solo. I know he’s a talented guy because he was playing a character all the time with [Dan] Le Batard. Does he come out of character? Is he a different character? I have no idea,” questioned Gottlieb.
Having often been typecast as a “college basketball guy,” Gottlieb said he understands the challenge Weiner may face with a new FOX Sports Radio audience.
“I understand the fight he’ll have with being known as ‘Stugotz.’ Is he going to be ‘Stugotz’ or Jon Weiner,” explained Gottlieb. “He was always the pure radio talent of that group with Le Batard as the writer and thinker. I hope he does well. I’ve heard he’s a good guy and he’s always been good to me. I don’t think he’s working with my guys, which is disappointing to me. It’s a great opportunity because it’s far and away the best sports radio network. You’re in a good place, so don’t f**k it up.”
Despite stepping away, Gottlieb is not closing the door on a return to sports radio. He believes he has evolved into a strong voice and leader over the past two decades. While the childhood dream may be on pause, it is not necessarily over.
“I love doing sports radio. I loved every one of my stops,” said Gottlieb. “It’s everything I know, and all of a sudden I’m not going to do this anymore feels really weird to me… I always dreamt about it, but I know there’s a limited number of seats. If you give away a seat, it’s going to be very difficult to get one back… Absolutely could I go back to it, but I need to explore what just coaching feels like first.”
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Glenn Beck didn’t just spark a conversation when he unveiled a fully AI-generated podcast episode. He poured gasoline on a debate cable news executives have likely been having quietly behind closed doors.
Which network will be the first to put artificial intelligence on the air in a meaningful way?
We can all pretend it isn’t coming. It’s easy to say Fox News, MS NOW, CNN, NewsNation, and Newsmax will stick with human anchors forever. That sounds noble. It also ignores how this industry has historically behaved when technology advances and budgets tighten.
Cable news already runs on repetition. Overnight hours are filled with reruns, recycled panels, and taped specials. The audience is small, the ad rates are lower, and expectations are minimal. That makes those hours the perfect testing ground for something new and risky.
At some point, a network executive is going to ask an obvious question. ‘Why not try an AI anchor on the news wheel between midnight and 5 AM ET? If it works, great. If it doesn’t, few people will even notice’.
Beck’s AI podcast matters because it shows how fast the technology is improving. Audio is easier than video, but the gap is shrinking faster than many people want to admit. If you have to listen closely to realize something isn’t human — as was the case in the podcast episode from Glenn Beck — that’s a major threshold already crossed.
This is where the hand-wringing usually begins. Critics will argue that using AI on-air would destroy journalistic integrity. They’ll say it would permanently damage credibility. That argument collapses under even mild scrutiny.
Look at what passes for journalism on cable news today. Opinion masquerades as reporting. Talking points replace original sourcing. Outrage is often rewarded more than accuracy. With a straight face, I’m supposed to believe an AI anchor is where viewers will finally draw the line?
Audiences already understand what cable news is. They tune in for perspective, validation, and habit more than pure information. An AI anchor delivering headlines overnight isn’t going to shatter some sacred trust that barely exists.
That doesn’t mean there won’t be backlash. There will be headlines, social media outrage, and plenty of performative concern. Competitors will lambast their counterparts by arguing that it sets a dangerous precedent. That the outlet utilizing AI can’t and shouldn’t be trusted.
None of that has ever stopped innovation in this space before. If ratings hold and costs drop, the experiment will continue.
So who goes first? CNN feels like an unlikely candidate, given its recent emphasis on credibility and course correction. MS NOW leans more heavily on personality and ideology, which doesn’t pair well with synthetic delivery. Newsmax thrives on authenticity and grievance, both difficult to fake convincingly.
That leaves Fox News and NewsNation as the most interesting possibilities. Fox News has the resources, the tech infrastructure, and a willingness to experiment quietly. NewsNation has the incentive and the motive, especially if AI offers a way to expand coverage without expanding payroll.
The first attempt won’t be flashy. It won’t replace stars or prime time hosts. It will be positioned as “enhanced automation” or “advanced production.” The word AI will barely be mentioned at first.
This isn’t me cheering for it. It’s not me hoping anchors get replaced by algorithms. It’s simply acknowledging reality. Cable news has never been slow to adopt tools that reduce costs and increase output.
AI on-air is coming. Glenn Beck has shown that to be true. The only real questions are who blinks first, how audiences react, and whether anyone even cares. When it happens, the surprise won’t be that it occurred. The surprise will be how little resistance it actually faces.
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Pat McAfee is not a journalist; he’s an entertainer. A punter with a personality—a rare combination in today’s NFL. Since he began building his media empire, McAfee has never followed traditional rules. He scoffs at the way things have been done for generations. A rebel who lives by his own code. Many times, several others and I have asked: when is it too much?
McAfee took to social media Monday in reaction to Jacksonville Free Press reporter Lynn Jones’ line of questioning during the Jacksonville Jaguars postgame media availability with head coach Liam Coen. There was no real question, just a compliment for the first-year coach, who led his team to a division title but fell on Wild Card Weekend. Jason Barrett dissected both sides in a fantastic piece, showing how the question/compliments met the moment—or highlighted the changing role of media today.
The former Colts punter, however, went a different route. Instead of commenting on the moment, he attacked journalism as an institution. He got personal with name-calling but named no names. While McAfee has survived ESPN through criticism of management, content, and staff, will he survive this? Does ESPN’s roster of journalists have the courage to defend their own profession?
The gun was out of the holster, and McAfee sent the bullets flying. Of course, he clarified first that his opinion doesn’t apply to all of “them,” but to a large percentage of sports journalists.
McAfee claims that many sports journalists “hate sports” and that “hate” extends to what sports are for people and society. He said these journalists have “preyed on sports” because they saw it as an easier path to “make it.”
Love seeing these sports “journalists” getting ABSOLUTELY BURIED for being curmudgeon bums..
OBVIOUSLY NOT ALL OF THEM but a LARGE % of these things hate sports.. they hate what sports are for people (happiness).. They hate what sports are for society (unifier).. they’re… pic.twitter.com/KOVLOUwXQ6
He then credited his own success, noting his program is broadcast ten hours a week on ESPN, with zero creative say from any “journalism school puppets” calling for society to stop taking “these particular humans seriously.”
He also called these journalists “motherf***ers” and closed his tweet by thanking Lynn Jones for her journalism in praising Coen’s efforts this season.
In 1,817 characters, McAfee blasted the network that hosts his show, the guests who appear on it, and journalists themselves, boasting that he’s allowed to do whatever he wants on ESPN.
Will Adam Schefter defend this? The ESPN NFL insider, a graduate of the University of Michigan and Northwestern University’s Medill School of Journalism, wrote for several newspapers covering the NFL and served as President of the Pro Football Writers of America.
Will Schefter defend his craft, saying sports journalists don’t hate sports? Did he take “the easier path to make it”?
The same questions could apply to Brian Windhorst, Shams Charania, Michael Wilbon, Tony Kornheiser, and Stephen A. Smith, among others at ESPN. All were trained journalists covering sports. Did they take the easy path? Are they the “motherf***ers” McAfee references? More than likely, none will say a word about the comments and take the high road. Something McAfee has yet to do when facing criticism of his craft.
Blanket statements can be deceiving and can turn a small quip into a mountain of regret. McAfee is entitled to his opinion, but he’s missing the bigger picture. Every idea builds on the work that came before it.
Sports radio evolved from combining sports journalism with talk radio. Podcasts evolved from sports radio. Hot-take programs also followed that path. McAfee’s show, successful as it is, was built on the back of those who paved the lanes he now occupies.
Yet McAfee punches down, insulting the system while being a visitor in a house he never built—paid, of course, by The Walt Disney Company.
Media is different today than when I started in 2003. More people have platforms to express themselves to audiences constantly craving content. Reporters are expected to blur the lines between reporting and opinion. Insight and access are easier to gain than ever. Twenty years ago, the statement (not question) made in the Jaguars press availability would never have been allowed.
Today, anyone with a following can gain access. More podcasts cover teams than newspapers, and influencers command worldwide reach. Holding people accountable and questioning authority has given way to appreciation for effort and glossing over flaws, while looking forward.
It’s not that the “motherf***ers” will never get it, as McAfee claims. Media has just evolved to serve a changing audience. Too many people have worked too hard to reach the platforms they command. McAfee shared that grind but grew differently.
However, that doesn’t give him license to belittle those who chose paths he could not pursue. Especially the ones that without them McAfee wouldn’t have a blueprint for post-career success.
Would some journalistic background have helped McAfee before discussing an internet rumor about an Ole Miss student allegedly sleeping with her boyfriend’s father? Would a sense of journalistic integrity have prevented his false claims about an Algerian boxer’s gender?
We're all very confused by what's going on in Women's Boxing..
Or is this all just entertainment, because Pat McAfee is, after all, an entertainer?
McAfee may be a rebel with a cause, but even rebels need a map. His success is built on roads others paved—roads constructed from years of reporting, questioning, and holding people accountable. In other words, the journalists he mocks and claims “hate sports.”
Mocking the system that allowed him to thrive is dangerous, no matter the applause. Punching down doesn’t make him a visionary; it reminds us whose work he stands on, and he continues to fail grasping it.
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Thank you for checking out ‘The Industry According To’. This series runs each Tuesday, and features radio and record industry executives, managers, programmers, talent, artists, and professionals from all areas of the business world. To be considered as a future guest, email me at keithblackboxgroup@gmail.com.
Today we hear from Todd Sievers, a veteran who spends his day in the adjoining pool of artists, labels, radio and streaming. As Managing Partner at CO5, Todd sees all sides of the industry. He is tasked with finding different ways to solve very complex puzzles.
So, let’s dive in.
Is This Actually Working
Keith: From your various seats, what part of today’s music industry looks great on paper but is broken and needs a rethink?
Todd: I’ve spent the bulk of my career doing radio promotion starting in the early 90’s. I believe in radio as much as I ever have, radio is local. An artist can have a billion streams and not be able to sell 100 tickets in a major market. Radio can still connect the dots from a hit song to fans. Three things I believe need a rethink.
1: The cost of a promotional campaign is too high.
2: Kids are raging against the algorithm. Many buy vinyl and use film cameras. I believe they would embrace radio (which is free) if they could find a human authority that can help them find what is next. An algorithm cannot do that.
3: Programmers have too many hats to wear to be creative. It is easier to play a song from a proven artist that is 30+ years old like Green Day than to find the next Green Day. If we had listened to songs that were 30+ years old in the 80’s we would have been listening to music from the 40’s!
The Attention Economy Problem
Keith: While everyone can release music instantly, very few break out to any level of high profitability or mainstream level. What is cutting through these days? Do you see any type of trends or patterns that are seemingly more reliable — whether it’s a genre, strategy, platform?
Todd: This is the million-dollar question. The barrier to entry used to be very high. An artist had to get signed, into a recording studio, record analog, mix an album, tour nonstop and maybe break on their third album if the label believed in them.
I think there are too many mediocre artists clogging up the system today. Nothing has really changed except the forms of distribution and the volume of releases. Regardless, hit artists still start with a great song and a great story. They must separate themselves from the pack.
Photo Credit: #Happens
I know a lot of labels are focused on data. In general, everyone wants to see a well-rounded level of reaction and consumption from streams to ticket sales. Research still counts at radio once it gets played. Consistent growth across all platforms is key, that is a tangible metric we watch closely. I’m less moved personally by cultural-moments. Memes are a dime a dozen. Occasionally they translate and become a hit, but most of the time I think it’s about hard work, long term commitment to success and living on the road building a fan base. Career artists have to have the drive to stay in the game and always improve.
Radio on the Totem Pole for Artists
Keith: You have a new artist: great music recorded, socials beginning to blaze, ready to tour. Historically it’s a mad dash to radio, but now there are other viable lanes to consider, and some strategies skip radio altogether. What does radio still do better than other platforms — and where has it clearly lost leverage?
Todd: This is not good for my career, but some of my favorite artists have had minimal radio exposure like The National, Future Islands and The Boxer Rebellion. They all do huge business on the road, and play festivals to diehard loyal fanbases.
I go back to radio is local. It is free in cars and stores. A true radio hit will open a band’s audience wide. A true radio hit will always be the last song played in the band’s set. Radio hits transcend generations. If a song crosses to other formats and is more mainstream, older generations pick it up. It becomes a part of the soundtrack of a decade. When my 80-year-old mother knows about an artist that I worked from day one, that is when I know the music has transcended the cultural zeitgeist.
Radio is often a big part of that journey. But radio has lost some of its leverage because it has aged with its audience. It needs to get back to breaking artists and showing them what is next and why youthful listeners should care. That is a very hard fix with the economics of radio advertising, the demands of Wall Street. It would be like reinventing the wheel including the ratings system. The airwaves are not going anywhere so I am optimistic in radio’s future!
Streaming: The Good & Bad
Keith: Streaming has provided open access for artists and fans — there are no more gatekeepers, but has it actually solved career hurdles for artists? How does the open access model both help and work against artists?
Todd: Streaming is a Catch-22. It doesn’t pay enough to sustain a career like when artists sold vinyl or discs, but it is necessary to show popularity and great for artists to find an audience without a label deal. Streaming is the new version of a record collection. Attention spans are short and artists have to constantly release new music to engage audiences and the algorithm. We call it the waterfall release schedule when an artist puts out a new song every six weeks. There is no breathing room. I liked it when artists used to go away for some time to come back and be missed.
A positive is that viral hits are now a thing. It has helped so many unsigned artists find an audience. As an example, I just learned about ARTEMAS who have 16+ million Spotify monthly listeners and 1.45 billion streams on their biggest song! There are so many artists like that out there. It constantly blows my mind that I live in this industry and find new massive streaming artists every week or month. My first question is can they sell tickets or merch? Regardless, that kind of consumption could not have ever happened without a label deal before streaming. That is a big hurdle cleared.
Labels: In or Out
Keith: There are more new artist success stories that include labels than don’t, but the path to artist success can be found without the traditional label deal or model. Is there a simple way to determine if a project is best for a label vs. one that should be grassroots?
Todd: This is a great question. Labels and teams all marching in the same direction. They are really good at blowing up hit songs quickly and spreading them to all reaches of media. A big part of my job is building teams that mirror a label’s efforts for independent artists or for management companies or veteran artists that are self-releasing new material. If a grassroots artist has success, labels will come knocking.
Then it is up the artist to decide if they want to give up some control and a piece of earnings to ‘hire’ a team (the label) for the potential to grow their audience globally. Some artists want world domination and massive fame. Others just want to make cool music and pay their bills. It is up to the artist to determine their goals and mindset for success. I find that strong management companies are replacing labels as the traditional marketing partner in an artist’s career more and more today.
Development Expectations
Keith: With the ability to go viral overnight, it seems the middle class of artist development isn’t disappearing and it’s make or break for a lot of projects. How does CO5 approach the artist development process?
Todd: Most successful artists break through hard, consistent work, always improving until their mass appeal moment hits. CO5 Music lives in the artist development world. We work with a lot of new artists. Our focus is radio promotion. We run #HAPPENS — a live rock and alternative industry showcase event. Every artist I have ever been a part of breaking started by breaking in one market. Playing live and meeting people is critical to this process.
We do a lot of promotional tours where artists travel from city to city to meet programmers and decision makers, playing live for them. Getting a programmer out to a show is really difficult, so it is our job to bring the show and talent to them. After you prove a song is a hit in one market or win over a programmer, then you must repeat it in another market. If it works in Austin, Indianapolis and Portland, then you start to see a trend. CO5 is really good at spreading reactive stories.
I have decades of relationships, and my job is to have access to decision makers, tell compelling stories and get the artists I represent a shot for exposure in as many big markets nationally as possible. Once they get played then the songs have to react and do the work. After the heavy lifting, hits songs take on a life of their own. Each single can take 4-9 months of heavy lifting depending on the campaign and how quickly the song reacts. It is not sexy, just a lot of passion and elbow grease, but there is nothing better than helping to establish an artist’s career. It can change their life and is very rewarding work.
Your Decision Matrix
Keith: Let’s assume good music is in place — what are the other key drivers that lead you and CO5 to green lighting an artist to work with?
Todd: Great music, a great story, artist dedication and drive. The bands must be able to play live, want to meet everyone and want to win. To be frank, the biggest barrier to entry is being able to afford the marketing budget needed to give a campaign a real shot at success. There are a TON of great and deserving artists that do not have the financial backing to do what it takes to support campaigns with promotion, marketing, publicity and touring. Labels used to provide these services in exchange for recouping the spend from sales, but with streaming generating such little income, the label advances have dried up.
Artists must bet on themselves, including financially. Or they have a management company willing to take the risk or an outside financial team. We look for artists that write great music, crush live, have a great team, and provide us with a story or marketing tools to separate them from the pack.
Data and Gut
Keith: For an artist, it’s all about gut, soul, heart… not data. On the business-end, the industry is very data driven. Where have you seen data kill something you thought would be special and where has ignoring it been a mistake?
Todd: I have worked many “turntable hits”. These are songs that react on the radio, research as hit songs, but they don’t stream or sell. Data helps get attention, to get a shot, but you either have enough consumption (ticket sales, merch, streams, syncs etc) to payback your investment and do it again or you don’t. Having great streams does not mean you have a mass appeal hit, or that you can sell tickets or merchandise. I’ve worked artists with impressive streaming and data numbers that I could not get arrested with in radio. The sweet spot is both great research and consumption, with solid tangible sales. Some songs are jokes with massive data numbers. You must look at the whole package.
Making It
Keith: “Making it” used to mean radio airplay, MTV spins, some magazine glossies and a good tour. What does “making it” look like today?
Todd: I think ticket sales are the #1 factor of “making it”. With so many options, if a fan will pay their hard-earned money to see you live and the artist can afford to live making music, then they have made it. There are different levels of making it. I go back to my 80-year-old mother. There were so few artists in the past that if you made it everyone knew who you were. Today, I think being able to say your career is as a musician then you have made it. It is a mindset. If you want to be the next Bowie or Sinatra, then you need to become a global brand. On the flipside, bbno$ is selling out the Palladium in Hollywood, with massive consumption, I think he has made it.
Risk & Reward
Keith: Everyone talks about innovation, but the industry still seems to reward playing it safe. Who is currently taking the right kind of risk, and how are they doing it?
Todd: Recently, I would say All American Rejects is killing it. They went straight to their fans and booked house parties in numerous cities. These shows BLEW UP. It was out of the box thinking that went viral. The gumption it took to do these shows was incredible. It was very bold and brave of the band to do these shows. Plus, it was a lot of hard work coordinating things like confirming venues, online announcements, production, dealing with local authorities with no guarantee of a return.
The experiences felt utterly authentic to the audience. I think these shows brought them back into the fold of current hit artists very quickly. It was the antithesis of an algorithm moving the needle and yet it kicked the algorithm into gear. And Tyson Ritter started an Only Fans page that was hilarious. They are a smart hard-working band.
The Uncomfortable Truth
Keith: If there’s an uncomfortable truth the music and radio industry needs to hear, what is it?
Todd: The industry is not fair. Talent is not enough. Timing and luck are involved in success. No one knows what is next. When a trend hits there is only room for a few artists with a particular sound before it is saturated. Artists have to create what they believe in and build their audience in their local community and be open to change.
The One Story
Keith: Before you go, what’s your best must tell story: success, nightmare, pure absurdity?
Todd: I’m from California. I was born in NorCal and lived there through high school before moving to SoCal for college and a career in the music industry. I’ve never lived in snow. I had to drive Susan Tedeschi and Derek Trucks from Denver to Boulder for a studio C session at KBCO. They had a brand-new infant on the road with them that was still breast feeding.
As I drove the 12-passenger van, the snow flurries started and they were swirling. I started to lose the lines on the road and I was getting dizzy. The van started to slide. It turns out it did not have snow tires on it because it was a freak storm for the time of year.
The band was clueless and started to partake in some pre-performance cannabis. As they did, they inadvertently hotboxed the van because it was cold and the windows were up. I was absolutely panicking about getting them all there safely. When I finally pulled into the parking lot with about 2 minutes to spare, I literally got out and kissed the ground. The session was amazing! I lost a few years. Thankfully the sun came out melting the snow before we drove back.
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Hard to fathom that there was a time—not too far back—when Sirius and XM were openly mocked inside terrestrial radio’s hallways. Legacy radio, with its century-old dominance, dismissed satellite radio as a novelty at best and a punchline at worst. “Who’s going to pay for radio?” was radio’s favorite jab, often echoed at national conventions. While legacy radio chuckled, SiriusXM slowly built national reach, fewer rules, and a growing roster of legendary talent that captured the attention of audio consumers everywhere.
When traversing the country on long trips, the void between radio markets is filled with entertaining, real personalities who feel like friends across multiple SiriusXM channels. These industry giants once owned the markets in which they were stationed.
Now free from playlists dictated by research, the stress of weekly ratings, and clocks ruled by stop sets, legendary broadcasters prove that great radio isn’t about frequency or market. Instead, their craft is solely about the voice behind the mic.
I caught up with a few of these personalities who host on gold-based SiriusXM channels to get their thoughts on what’s the same—and what’s different—about being on “the bird.”
Phlash Phelps
Phlash Phelps started in radio at 17 and is a veteran of more than 17 terrestrial radio stations in 17 years, from Baltimore to Washington. In his words, “Employment was based on months at a job and not years.” Best known as the host of The Flash Phelps Funny Farm, Phlash was an early adopter of Sirius XM in 2000 and now hosts mornings on 60’s on 6. He has built a reputation for high-energy humor, unforgettable characters, and parody songs.
Kevin Robinson: What rules don’t apply to SiriusXM that apply to terrestrial radio?
Phlash Phelps: When I started at XM, they only hired the “unhireable”. The rule was, don’t do anything AM and FM radio would do. All had to go through “boot camp” once we started. XM was you had to rethink everything and get rid of everything we knew of AM and FM’s past. Now the latest is you can’t sound like a disc jockey and be a storyteller. They don’t tell us what to say, we have to tell stories and relate. That’s why working here is so much fun still 25 years later.
Kevin Robinson: Do you communicate with listeners like you did in local radio and if so—how?
Phlash Phelps: Those that listen don’t know if it’s local radio or national. I’ve been to all 50 states many times over and over. There are 3,142 counties in the USA and I’m now less than 200 away from completing every county in the country.
I drive 80,000 miles a year and take pictures of everything. When you get to learn all about America because you’ve been there, you can tell local stories. I play “City of the Day” every morning, celebrating big cities to places with just a few people. All based on matching the name of the city back to something in the news.
Not sure how many play a national game like this using your map to learn America while playing and learning. If you listen long enough, you’ll hear some local city mentioned that’s probably by you.
Kevin Robinson: Is there music freedom and content choice at SiriusXM?
Phlash Phelps: Programmers help you by setting up the music so you can concentrate on your content. They also give you the challenge of throwing in songs, and it’s up to you to know why they’re there. It keeps you on your toes and sees if you miss why a certain song was placed.
Sounds great when listeners have stories, then you play their song. It’s one of the greatest places to work if you love radio and being creative. They encourage it for you to just have fun.
Kevin Robinson: What aspects of radio remain the same for you, no matter where you broadcast?
Phlash Phelps: My first 17 years in radio some said, “Your sound doesn’t fit our station sound.” My objective wasn’t to sound like anyone else. A number of great programmers told me they liked my sound, but not all the programmers agreed.
Here we do morning shows around the clock, not just in the morning. Now I do the show remote from anywhere in the country and haven’t seen the studio in six years. My cellphone is now the studio phone that goes on the air for on-air calls. Never thought I’d see a day to do the show from anywhere.
Ron Parker is a longtime radio personality and one of the familiar voices on SiriusXM’s gold formats like 70s on 7. He spent four decades on radio stations across America, including Atlanta, Phoenix, Chicago, and Dallas. Ron is an encyclopedic savant of 1970s pop culture with a classic listener-first approach to being an air talent. His transition to satellite radio nearly two decades ago allows him to share his folksy, old-school style, making him a perfect fit for fans reliving the music and memories of the ’60s and ’70s.
Kevin Robinson: How does tight AM/FM formatics compare with what you do at SiriusXM?
Ron Parker: One main difference with satellite formats is that we have stripped away certain Top 40 elements from the days of “BOOGIE” high energy to a more toned-down format. Not soft or easy listening, but a more personal conversation with the audience. I like to think of it as more adult sounding.
I work on the “decades” formats with music from 60 and 50 years ago. We’re all grown up now and maybe we are a bit hipper in format to attract some younger folks. On these two formats (60’s & 70’s), we now do not chat on record intros like the Top 40 days. Over the decades, there have been some beautiful intros that people really want to hear in the clear. The approach is definitely a lot less DJ sounding than Top 40 radio.
One big rule that still applies from Top 40 radio to SiriusXM is that no matter where you are, who you are, format or station, some things still work the same. There is a switch that turns a microphone on when you push a button. We get to be personalities. That never has left us.
In a typical hour, we might chat about an interesting fact about an artist or song, plug you into something happening of note, or mention bad weather on the way for 42 million people in the Northeast. We do promotions like a special Valentine’s Day love song feature. We even do shout-outs to our other station formats.
Kevin Robinson: How do you handle localism on satellite radio?
Ron Parker: We have formats that cover across America and also Canada with SiriusXM. I am able to localize with area mentions in many ways. Maybe read some emails that I get from listeners in various locations. “Bob and Susan checked in this afternoon listening at their pool in Tampa, Florida!” We even have shows that take requests.
I love sports, especially college football, and often mention my favorite team, “UGA Bulldogs,” where I went to college. Like the Top 40 era, we as personalities paint the picture for the listener and have fun doing this. Even though there have been changes, I feel the same way I did when younger. There is still fun in it for me.
Kevin Robinson: Tell us about the freedom programmers at SiriusXM give you with music and content.
Ron Parker: There is absolutely some freedom of choice in the music we play on SiriusXM. I simply let the Program Director know what songs I may want to play for a particular reason. After 18 years, I’ve never been turned down to play a song that I asked for with the PDs at SiriusXM.
As far as content choices, nothing has changed for me between Top 40 and Sirius. I find great stories or information and plug you into it. With everyone having internet access, I try to find stories I think nobody has seen or heard yet. Like Top 40 radio, I never get political with my show. The same is true with SiriusXM.
Kevin Robinson: What advice would you give to an emerging broadcaster?
Ron Parker: It doesn’t matter which band of broadcasting you start on. If you have an early interest in radio, try one of the stations near you and become an intern to get your foot in the door.
In the ninth grade, I started hanging out at a big Top 40 station in Atlanta. I became a gopher for one of the DJs and helped with the request lines. Something very important missing today is networking. It certainly helped me early in my career.
If you are a SiriusXM fan and live near one of their facilities, apply to be an intern. Many interns I knew 18 years ago are now Program Directors. Follow your dreams and see where it can take you.
Jaybeau Jones is a four-decade veteran air personality and longtime host on SiriusXM’s 70s on 7. His voice has graced legendary terrestrial stations in Boston, Chicago, New York, and Hartford, and he is still heard on Binnie Media’s Frank FM in New Hampshire. Jaybeau is a member of the Rhode Island Radio Hall of Fame and has been involved with the Music Drives Us nonprofit.
Kevin Robinson: What have you discovered about the difference between terrestrial radio and SiriusXM?
Jaybeau Jones: Whether it’s SiriusXM or terrestrial, it’s still all about connection to the listener. It’s about triggering an emotion, whether happy, sad, or even a little mad, for 40 seconds on 70’s on 7 or Frank FM. It’s a fun challenge to make a 20-second break as compelling as a minute-long break. Sometimes the longer break is harder because too many words can create clutter and become a tune-out.
Kevin Robinson: Terrestrial radio lives by localism. How did that shift change your relationship with listeners?
Jaybeau Jones: It didn’t change at all, but it took work and time. After our live all-request New Year’s Eve show, my VP Lou Simon sent me a note saying: “Jaybeau, you were LIVE and LOCAL in all 50 states.” I still am every single night. Listeners contact me daily through social media and email. If you make it compelling and relatable, you can be live and local everywhere.
Kevin Robinson: Is there music freedom and content choice at SiriusXM?
Jaybeau Jones: If I need a special song for a story, they are very accommodating. The music is scheduled, but the content is all mine. We stay far away from politics. As long as we are connecting with listeners, it’s wide open. I balance each hour with real-life stories, humor, pop culture, and sometimes musicology if it’s compelling.
Despite all the technology and platform changes, one thing remains constant: the people behind the microphone.
You might think these legendary personalities would rest on their history and ride off into the satellite sunset. As you’ve read, Phlash, Ron, and Jaybeau are far from finished. At minimum, they seem revitalized by their involvement with SiriusXM.
If you haven’t embraced the idea that what we do is more than just radio, it’s time. Phenomenal audio is generated by talent, not a delivery system. Audio genius isn’t confined by a tower or a market.
It’s now—everywhere.
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.
