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How Martha Quinn’s Combination of VJ and DJ Led to the Hall of Fame

Mike Stern
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How Martha Quinn’s Combination of VJ and DJ Led to the Hall of Fame

One of the most interesting revelations from talking with iHeartRadio host and recent Radio Hall of Fame inductee Martha Quinn is hearing her describe how she now regularly encounters people who never saw her in her first career iteration as one of the original five MTV VJs.

It shouldn’t be surprising.

At this point, she’s been a radio host far longer than she was on MTV. But for anyone who grew up when MTV first arrived and reshaped music and pop culture, it’s hard to imagine not thinking of seeing her on the screen in your living room before hearing her over the speakers in your car.

That’s not meant to intimate in any way that Quinn is trying to distance herself from her MTV days. In fact, she says one of the things that means the most to her today is hearing from people who were impacted by the network’s launch.

She frequently talks to all kinds of people the network influenced. The stories range from military personnel who told Quinn they served overseas and watched MTV on VHS tapes. Others came from small towns, where people struggled to find their identity before the network arrived.

“If you were an indie kid in a smaller town, you might’ve suddenly felt like, oh, I’m not alone. That is so important to me and it’s the most important part about MTV,” said Quinn.

That experience also shapes how she approaches her radio show today. She has chosen to stop referring to herself as an original VJ. Instead she decided to call herself “your friend from the MTV era.” With that, she envisions her show as a place where people from that original MTV generation—or anyone who loves the music and culture of that time—can come together.

“It’s an unspoken agreement that we are family,” explains Quinn. “I start every single day by saying ‘group hug,’ because we’re going to hang out. We’re all in it together. It’s a good, positive vibe. That’s the unwritten understanding when you come to a space like mine.”

That’s not just lip service. Being the leader of this family is something she takes very seriously, but it didn’t necessarily start that way. At first, when she began on the air in 2005 on SiriusXM, it was just fun to play music from the MTV days. An opportunity to revisit that period of her life.

As time went on, she started to realize how much the music meant to people.

“I started to notice people saying, ‘it helps me to hear this music. MTV got me through tough times, and this helps and uplifts me,’” Quinn said.

As that message became more ubiquitous, Quinn began to realize there was more gravity to what she was doing.

“I started to hear that message and increasingly it became not a game to me to play Hungry Like the Wolf. I started to take it very seriously and started to feel like this is my lane,” explained Quinn. “Everybody’s got some kind of way of uplifting people, and fate has given me this as my way.”

She began thinking of her show as her “Island of Awesome,” because many people say listening has helped them through tough times, Quinn focuses on making her show a positive oasis.

“I’m like a junkyard dog. I parole my perimeters and I try my absolute best to have it be a space of all good vibes. I want to be sure to never be the person who causes a bruise on someone’s day,” said Quinn.

The island is open to anyone, regardless of generation. Some listeners grew up with Quinn; others did not.

“I’m always saying things like if you were with me back in the day when these songs were brand new, you might be wondering what to do about that arthritis pain,” explained Quinn. “There are also a ton of people between sixteen and thirty-five who love the music, like my son who knows every ‘80s song, so I have to be mindful of that.”

The positive vibes on the island don’t come only from Quinn. She also credits the music of the era, which she sees as coming from a place of positivity fueled by MTV’s launch. “There was such an excitement in the music business at that time,” Quinn recalls.

“Like if you’re Huey Lewis and you were recording, you knew you would be part of this brand new, super exciting thing. I think that infused an excitement into so many performers and it comes through. There was a jolt of new energy throughout popular music,” says Quinn.

While chatting, it became clear that it wasn’t the music that led to her induction into the Radio Hall of Fame. It’s her vision of the “Island of Awesome” and the goals she has for the show’s impact that earned Quinn this accolade, even if it was a surprise to her.

“That was so mind-blowing to me. I want to say thank you to Dennis Green and Craig Kitchin and everyone who checked yes next to my name and helped move the process along,” said Quinn. “It really is such an honor. I honestly cannot believe it. I hope every day to be worthy of 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.

How Marc Silverman Found New Life in Building a Legacy at ESPN Chicago

John Mamola
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How Marc Silverman Found New Life in Building a Legacy at ESPN Chicago

On the eve of the 213rd meeting between the Chicago Bears and Green Bay Packers, ESPN Chicago’s Marc Silverman is locked in for another classic. Superlatives such as “surprising” or “incredible” could easily define what the Bears’ run this season has meant for a city hungry for new life from its beloved football franchise. Every snap, touchdown, and comeback victory is a tale Silverman has used to revitalize the longest-running sports talk show in Chicago radio history.

“It’s been incredible, and for my own sanity we needed it,” explained Silverman, co-host of Waddle & Silvy on ESPN Chicago since February 2007. “Expectations change a lot of ways in how you approach things. An 11-6 season in Philadelphia is not as much fun as it is for the Chicago Bears fans this year.”

At 54, Silverman has witnessed a lifetime of highs and lows in the ‘Second City.’ He joined ESPN Chicago when the station launched in 1998 and has seen championships come home in baseball and hockey. Still, reclaiming the echoes of the Bears’ glory days forty years ago remains paramount for Chicago sports fans.

For Silverman, this season is different. It marks the first playoff season with ESPN Chicago serving as the franchise’s flagship radio station.

“This year, every step of the way there’s been a wake-up call saying, ‘Oh my God, we’re the radio home of the Bears. There’s no replacing it,’” said Silverman. “This has been one of my favorite years talking sports in Chicago.”

Owning The Moment

Since acquiring the broadcast rights from Audacy in late 2022, ESPN Chicago has worked to fully integrate the Bears brand into the station. Weekday talent appearing on game-day programs, with unique access points and a digital strategy to own every moment of the Bears experience for fans.

Silverman embraced the chance to connect with the audience in new ways. He now hosts the network’s pregame and halftime shows, bringing elements of the weekday programming he’s built for over a decade into the Bears’ broadcasts.

“From the moment Good Karma Brands got the team, we will be who we are and do our jobs. There’s absolutely no difference in approach coming from me,” noted Silverman. “Never once have I heard from my bosses or the franchise that I needed to change my approach to the network programming.”

One of those integrations was the addition of fans calling in with feedback during halftime. A step Silverman says has created a more engaged listening experience than ever before.

“The broadcast is for the fans to begin with. Let’s work in the fan at halftime,” he said. “This is original content. We’re not just reading a score or playing a highlight. We are providing fans something original, and it’s one of my favorite things I get to do.”

A Second City Success Story

Silverman’s journey to 2026 has been shaped by hard work, some luck, and opportunity. When the station opened in 1998 to compete with 670 The Score, the brand faced an uphill climb against a proven opponent. He began hosting solo on weekends and was elevated to middays in 2004 with former Chicago Sun-Times columnist Jay Mariotti. After a short-lived run with the former columnist, he was paired with ESPN Chicago host Carmen DeFalco.

“I thought we had something special with myself and Carmen. I truly thought if allowed the opportunity, we would have been big. However, at the time for the station, it just wasn’t the right fit,” Silverman explained. “[Tom] Waddle came at the perfect time for me.”

Following just over two years alongside DeFalco, Silverman was paired with former Bears wide receiver Tom Waddle in 2007. The chemistry was instant, and the show moved from evenings to middays, eventually reaching afternoon drive in 2013. Now for over a decade, Waddle & Silvy has been the consistent voice of Chicago sports fans on their commute home.

“It’s still eye-opening. There’s not a day that goes by that I don’t appreciate the fact we’ve been trusted to do what we do,” said Silverman. “You owe it to the fans first and foremost. I get to do a sports talk show in afternoon drive in my hometown, which was always my dream.”

The key is balance: knowing your lane and playing to your strengths. That’s how Silverman creates content along with Waddle while keeping the show fresh. Not every day is easy, and working with the same partner has its challenges, especially when Waddle & Silvy followed the popular Afternoon Saloon program featuring Dan McNeil, John Jurkovic, and Harry Teinowitz.

“Mac, Jurko, and Harry legitimized our station. We always chased 670 The Score, but we weren’t playing on a level playing field all the time,” Silverman explained. “I have always felt pressure, including stepping in for the ‘Afternoon Saloon.’ But if you’re self-aware and care, if you want to be successful, you absolutely feel the pressure.”

Since taking afternoon drive, Waddle & Silvy achieved ratings success that at some points drew the daypart ahead of their longtime competitor. However, when Good Karma Brands ended traditional Nielsen ratings use, the report card may have changed, but Silverman’s competitive spirit never did.

“Of course you want to compete. I compete with myself,” he noted. “There are certain times, ratings or not, when you walk into a full bar of people who are going out of their way to see your show. People who started listening to you years ago—that’s something you can’t measure. You feel it.”

Silverman prefers not to dwell on traditional metrics, believing radio is no longer the same business it was. His goal is to create content that connects with anyone, anywhere, anytime.

“From a content standpoint, it’s never been easier to get us. It’s no longer just an audio medium. You have to be everywhere,” he said.

#SilvyStrong

No moment better illustrates this connection than Silverman’s lymphoma diagnosis in 2020. As the world shut down during the COVID-19 pandemic, sharing his condition drew support from sports fans worldwide. #SilvyStrong became a source of inspiration, not just a trend.

“A lot of people look at social media solely in a negative light. Those messages on social media picked me up. I would be in the chair during chemo sessions reading tweets,” Silverman said. “It helped me appreciate relationships more, and I care a lot more. I’ve always had perspective with my life, but those messages gave me a lot of faith in humanity in a time where maybe a lot of people were questioning that.”

In October 2020, Silverman announced his cancer was in full remission. Since then, he has dedicated himself to guiding others fighting the same battle, offering encouragement and support. He used the experience to build new relationships in the industry.

Now, over five years later, Silverman is enjoying life more than ever—watching his children witness the climb of what may be another Chicago dynasty and thriving in a company he never wants to leave.

As the Bears prepare to face the Packers tomorrow night for only the third time in the postseason, Silverman has found renewed purpose, leading fans worldwide through this journey.

“Having the most fun possible with our fans continuing to do this is what I love,” he explained. “I love this craft more than ever. What’s left to accomplish? Everything. We’re at the decade mark. It’s time to talk about another championship moment, and being a guide for fans during those years is the most rewarding thing ever.”

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.

Despite the Headwinds, Talk Radio Has a Real Opportunity in 2026

Pete Mundo
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Despite the Headwinds, Talk Radio Has a Real Opportunity in 2026

If you thought the 2026 news cycle was going to start off slow, well, boy, were you wrong. There’s no “easing” into the new year anymore — at least not as long as President Trump is around — truly giving us a 24/7/365 news cycle. It’s a blessing and a curse for those in the news business. There’s truly no real downtime, but the flip side is that interest in our products (radio, streaming, podcast, video) remains high.

At a time when the new year has also started with disappointing local media news out of Pittsburgh — with the Pittsburgh Post-Gazette shutting down — it’s a sad reminder that while local media remains challenged, talk radio can continue to be at the forefront of the local and national news cycle in communities around the country.

Much is made of the increase in competition for traditional media, which is undoubtedly accurate. However, there has also been a reduction, as local papers have scaled back or, in too many cases, shut down. Local television has its challenges, but most mid-sized to larger markets still have fairly robust newsrooms.

Independent journalists are popping up in cities across America as well, with one viral video taking them from a no-name to a household name (looking at you, Nick Shirley). However, when you blend the advantages of being a traditional media outlet with strong reach, the ability to reach 25–54 (at least in-car), and the fact that the format can effectively hammer local issues, talk radio stations are still poised to have a big year and weather the headwinds the medium faces on a larger scale.

Music stations have to compete with Spotify. It’s almost impossible for a radio station to beat the algorithm when it comes to catering to the music tastes of a specific individual. However, news/talk stations that are live and local, and cater to audiences seeking news in their communities, are still well positioned to succeed. And unlike Spotify, there is no massive digital alternative people can turn to for the blend of local information, entertainment, personality, and long-form content that can match the quality of high-end local talk radio.

So, at a time when too many are in doom-and-gloom mode, viewing the state of the format through this lens should put a pep in the step of every news/talk host, programmer, producer, news person, and board operator.

This does not mean there aren’t challenges as we enter a year when media continues to fragment, but owning the local angle on top national stories and the biggest local stories remains the strongest play on radio, stream, podcast, and social media. Talk radio needs to remain strong in time-shifted listening options (podcasts and YouTube), video options on Facebook and YouTube, and a robust social media presence across written, audio, and video platforms.

So if there’s a goal for everyone in the format in 2026, it’s to be in more places than you were when you ended 2025. Explore a platform you’re not as familiar with. If you’re great on the radio, learn to be a better writer, because written content can go viral and drive people to the radio station with a great post on Facebook or X. If you need to get comfortable in front of the camera, do it. A Facebook Reel can take off and reach a larger audience than you might reach in a quarter hour.

And don’t overcomplicate it. It doesn’t need to be the fanciest, most highly produced visual piece ever seen on social media. It just needs to be informative, entertaining, quick, and to the point. Basically, PPM principles.

But challenge yourself. 2026 is already shaping up to be another wild ride in the news cycle. Don’t let an opportunity pass you by.

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.

Redefining Classic Hits in the Streaming Era

Jim Ryan
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Redefining Classic Hits in the Streaming Era

I had a long day-to-day programming career in radio before I had the opportunity to program my first classic hits station. It just so happened to be the biggest one in America, WCBS-FM in New York.

The year was 2012. The most played song when I took over the station was “Everyday People” by Sly and The Family Stone. For the youngsters in the audience, that song was a hit in 1968. The top 25 most-played songs on the station were mostly from the 60s, with only six titles from the 70s. I quickly updated the station, using the theory that you want to be playing songs that were popular when your listeners were in their 20s. Our most-played song in 2013 was “Don’t Stop Believin’” by Journey. The top 25 titles on the station were equally divided between the 70s and 80s.

A year later, we were fortunate enough to hire the great Scott Shannon, and it was off to the races. We had a few #1 months with Adults 25–54 and total audience 6+ over the next few years. We never totally knocked out WLTW but stayed near the top of the ranker for years. We tried to reflect shorter time spent listening over the years by playing the biggest hits more frequently. In 2013, our most-played song had just over 300 spins.

In 2020, it was almost doubled. But seven years later, the most-played song was still “Don’t Stop Believin’” by Journey. Sure, there were fewer 70s titles. In fact, only one song from the 70s was in our top 25 most-played that year, and it was Queen’s anthem “We Will Rock You.” We were an 80s-dominant radio station and were looking into the future of how we would bring the 90s and 00s into the mix.

The hits of the 90s were very polarizing. The AC ballads from Celine and Whitney, the boy bands and Britney, rock from Nirvana and Green Day, and the passionate hip-hop sounds that caused a cultural revolution. The dilemma was constantly asking how any of these were going to sound next to “Don’t Stop Believin’.”

Fast forward to now. Every Spotify user just got tagged with an age. I work with a social influencer who’s in his 20s, and his listening age was 62. How can a young guy with millions of TikTok followers, hanging with the hippest people in the music business, possibly have a listening age of 62? His answer — he likes Yacht Rock. Heck, I just saw on the New Heights podcast that Jason Kelce’s listening age is 82, and Taylor’s fiancé, Travis, is in his 60s. Which brings me to the point of this posting.

Every song ever recorded is now available for anyone to listen to thanks to radio’s “enemy,” the streaming services. If you heard “Hold On, I’m Comin’” by Sam and Dave in a Starbucks commercial and you want more of it, you can go to Spotify and discover Sam and Dave’s greatest hits. There, you’ll find out that “Soul Man” was a hit long before the Blues Brothers.

And if you spent too much time listening to Sam and Dave on Spotify, your listening age would probably be 82, just like Jason Kelce. BTW, Starbucks’ next campaign used “500 Miles” by the Proclaimers.

Spotify’s listening age is based on the same theory we used in radio programming for years — what were the songs people heard on the radio when they were most passionate about music. The use of streaming services changed all of that. Without peer pressure, in the comfort of an app and earbuds, a 20-something could become a fan of the Beatles, Motown, or even Yacht Rock.

By the very definition of the format, classic hits stations need to play hits. Sirius has it easy — a channel for each decade. We don’t have that luxury. We have one channel and have to find a way to mix the hits together, giving variety without chasing the core away. Updating the era without giving up some of the greatest hits of all time. So, what are the classic hits for those stations today?

As you look around the country, you have more versions of classic hits than probably any other format. The most successful major-market classic hits station is KRTH, so lots of people want to emulate Chris Ebbott’s success by using his playlist. Let’s compare what KRTH is doing with a very successful classic hits station in a very different market, WWSW in Pittsburgh.

On a recent check, the most-played song on both stations was “Take On Me” by A-ha. However, while KRTH is banging titles like “California Love” and Radiohead’s “Creep,” WWSW is giving equal spins to The Beatles’ “Let It Be” and Guns N’ Roses’ “Sweet Child O’ Mine” near the top of their playlist.

My best advice to a classic hits programmer is to be true to the heritage of your station and the music of your market. Don’t use a national playlist or steal what someone else is doing. Don’t use the age-old radio rule of basing your playlist on the age of listeners when they most loved music.

If Starbucks can play hits from 1968 to 1993, why can’t you? Play what is expected from your brand, but also offer a variety that surprises. As Chris Ebbott is doing LA’s classic hits on KRTH, David Edgar is doing the Pittsburgh version, and they’re both a success. Don’t try to force a library on your listeners that they’re not ready for.

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.

The Resolutions Rock Radio Needs In 2026

Keith Cunningham
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The Resolutions Rock Radio Needs In 2026

Most New Year’s Resolutions are broken and forgotten before the hangover is gone, but they’re always hatched from a positive place. Even in Rock Radio.

Before the industry began its multi-week holiday nap in December, I reached out to some people across the Rock-O-Sphere and asked for their New Year’s Resolutions for RockTernative.

Some politely asked to remain anonymous, so they don’t get whacked — so you’ll see a few that had to remain stealth.

The hope is that some of these are thought-provoking or maybe so ridiculous you have to read them twice.

Rock Resolutions For 2026

… always remember. Quality over Quantity. Stop fretting over spins and keep the focus on “Breaking A Band.” — Ray Gmeiner, Owner, Ray Gmeiner Rocks Promotion (RGR)

… 2026 strikes me as “the year of serious shit for radio,” Rock or otherwise. Think about how the most successful stations today are still configured — they feature great local personalities and embrace their communities. There are no shortcuts. — Fred Jacobs, President, Jacobs Media

… I’d like to see Rock radio have as much excitement about the new music as listeners do. Whether it’s Sleep Token or Wet Leg, the formats will be at their healthiest when those artists are better than another spin of the Bravery. — Sean Ross, Advantage Research

… I get that research is important, but we need to stop using it as the be all end all. My PD recently me told we were going to stop playing “What I’ve Done” because it didn’t test quite as good “In the End.” OK… — Asked to remain anonymous

… for Rock radio overall to accept that the format is bifurcated. Classic Rock stations should be all that – all the time. Rock stations should play mostly new music… remembering that Music Discovery is important to the audience, and if it’s not new it’s not more than 10 years old. — Mike McVay, President, McVay Media

… for more Rock stations to pop up across the country. It is the greatest radio format in the world and needs to be in every city. Also, this will be the year I dunk a basketball. — Abe Kanan, Afternoons, 98 Rock/Sacramento

… to keep proving that Rock radio is still the last honest soundtrack standing — loud, cathartic, and far more alive than most of the paper-thin, gluten-free music floating around right now. I fully plan on blasting music that shakes the dishes, and I’ll scream along to every lyric like it’s my lung therapy. True story, since COVID, screaming and beating my chest counts toward my health insurance deductible. — Corlota, PD/Afternoons, KXTE/Las Vegas

… if elected officials can use profanity in public and at press conferences, without consequence, why the (expletive) can’t I say (expletive) on the air? DJs should be able to spontaneously speak without fear of being fired for using words our leaders do. It’s bullshit. — Air talent who asked to remain anonymous

… I’m romanticizing “Marci’s Playground” like it’s a music video. Damsel in distress, crying, loud music, rain, but rescued by a reincarnated Michael Hutchence who validates all my feelings in the end. — Marci Wiser, Host – “Marci’s Playground,” Live 105/San Francisco

… to push the boundaries of creativity, music and localized content for radio. Let’s make 2026 the year we turn this ship around and sail into Port Profitability. — Joel Denver, CEO, SonicTrek.ai

… stop firing people and cutting things we REALLY need. The Yankees would be a Triple-A club if they acted like radio. — Asked to remain anonymous

… for some of the suits at radio to take a test and prove they can do a good air shift or make a good promo before they tell me how to do five different jobs with only two soup cans and a string. — Asked to remain anonymous

… this year, I’m resolving to prioritize quality time with my family, self-care, and to bring back energy by listening to more radio and promoting the artists I love like they’re family!” — Gary Jay / LAND SHARK Promotion

… to spend more time listening to my vinyl collection. Keep exercising and improving my health and listening to more classic radio airchecks from the ‘60s, ‘70s, and ‘80s. — Matt Pinfield, Radio/TV Host

… to continue to elevate Rock and Classic Rock with the passion and enthusiasm that I have since the first day I strapped on headphones in the 80s. It still boils down to one important thing: our shared love of music and the magic of the moments and memories it brings us. — Ken Anthony, PMD/Asst Brand Manager, KSEG/Sacramento

… not a big resolution guy. Sets you up for failure every damn time. That’s said, this year I’m gonna try to laugh a little more. Not worry so much about the future. Drink an extra beer. See an extra ball game. Lift a little heavier. Enjoy what I got for a minute and stop chasing what I don’t. —Lazlo, Host – “The Church of Lazlo,” KQRC/KC

… for someone like Richard Branson to buy hundreds of stations and run them like they should be. Market them, be live and local, be about the music and the streets, not charts and stock-holders… maybe costs go up some, but I bet revenue would grow more than voicetracking every shift and playing the same 150 songs to death. — Asked to remain anonymous

… to just grind and make EITM better in 2026 than it was in 2025. — Elliot, Host – Elliot in the Morning, DC101

… aside from getting a job at the Paisley Park Museum and speaking “Prince” to everyone, listening to his music all day and modeling Prince’s wardrobe, I’m hoping to generate enough money from my “Carr Stereo Podcast” to buy a radio station locally and actually use my experience and good decision making skills to show that community and content still matter. — Terrie Carr, Host – Carr Stereo Podcast

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Rock has always been as much a lifestyle and attitude as it is a genre of music. It can be labeled a format at radio, so it fits into a box for sales or cluster alignment, but it’s much more than that.

And Rock wins by serving its Core, not by chasing potential P3s or pouncing on every crossover record. Ratings do matter, and without revenue nobody gets to play Nirvana on the radio. This isn’t a wish for recklessness or a call for “Slayer at 7.”

My 2026 wish is for brands to do the smartest thing they can, and that’s to smartly play it a bit less safe. Sound human; not canned — and program to their market and Core. Even Nielsen will admit Core erosion is the fastest way to sink a brand.

Good programming is like going to a concert. Joe Elliott from Def Leppard always says it well, to paraphrase. We know we have to play “Pour Some Sugar on Me,” but we always shake up the setlist so there’s something in it for the diehard fans, too.

The best brands across the country aren’t mapped on a genericized national chart. There may be similarities, but they first reflect the listeners in their city or region.

  • KISW programs for Seattle; WRIF is unmistakably Detroit
  • WMMR’s music strategy probably only works in Philly
  • Brands copy KROQ or KYSR, but LA is weird, different, more chill
  • The East Coast has always been less RAWK
  • 91X plays more reggae than anyone, because it fits San Diego
  • In some Midwest markets, you can still play Dokken and Warrant
  • KUPD, KILO and WJJO are loud AF, because that’s what their markets want
  • It’s even different in Canada, Grunge is far lower in importance than it is in the U.S.

Here’s to 2026. Make it a great year for the listeners, and they’ll make it a great year for you.

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.

The NHL Must Re-Discover What the Winter Classic Should Be

John Mamola
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The NHL Must Re-Discover What the Winter Classic Should Be

America loves watching sports. Any form of competition, from pickleball to ping pong, finds an audience. Competition fuels interest, and the ability to wager on every play, player, or potential outcome only heightens engagement. As a result, leagues at every level continue searching for new ways to present the same games that have been around for generations.

For nearly 20 years, the NHL has attempted to do just that with its annual outdoor regular-season game. In 2008, the fast-paced sport often described as soccer on steroids with ice mixed in debuted the Winter Classic. The league’s goal was clear: claim New Year’s Day, a date long dominated by college football.

Initially, it worked.

Since the Winter Classic’s debut, the NHL has moved the event across the country, added additional outdoor games, and shifted dates away from a New Year’s celebration. However, following last week’s presentation in Miami, it has become increasingly clear that the league needs more than another location change. It needs a reset.

I am a lifelong hockey fan. Growing up in Chicago, I watched the early 1990s success of Jeremy Roenick, Chris Chelios, and Ed Belfour. As a teenager, I moved and witnessed the launch of the Dallas Stars, along with the first Stanley Cup championship in a city I called home. Despite the move, I never shed my Blackhawks’ colors, and the three Stanley Cup runs from 2009 to 2015 remain some of the greatest sports moments of my life.

When the NHL launched the Winter Classic in 2008, it chose Buffalo. Cold, snowy Buffalo, New York. Sidney Crosby’s Pittsburgh Penguins, then shaping what would become a dynasty, faced the hometown Sabres. The setting could not have been more appropriate.

There was snow, bitter cold, and a dramatic 2-1 shootout finish, with the road team winning in front of more than 71,000 fans at Ralph Wilson Stadium. It was the perfect kickoff to what was intended to be an annual tradition.

That first game averaged 3.75 million viewers, making it the most-watched regular-season NHL game that season on NBC Sports. Since then, the league has surpassed that audience only three times across 15 Winter Classics.

More troubling, since 2020 the event has failed to draw an average of two million viewers in any single year. This season’s game barely topped one million viewers, though it did rise six percent from last year’s low point.

There are several possible explanations. The broadcast partner may play a role. TNT Sports has aired the last four Winter Classics, while NBC carried the event for most of its history. Moving the game away from New Year’s Day may also matter, with fewer people home and watching television during the holiday. Team selection, on-ice competitiveness, and increased sports competition on television all factor in as well.

Still, the larger issue feels unavoidable.

Sports fans are always searching for something new, but they also crave authenticity. The Winter Classic no longer feels special. It needs more than a venue swap. It needs a course correction.

This year’s experiment in Florida illustrated the problem. While the state has become a hockey hotbed over the past several years, manufactured snow alongside sand missed the mark. The musical performances failed to connect with traditional or casual fans, and attempting to present a Canadian sport with a Latin flair felt forced.

Even more damaging, the game was played in a dome that remains closed more than 98 percent of the year. An event built around the elements cannot thrive indoors. Watching the New York Rangers and Florida Panthers compete while beach activities unfolded nearby created a jarring, almost surreal experience.

The Winter Classic should not take place in regions that do not understand winter. Las Vegas did not make sense, and Florida repeated the same mistake. There is little spectacle in watching a game that is already played indoors simply be played indoors again, even if a retractable roof briefly exposes the ice before puck drop.

Hockey has a feel. It is a sport born in the cold, demanding speed, toughness, and physicality. That identity clashes with analysts lounging in kiddie pools and sipping margaritas while tropical entertainment fills the broadcast.

The NHL now has an opportunity to change course.

With the league announcing that the next Winter Classic will be held in its newest market, Salt Lake City, the chance to reconnect with fans is real. While weather cannot be controlled, the story can. Interest can be rebuilt.

Just like a team stuck in a losing streak, the solution starts at the blackboard.

Lean into the Original Six. Embrace the roots of pond hockey. Tie in Salt Lake City’s Olympic history. Bring back familiar voices like Mike Emrick and Don Cherry. Sell fans on the idea that this is the most unique setting for an NHL game in history.

The Winter Classic was never meant to succeed on novelty alone. It worked because it tapped into nostalgia, grit, and the soul of the sport — hockey as it existed before television contracts, betting apps, and algorithm-driven programming decisions. Cold air. Visible breath. History in every shift.

If the NHL wants the Winter Classic to matter again, it must stop chasing spectacle in places where winter is a costume rather than a condition. The league needs to stop asking how far the idea can be stretched and start remembering why it worked in the first place.

Salt Lake City offers a chance to reset, not reinvent. Strip it back. Let the game breathe and the weather be the star. Let history do the heavy lifting.

Because the Winter Classic does not need to be louder, trendier, or more modern. It needs to be authentic — and in hockey, authenticity has always come from the cold.

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 Does the Radio Industry Really Feel About AI in 2026?

Bob Lawrence
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How Does the Radio Industry Really Feel About AI in 2026?

We’ve all heard what many, if not most, people say about AI. Everyone appears to be mostly cautious about it. You have to admit—it’s pretty much everywhere! But aside from all the hype, there seems to be a growing sense that AI is being pushed into our lives faster than we’re ready and without much of our consent.

If you’re like me, you feel like you didn’t choose AI. We woke up one day, and it was just there.

We saw it in our inboxes, on our phones, and as part of our jobs, disguised in a cloak of “efficiency” and “innovation,” whether we wanted it or not.

Bill Maher has referenced it in some of his HBO show monologues. I remember one show in which he referred to “Reverse Intelligence” or what he calls “reverse improvement.” He spoke of upgrades and improvements that no one needs, wants, or that really don’t make life better.

That seems to be one of the biggest criticisms regarding AI. Those behind the push are trying to solve problems that don’t always exist while creating new ones no one asked for.

Automating emails, art, writing, and customer service might save companies money, but for the masses who still need to work to survive, it often feels like an erosion of human value. I don’t mean to sound too cynical, as I am usually an optimist, but there’s a popular sense that AI isn’t really being built to make life better for humans.

Rather, it’s designed to make businesses leaner, cheaper, and more scalable. Call me crazy, but that certainly makes any enthusiasm feel one-sided.

Have you also noticed how often AI gets things wrong?

There is certainly some bias and lack of understanding baked into how these systems work. Yet we constantly hear how reliable, intelligent, and “almost human” they are. When that narrative proves false, who is left to clean up the mess? That burden still falls on people, which raises a fair question: if we must supervise and fact-check everything, how much time are we really saving?

Boomers and Gen-Xers are less likely to lean heavily on it, outside of looking for information or data. I use it for sales and category research, along with marketing information. Now even younger Millennials and Zoomers are concerned as AI takes over some of what they thought would be impervious to attack.

Even developers and code writers are worried as more companies lean on AI to generate code for websites and apps.

Trust is another major issue for many. More people are increasingly uncomfortable with how much data AI systems require and how little transparency exists. For all intents and purposes, AI feels like a big brain-suck. It’s less like a helpful assistant and more like a giant extraction device depicted in old sci-fi movies, with the crazy helmet worn on the head that stole information right out of our brains.

Creative types, in particular, are the most critical.

Writers, artists, musicians, and broadcasters often feel AI is built on their labor without permission, then used to undercut them. Mark Zuckerberg once said that creative people would be able to work on other crazy things. Bill Maher joked, “Yeah, like starving!”

That promise of “freeing creative people to be more creative” feels bass-ackwards and unfair to those first in line for elimination.

There’s also a more ethereal, cultural discomfort. People worry that relying too heavily on AI stifles critical thinking, originality, and connection. Think about it… if machines make the decisions about what is created, doesn’t the human spirit stop struggling?

Isn’t that struggle where growth and insight come from? Won’t true intellect begin to atrophy like a muscle that is never used any longer?

Ultimately, most people don’t hate AI. They just don’t trust the way it’s used. The prevailing sentiment isn’t “awe”; it’s suspicion. People are asking harder questions now, like, “Who benefits? Who loses? Who’s accountable when things go wrong?”

And what about the speed at which AI is growing? Just two years ago, most of us never even considered this massive invasion. Doesn’t that raise red flags? Why the rush? AI has become so quickly embedded into our various platforms and workflows before our human norms, laws, or ethics can even catch up.

Steve Jobs used to suggest that people don’t know what they want or need until it’s invented and they see what it can do. I’m not so sure he would still feel that way today.

In the end, I don’t think most of us are anti-technology. No one wants or expects AI to disappear. I think we all just hope for transparency, honesty, limits, and accountability. Who sets the rules? Who enforces them? And who gets protected when things go wrong?

Until those questions are answered, AI may remain less a symbol of progress and more a source of discomfort. It’s not because we don’t understand it. It’s more because we understand just enough to be concerned, and that means skepticism isn’t likely going anywhere for now.

Then again—you might read this and simply say, “Ok boomer—whatever!”

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

Why Erick Erickson Traveled More Than 60,000 Miles For His Show and Radio Affiliates in 2025

Garrett Searight
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Why Erick Erickson Traveled More Than 60,000 Miles For His Show and Radio Affiliates in 2025

Hartsfield-Jackson Atlanta Airport is the busiest airport in the world. And not just because Erick Erickson flies from there all the time.

In 2025, the nationally syndicated news/talk radio host traveled nearly 44,000 miles through the air — and another 17,000 miles in his car — visiting radio affiliates, meeting with listeners, and pitching advertisers on his program.

43 flights. Across three different airlines. 17 different airports. And more than four full days of the 365 in 2025 were spent flying for Erick Erickson. All on his own dime.

When those figures are presented, it’s easy to ask one question: why?

Why do it? Why spend all that time and money caravaning around the country?

The Erick Erickson Show host said there are several reasons why.

“Everybody tells me I’m growing at a rapid clip,” Erickson, who saw his list of affilates nearly double in 2025, said. “I just feel frustrated with it and it dawned on me a year ago that I’ve got this live stream audience and it’s a giant audience. So in addition to doing station visits, I’ve been doing visits in places where I don’t have affiliates. I got a lot of listeners online, and we can actually directly correlate growth in the markets online to me showing up and doing events with listeners in these places I’m not even on the radio. I just have people who listen on the internet. And that’s been actually really encouraging to me as I’ve haven’t felt like I’ve picked up as many radio stations as rapidly.”

During the year, Erickson visited locations like Chicago and Columbus, where he doesn’t currently have affiliates. But he found an online audience in those cities, making it worth his while to stop in each spot.

“We started embedding geolocated messages,” Ericks shared. “So a listener in Chicago or in Columbus will hear me say, ‘Hey, you guys listening: Do you want me to come? Text me, email,’ and then we get flooded, and we can see, ‘yeah, we actually have a lot of people listening. Let’s go.’

“We’ve got an affiliate in Dayton, so I went to Dayton, saw the folks at Dayton, did my show from Dayton, and then drove over to Columbus and did an event with like 50 guys. It was a bourbon event that one of the guys took the liberty of organizing. And then I did an event in Chicago at Gibson Steakhouse.”

Erickson added that he’s seeing growth in the markets his show is heard in, as well, with upticks after stops in markets like Jacksonville, Las Vegas, and Orlando, among others.

But there’s a reason he foots the bill for the travel and the events with listeners.

“Oftentimes, the stations no longer have the bandwidth, the advertising budget, or the promotions team. So we just take it on ourselves and say, ‘You know what? We can still do it’, and rope you into the event. It’s been great, I think, for stations, and it’s been a lot of fun for me, too.” 

Selfishly, Erick Erickson admitted there’s not replacement for face-time with Program Directors and Market Managers who ultimately decide whether their news/talk stations will broadcast his program.

“Not a lot of people do that anymore,” Erickson said of market visits. “My policy has been, we 100% cover the cost of it. There’s not a budget for stations to do stuff like this anymore. So if I can use my revenue to make it possible, I’m willing to do it.”

The regular travel also ensures that Erickson doesn’t live in his own news bubble. Constantly meeting new listeners or stations helps ground what does and doesn’t resonate with listeners around the country. And that’s a key advantage for him.  

You

the flip side of the traveling for the show, how much does being exposed to different markets or what’s going on in different markets or what the what the audience in those markets are prioritizing? How much does that help shape and frame the content of the show? 

“Take, for example, the Dayton market,” Erickson said. ‘WHIO, near Springfield, Ohio. Massive listening audience. So when they started talking about the Haitians eating dogs and stuff, I had a lot of people from Springfield that I had met at events and, and they’re like, ‘no, that’s not what’s happening. But this is what’s happening and it’s a real problem.’ And so being able to put into context, because Springfield, I’ve got a huge listenership there, being able to explain the actual story to people and why it matters mattered greatly.”

And while Erick Erickson isn’t satisfied with his show’s growth, he has stated goals for 2026. 

“Everyone has said when you hit 100 stations, that’s a good metric. I’m close now. We’re at about 80,” he said. “I would love to get to 100 this year. I would love to get in every market. Getting people to open those doors, though, sometimes when they’ve already got their own internal host for some of the major companies, it’s hard.

“But I still want to be in every market. What I am realizing is that I’m getting there online and on podcasts, and I still need to cater to those audiences, even if I’m not on live on the radio. I got like 800 people a day who listen in Chicago. I have no affiliate there, but I’ve got 800 people who listen on a daily basis, and 50 of them are willing to show up at a steakhouse with me. So I might as well tell myself I’ve got the audience.” 

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.

Dan Bongino Won’t Return to News/Talk Radio, Westwood One Handling Ad Sales For Digital Show

Garrett Searight
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Dan Bongino Won’t Return to News/Talk Radio, Westwood One Handling Ad Sales For Digital Show

On Wednesday evening, Dan Bongino revealed his show would return in February after he departed his role as Deputy Director of the FBI.

In his statements, Bongino shared details of his return by stating that, “The show is definitely coming back,” and that there would be a coming “press release with Westwood One and Rumble this coming Monday, so just a few days from now, which will provide the day. It’s going to be early February, and we’re going to be ready to roll.”

He continued by noting that his show would “be two hours now, though” and would air from 10 AM-Noon ET.

Barrett Media interpreted those comments to mean that The Dan Bongino Show would return to the nationally syndicated news/talk radio lineup from Westwood One, where he previously hosted a three-hour show from 12-3 PM ET.

However, after speaking with high-level industry sources, it appears that is not the case. Bongino is only returning to his podcast, with Westwood One set to handle advertising sales for the program. He will not be returning to terrestrial radio as part of the nationally syndicated lineup from Westwood One.

The Chris Plante Show and The Brian Kilmeade Show will remain in national syndication from 9 AM to 12 PM ET, and VINCE — from Vince Coglianese — will remain in the 12-3 PM ET timeslot.

Our apologies for the confusion created by our original story.

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.

MLB Teams Reportedly Exit FanDuel Sports Network Amid Financial Struggles

BSM Staff
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MLB Teams Reportedly Exit FanDuel Sports Network Amid Financial Struggles

Major League Baseball (MLB) teams previously broadcast by FanDuel Sports Network have reportedly terminated their agreements with the embattled network and its parent company, Main Street Sports Group, according to a report by The Athletic.

The affected clubs include the Atlanta Braves, Cincinnati Reds, Detroit Tigers, and Kansas City Royals. They also include the Los Angeles Angels, Miami Marlins, Milwaukee Brewers, St. Louis Cardinals, and Tampa Bay Rays. While the terminations remove their current contracts, the report states the teams could still negotiate new arrangements in the future. During Main Street’s prior bankruptcy period, from 2023 to 2025 when the company operated as Diamond Sports Group, contracts were initially canceled but later renegotiated.

“We remain in active dialogue with all of our team partners regarding potential revised terms for agreements going forward,” Main Street said in a statement Thursday.

The move is seen as a protective measure. By ending the existing agreements, MLB clubs aim to limit potential complications if Main Street files for bankruptcy. Such a situation could restrict how teams manage broadcast rights and revenue.

MLB Commissioner Rob Manfred addressed the situation Thursday in New York, noting the league is prepared to assume broadcasts for any team if necessary. Manfred emphasized that maximizing revenue remains a key focus.

“Our focus, particularly given the point in the calendar, is to maximize the revenue that’s available to the clubs, whether that’s MLB Media or third party,” Manfred said. “The clubs have control over the timing. They can make a decision to move to MLB Media because of the contractual status now. Clubs are evaluating their alternatives to find the best revenue source for the year and the best outlet for providing quality broadcasts to their fans.”

Details about missed payments have emerged, underscoring the network’s instability. Barry Jackson of the Miami Herald reported Thursday that Main Street failed to make a scheduled payment to the Marlins. The company had also reportedly missed a payment to the Cardinals in December.

Meanwhile, industry sources suggest potential buyers are monitoring Main Street. Sports Business Journal reports that streaming service Fubo has expressed interest. Meanwhile, talks with DAZN appear less likely to yield a deal.

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