Madelyn Burke is adding one of the most recognizable roles in sports media to her resume after ESPNannounced she will join SportsCenter as an anchor beginning in April, further strengthening the network’s flagship news and information program with a host who has built her reputation through versatility and consistent on-air presence across multiple platforms.
Burke arrives in Bristol after spending close to a decade covering the New York Giants, where she became a familiar face to fans through her work with MSG Network and Giants.com, while also expanding her national profile as a host for CBS Sports HQ.
Throughout that stretch, she handled a wide range of responsibilities that included anchoring studio programming, delivering sideline reports during live game coverage and guiding pregame and postgame shows that demanded both insight and adaptability in fast-moving environments.
In a statement announcing her move, Burke pointed to the significance of joining a program that has long served as a cornerstone for sports fans, while also emphasizing her eagerness to contribute to its continued evolution in a changing media landscape.
“I’m thrilled and honored to join ESPN, and to be a part of a program as iconic as SportsCenter,” Burke said. “It’s a show that has meant so much to me and to generations of sports fans. I’m excited to help carry that tradition forward while bringing energy, joy, and a genuine love of sports to every show.”
Her addition reflects ESPN’s continued focus on blending established voices with emerging talent capable of connecting with audiences across linear and digital platforms, a priority that has become increasingly important as viewing habits continue to shift and the definition of sports coverage expands beyond traditional broadcasts.
Mike Foss, ESPN’s senior vice president of sports and studio entertainment, highlighted Burke’s ability to navigate those demands, noting that her background aligns with the network’s emphasis on storytelling and audience engagement.
“Madelyn is a versatile and dynamic storyteller who brings credibility, energy and a deep understanding of sports to everything she does,” Foss said. “Her experience across multiple platforms and connection with fans make her a great addition to SportsCenter.”
A Los Angeles native, Burke began building her broadcasting foundation while attending Arizona State University, where she earned a journalism degree and hosted the nationally televised college football program Running with the PAC on FOX. That early exposure helped pave the way for opportunities covering both college football and the NBA, including work on the Los Angeles Clippers beat and contributions to Sports Illustrated.
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The E.W. Scripps Company is expanding its footprint in the evolving sports media landscape with the launch of a new free streaming destination built around live events and original programming. Scripps Sports Network, a 24/7 FAST channel, will debut Tuesday offering a mix of live games, studio programming, documentaries and acquired content.
The network will be available across several major platforms at launch or shortly thereafter, including The Roku Channel, Samsung TV Plus, Amazon Prime Video, Google TV and Plex, with additional distribution partners expected.
The move arrives as demand for accessible sports content continues to grow, particularly within the streaming ecosystem. Scripps executives point to rising engagement across its existing properties, noting that combined streaming viewership for the National Women’s Soccer League and the Women’s National Basketball Association on ION increased by 25% in 2025.
“In today’s fragmented sports media landscape, Scripps Sports Network is meeting the moment as a reliable, easy-to-access home for passionate fans,” said Keisha Taylor Starr, general manager of Scripps Networks and chief marketing officer.
Programming will lean heavily into women’s sports while also incorporating emerging leagues and non-traditional competitions. The network plans to carry approximately 100 live events annually, including games from the Professional Women’s Hockey League, the NWSL and Major League Volleyball, along with competitions such as the Pro Cheer League and Athlos NYC track and field event.
Additionally, Scripps Sports Network will feature select programming tied to existing rights agreements, including content involving the National Hockey League and the NCAA. Encore presentations of WNBA games that originally aired on ION will also play a significant role in the schedule.
Scripps Sports President Brian Lawlor said the new network creates an opportunity to extend the company’s reach while building new partnerships.
“A dedicated 24/7 sports FAST channel allows us to further leverage our existing sports rights, create a platform for emerging league partnerships and grow our position in sports, particularly women’s sports,” Lawlor said.
Beyond live events, the network is investing in original content, with at least 10 series currently in development. Early projects include shows hosted by veteran broadcaster Suzy Kolber and Olympic gold medalist Sanya Richards-Ross, both of which will focus on storytelling and athlete-driven conversations.
The channel will also feature acquired programming such as Cold as Balls, the interview series hosted by Kevin Hart, along with a lineup of sports podcasts curated for the platform.
From a business standpoint, Scripps has already secured State Farm as its foundational advertising partner, reinforcing the company’s strategy of pairing premium sports content with broad, free distribution.
As Scripps continues to build out its sports portfolio, the launch of Scripps Sports Network signals a deeper push into streaming, where accessibility, scale and niche content offerings increasingly define success.
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Connoisseur Media Chicago has introduced a new identity for WSSR 96.7, unveiling The 9-6-7: Chicagoland’s Classic Pop. A format shift designed to reconnect listeners with the defining pop hits of the late 20th and early 21st centuries while positioning the station squarely within a growing lane of nostalgia-driven radio brands.
Rather than leaning into contemporary chart cycles or traditional classic hits, the station’s new approach centers on the influential Top 40 music that shaped a generation of listeners throughout the 1990s and early 2000s. Creating a sound that blends familiarity with energy while targeting audiences who came of age during that era’s pop explosion.
In addition to the musical repositioning, the station will maintain continuity with its on-air talent. A move that signals stability while allowing personalities to evolve alongside the updated brand. Eddie Volkman continues in mornings, Jillian Bass handles middays, Hannah B remains in afternoons and Erik Zachary hosts evenings through Skyview Networks’ syndicated program.
Volkman’s presence, in particular, reinforces the station’s connection to Chicago radio history. His previous success at B96 during the height of the format’s influence provides an authentic bridge between the era being celebrated and the audience now being targeted.
Connoisseur Media has already tested a similar approach in other markets, including Dayton, Ohio, where Z93 adopted a comparable format. This suggests a broader strategic push toward curated nostalgia formats that emphasize high-recognition titles over deeper catalog exploration.
By combining rhythmic pop, alternative crossover hits and enduring singalong favorites, the station is crafting a sound designed to keep listeners engaged through familiarity.
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Tensions between current and former WFAN hosts spilled back onto the airwaves Monday morning, as Gregg Giannotti delivered a pointed and, at times, personal response to criticism from Brandon Tierney during an appearance on the station last week.
Speaking on Boomer & Gio, Giannotti addressed Tierney’s recent claim that Giannotti had been a “bad teammate,” pushing back forcefully while also questioning the circumstances that led to Tierney’s return to the station. Giannotti said he had been told Tierney pushed aggressively behind the scenes to secure airtime tied to discussion about St. John’s Red Storm, despite previously criticizing the station publicly.
“I was told that BT [Brandon Tierney] pressed very hard to have a St John’s appearance on the radio station. [He] pressed star program director Ryan Hurley very hard to get on the radio station. The radio station that he thinks stinks now,” said Giannotti. “He really had to get on the radio station to talk St John’s because I guess WFAN still matters. But it doesn’t on his podcast.”
Beyond the booking itself, however, Giannotti took particular issue with Tierney’s characterization of his behavior during a past on-air prank, which Tierney cited as evidence of poor teamwork.
Giannotti rejected that notion outright, arguing instead that the situation highlighted a broader issue with Tierney’s approach to the medium, including an inability to embrace humor and self-awareness in a format that often relies on both.
“He said that I was implying that he was drinking with the team and that’s being a bad teammate. His take on that is exactly the reason why he couldn’t cut it here,” noted Giannotti about Tierney, who left WFAN in December following a lineup change. “He is someone who takes things way too seriously. He can’t laugh at himself, and he doesn’t get it. If he did, and showed a little bit more personality and could laugh at himself, maybe he would have had more success here.”
The criticism escalated as Giannotti defended his own reputation within the industry, pointing to relationships built during previous stops, including at CBS Sports Radio. He maintained that colleagues and producers he has worked alongside would describe him as collaborative and supportive, while alleging that Tierney’s own working relationships were far more strained.
“Everybody that worked for Brandon [Tierney} couldn’t stand him. So if you want to go down the road, we’ll go down the road,” said Giannotti. “People hated working with that guy. He’s the bad teammate. He would trash his producers, and would belittle them. So don’t tell me I’m a bad teammate, because you can’t take a joke.”
Giannotti continued by revisiting Tierney’s prior tenure in national radio, claiming that leadership decisions at the time reflected dissatisfaction with Tierney’s on-air performance. He described being brought into a prominent role as part of a course correction, emphasizing that entertainment value and audience connection remain central to success in the format.
In addition to targeting Tierney, Giannotti directed frustration toward Ryan Hurley, criticizing the station’s decision-making process in granting the appearance.
“Our program director [Ryan Hurley] is also a bad teammate for putting him on and caving in that situation. Being essentially a marshmallow speed bump. That was ridiculous. Should have never happened. Honestly, like, if you had any balls at all, you would say no,” said Giannotti. “[WFAN] gave you an opportunity to goodbye shows, and promote your stuff. Then you go on and you co-sign dumb ass Joe Benigno’s comments. Now we’re gonna let you back on the radio station to promote St John’s because you begged? More decisions like that, he [Hurley] won’t be around at all. Ridiculous. Have the backs of the people that are here.”
Neither Tierney nor Hurley publicly responded to Giannotti’s remarks as of Monday afternoon.
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Mark Levin has the ear of President Donald Trump. That doesn’t mean he’s leaving Westwood One and Fox News, though.
An AI-generated report on Facebook claimed that Mark Levin would be leaving his shows and media roles to work as a Department of Homeland Security Advisor with the Trump administration.
Levin has thrown cold water on it.
In a post on social media, Mark Levin called the reporter a complete fabrication.
“There’s some article out there that I am leaving Fox and joining the White House,” said Levin. “It’s utterly false. Now, back to regular programming.”
There's some article out there that I am leaving Fox and joining the White House. It's utterly false. Now, back to regular programming.
The denial from Levin comes days after President Donald Trump shared his public support for “The Great One” amidst his ongoing feud with the likes of Megyn Kelly and Tucker Carlson.
“Mark Levin, a truly Great American Patriot, is somewhat under siege by other people with far less Intellect, Capability, and Love for our Country,” Trump wrote in a post on Truth Social. “Mark is Tough, Strong, and Brilliant, hence the nickname, ‘THE GREAT ONE,’ conceived by our MAGA friend, the wonderful Sean Hannity, after years of dealing with Mark in Legal, Media, and other capacities … He is a true Conservative, and Intellect, far smarter than those who criticize him but, above all, he is a man of Great Wisdom and Common Sense who truly loves our Country.
“When you hear others unfairly attack Mark, remember that they are jealous and angry Human Beings,” continued Trump. “Those that speak ill of Mark will quickly fall by the wayside, as do the people whose ideas, policies, and footings are not sound.”
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Rahel Solomon, the host of CNN Early Start, has announced her intention to leave the network at the end of the week.
Solomon joined CNN in 2022 after previously spending three years working as a correspondent for CNBC.
To conclude CNN Early Start on Monday morning, Solomon revealed that she would depart the network at the end of the week.
“I have decided that this will be my last week at CNN,” Solomon said. “More to come on what’s next for me. But I’m really excited about this next chapter for now. A huge, huge thank you to the team here on Early Start. we have covered some major breaking news during our hours, and I am so proud to have worked alongside you to the larger team here at CNN. I’m going to be cheering you on. I look forward to watching it has been such an honor, truly, to serve as a business correspondent for CNN. I have covered everything from inflation to the job market and everything in between. It has been an honor. It has been a privilege.
“I’m going to be here through the week, with Friday being my last show,” Solomon concluded. “So this is truly not goodbye, but see you soon for now.”
CNN has yet to announce who will take over the program following Rahel Solomon’s departure. CNN Early Start airs from 4-6 AM ET.
In a statement, the network shared its support for Solomon’s exit.
“We are grateful to Rahel for all her contributions to CNN over the past four years and are supportive of her decision,” said a CNN spokesperson. “We wish her all the best in her next chapter.”
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As media companies continue to recalibrate their strategies around live sports, PGA Tour CEO Brian Rolapp offered a candid assessment of a marketplace facing both sustained demand and growing financial tension.
Speaking on CNBC, Rolapp described a sports rights ecosystem that remains highly valuable but increasingly complicated due to shifting economics and the looming influence of the NFL.
“The media market is interesting right now for sports,” Rolapp said, pointing to decades of consistent growth that have positioned live sports as one of the most dependable assets in the content economy.
However, he emphasized that broader changes across the media landscape have introduced new unpredictability. These include consolidation and evolving distribution models not previously seen.
“Because of the changes in media, the pressures on the media business, and consolidation, and ultimately because my old employer, the NFL, is going to go out and do a new deal. There’s a little bit of uncertainty on the future of sports rights.”
That uncertainty, Rolapp noted, becomes even more pronounced when factoring in the NFL’s next round of media rights negotiations. With the league already commanding a significant share of annual rights fees, its future deals could reshape how remaining dollars are allocated across other leagues and properties.
Rolapp framed the current U.S. sports rights market at roughly $30 billion annually, with modest projected growth. Within that structure, the NFL alone accounts for approximately $12 billion per year, a figure that could rise substantially if the league achieves its stated goal of doubling its media revenue.
If that scenario plays out, Rolapp suggested, it could tighten the financial flexibility for other leagues competing for partnerships with broadcasters and streaming platforms.
“The issue is the U.S. sports market, which is the biggest market on Earth,” Rolapp said. “If the NFL grows at that scale, it just doesn’t leave a lot of money out there for everybody else.”
At the same time, media companies themselves are navigating a complex transition from traditional linear television to direct-to-consumer streaming models. While streaming has created new opportunities for distribution and audience engagement, it has also introduced additional cost pressures and uncertainty around long-term profitability.
Rolapp acknowledged that many companies are still working through that evolution, which in turn affects how aggressively they can pursue premium sports rights.
“Given the pressures on current media companies, who are now transitioning from linear to streaming and still navigating that. We’re not through that,” he said. “That just creates a bit of uncertainty in that market. It’s finite. It’s not infinite.”
Despite those challenges, Rolapp made it clear that leagues cannot afford to remain static. He stressed that long-term success will depend on a dual focus: strengthening connections with existing fans while also expanding reach to new audiences in an increasingly competitive entertainment landscape.
“Anybody who’s in the sports business, if they’re not looking at their product and trying to figure out how to make it more appealing to core fans, but also how to grow new fans, they’re not in a good spot,” Rolapp said.
As the next phase of media rights negotiations approaches for all leagues, Rolapp’s comments underscore a central reality for the industry: even as demand for live sports remains strong, the battle for rights — and the resources to secure them — is entering a more constrained and strategic era.
Pretty insightful from Rolapp on CNBC this morning. Asked about his biggest downside surprise since taking the job and starts talking about the media rights market.
Notes the U.S. market is at $30B and the NFL takes up $12, a number that likely will increase substantially in its… pic.twitter.com/3gBvLshgbP
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CRS 26 is in the books and after making a strong impression last year, I wondered if the second time would be as impressive. It was even better. Between the attendance, access, passion, and connections, it’s a great week with a ton to gain if you work in the music or radio business. But there’s also so much happening that it’s impossible to take it all in, even with Stephanie Eads and I attending different events.
Last year when I traveled to Nashville, I didn’t know what to expect. Barrett Media was unknown to many in the music industry so my top priority was getting to know people and just observing. This year, we had a lot more relationships and a better gameplan. We even brought Dylan Barrett to capture Top 20 reactions and produce some video showcasing what makes the week great. Stay tuned to our social media pages for more on that soon.
Because there’s so much to unpack, I’ve split my feedback into four categories: Performances, Sessions, Meetings, and Misses. I am beyond impressed by the work RJ Curtis and the CRS team does to bring this event to life in the room, throughout the city, and across social media. The relationship between the Country Music industry and Country radio is unique and special. I hope all involved understand and appreciate what they have. These events don’t exist in other formats. It’s a great week in one of America’s best cities (Nashville), and I’ll be back for CRS 27 on March 17-19, 2027. To catch up on what you missed, click here to view all of the sessions.
The Performances
Bailey Zimmerman played the Totally Private show for Audacy at the Hard Rock Cafe on Tuesday night. Stephanie Eads and I were fortunate to have a front row seat for it. Bailey’s energy, likeability, and connection with the crowd made the event a hit for all in attendance. Turning the event into a promotional opportunity for listeners was smart. The winners were from Detroit and were into the show from start to finish. My thanks to Suzanne Wolfe, Fred Bennett, Andrea Burtscher and Katie Neal for the hospitality including the studio tour afterwards. Katie’s set is very comfortable and the fireplace adds a nice touch. I can not confirm or deny that I signed the Katie Neal bathroom journal.
B-Dubs‘ Suite Sounds event on Wednesday night was one of my favorites of the week. Matt Cooper and Aaron Watson both sounded great and set the tone for a fantastic evening. But the performance LOCASH delivered showcased why they’re one of Country radio’s most fun, and entertaining bands. If you haven’t seen them and get a chance to catch them live, don’t pass it up. It’s nonstop energy, fun, laughs, great songs, and just an overall, good time.
BMG knocked it out of the park with Jason Aldean‘s #1 hits celebration. Stephanie, Dylan and I were in front of the stage, debating turning in early because we were physically exhausted. But the lights went on, Blake Shelton appeared, and we stuck it out, and were glad we did. The decision to bring all of the songwriters who helped Aldean on stage for a group photo was classy. The surprise performances by Alabama and Travis Tritt were excellent, but the highlight was the Florida Georgia Line reunion. Let’s hope that isn’t a one time deal.
Big Loud did an excellent job showcasing their artists during the week. I stopped by the Big Loud room multiple times to catch live performances and conversations with Hardy, Ashley Cooke and Stephen Wilson Jr.. This photo by Grover Collins during the week certainly stood out. Dave Kirth and his team couldn’t have been more accommodating. I appreciated the hospitality.
The MCA showcase at the Ryman Auditorium was once again spectacular. Keith Urban, Brothers Osborne, Parker McCollum, Vince Gill, and Tyler Hubbard were outstanding, but I personally enjoyed Kassi Ashton. Before playing the song Bitches, Ashton said ‘this is not going to play on your station but I’d be willing to bet this will play in your house‘. Her swagger, sound, and command of the room stood out. Also making a strong impression was Miranda McDonald. Her quick wit, candor, self-deprecation, and clever writing makes the introductions fun and original. It’s easy to focus on the music and artists but the right host matters. McDonald has nailed it every time I’ve been in attendance.
The Sessions
I saw Joe D’Angelo speak in 2022 about Xperi‘s approach to measurement, and was an early believer. Since then, Xperi has gotten stronger as prior methods lose steam and radio groups seek new ways forward. Juan Galdamez spoke at CRS this year on behalf of Xperi and was great. He shared that over 6 million vehicles in the US now supply radio consumption data to Xperi’s DTS AutoStage. That represents 12 automotive brands from 302 markets with data available to stations within hours. I hope the advertising industry is paying attention. Many across radio are already sold.
Hal Rood and Kevin Cassidy of Strategic Solutions Research did a marvelous job with their case study for the Country format. The session highlighted the reasons to promote being human, the deep connection the format has with its audience especially the lyrics, radio’s need to focus better on streaming, and why new country isn’t exactly the answer for growing the audience. Cassidy pointed out that 70% of those surveyed wanted a mix of new and older songs. Only 24% wanted new country, and only 6% wanted classic country. The survey was part of a a two-phase study that included 1,500 people.
I enjoyed Mojo‘s participation in the session Pitch Please: Everyone is in Sales. I even joked with him afterwards that he spoke in soundbites to make my job of quoting him easier. He shared a few gems that every talent should steal. They included, If you are a talent and you don’t have endorsements it’s not because your sales team didn’t sell you, it’s because you didn’t sell you, and It used to be ‘what does the job pay’ but now it’s ‘what can I make the job pay’? Mojo also covered why unscheduled calls or facetimes with clients go further than prepackaged videos and last attempt calls to save business. He reminded the room ‘don’t just be the closer for the client, be the person that opened the door too‘.
AI was a regular topic on Friday and I thought Phil Becker‘s session provided great takeaways. Too many industry pros focus on the AI on-air threat and ignore how it can help other areas of their business. That’s a huge mistake. Becker shared specific examples of apps and what they provide, prompts he uses to create memorable content, and explained how brands can use them to elevate performance and user experience. His key points centered around understanding that AI is a tool to help.
Phil Becker presenting a session on AI at CRS 26
Speaking of Phil Becker, his session with Woody, Katie Neal and Greg Beharrell was fantastic. Why Playing it Safe is the Death of Your Radio Career had great organization, production, and props thanks to collaboration with Jimmy Steal’s Collective Heads. Woody’s Dear PD letter was something every programmer should read. Katie’s remarks about programmers being risk-averse was one I connected with. She shared how John Foxx risked his career and handled the noise in NYC after putting her on the air when she was working in the sales department. The session produced regular laughter thanks to Greg Beharrell’s unique commentaries and his exceptional chemistry and timing with Becker. Adding to the fun was an air horn for calling out cliches, and confetti to signal the end. It was the most entertaining session of CRS 26.
The Meetings
Meeting new people is one of the best parts of CRS, and Stephanie and I had the pleasure of grabbing lunch on Friday with Kevin Herring and Raffaella Braun of Triple Tigers. As many across the Country format already know, they are awesome people who work with some incredible artists. As someone who appreciates attention to detail, I loved their choice of featuring two Ella Langley ‘Choosin’ Texas’ hats, one in Longhorns colors and the other in Aggies colors. It’s the little things like that which stand out. Kevin’s Jerky Boys impression of Sol Rosenberg is pretty strong too. Just a great conversation with two quality people who know and love the industry.
Speaking of meeting new people, Stephanie, Dylan and I had the pleasure of meeting Brent Smith of Shinedown. That was my personal highlight. I’ve loved the band for over 20 years and have seen them live 6-7 times. I had no idea Brent was at CRS nor did I expect him to be. When Stephanie has her people juice (Tequila) though, she makes a lot of friends. Fortunately she met Stephanie Hagerty, who was awesome, and granted access to one of rock’s best vocalists. I’ve always appreciated how Brent has spoken up for radio and the role it has played in Shinedown’s success. He couldn’t have been cooler. I’ve already told Steph, we’re attending Shinedown’s July 18th show in Albany, NY.
Dylan and Jason Barrett, Brent Smith of Shinedown, and Stephanie Eads
It was great catching up with Maynard, Phil Becker, Mike Preston, Alissa Pollack, Greg Beharrell, Greg Clancy, Mark Starling, Ashley Wilson, Nathan James, Jeff Kapugi, Mike Moore, Brian Michel, Travis Daily, Chuck Armstrong, Greg Strassell, Julie Talbott, Mike McVay, Peter Tripi, Heidi Raphael, Bud Walters, Dana Withers, Tim Satterfield, Angie Ward, Katie Miller and many others during our four day stay. Given the access to Country radio’s key decision makers, every upcoming country radio talent should be here. Talent in this business is important but it’s also subjective. One PD sees trash where another sees treasure. If you package skill and strong relationships, you’ll likely go further. But that requires knowing people beyond an email address and social media profile. Face time at shows like this is invaluable for career advancement.
The Misses
CRS received great sponsorship support and attendance from Radio Networks/Vendors (ex:Harker Bos Group, Neil Wilson Voiceovers, Premiere/Compass/Infinity/Skyview Networks, Benztown) and the Music industry but where were the radio companies and their top executives? Some groups held offsite private events, which is great, but why wouldn’t iHeart, Audacy, Cumulus, Hubbard, Cox, Connoisseur, Townsquare, SiriusXM and others have a strong marketing presence here? A few groups even had format program directors not attend or cut trips short. That’s like not sending a sports programmer to the Super Bowl. It’s short sighted.
Adding to the first point, Big Loud, Curb, Big Machine, MCA, BMG, Triple Tigers, Sony and Warner all sponsored CRS. Other artist management groups did too. Radio can’t ask the music industry for bigger shows, stronger access to artists, and first dibs on new releases, and then not support events that matter to them. Too often the radio industry shoots itself in the foot by not marketing itself. If you don’t promote your business to existing partners, future partners, and current/future employees, you’ve only got yourself to blame when negative perceptions become reality.
I know the Bones family have a new addition so attending this year wasn’t possible for one of Country radio’s biggest stars. However, I didn’t see Bobby Bones at CRS last year either. Given that he’s Nashville based, I was surprised by that. If you’ve ever seen Bobby speak publicly, he’s great. Whether his absence is his own choice or the agenda committee’s, I hope that changes next year. Country radio’s most popular personality should be involved in the format’s biggest event.
There were informative sessions for radio professionals, conversations with artists about their music, AI tips, fantastic research, broader discussions, and amazing performances, but not everything between radio and the music industry is stellar. I heard more candor and open examination of issues between programmers and music executives last year. We need more of that. Growing each other’s businesses comes from a deeper understanding of what’s holding each side back.
Many have political opinions but I’m a believer that there’s a time and place for everything. This is a Music/Radio conference not a showcase for personal agendas. Out of respect, I’ll pass on calling someone out by name but an early morning networking meeting shouldn’t start with a commentary on women being superior to men and explaining that the world would be a better place and we wouldn’t be at war if women ran the country. Why create division with anyone when people are there to unite?
Barrett Media had a steady presence at CRS, but a dedicated staff member is needed to capture what’s happening on-site in real time. I will make sure next year’s coverage of the show is even stronger for our readers.
Closing Comments
CRS is a great event. What RJ Curtis and his team do for the industry is important. It deserves radio’s full support. On a personal note, I appreciate all of the positive feedback on what we’re doing at Barrett Media. It’s easy to view stats that show people click your content but when you hear people express which stories resonated, and offer ideas and opinions on how to make it better, it shows they’re paying attention.
The hardest thing about covering music radio is that I want it to rival our sports and news coverage and be 10 years mature despite being less than 2 years old. We are not in this space to exist, we’re in it to make a mark. But just as you learn when building radio brands or launching artists, steps have to be taken before you can run. I’d love to hire more people to strengthen our coverage but we have to be smart, not reckless with our growth plan. I want to cover these industries for years to come, and that requires patience. The more we build relationships and trust, produce quality original content, create ideas that celebrate, educate and challenge the industry, work with the right partners, and hire staff who can make a difference, the better we’ll be in the long run. It just takes time.
That said, we’ve assembled a strong group of Music Radio writers at Barrett Media. They know the game, the players involved, and offer exceptional, unfiltered opinions and insights based on years of experience. We also highlight professionals across the industry and try to provide a deeper understanding of who they are, what they’re about, where they’ve been, and how they see the business evolving. As we grow, you’ll see the content get richer, deeper, and bigger. This is a long-term play for us, not a quick detour into new territory.
My focus now shifts to building the Barrett Media Audio Summit June 30-July 2, 2026 in New York City. This is our first show that includes a full day of music radio. If you work in the music/radio industry, I hope you’ll join us. Tickets can be purchased here.
In addition, after 13 interviews, I’m narrowing our search for a new Music Radio Editor to 4 finalists this week. The talent pool is strong, which is both exciting and challenging. I’m hoping to hire someone in April to make our music radio coverage stronger.
Finally, I’m looking for a weekly Country Radio columnist. If you have format experience, strong writing skills, know and enjoy what we do, and can offer opinions and insights that challenge and educate format pros, email me at Jason@BarrettMedia.com.
CRS 26 may be over but I’m already looking forward to CRS 27. You should be too! Country radio is the focal point of the conference, but the event offers something to everyone regardless of format. All you need is a ticket and an open mind. You’ll gain plenty and find it to be worth your time.
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.
There’s a certain kind of loss that doesn’t hit you all at once. It creeps in slowly, and then suddenly, it’s final. CBS News Radio is the latest casualty of that creeping inevitability.
The network announced it would end operations on May 22nd, 99 years after its founding. One year shy of a century. That detail alone should tell you everything.
For decades, CBS News Radio wasn’t just a news service. It was the news service. It set the standard for top-of-the-hour newscasts. And it cared — genuinely cared — about the quality of its journalism, whether that meant breaking news coverage of a national emergency or a routine two-minute update at noon on a Tuesday.
That commitment to craft didn’t waver for generations. It’s what separated CBS from the competition, and it’s what made its absence feel so much heavier than the closure of a simple syndication service.
Canary in the Coal Mine?
Here’s the question nobody wants to answer honestly: What does this mean for radio’s future?
It’s a fair thing to ask. If a brand carrying the weight, heritage, and prestige of CBS News can’t monetize millions of listeners, what does that say about the rest of the industry? And millions isn’t an exaggeration. On Audacy’s all-news properties alone — 1010 WINS, KYW, WBBM, KNX, KCBS — CBS News Radio top-of-the-hour newscasts reached enormous audiences every single day. That’s scale most media companies would envy. Podcasters would die to have the reach of CBS News Radio. Many local TV stations would bend over backwards to be able to sell that scale.
Has the network’s talk programming slipped in recent years? Absolutely. No point in dancing around it. But the newscast product? That held up. You could argue those talk offerings were harder to monetize anyway. Advertisers get nervous about adjacency. Still, that shouldn’t explain the complete unraveling of a news operation this significant.
Here’s what’s interesting: from speaking with those close to the situation, it doesn’t appear CBS News Radio was bleeding money. It wasn’t a windfall, either. But those familiar with the financials say calling it a drain on the company would be flat-out wrong. It held its own. That makes the shutdown feel less like a financial necessity and more like a choice — which raises harder questions than a simple profit-and-loss story ever would.
It’s the same question I had when CBS pulled the plug on Stephen Colbert’s late-night show. What does it mean when you can’t monetize millions of viewers? Or, in this case, listeners. That’s not supposed to be a question we’re wrestling with. But here we are, wrestling with it anyway.
Deliberately Destroyed?
So was CBS News Radio simply… abandoned?
It’s worth considering whether the new ownership structure played a role. The Ellisons and the Skydance deal brought in fresh faces with fresh priorities — and not many of those priorities appear to have included terrestrial radio.
Why would they? Radio isn’t a shiny new toy. It can’t be rebranded with a sleek app launch or a social media push. You can’t disrupt a medium with a century of history behind it. That legacy can actually work against you if you’re trying to make a mark.
New CBS News Editor-in-Chief Bari Weiss has made clear she intends to reshape the outlet. That’s her prerogative. Her background is digital. Her instincts are digital. It’s hard to fight for something you’ve never had an emotional connection to — no matter how credible it is, no matter how storied its past, no matter how much institutional weight it still carries.
That’s the brutal truth here. If you don’t love radio, you won’t bleed for radio. The history won’t save it. The prestige won’t save it. And now we know that the audience won’t save it. None of that matters if the people holding the checkbook don’t feel it in their gut.
To be fair, though, this dismantling wasn’t solely the work of Weiss, the Ellisons, or the Skydance transition. CBS News Radio’s standing had been eroding for years before any of them arrived. The priority placed on the radio network had been slipping — quietly, steadily — for a long time. Each year, a little less investment. Not replacing key figures who had departed. A little less attention. The end of some key programming, especially weekend offerings. A little less urgency around protecting what the brand had built.
That slow erosion is what brought us here. To a place where we’re using “was” instead of “is.” Where 99 years of broadcasting history gets folded up and put away with an “oh, by the way” memo to employees who aren’t affected by the latest round of layoffs at CBS News.
One year shy of a hundred. That’s not a legacy that ended. That’s a legacy that got left behind — and that’s a different thing entirely.
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The 2026 Major League Baseball (MLB) season begins Wednesday night as the New York Yankees open against the San Francisco Giants. Coming off a highly successful World Baseball Classic, expectations are high for the upcoming MLB season. That’s especially true with a looming labor dispute expected this fall, one that some speculate could bleed into the start of the 2027 season.
I attended a couple of spring training games over the past few weeks. As I sat in my seat, I spoke with baseball fans about their biggest questions entering the year. The top concern had nothing to do with the product on the field. Instead, it centered on the cost and accessibility of watching games beginning this week.
If that’s the primary concern just days before the season begins, it’s a massive issue. However, radio stations that carry MLB play-by-play should view it as a major opportunity. It may be the single best marketing opportunity now available, yet many stations fail to take advantage of it.
I’ve been a baseball fan for all 44 years of my life. I was raised to watch, play, and embrace the game from the time I could walk. Without question, the MLB season is a grind for networks, talent, and fans. However, the simple luxury of coming home and turning on a ballgame has become exactly that. A luxury which is now more expensive and more difficult over time.
When Main Street Sports Group predictably entered its eventual liquidation phase, nine Major League Baseball clubs were left without a production and distribution home. Currently, nearly half of MLB operates under MLB Media for production and game distribution. This model blends traditional linear television with a heavy emphasis on streaming, forcing fans across the country to add yet another subscription fee to their yearly expenses.
Some teams that separated from Main Street Sports Group chose to form their own networks or acquire the rights to their former FanDuel Sports Network properties. However, as of today, 11 MLB teams—according to their websites—have yet to announce where fans can watch their games via cable, satellite or internet TV providers.
This is where radio enters the conversation. Let’s take my home market of Tampa Bay as an example.
For several years, Tampa Bay Rays games aired on FanDuel Sports Network. If you had a Spectrum cable subscription, which most of the area did, you could watch Rays games as part of your package. Fans also had the option to purchase a monthly or seasonal streaming package through FanDuel Sports Network to watch on the web or app.
Earlier this year, Tampa Bay was one of nine teams to cut ties with Main Street Sports Group and now promotes Rays.tv as the primary destination for watching games. Fans who previously relied on Spectrum must now pay an additional $19.99 per month to stream games through the MLB app. While the Rays’ website states that games will be available through traditional cable, satellite, and internet TV providers, there has been no announcement as of Monday, just days before Opening Day.
Tampa Bay is not alone. A review of MLB team websites shows that 11 MLB teams face the same issue: fans can pay now for guaranteed access, but there’s still no clarity on traditional distribution via cable, satellite or internet TV providers..
Here’s the marketing message for radio stations if your market is affected: “Listen to every game for FREE.”
Pretty straight forward in my opinon.
If you’re the local flagship station and understand your audience, continue offering your MLB broadcast as a free, accessible option. In an era where everything is becoming more expensive, anything free carries tremendous value. Even affiliates can benefit from adopting this approach.
Can’t watch it? Listen for free. Not affordable? Enjoy the game on us for free. As streaming geofences continue to loosen nationwide, what better way is there to grow your local audience than by directing listeners to your app and your airwaves?
In an era where it has become increasingly difficult to simply watch a game, radio provides THE solution. If stations are being required to promote “guaranteed human” messaging once an hour, they should also be loudly emphasizing the value of free access.
“Don’t pay anything—listen to all the action here for free.” It’s also human for those that seem to care about these things.
I get this question every day. An announcement on cable/satellite partners will come next week, but in order to watch Rays games all season, you’ll need https://t.co/cU6CYm37Fp. It’s 61 cents per game and you can stream on all smart TVs via the MLB app. It’s super easy. https://t.co/3Wc0V8IN8A
A simple concept. If franchises push back, work collaboratively with them. Radio stations are simply expanding access and giving more fans an opportunity to engage with the product. Especially those who can’t justify another monthly subscription as gas prices, goods, and healthcare costs continue to rise. Maybe you’ll get some added promotion from the franchise themselves. Many of whom have forgotten to even market their radio product for many years.
It’s simple. Everyone appreciates something they can get for free. On radio, fans often receive not only the regular season, but also preseason coverage and the full postseason run. It’s a hometown call, without the frustration of searching for FS1 or navigating various providers.
That’s a compelling value proposition for consumers, and radio must take advantage.
This moment presents a real opportunity for radio brands nationwide. With added promotion, creative digital content, and focused marketing, stations can deliver what sports fans want most. Access to the game for FREE!
Opening Night arrives Wednesday night on Netflix, placing one of MLB’s biggest showcases behind a paywall. Nearly half the league faces similar accessibility challenges.
At a time when baseball asks more of its fans—more money, more apps, more patience—radio remains one of the few platforms still giving something back. No logins, buffering, or surprise charges. Just the game, as it was meant to be experienced in the comfort of the home or in the car. Radio can be consumed anywhere and at all times.
So as Opening Night approaches and uncertainty among many local fans remains about how and where to watch, radio shouldn’t hesitate—it should lean in loudly, proudly, and consistently.
Because in a fractured media landscape, simplicity wins. Accessibility wins. Free wins.
If baseball wants to remain a daily habit rather than an occasional luxury, the smartest play may not sit behind a paywall—it may already be on the dial for FREE.
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.
