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Beasley Media Group Promotes John Coury to VP of Treasury and Corporate Controller

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Beasley Media Group has promoted John Coury to Vice President of Treasury and Corporate Controller, effective immediately.

In the role, Coury oversees the company’s treasury operations, accounts receivable, accounts payable, and traffic functions. Those areas are part of Beasley Media Group’s cash management and financial strategy.

“John’s leadership, strategic insight, and strong financial acumen have been instrumental in strengthening our company’s financial foundation,” said Beasley Media Group CEO Caroline Beasley. “His dedication and expertise will continue to play an important role in advancing Beasley’s fiscal efficiency and long-term growth.”

Coury acknowledged the promotion and outlined his focus moving forward.

“I am honored to take on this expanded role and continue supporting Beasley’s strong financial foundation,” Coury said. “It’s a privilege to work alongside such a talented team across our markets as we strengthen our operations and position the company for long-term growth and success.”

Coury joined Beasley Media Group in 2016 following the company’s acquisition of Greater Media, Inc., where he held financial leadership positions. During his time with Beasley, he has worked across multiple areas of the finance organization.

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.

KNBR’s Greg Papa Returning To Call San Francisco 49ers Radio Play-By-Play

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Bay Area broadcasting icon Greg Papa is set to make an earlier-than-expected return to the San Francisco 49ers radio booth, stepping back into the team’s play-by-play role while continuing treatment for cancer. The longtime KNBR host and voice of the 49ers will rejoin the broadcast beginning with San Francisco’s December 28 regular-season matchup against the Chicago Bears.

Papa is also scheduled to call the season finale against the Seattle Seahawks the following week, reuniting with longtime color analyst Tim Ryan. The announcement came Wednesday during KNBR’s Papa & Silver midday show. The news was delivered through a lighthearted football-themed skit featuring 49ers director of broadcast partnerships Bob Sargent.

“I have just completed paperwork with the league, and we have officially activated Greg Papa off the ‘NFI’ list,” Sargent said. “So his 21-day practice window has officially been opened.”

Papa’s co-host, Greg Silver, celebrated the moment on air while confirming the details of Papa’s return to the booth. The news marks a significant milestone in Papa’s recovery after he was diagnosed with a form of leukemia in July.

Papa immediately stepped away from KNBR’s daily programming and was sidelined from his 49ers duties during training camp. At the time, his son Derek Papa — also a KNBR host — said it was unlikely his father would be on the air at any point during the 2025 NFL season.

Progress since then has exceeded expectations. Papa returned to KNBR’s four-hour midday show in September and has contributed remotely to 49ers-related content throughout the season. However, he had not returned to the radio play-by-play role, with the team rotating five different broadcasters to fill in during his absence.

Speaking publicly Wednesday for the first time, Papa addressed his recent medical updates. Testing at UC San Francisco shows his cancer is now in remission.

“I’m healthy,” Papa said. “I could not go through all the people at UCSF, where I was yesterday, that have basically saved my life and put me on a course to live my life again, as normal as I can.”

While emphasizing that his battle is not yet over, Papa used familiar football language to describe his mindset. He noted he has not undergone chemotherapy in two months and is awaiting clearance for a bone marrow transplant.

“I’m not running victory formation yet,” Papa said. “But I’m strong enough to do this. I’m strong enough mentally and physically to sit and prepare.”

KNBR confirmed that Guy Haberman will remain part of the radio team for the rest of the season. Haberman is the current play-by-play voice. Papa has been cleared to travel for potential playoff games. He said he hopes for a top NFC seed. That outcome would keep San Francisco at home.

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.

Doug Gottlieb Stepping Away From FOX Sports Radio Show To Focus Solely on Coaching Wisconsin-Green Bay

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Doug Gottlieb is all in on coaching moving forward, for now. The longtime national radio host has stepped away from his daily afternoon show to fully commit to his role as head coach of the University of Wisconsin–Green Bay men’s basketball program, marking a significant professional pivot after years of balancing media and coaching responsibilities.

Gottlieb revealed the decision following UWGB’s 67–64 win over UC Santa Barbara on Wednesday night, using his postgame press conference to explain why the dual-track career was no longer sustainable.

“You only get one shot at this thing,” Gottlieb said. “And if there’s any ounce of lack of preparation or any ounce of fatigue — and this is going to sound crazy — but last week we go down to IU Indy and because of the timing of my show, the bus had to leave without me and I flew. I don’t think that’s what I want to do as a coach.”

That moment served as a turning point. Gottlieb has long been one of the industry’s most recognizable multi-taskers. Over time, the logistical strain increased. Juggling national radio with daily Division I coaching demands created unavoidable conflicts. Travel schedules, preparation time, and the simple reality of being present were all being tested.

Gottlieb was hired by Green Bay in May 2024. He initially continued hosting The Doug Gottlieb Show on FOX Sports Radio. At the same time, he transitioned into life on the sidelines. Entering his second season with the Phoenix, however, the toll of that balancing act became increasingly clear.

Gottlieb told the Green Bay Press Gazette earlier this year that he intended to focus more on basketball during game days as he approaches his second season leading the Phoenix. UWGB Athletic Director Josh Moon said in May he has not directed Gottlieb to shrink his radio involvement in any way and that it is the FOX Sports Radio host’s job to ensure that he is doing his best work at both endeavors.

“There’s obviously a bit of a financial hit and I’ll work through it,” Gottlieb said. “I’ve been blessed beyond all measure. But the Doug Gottlieb Show on radio in the afternoon, as of now, we’re going to take a break from it. I’ve got to have a life. I’ve got to be here for those kids, and I’ve got to really dig in because we’re building something cool here.”

While the daily radio show is paused, Gottlieb is not disappearing from media altogether. He plans to remain active through podcasts. The format offers flexibility. It does not interfere with practice schedules, travel, or recruiting responsibilities.

“I’ll still be doing podcasts,” Gottlieb noted. “We’ll transition to a different version of it. It’ll still be the same stuff, but I’ll do it off office hours and at home.”

FOX Sports Radio has not commented on Gottlieb’s decision.

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.

Is Netflix’s Podcast Shopping Spree a Giant Gamble for Creators?

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Netflix is on a massive holiday shopping spree. With the company focused on bringing a podcast experience to its platform, it has opened the checkbook and is moving forward with its plan. In the last two months, the streaming giant has secured exclusive video agreements with several top sports podcasts, ensuring their video product is exclusive to the Netflix subscriber.

That’s the question I continue to have about all of this: the word subscriber. I asked in October the same question I have today. Would you pay to watch a podcast that you’ve always gotten for free? Especially if there are still free options to consume the content elsewhere?

There are positives and negatives for the podcaster, and the same is true for the distributor. Without a doubt, Netflix is flexing its collective financial muscle and taking away content from its top competitor on YouTube. In the end, will it matter and at what cost for the creator themselves?

Consumers pay close attention to their pocketbooks now more than ever. We’ve seen costs rise while wages remain flat, or at least not keep up with the costs of everyday life. The costs of watching entertainment have gone up. You need multiple streaming services to watch NBA, MLB, and NHL products. The WWE moved from Peacock to ESPN, and the UFC begins its Paramount+ journey in 2026.

Netflix is becoming more of a player in the sports content game and has become more involved over the last couple of years. Between Jake Paul, Monday Night Raw, and the NFL, the streaming giant has become a normal destination for sports fans to find sports action.

But does your appetite for your favorite podcast make the subscription cost easier to swallow?

I think it would be unrealistic to expect a massive subscriber influx for Netflix based on exclusive podcast video deals. Shows like Pardon My Take, The Breakfast Club, and Bill Simmons have devoted followings. Those audiences may believe they will follow anywhere. Still, adding another subscription fee will not be an easy decision for many.

There are several ways to look at this.

From a creator standpoint, Netflix is cutting you a check to produce the same content you always have. Your content still lives in audio form and can be distributed anywhere your consumer receives your podcast. The video portion (assuming you had one already) now belongs to Netflix, meaning the video content that you housed for your audience for free on YouTube now requires a subscription cost from the same consumers you built that relationship with over the years.

What was once free is no longer. This is a test of audience loyalty, and more than likely, not for the better. It won’t affect a massive amount of your audience—or will it?

Pardon My Take has over 659,000 subscribers, with a daily average of 283,000 views over the past two weeks, according to Social Blade. Does the paycheck from Netflix negate the viewership that the podcast could lose by moving to Netflix? For the creator, this is a money grab.

YouTube has been a proven commodity not only in how consumers watch podcast content but also in how they search for it. It is a free tool that allows anyone to find niche programming their heart desires.

When Pat McAfee signed with ESPN, he made it very clear that staying on YouTube was an important factor for his show to come to the network. Allowing a free option to remain alongside a big paycheck from a network has only benefitted the program’s growth and influence in the creator economy.

To eliminate yourself from that free content pool in exchange for a paycheck to put your content behind a paywall would seem foolish. In fact, Dan Le Batard assured his audience that Bill Simmons is not thrilled with the idea of being on Netflix because paywalls damage loyalty to brands.

Here’s another item to consider. Does the exclusive video component on Netflix apply to all videos? Does this mean clips of podcasts housed on Netflix cannot be shared on social channels, reels, or shorts? Doesn’t that hurt reach and influence in the creator economy? Does the Netflix money cover that lost engagement as well?

Questions need answers for the creator economy.

For generations, ubiquity has been the new exclusivity. For a podcast to thrive and survive, it must be made available everywhere for all to consume. Putting content behind paywalls builds walls to connect, rather than harvest, audiences.

From Netflix’s standpoint, shelling out money to podcasts that consumers can get for free could be seen as burning money. The company is betting that people will choose its platform for the video format. It assumes viewers prefer video over audio. The audio version remains free. It is also widely available beyond Netflix.

Another item to consider is whether Netflix buying content will eventually make costs rise for the consumer. Will my $20 a month go to $25 because Netflix had to acquire Chelsea Handler’s podcast?

If Netflix can pay movie studios to produce their own feature films, why not take a page from its own book: get unique content, invest in partnerships, and build programs, instead of simply repackaging content already available for free elsewhere?

That’s the exclusivity Netflix should chase: creating content unique to the platform it serves, with proven voices in the space. Build a network of creators under its own banner and make them the faces of a global content movement for the platform.

At the end of the day, creators are trading a guaranteed check for a partnership with an unproven player—one that may even put barriers between them and the audience they’ve spent years building. Netflix may be writing the check, but the question of loyalty, reach, and long-term influence remains unpaid.

Whether this gamble will pay off or leave creators wishing they had stayed in the free-for-all world of YouTube is a story only time can tell.

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 Heather Bermudez Built a Career Behind the Mic in America’s Toughest Radio Market

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Heather Bermudez has built her radio career in one of the most demanding markets in the country. Her approach to the business is rooted in authenticity, pride, and an unwavering love for radio. Born and raised in New Jersey, Bermudez is proudly Peruvian American. She says her background shapes how she shows up both on and off the air. “I’m really proud of where I come from and who I am,” she says. “That identity influences how I connect with people and how I approach storytelling.”

She entered the industry straight out of college in 2018, landing a part-time role as a News Production Assistant at the legendary 1010 WINS. “People always say once you’ve worked at WINS, working anywhere else is a breeze,” Bermudez says. “It’s intense, but it teaches you discipline, urgency, and how to handle pressure. That experience shaped me.”

After four years in the newsroom, she made the move to WCBS-FM. That’s where she met Scott Shannon and Patty Steele and became their producer. “Working with Scott and Patty reignited my love for morning radio,” she explains. “After spending so much time in news, I had forgotten what it felt like to be in the driver’s seat during the early hours. I loved knowing I was part of people’s morning routines again, helping them wake up, making them laugh.”

In addition to producing, Bermudez took on managing the station’s social media presence, a role she views as critical to radio’s future. “Since COVID and the work-from-home era, listening habits have changed,” she says. “Everyone is scrolling now. If we want people to stay connected to radio, we have to be where they already are.”

Following Scott Shannon’s retirement, Bermudez helped launch a brand-new morning show with John Foxx, an experience that tested her creatively and professionally. “Starting a show from scratch is a lot of hard work, but it’s incredibly rewarding,” she says. “It forces you to trust your instincts and collaborate in a whole new way.” That chapter led seamlessly into her current role producing Mornings with Race Taylor, another ground-up build alongside one of radio’s most respected voices. “Working with Race is exciting,” Bermudez says. “We’ve already had so many incredible moments, and it feels special to help shape something new.”

Working in New York, she says, brings a unique responsibility. “This market is loud, proud, and incredibly diverse,” Bermudez explains. “You’re talking to people from all walks of life across the five boroughs and beyond. That’s something you don’t take lightly.”

Community involvement has remained a constant throughout her career. “The best way to be a community is to actually connect with people,” she says. “Meeting them where they are, sharing their stories, and giving them a voice is the least we can do.” Bermudez has helped spearhead initiatives benefiting children’s hospitals, food and diaper drives, and programs pairing veterans with service animals.

When it comes to A-level talent, Bermudez believes confidence is non-negotiable. “I’ve been around some incredibly confident people,” she says. “Sometimes it challenges you, sometimes it lifts you up, but it always pushes you to grow. Being comfortable with yourself is how you really find your voice.”

She’s equally passionate about authenticity, especially when it comes to attracting younger audiences. “The younger generation is looking for someone they can relate to,” Bermudez says. “They’re not looking for perfection; they want something real.” That mindset carries over into her approach to digital content. “Keeping up with trends is important, especially when they naturally fit the station,” she adds. “A lot of current trends feature ’80s music, which is right in WCBS-FM’s wheelhouse. It’s better to try than not try at all.”

Looking ahead to 2026, Bermudez remains focused on personal and professional growth. “My biggest passion project right now is myself,” she says. “I want to keep learning, keep growing, and keep getting better at what I do.”

Hear Heather Bermudez on Mornings with Race Taylor, weekdays from 6a–10a on WCBS-FM.

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.

Is 1130 WISN Host Jay Weber Right By Saying The Old Generation of Talk Radio is Over?

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The pending retirement of 1130 WISN morning show host Jay Weber comes during what he views as a changing of the guard, if you will.

When one of the most successful voices in news/talk radio starts reflecting on the past tense of an entire format, it deserves attention from anyone who cares about news/talk radio.

Weber is stepping away at the end of the month after decades behind the microphone. Along the way, he became synonymous with Milwaukee mornings and with an era of talk radio that shaped the industry as we know it. His assessment of the present landed with blunt honesty.

“No disrespect to the new generation of talkers, but I feel like my generation of talk radio is over,” said Weber after announcing his retirement.

That’s a heavy statement. It also raises an uncomfortable question for today’s programmers and hosts. Is he right? Is that generation of talk radio truly finished?

To understand the point Weber is making, you have to go back to what he’s referencing. The explosion of The Rush Limbaugh Show didn’t just create stars. It created a genre. Talk radio suddenly became loud, combative, funny, and impossible to ignore.

Weber described that period as something that can’t be recreated today.

“We were inventing an entirely new aggressive, important, and game-changing genre,” Weber said. “And it really has been a game changer in this country: some will argue for the better. Others will argue for the worse. I’ll leave that to the historians. All I know is, it was a blast to do.”

That word matters. “Blast.” For many hosts of that era, politics were the canvas, not the entire painting. The focus leaned heavily on entertainment value. Listeners tuned in as much for the performance as the position.

In that sense, Weber is right. That generation of talk radio is largely over.

Today’s news/talk landscape is far more overtly political. Advocacy often sits front and center. Many shows feel less like performances and more like daily stump speeches with a microphone.

Entertainment is still advocacy, by the way, just by another name. It persuades through humor, storytelling, theater of the mind, and personality rather than constant ideological reinforcement. That balance has shifted. The industry didn’t drift there accidentally. It followed audience habits, political polarization, and corporate expectations.

Yet acknowledging the end of that era doesn’t mean lamenting it.

This isn’t necessarily a bad thing. It’s simply a different brand and breed of talk radio host. That isn’t good or bad. It’s just different. And as I often say, different isn’t bad, different just means different.

The mistake would be pretending nothing has changed. The bigger mistake would be assuming the past model is the only one that ever worked. It worked brilliantly for its time. That time, however, isn’t this one. With so many different avenues of content available to consumers today, talk radio had to change, with the “old” — meant much more as a term of endearment rather than a shot across the bow — generation of news/talk hosts being forced to change their ways.

Still, there’s something to learn from Weber’s statements. Fun matters. Sounding engaged matters. Enjoying the work matters. Audiences can tell when a host would rather be doing something else.

I take real solace in Weber saying, “it was a blast to do,” because this business is supposed to be fun. Radio is supposed to be theater of the mind. When the host is having fun, the listener usually is too.

That approach undeniably worked for Jay Weber. He didn’t just dominate talk radio. He hosted the most listened-to radio show in Wisconsin, period. Not the most listened-to talk show. The most listened-to show in all of radio in the state, on a station with some of the highest ratings in the format.

That doesn’t happen by accident. It happens when information, opinion, and entertainment intersect in a way that feels effortless.

So yes, that generation of talk radio may be over. The industry has changed. Formats evolve. Audiences change.

What shouldn’t be lost is the spirit behind it. Fun can still coexist with conviction. Personality can still matter as much as position. If today’s hosts remember that, the next generation might one day say the same thing Weber did: “It was a blast to do.”

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

Why Impact Matters More Than Your Ratings Performance

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At this time of the year, I like to look back at the goals I set personally and professionally, and plan for the new year ahead. In many ways, I’ve envied those in sales over programming. You have a number to hit, an actual number. The same exists for those in podcasting and streaming. Real numbers. But those who live in a Nielsen ratings world know we’re at the mercy of the sample. 

I spent some time early this year working with a morning show that was very frustrated with what they were seeing in the ratings. They are a great show. I told them that they did not have a content problem, they had a Nielsen problem. I advised them to keep doing things exactly like they were and sooner or later they would see the results they wanted. Last week, they were finally #1 in their target demo. 

If you are judging your success in 2025, the worst measure of that could be “the ratings”. I would ask instead, “did I make a difference?”

Broadcasting has dramatically changed over the past 20 years in radio and TV. Revenue has dropped forcing management to downsize staffs. All of us have either been told our position has been eliminated or seen co-workers pack up and move on. You may have asked yourself “why me” or “why NOT me” during that period of time.

In most cases (not all), those who avoid the RIF are those who make a difference. You control your own destiny more than you may think.

As you reflect back on 2025, I’d like to ask you to consider these questions.  

#1 – Has my show (or station) gotten better this year? Don’t think about ratings, has the product improved? Have you innovated? Is your content more authentic? Can you honestly say you did things to improve your work? Have you reached out to others for new ideas or attended industry conferences (like Barrett Media’s Audio Summit in 2026) to hear new viewpoints for growth?

#2 – Have you been more collaborative with sales this year? There is less spot revenue in media, but there is digital and podcast growth. How have you helped your sales department grow revenue? Social media revenue can be additive not only to a talent’s income, but also to the sellers. I work with a talent on a show who was a wrestling fan. He took that avenue to increase followers tenfold by going after that audience even though the radio show he is a part of has nothing to do with wrestling.

#3 – Did you step up and do more to help your organization? Often times volunteering to help with another show or station is a huge help to the bottom line. Instead of asking “what extra money will you give me to do that?” just jumping in to help is memorable. Often times, doing more turns into a learning experience to foster career growth.

#4 – Did you do more to increase the bond with your listeners? Whether it involved personal appearances or simply responding to questions or comments on social media, little things can grow your bond with your audience. I firmly believe, those who interact with stations or talent are more likely to interact with Nielsen.

#5 – Have you been a good partner to your co-workers? I’m not saying you need to buy everyone in the office lunch, but often times taking the time to hear about someone’s misfortune or life victory is a win. Just like you need to ask yourself “what’s in it for the listener?” when doing a radio show, when you’re walking the halls, make it about the other person, not yourself.  

These are simple reminders that we serve our shareholders, listeners, advertisers and co-workers. When you can look back at the end of the year and say “yes, I made a difference” you’ll know you had a very good year, regardless of what the ratings say.

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.

Reflecting on Radio, Accountability, and Change As I Sign Off

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When something ends — a job, relationship, school year or project — you inevitably spend time reflecting. As my time writing for Barrett Media comes to an end, I’ve found myself doing just that, reflecting on the articles I’ve written and, of course, the subject matter.

When I started this run, I told myself — and stated in the first article — I didn’t want this to be a “hate on radio and music today” column. I wanted it to be more about thoughts, ideas and reflection for those doing the work today. Maybe even a little reminiscing about Urban radio — what it’s become and what it could or should be. I don’t believe this is a generational thing where younger people are simply doing their own thing while a bunch of older radio folks complain about how things are versus how they used to be.

I actually have an appreciation for young ideas, just as I think some radio people before me did. Where the frustration sometimes comes in — both for those who came before and those still in it now — is when younger people don’t realize that what they’re doing has a foundation built on what came before. Outside of the use of AI, there is almost nothing truly new in all radio and music. Boy bands, R&B bad boys, record-setting women in R&B — none of it is new. Someone has always done it before. That’s not limited to our industry; that’s life.

Yet, it’s been difficult to find encouraging conversations about radio.

Most of my discussions center on Urban radio, but I’ve had enough conversations about general market radio to know there’s plenty of discontent to go around. It’s become a double-edged sword. People in radio — or radio-adjacent — know my relationship to the medium. They often launch straight into what they see as its negatives. Those who aren’t aware of my background, when talking about entertainment, tend to focus on social media, YouTube or streaming shows — not radio stations, shows or personalities.

I’ve had more conversations about whether small-dog-versus-big-dog videos on social media are AI-generated than I’ve had about anything happening on the radio. Radio just isn’t creating anything exciting. That wasn’t always the case. Howard Stern, Tom Joyner and others used to own the proverbial water cooler.

Recently, someone lamented to me about how bad a syndicated show sounded. They called out the topics, features and overall conversation. While I didn’t disagree with the assessment, I didn’t put all the blame on the on-air talent. There was a time when local program directors weighed in on syndicated content. The experienced programmers oversaw these shows at the network level. I was one of them during my time with ABC Radio Networks. That experience keeps me from placing sole responsibility on the people in the studio.

It’s hard not to be critical of radio sometimes, because it feels like accountability is missing. Outside of maintaining ratings strong enough to support ad revenue, that often seems to be the only bar. But that, too, isn’t new. Radio as we knew it has been sliding since 1996 — but that’s another podcast.

I don’t think I’ve held any radio programmer more accountable than I would hold myself if I were in their seat. Having worked as both a corporate and station programmer, I know it’s not easy to sail against the wind. In moments like that, I go back to something a friend and programmer once said to me — words I later learned came from a childhood hero: “Be like water.” Water takes the shape of the container it’s in.

My “be like water” moment is my podcast production company and network. I hope you’ll check us out via the Mean Ole Lion Media app. We feature credible hosts and meaningful conversations on a wide range of topics relevant to Black, Brown and beyond audiences.

My thanks to Jason and Barrett Media for giving me this outlet to expand my voice in a medium that was new to me. Thank you to everyone who read, commented and reached out along the way. I appreciate you and hope we stay in touch.

You can reach me at ken@kenjohnsonmedia.com or on LinkedIn.

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.

How ‘This Is Football’ Showcases a Master Class in Intelligent Interviewing on ESPN

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ESPN and Omaha Productions’ This is Football, hosted by Kevin Clark, is a unique mix of interviews, stories, and anecdotes. Moreover, it is a vehicle for Clark to showcase his skills as a rising media star. I caught the December 11, 2025, ESPN2 version of the show and really liked the brief but very cool open, with high-tech graphics and football images moving across the screen.

This is Football is not just another fluff interview show. Clark obviously puts time into his questions and show prep. He truly is one of the new wave of talents across the football media landscape – casually dressed, slightly unshaven, and always ready for a raucous good time on air.

The contemporary feel that characterizes This is Football has become the new normal across multimedia platforms. Gone are the days of the suited-up, tie-wearing, straight-laced, cookie-cutter host. NFL Network has taken this route with a lot of its fantasy programming, and ESPN has followed suit. It’s actually quite similar to when ESPN first launched ESPN2 in 1993 and had personalities like Suzy Kolber, Keith Olbermann, and Stuart Scott dressed in extremely casual clothes – a departure from the suit-and-tie SportsCenter personalities.

This new look is clearly an attempt to capture a younger audience, one that loves football but is not stodgy, curmudgeonly, or trapped in the past. I think the impact of Barstool Sports is important to mention here. The “guy you want to have a beer with” personality on television works. Clark takes this to another level by adding a ton of knowledge, background, and depth.

His first guests were Hall of Fame offensive lineman Joe Thomas, joined by Jackson Cantwell, this year’s Gatorade National High School Player of the Year and the first ever offensive lineman honored with the award.

Cantwell attends Nixa, Missouri, High School and has already committed to play football at the University of Miami. Clark asked him how he felt being on the show with Thomas, and Cantwell said that he was “on cloud nine” and that he has watched a lot of footage from Thomas’s career with the Cleveland Browns. Thomas called Cantwell “a generational talent” and said that he had been following the young lineman’s career since middle school.

Clark, himself, is a University of Miami grad who previously worked for the Sun-Sentinel newspaper, The Wall Street Journal, and The Ringer. He brings a vast array of experience across different sports to This is Football.

To me, Clark is first and foremost an interviewer. He clearly enjoys delving into athletes’ backgrounds, asking unique questions, and truly listening to their answers.

One of the great things about This is Football is that it allows Clark to do lengthy interviews. This is not a quick blurb-and-sound-bite show. Clark talked to Thomas and Cantwell for the first half of the show, bringing the program to its first break almost fifteen minutes into the telecast. I like this.

The long interview is truly a lost art on television. Even so-called long-form features on national programs often run no more than five to seven minutes. Clark has the time and space to ask questions, offer follow-ups, and react to the guests’ answers.

After the break, Clark featured another excellent interview with ex-Chiefs, Bills, and Jaguars offensive lineman Mitch Morse.

Clark’s first question to Morse was fantastic. He didn’t just ask him about his former teams. Instead, he referenced an anecdote where, after winning one of their AFC West Championships in Kansas City, actor and Chiefs fan Paul Rudd came into the KC locker room. Morse humorously recalled giving Rudd an AFC West championship hat and related that the actor behaved like a “4 year-old,” so authentically excited to be there and get the hat.

Morse hosts the Monday Mornings with Mitch podcast. It was his first ever appearance on This is Football, a feather in Clark’s hat for opening the doors to new media talent heretofore unknown by mainstream viewers.

Clark seamlessly segued to a question on what has been wrong with the Chiefs in 2025. Morse responded that the team’s offensive line has been decimated with injuries, a huge part of their failures this year. Morse gave a brutally honest answer, saying that he really could not pinpoint one particular reason why the Chiefs have fallen so far this year.

He then shared a neat story about Andy Reid from the 2015 season. The Chiefs had lost five games in a row, and Reid told them to relax because he knew how to fix their issues. KC then ran off a long winning streak. This is a first-hand warning to those who think the Chiefs are done competing for Super Bowls. With Reid at the helm, this team is going to reshape, reload, and be a championship contender again very quickly.

This is Football is a basic studio show. There are no highlights from coaches or players. It’s basically Clark’s deal. If he’s not right, the show is not right. Thankfully, he is usually right. Clark is marvelously prepared with a list of questions that go beyond the usual “What do you think?” or “How do you feel?” He gets in-depth and specific when doling out a question to a guest. He also taps into that guest’s strengths.

With Morse, he asked about the Bills, getting some real talk from someone who played for that team. One question he asked Morse was that if the Bills were to win the Super Bowl this year, what would be the reason. It wasn’t just a stock, trite, hackneyed question, and Morse really had to think about his answer – a sure sign of a good query. Morse responded that the Bills need to let Josh Allen be Josh Allen and do the things that only he can do. He also stated that they need to be more explosive on defense.

This actually played out in the Bills’ win over the Patriots three days later. Allen ran and threw for the victory, and the defense basically shut down New England in the second half.

The interview morphed more into just a really nice conversation between Clark and Morse. The exchange even led to a funny story about Morse being ill for a game in 2023 and, let’s just say, having an accident during that game. Clark was beside himself laughing, especially at the fact that Morse went into the blue medical tent to get cleaned up and refreshed – great intimate stuff.

If you want to learn something you didn’t already know, check out This is Football. It truly is a unique and entertaining exchange of thoughts – not just question, answer, question, answer. In short, Kevin Clark gives a master class in thoughtful and intelligent interviewing, resulting in candid and interesting responses.

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 Politics Prepared Marc Lotter for the Newsmax Morning Spotlight

Nearly a year ago, Newsmax viewers woke up to a new host on Wake Up America. What started as a childhood dream for then-conservative commentator Marc Lotter became a reality in the most surprising way.

“I always had kind of a call for performing, whether it was announcing Little League baseball games as the PA announcer or something along those lines,” Lotter told Barrett Media.

The son of a police officer, Lotter’s father was the head of the Crime Stoppers program in Fort Wayne, Indiana. It required the elder Lotter to be on local TV often. “And I remember having to go to the local ABC station in Fort Wayne, Indiana, where my dad was going to be on set and interviewed either prior to or after one of my baseball games,” Lotter recalled.

Sitting in the newsroom, watching the newscast preparations, Lotter realized, “This is what I want to do for my living.” A few years later, his parents moved so Lotter could attend a high school that had a TV operation.

This experience helped the then-aspiring TV anchor realize one thing. “If I was going to be a network television anchor, I needed to know something about politics.” So he went to Ball State University, double majoring in broadcast journalism and political science.

The dream of becoming a network anchor would have to wait, however. Lotter bounced around from town to town, rising through the ranks from writer to associate producer and, in multiple cities, executive producer. This all changed in 2002.

“I was executive producer at the CBS affiliate in Atlanta, Georgia,” Lotter remarked. “The opportunity was going to come to get promoted again, but I would have had to move again. By that time, my daughter was in first grade. I think she’d lived in four or five different cities by then. And I really just didn’t want to keep moving.”

So he came home to Indiana, where he was able to flex his political science knowledge a little more than he did in the TV world. “It was a great move for my family, for my daughter,” Lotter noted, but there was definitely a change in mindset.

“My very first day in the office in my new job in politics, we came to the end of the day, and I remember going to one of my young staff people and asking, ‘Well, how do we know when it’s time to leave?’ And they looked at me like they were very confused, like, ‘Why is he asking us this question?’”

Then Lotter realized, “For the previous 12 or 13 years of my career, my anchors thanked you for joining us today, thanked you for bringing us into your homes, asked you to watch, and told you we’d be back tomorrow morning, or tomorrow afternoon, or tomorrow night. So I’d always had this very nice, clean break. In the real world, outside of media, you don’t have that.”

It was one of a few notable differences outside of the media world. One thing that didn’t change was knowing who your audience is. “So you have to learn to tailor your messages,” Lotter stated.

His life in politics took Lotter to the governor’s office and even the White House. Spending more than a decade in TV news allowed him to “translate [press releases] into, ‘How can I use that information, those skills, to better the Republican Party or the candidates that we were supporting?’”

After ending his tenure in the White House, Lotter made his way back to the TV screen, this time as a commentator. “After the 2024 election, the administration was coming together for President Trump. I realized that I’d been doing a lot of television, both at Newsmax as a fill-in person and as a commentator, and with other networks.”

Waiting in Reagan National Airport to head home to Indiana, Lotter was reading an ESPN story that struck him with such motivation that it changed the course of his career.

“It was about Indiana football coach Kurt Cignetti. All of his mentors were telling him not to go to Indiana, because it’s not a good football school. It’s a career killer. It’s not where you want to go. You shouldn’t do it.” But Cignetti didn’t see it that way, nor did Lotter. “And [Cignetti] took a chance on himself, a belief in himself, and obviously took the job at Indiana, did great things at Indiana, and got this massive new contract.”

Inspired, Lotter decided to text Newsmax CEO Chris Ruddy.

“Sitting there in the airport, waiting to board my flight, and saying something along the lines of, ‘Now that the election is over, I’ve been doing a lot of fill-in work. I’d love to get an opportunity to talk to you at some point in the future about what, if any, role you might see for me at Newsmax someday down the road.’”

Lotter expected to get a generic text back, but instead he got a phone call. “He called me maybe five minutes later and offered me the job at Newsmax on the spot,” Lotter rejoiced.

“I literally — it moved me to a tear — because I realized at that moment, right then and there, sitting at Reagan National Airport, that the dream that that little 12-year-old, 13-year-old kid had, sitting in his Little League baseball uniform, had just come real.”

For those looking to follow one or all of Lotter’s media paths, he suggests first to “get into the arena.” Lotter noted, “Whether it is politics or media, you may have a goal of a job you want down the road, but you have to get yourself into the newsroom, or into the campaign, or into the office.”

Second, “taking the opportunity to expand your knowledge,” Lotter effused. “Had I gone on the air, or even just stuck with my television career as it was playing out, I would not nearly be as prepared had I not taken a 20-year diversion into politics and government.”

“It gives me a background that I think very few other people offer, and it gives it additional context.” Lotter’s parting words of advice were, “Don’t be afraid to take that job that has nothing really to do with what you think you want to do, because A, you might find out you like something better. But even if you do find yourself back on that original dream track, it gives you a level of background, knowledge, and experience that maybe somebody else in your field doesn’t have.”

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.