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The Real Reason You Can’t Beat the Radio Station Across Town

Phil Becker
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The Real Reason You Can’t Beat the Radio Station Across Town

Every programmer knows the feeling. You log in to check the ratings… and there they are. You vs. the other radio station.

Same format.
Same songs.
Same target demo.
Same everything except the part you wish you didn’t see: they’re beating you.

And here’s the uncomfortable truth most PDs won’t say out loud: you can’t out-playlist a station that thinks exactly like you do. You can now log off MediaBase and continue reading.

If you’re both CHR, both Country, both Hip Hop, both Sports and you both live in that “safe” center lane, congratulations, you’re not competing. At best you’re canceling each other out.

Winning a format war isn’t about being better at the format. It’s about being different inside of it.

The Format Isn’t the Differentiator: Your Values Are

When two stations live in the same format, the audience is no longer picking based on:
● Who moved Taylor to power first
● Who has fewer commercials
● Who has “the most free tickets!” (said with heavy reverb)

They’re picking based on identity. On viewpoint. On which station feels more like them.

Very successful brands know this. Home Depot. Nike. Apple. Barstool. Peloton. Chick-fil-A.

Photo Credit: Canva

But in radio, too many brands still act like: “If we play the same songs as the other guys, but slightly tighter or a week sooner… we’ll edge them out.”

No. You won’t edge them out. You’ll tie them, at best.

Listeners don’t become loyal listeners, frantic followers, or vigilant viewers because of sameness. They bond with the tiny cues that whisper: “We’re like you.”

Country: Same Boots, Different Camps

Two Country stations in the same market.
Same twang saying different thangs.

You can lean toward the Jason Aldean/Oliver Anthony/red-blood, red-dirt, red-state energy. Or you can lean into Shaboozey, The Red Clay Strays, Max McNown and, dare I say it, Beyoncé.

Both are Country.
Both are valid.
But each signals different values.

One says:
“We’re your people if you want your Country loud, proud, and traditional.” (Insert Rodney Atkins song here).

The other says:
“We’re your people if you like Country with modern edges, sonic diversity, and TikTok sensibility.”

Same format.
Different fans.

And the listener picks the tribe they agree with, not the station with the tighter clocks and more roll banner.

Top 40: Pure Pop vs. Purpose Pop

Why do we call it Top 40 when everyone’s playing the same 25 songs?

A CHR station can have a purpose:

“Our brand showcases LGBTQIA+ artists, creators, and culture. We also stand with listeners who want real conversations about gun violence and safer communities.”

You don’t announce it like a corporate DEI initiative.

You signal it through:

  • Imaging that celebrates identity
  • Promotions that improve the community
  • Real estate for queer and expressive and experimenting artists in meaningful rotation

Let your competitor run a more “down the middle” CHR that avoids standing for anything, because eventually if you don’t stand for something, you don’t stand a chance.

A brand with a soul beat can beat the brand with the established slogan.

Hip Hop: Culture vs. Community

Two Hip Hop stations can both play Drake, Future, Cardi and Kendrick.

But one station can lean culture-first:

  • Deep ties to local artists
  • DJ sets that matter
  • Mixtape energy and streetwear collabs
  • Airstaff with personality equity, not sound effects and drops

While the other leans community-first:

  • Mental health initiatives
  • Violence prevention partnerships
  • Local school outreach
  • Storytelling that humanizes the city

Both are Hip Hop.
Both are important.
But this is where values beat rotations.

Sports: Pick Your Religion

Two stations can both talk about:

  • The quarterback controversy
  • The hot take
  • The terrible officiating call
  • And Chauncey Billups — my fellow Michigander turned Oregonian. (I’m the one who isn’t accused of being tied to a Mafia-run gambling ring.)

Station A: The Homer Lean

You’re part of the congregation.
You bleed the team colors.
You don’t criticize the front office unless it’s socially acceptable.
You speak the language of fans first, analytics second.

Station B: The Data Lean

You are the city’s rational sports therapist.
Numbers over narratives.
Truth over tribalism.
You’ll defend the unpopular stance with charts and a whiteboard if needed. (Also the current approach I’m taking to convince my wife we need a home gym.)

Listeners don’t tune to the station with the best sports knowledge. They tune to the one that reflects the way they see fandom.

The PD Lie: “We Don’t Want to Alienate Anyone.”

There’s a PD parable that says if you talk about religion or politics you’ll lose 50% of your audience 100% of the time.

But with dozens of choices in every pocket, being afraid to choose a lane just guarantees your audience chooses someone else.

Playing it safe is the fastest way to become invisible. You flatten your edges, neuter your personality, and strip your brand of the signals listeners need to say:

“Yes. Them. That’s my station.”

Why I Believe This (and Why It Works)

After two decades of hiring PDs and programming 200+ stations across 50+ markets, the ones that won weren’t always the ones with the best Xs and Os.

The ones that won were:

  • The ones with the clearest target
  • The ones unafraid to have taste or an opinion
  • The ones that built tribes, not playlists
  • The ones whose listeners describe them in three words, not three paragraphs or a 1,114 word Barrett Media article.

The stations that lost? They usually had great music logs, beautiful clocks, a powerful transmitter…
and absolutely no point of view.

How to Create a Tribed-Up Brand

Here’s the checklist every PD in a format war should tape above their console.

1. What values define your brand-view?
Not music.
Not promotions.
Not slogans.
Values.

2. Which artists, politicians or athletes naturally signal that worldview?

3. What promotions reinforce your tribe identity?
What events would your people show up for?
What would the other station never do?

4. What imaging tone belongs to your tribe?
Sarcastic?
Proud?
Empowering?
Unfiltered?
Nostalgic?
Choose.

5. What are you willing NOT to be?
This is the hardest question.
But the answer is part of the strategy.

Don’t Just Be Better. Be Other.

Differentiation inside a format isn’t about out-playing the other station’s game. It’s about changing the game entirely.

Two stations can share the same library, but they can’t share the same soul.
Two stations can chase the same demo, but they can’t chase the same identity.
Two stations can serve the same city, but they can’t live in the same tribe.

The job isn’t to sound better than your competitor. The job is to sound less like them.

At least that’s always been my Phil-Osophy.

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.

The Evolution Advantage: Damon Amendolara’s Secrets to Success on SiriusXM Mad Dog Sports Radio

John Mamola
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The Evolution Advantage: Damon Amendolara’s Secrets to Success on SiriusXM Mad Dog Sports Radio

It’s been nearly four decades since the sports talk radio format launched on WFAN in New York City. Over that time, the format has evolved from a local voice discussing local teams to national voices heard worldwide.

Damon Amendolara has seen the evolution firsthand, growing up a listener of WFAN and building a career in the industry over the last two decades. Last month, Amendolara re-signed with SiriusXM on a contract extension that will keep him as the morning voice alongside co-host Mike Babchik on Mad Dog Sports Radio, a satellite radio channel named after one of the first guiding voices of the format itself.

“Throughout my first-twenty-some-odd years on the radio, I was the solo host, and everything ran through me first and last,” explained Amendolara. “This was very different. [Mike] Babchik has had a tremendous radio career, and they envisioned us more as a tandem… That has made me far more versatile as I ever was before.”

Amendolara joined Mad Dog Sports Radio’s morning lineup with Babchik in 2023. The shift came following Babchik’s former co-host Evan Cohen leaving the network to join ESPN Radio’s morning group on Unsportsmanlike. Amendolara welcomed the role, teaming up with a proven talent in Babchik, who had already established a following on the channel.

“He understands what fluid, interesting, good vibe radio sounds like,” said Amendolara, noting the chemistry between the two was almost instant. “He had the voice and ear of all these listeners. I couldn’t walk in as the new guy and push him out of the way, nor would I want to. The listeners love him, so it was very important for me to show respect. I wanted him to be as big a part of this as I am… We had a very authentic mutual respect coming in, and it was really easy.”

Adapting To SiriusXM

Within the first couple of shows, Amendolara felt at home. He was no stranger to speaking to a national audience. He hosted The D.A. Show on the CBS Sports Radio Network for a decade. The program reached listeners across more than 150 radio stations nationwide. Each stop in his career provided him with valuable knowledge. Every experience also offered a different perspective.

With the move to SiriusXM from traditional sports radio, Amendolara had to adjust. He now understood that every listener is also a subscriber.

“I’ve noticed that callers, we make sure these callers feel heard. That was not a thing in many years that I heard from an executive standpoint in radio,” explained Amendolara. “At Mad Dog Sports Radio, it’s much different because of the way the channel was born. It was born through the DNA of WFAN… and I understood that very quickly when I arrived… The channel is built on the backs of those listeners. That’s a valuable thing to prioritize, and I like that it is prioritized.”

Another interesting evolution in Amendolara’s transition to SiriusXM was the absence of data. He referenced his time in traditional sports radio, when programmers tracked quarter hours and topic selection. Amendolara noted that there is no trace of that type of system at SiriusXM. He called the old method “foreign,” yet also refreshing.

“It is disorienting to not have all that data and analyze how we interpret it, but I have not found that as part of our conversations with any management,” said Amendolara. “In today’s day and age, when there’s so much data on so many things, it is surprising that it’s not used more. It’s a blessing and a curse. It doesn’t make you a slave to the metrics that executives might freak out over, but it also probably is something that could be a real helpful tool as well.”

Amendolara says he’s proud to be a part of what he calls the “most dominant” lineup he’s ever been in on Mad Dog Sports Radio. The channel’s additions in 2025 of Stephen A. Smith and Katie Nolan, he feels, built upon the work already laid in place by Chris “Mad Dog” Russo and Adam Schein.

Morning drive wasn’t the goal for Amendolara when he first began his career. Although he’s hosted a number of different dayparts at other stations, he now values both the benefit and the challenge of being first to crack the mic on Mad Dog Sports Radio.

“I get to set the agenda for the day,” noted Amendolara. “I love getting first crack, but it was never really a goal. The challenge is you don’t have time to think about the take. I take a lot of care in the thought and delivery of the take… There is a real challenge in being smart in the morning, because you haven’t been armed with a lot of information.”

Future Of Infinity Sports Network

Amendolara began gaining experience hosting morning drive during his time with CBS Sports Radio, which since his departure has been renamed the Infinity Sports Network. A consistent surveyor of the sports media landscape, Amendolara has been demoralized by the recent announcement of his former network consolidating with the BetMGM Network.

While he remains hopeful that the new Westwood One Sports network works out, he says the move is not due to a lack of talent.

“I was really proud to work at that network, and I was really proud of the product the entire channel put on for eleven years,” said Amendolara. “I’m hugely hopeful that it works, and all those people that I used to work with land with an opportunity to do what they do really well.”

Despite his personal success, Amendolara finds himself troubled by how the industry continues to shrink over time.

“Radio is something I truly love, but it’s constantly being challenged as a viable entity in the sports media landscape,” explained Amendolara. “Sports radio can be so influential and powerful… Yet because of this push of an audience away from traditional radio, there’s less money there to flesh out rosters and producers. Everything starts shrinking and opportunities start drying up… It’s demoralizing. It’s not just Infinity; it’s the entire industry.”

Amendolara recalled a key moment while broadcasting live from the Super Bowl on radio row. It became clear to him that it was time to evolve again. During the chaos of the week-long event, he met several colleagues. They complimented his program, but not because they listened live. Instead, they had seen clips posted on social media.

This moment of reflection built on a recent public speaking event. Amendolara had spoken to a group of high school students. None of them said they listened to sports radio. However, they all consumed sports content on YouTube.

“I have to meet people where they are and where they’re going,” noted Amendolara about why he began crafting content specifically for a YouTube audience. “There is not a younger audience that is consuming sports talk radio. I’m not old enough to retire, so I have to make sure that I find a place where those people are communing.”

Over nine thousand subscribers later, Amendolara has posted over a thousand videos to YouTube. He finds himself connecting with a different audience and building connections for the future.

“I love it because radio is a beautiful empty canvas. YouTube is just a different kind of empty canvas,” explained Amendolara. “It’s a completely different puzzle to put together, and it’s fascinating. You do sports radio for twenty-five years and you have that thing figured out. Then it’s figure this out, and it’s kind of cool, like going back to school.”

Goals For The Future

Amendolara has always kept an open mind to what the next open door could be. While he believes the traditional radio industry often rests on its laurels, he’s excited to see how WFAN continues to evolve. He grew up listening to the legacy sports radio brand in New York City. With his rising profile on SiriusXM and digital platforms, he isn’t closing the door on a potential spot at his hometown station.

“Absolutely. That’s my backyard and those are the teams that I grew up around,” said Amendolara. “I’ve always learned in this business you kind of go where they want you. Because you never know when the door opens or closes. I’ve been lucky enough to have people want me for this or that. So, I’ve learned you always keep an open mind and just wait for the next door because it’s so hard to predict.”

As 2025 ends, and with a new contract extension in place, Amendolara sees a bright year ahead for his SiriusXM projects. The industry may continue to face challenges as audiences shift to digital platforms. Yet the goal remains the same every day. Find new ways to evolve enhancing the listener experience.

“If you listen to an hour of our show in the morning, you’re getting so much,” said Amendolara. “It’s the greatest value in sports radio, and I love doing it.”

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.

Off-Mic, Part 3: Building New Opportunity – Networking, Personal Brand, and New Channels

BMM Staff
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Off-Mic, Part 3: Building New Opportunity – Networking, Personal Brand, and New Channels

Off-Mic is a special 5-part series, created by Corey Dylan for Barrett Media. This series examines how to adjust if faced with unexpected job loss. Corey becomes a radio free agent later this month and is exploring her new way forward. Interested groups are encouraged to reach out by email at Contact@CoreyDylan.com. To submit ideas to Barrett Media for future considerations, please contact Jason@BarrettMedia.com. We can’t promise we will publish what’s turned in but we do review all submissions.

Once the shock fades, it’s time to reconnect with people, purpose, and possibility.

Rebuild Your Network

Networking post-layoff isn’t about asking for jobs. It’s about rebuilding relationships. Reach out to mentors and colleagues. Attend local broadcast association events or digital media meetups. Approach conversations with curiosity, not desperation.

Refresh Your Personal Brand

Your online presence is your new station ID. Clean up your bios, update your headshot, and make your LinkedIn headline forward-looking.

Post regularly. Share insights about media, personal lessons, or clips of your work. Every post reminds your network that your story is still unfolding.

Explore New Platforms

Radio people are natural storytellers. Extend that gift to the following:

  • Podcasting, Video Podcasting
  • Facebook, YouTube or TikTok mini-shows
  • LinkedIn newsletters
  • Voiceover demos on social channels
  • Set up ALL your social channels for monetization regardless if you’re eligible yet
  • Volunteer – that volunteer gig may help you learn new skills that you can add to a resume, foster new relationships, and open doors to your next opportunity

As the actor Bryan Cranston said in an interview, “nobody wants to hire someone who needs a job.” Employers can smell desperation so make sure that you’re busy, motivated, and moving forward.

Consistency, not perfection, builds connection.

Takeaway

Your brand doesn’t end when your show does. The audience you built can follow you anywhere because your voice is the product. In this booming creator economy (expected to exceed $400 billion globally by 2027), authenticity and storytelling are the new prime-time. You already know how to deliver both.

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.

The 2026 Music Industry Wish List: AI, Fair Pay, Cheaper Tickets and More

Mike Gunz
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The 2026 Music Industry Wish List: AI, Fair Pay, Cheaper Tickets and More

2025 will be known as the year that setup what could be one of the most impactful years for the music industry that we’ve seen since the debut of Napster and the rise of mp3s.

I decided to focus this week’s column on my Christmas and holiday music wish list is. It’s a look at what I’d like to see within the music industry and its’ adjacent verticals in 2026.

In many ways, the past year was a recalibration for the music industry. It began laying the groundwork for what will inevitably be known in the coming year as the moment when Artificial Intelligence became a part of music as we know it.

Despite push back at times from both artists and fans, recent announced partnerships by Warner Music and the AI-music platform Suno, displayed the record labels’ mentality for what the industry can expect to see more of next year. However with any change comes a period of uncertainty, which is why many of my hopeful wishes for the new year could also be categorized as “pleas”. The future of music could very well depend on if they come true or not!

Figure Out AI’s Role Within the Music Industry

With AI not going anywhere, my first wish for 2026 is that there is some sort of system put in place that clearly identifies if a song is actually created by humans or if it was AI-generated. There must be a globally recognized “AI was used in the making of this” label. Transparency is key. It has been one of the biggest criticisms from creatives across the music, film and art communities.

By implementing this first step, then the more complicated issues such as revenue sharing, song ownership and more can be focused on. However, none of that can happen if the industry doesn’t first come to some sort of AI-content disclaimer and agreement that benefits all parties involved.

You’d think it’d be relatively simple to do, right? Think again.

Spotify has a number of problems this year trying to address AI and “fake” bands infiltrating their platform. The result has been tremendous backlash from artists and fans. It’s forced the streaming service to announce new guidelines (that have not worked out as intended) to help identify if a song was made by humans or machines.

If the powers that be can not setup some sort of framework with Artificial Intelligence within the coming months, then the system as we know it will become a rudderless, algorithmic-spewing devoid space for the entire industry. The stakes have never been higher.

More Streaming Revenue For Artists

According to a 2024 report from MusicRadar, Spotify pays independent artists $0.0029 per stream. That adds up to about $3.00 per 1000 listens. Other platforms such as Pandora pay even less.

With such an unreliable and insufficient streaming pay structure, artists have had to adapt and earn the majority of their money from touring, merchandise, licensing and direct-to-fan models.

However, the combination of fans being more careful and selective with their money due to the currently unsure economic times, as well as artists having more (and unfortunately cheaper) competition via the rise of AI-generated music, means that the majority of musicians are at a severe disadvantage when trying to make a career out of music. Every single streaming platform knows that they hold all the cards when it comes to an artist’s music being able to be heard by the masses.

My hope for 2026 is that we see more streaming revenue shared directly with artists in a quick, timely manner.

Figure It Out: Make Tickets Cheaper

Every music and sports fan can agree on one thing: ticket prices are out of control.

When the whole Taylor Swift/Ticketmaster debacle happened ahead of her Eras Tour in 2024, many Republicans and Democrats (who can’t agree on anything) were able to come together. Bipartisan Congressional hearings were held and legislation was proposed to try and curb the live event ticket monopoly.

Although there has been progress, including an Executive Order signed by President Trump to punish ticket scalpers, much more needs to be done. The secondary ticket market and more importantly their lobbying power, is a multi-billion dollar industry. It holds massive weight, influence and power within Washington DC politics.

Fans just want to be able to enjoy a concert that doesn’t cost more than half of their monthly rent!

A Rock Band Needs to Play the Super Bowl

Super Bowl LXI won’t be held until 2027, but can we please have a rock band play the Halftime Show? The last time a live band performed their own music was in 2019 with Maroon 5.

Since then it’s been a mixture of pop, rap and R&B artists. Recent performers have included Shakira/Jennifer Lopez, The Weeknd, Dr. Dre/Snoop Dogg/Eminem/50 Cent/Mary J. Blige, Rihanna, Usher, Kendrick Lamar and Bad Bunny, who will be performing at Super Bowl LX this coming February.

For the love of God can we please have the Foo Fighters, Green Day, Metallica or wait for it…Oasis? Let’s bring back live guitars and drums to the Super Bowl!

Rough Waters Ahead

In many ways, the 2025 music industry gave a “bleh” feeling. Sure, the live event industry led by LiveNation continued to grow. It made record profits. Streaming platforms became bigger, more pivotal and powerful than ever before. But overall, music felt like it was just there.

Don’t get me wrong, there were still a number of positives within the industry this year. Despite high ticket prices, live touring continues to grow. We also saw the rise of smaller festivals. Pop-up, DIY, fan-focused performances that generated buzz and a viral aspect to them also gained steam. Rock’s resurgence this year proves that music fans desperately want and are willing to show their appreciation for music.

However, with new technology like Artificial Intelligence creating an uneasiness and frankly, unsure road ahead, it’s my ultimate hope that the industry can come together and set some basic standards that will benefit artists and musicians.

It’s easier than ever to create music these days thanks to at-home technology. At the same time, AI is only going to get bigger and more rampant.

If the rest of the system isn’t organized and setup in a structured and economically-sound manner to accommodate them, then unfortunately 2026 may be another rough year for artists. How about we take an initiative and try and not let that happen?

Thoughts? Comments? What do you think needs to change in music in 2026? Tweet me @TheGunzShow.

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 550 KFYI PD Aaron Trimmer Keeps the Station Near the Top of the Phoenix Radio Ratings

Garrett Searight
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How 550 KFYI PD Aaron Trimmer Keeps the Station Near the Top of the Phoenix Radio Ratings

Look at the Nielsen radio ratings in a given market, and you’ll likely see some success stories for news/talk radio brands. But in few markets will you see opinion-driven talk stations as high as 550 KFYI in Phoenix.

In the market, the station recently finished November tied for sixth place in the Persons 12+ ratings with a 4.2 share. That’s down from finishing the prior month in third place with a 4.7 share.

So, despite being geared to an older demographic, there sure are a lot of folks listening to 550 KFYI.

And Program Director Aaron Trimmer believes that success starts with the local talent assembled on the station, like morning host James T. Harris and afternoon host Garret Lewis.

“They’re the end product, and they’re who the listeners you know want to engage with, so that’s the foundational piece,” Trimmer said. “You have to have great talent that you know you can trust to drive listenership to the show.

“I think it’s also about knowing your brand and knowing who and what you are and what you stand for,” Trimmed added, “and super serving that brand identity, 24 hours a day, seven days a week, so that when people turn on to the radio station, they know what they’re getting.”

In addition to airing on 550 KFYI, The Conservative Circus with James T. Harris and The Afternoon Addiction with Garret Lewis also air on iHeartMedia news/talk sister station 790 KNST in Tucson.

But those are the only two local weekday shows on the station. The remainder of the lineup is filled with nationally syndicated hosts, like Bill O’Reilly, The Clay Travis & Buck Sexton Show, Sean Hannity, and Glenn Beck, among others.

Trimmer shared that he thinks the ratings success of the station shows how impactful and important the national shows still are.

“I think Clay and Buck, in particular, do a very good job of taking the foundation that Rush Limbaugh laid and building their own unique style and approach. As far as the national talent, I’m not picking up the phone and calling Clay Travis and saying, ‘Hey, here’s what you need to talk about today,'” Trimmer said with a laugh. “But we do try to integrate and promote those shows. It’s constant promotion. If we get an alert … we make a big deal about it and act like they’re part of the radio station because — from a listener’s standpoint — they’re part of the same brand.”

Weather is often a hot topic on news/talk radio stations. That isn’t exactly the case in Phoenix, where it’s hot in the summer, and slightly less warm in the spring, fall, and winter.

But that lack of attention paid to one of the tentpoles of the format allows 550 KFYI to focus its attention on other avenues, and owning its chosen lane.

“It’s not that big of an impact to our listeners on a day-to-day basis,” Trimmer said of weather coverage. We know what we do well, and that’s we’re an opinion-driven talk station. Our competition is the news station in town. And we understand that when there’s a breaking news story, we probably are going to lose cume to them, because that’s just what they do. And they do a good job with it.

“But our place is to be the opinion talk station. So that is what we image. That is what we build on. Our approach is, realistically, how many big breaking news stories are there during the year versus how many days are people tuning into us to hear us talk about what’s going on day to day, whether that’s locally or nationally.”

“This is an old, outdated analogy, but if you look at it like a newspaper, we are the opinion columnist,” Trimmer later added. “We’re not the news brand of the newspaper. When I was growing up, people remembered the opinion columnists and reacted to them way more than they did the news aspect of the news. That’s what we’ve done is we really put our brand identity into being opinion commentators.”

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.

Glenn Beck Has Shown Us the Future of AI in Media: It’s Equally Terrifying and Exciting

Garrett Searight
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Glenn Beck Has Shown Us the Future of AI in Media: It’s Equally Terrifying and Exciting

Glenn Beck gave us a preview last week of just how quickly artificial intelligence is transforming the media world, and it was equal parts thrilling and unsettling.

He showcased an interview with an AI-generated version of George Washington. The voice wasn’t especially sharp, but the video quality was shockingly strong. It looked like a conversation from another era stitched directly into modern media.

And if the visuals are already that good, imagine where we’ll be by spring.

That’s what makes this moment so fascinating. It’s not theoretical anymore. And it’s not “something that’s coming.” It’s here.

And while the Beck demo wasn’t perfect, it was the clearest reminder yet that AI is advancing faster than any of us can fully process.

The excitement is undeniable. This technology opens doors that can’t even be described yet. Anything you can imagine becomes something you can create, almost instantly. It feels like the dawn of the internet all over again — that same sense of stepping into a digital frontier with endless space to explore.

But instead of basic web pages and clunky dial-up speeds, we’re talking about the ability to generate full conversations, full characters, and full productions from scratch.

That’s why the Beck clip resonated. He could, if he wanted, host a daily show with George Washington as his permanent co-host. Not a bit. Not a sketch. A full show. He could launch a podcast, a YouTube series, or a streaming program with Washington weighing in on the news of the day. And it wouldn’t stop there. Anyone in his orbit could do it too. Anyone with access to the tools could bring back historical figures, fictional characters, or entirely new personalities and plug them into a media product.

That kind of freedom is intoxicating. It expands the creative universe so far beyond what traditional media was built to handle that it almost breaks the old framework entirely. You’re limited only by what you can think of, not by what you can afford or produce.

But the terror is just as real, and maybe even louder.

AI video and audio will become indistinguishable from reality. Soon. Sooner than most people assume. If George Washington can look that good today, imagine how convincing a synthetic version of the sitting President will be a year from now. Will people be able to spot the difference between a legitimate speech and an AI-generated imitation? Will the audience know whether a statement was real or whether someone produced it to sway public opinion? We’ve always struggled with misinformation, but this technology raises the stakes to an entirely new level.

There’s another, deeper concern. At what point do people start deferring to AI versions of historical figures for guidance rather than making decisions based on their own judgment? It sounds ridiculous until you remember how often sports franchises let analytics dictate strategy. We watch teams ignore the moment in front of them because the model told them to go for it on fourth down. That’s not hypothetical. It happens constantly.

Transfer that habit to politics and the consequences get dangerous fast. If leaders lean on AI models or algorithmic forecasting to justify decisions, we’re in trouble. “The computer told me to” becomes an easy scapegoat. It removes accountability. It removes judgment. And it lets people outsource responsibility while pretending they’re simply following the data.

That’s the terrifying part of this new world. It’s not just that AI can fake reality. It’s that AI could become part of the decision-making process for people who hold real power. And once that starts, it’s nearly impossible to walk back.

Still, the Beck video captured exactly why this technology is so hard to categorize cleanly. It was funny watching him tell George Washington to “dumb it down.” It was fun hearing him say, “speak in today’s language” and watch the AI-version of one of the most consequential leaders in world history change its demeanor. The moment was genuinely entertaining.

But it also sparked a flood of questions about how this tech could be used for far more than amusement. It forced you to imagine what happens when the wrong person uses the same tools, the same software, and the same capabilities.

AI in media is going to be the most exhilarating and the most unsettling shift we’ve seen since the internet arrived. And just like that moment, most of us have no idea what’s coming next. We only know it’s coming fast.

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.

B-Dub Radio Expands to 60 Weekday Affiliates

BMM Staff
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B-Dub Radio Expands to 60 Weekday Affiliates

B-Dub Radio is continuing its upward trajectory. The independently owned country program hosted by Bryan “B-Dub” Washington, has expanded to 60 weekday affiliates. Stations in Boise, ID (KDZY-FM), Chico-Redding, CA (KALF-FM), and Lubbock, TX (KLLL-FM) are the latest to sign on. The latest wave of growth reinforces the show’s position as one of the more energetic and personality-forward offerings in the country format.

“Hitting 60 weekday affiliates is a big milestone, especially for an independently owned show,” B-Dub said. “I am beyond grateful for every PD, GM, and listener who decided to take this ride with us. We’re building something special, and we’re nowhere close to done. There is more to do and more opportunity to serve!”

Industry executives have taken notice as well. Andrew Kalb, EVP of Strategic Business Operations at Skyview Networks, says the show’s momentum reflects both B-Dub’s on-air versatility and the marketplace’s appetite for personality-driven country content.

“We are thrilled to see B-Dub Radio continue to set itself apart as one of the most dynamic and engaging country radio shows on air,” Kalb added. “With each new affiliate comes another opportunity to showcase B-Dub’s incredible talent—and with its expanded footprint, deliver even greater value to advertisers.”

B-Dub Radio airs five hours daily, Monday through Saturday. The show offers customization and content-only options for stations looking to integrate the show into multiple dayparts. For additional details, contact Skyview Networks.

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WBT Programming to Depart 1110 AM After Move to 107.9 FM

BNM Staff
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WBT Programming to Depart 1110 AM After Move to 107.9 FM

WBT is making the move to 107.9 FM on Thursday. But, it is also departing the 1110 AM signal in the process.

As part of its announcement on Monday, the station revealed that it would remove the familiar Charlotte news/talk programming from the AM signal in January after it relocates to the 107.9 FM signal.

“That history is something that is near and dear to all of us, myself included, Marsha (Landess, Radio One Vice President and General Manager) included, all of you and everyone here listening,” said Program Director Mike Schaefer. “That brand, WBT, will continue. We will be the stewards of that history at 107.9 FM. Not going away, not going to be forgotten and will be talked about for the next hundred years, which is why we are making this move.

“As it regards to WBT AM 1110, we will continue as a company Radio One and Urban One will continue to proudly own and operate AM 1110 WBT,” Schaefer continued. “There’s no question about that. Please stay tuned for announcements coming on what that programming will be.”

Currently, WBT is heard on the 99.3 FM signal. That dial position is equipped with 7,700 watts of power and is licensed to Chester, South Carolina, which is roughly 50 miles southwest of Charlotte. Its signal covers the southern and western suburbs of the city, but struggles to penetrate Charlotte proper.

The 107.9 FM signal — which currently hosts the Mix 107.9 brand — features 100,000 watts of power, and is licensed to Charlotte. It is the most powerful signal at the Radio One Charlotte cluster.

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Former ESPN Exec Nate Ravitz Tabbed to Lead theScore

BSM Staff
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Former ESPN Exec Nate Ravitz Tabbed to Lead theScore

Former ESPN executive Nate Ravitz has announced he’s joining theScore to head up the digital endeavor.

Ratvitz previously spent 17 years working at ESPN. Most recently, he served as Senior Vice President of Digital Content and Audience Expansion. He also worked as an editor and Senior Director of ESPN Now, as well as in the Premium and Fantasy divisions during his nearly two decades with the brand.

In a post on social media, Ravitz shared his excitement for the new endeavor.

“I’ve long admired what theScore has been able to build and achieve in the incredibly competitive landscape of mobile sports apps,” said Ravitz. “I couldn’t be more honored to join the team and build on that great legacy … We’re playing to win. Let’s go!”

At theScore, he’ll lead the company’s Media, ad sales, and growth initiatives for PENN Interactive’s media business. The outlet has more than 12 million social media followers and 4 million monthly active users. It is now also natively integrated with theScore Bet, the mobile sports book located in 21 U.S. states.

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Nearly 75% of Streaming TV Subscribers Cut a Platform in Past Year Due to Rising Costs, New Data Shows

BNM Staff
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Nearly 75% of Streaming TV Subscribers Cut a Platform in Past Year Due to Rising Costs, New Data Shows

Many Americans looking to reduce monthly cable or satellite bills are also cutting back on streaming TV services, according to research from All About Cookies.

The digital privacy education site found that 74% of consumers canceled a streaming service in the past year because of rising prices or switched to a cheaper or ad-supported option.

The survey reported that Americans subscribe to an average of 3.4 streaming services. 27% of respondents subscribe to five or more services. The average monthly cost for streaming subscriptions is $48.13.

Traditional TV services have continued to decline. Less than one-third of Americans (30%) currently use cable or satellite. When asked if they regretted cutting the cord, 5% of respondents said they did.

The survey also examined how people watch television. 90% of respondents subscribe to paid streaming services, up 14% from 2024. Free streaming services are used by 58% of respondents, an increase of 15% from last year. Cable or satellite usage dropped 16% from 2024, standing at 30%.

18% of Americans report using an antenna and free broadcasts, up 3% from last year. The share of people who do not watch TV remained unchanged at 2%.

Among paid streaming platforms, Netflix and Prime Video led the market. 69% of respondents subscribe to Netflix, while 66% subscribe to Prime Video. Apple TV accounted for 15% of subscriptions, and YouTube TV 12%, according to All About Cookies.

The survey included 1,000 U.S. adults surveyed last month through Prolific. All respondents were older than 18, U.S. citizens, and completed the survey anonymously.

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