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ESPN Has Run Out Of Ideas, But That’s Not A Bad Thing

John Mamola
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ESPN Has Run Out Of Ideas, But That’s Not A Bad Thing

Bomani Jones is correct. When he says that ESPN has run out of ideas, he’s not wrong. Around the Horn ended in May, yet we’re still waiting on a replacement. ESPN President of Content Burke Magnus told the SI Media Podcast w/Jimmy Traina that the network isn’t in a hurry to replace the former power hour program, instead saying a new show may not come till the fall of next year.

There’s your proof. ESPN has run out of ideas, or at least isn’t in the business of crafting its own programming for mass consumption. This isn’t your daddy’s ESPN anymore, and there’s proof.

What I’m left puzzled by is this: Is that a bad thing? Or is ESPN positioning itself for how the consumer thinks and acts on content now and in the future?

We all remember the ESPN of old. SportsCenter ran on a loop in the mornings with anchors everyone knew by a catchphrase or a nickname. Baseball Tonight ushered in Gammons, and Sunday NFL Countdown brought us Boomer. The network introduced “Boo-Yah” into our national vocabulary and held the collective consciousness of the sports fan.

Times change, and networks evolve. The era of sports debate crept into the programming at the “worldwide leader.” Cold Pizza turned into First Take, and the one-two punch of Tony Reali on Around the Horn and Pardon the Interruption took over. Baseball coverage became an afterthought in lieu of even bigger media rights deals with the NFL and NBA.

Remember ESPNChicago.com and ESPNNewYork.com? How about ESPN The Magazine? Long live ESPN Bet.

Evolution once again. ESPN spun off ESPN2, ESPNU, ESPNews, and ESPN Deportes. The network helped launch the ACC, SEC, and Longhorn Networks. They have even evolved to embrace ESPN8 The Ocho as reality from time to time.

Evolution is constant; change is mandatory for survival. Too many sports radio properties are finding that out every day but refuse to invest in navigating that change. ESPN is the leader for a reason because no competitor has come close to providing the level of content they have for over 46 years.

ESPN President Jimmy Pitaro’s mission statement is serving sports fans anytime, any place, and anywhere.

The difference today is sports fans have more options than ever before to be served. ESPN is taking notice while others simply watch from the sidelines. That’s attacking the latest edition of evolution for ESPN.

Bomani Jones was correct. ESPN has run out of ideas. However, what’s the difference between what ESPN is doing versus, say, an iHeartMedia?

iHeartMedia is the country’s leading audio company in the United States with over 860 radio stations in 160 markets. Its iHeartRadio app is the gold standard for how radio consumers evolve to the digital arm of the company.

Of those 860 radio stations across the country, there are thousands more people iHeartMedia hires as talent for their radio brands. iHeartRadio is also the top podcast publisher globally, with over 180,000,000 downloads a month according to their latest October data.

The radio listener has evolved to listening to podcasts and on-demand content instead of finding the radio. Hence, iHeartMedia had to evolve with the audience. However, ask yourself this: Are the thousands of employees iHeartMedia hires their top podcasters? Or has iHeartMedia arranged media deals with proven entities in the podcast space so iHeart can market their content on its platform?

Is iHeartMedia out of the ideas business too? Or is this just how business in media is done for the current time?

ESPN is simply evolving faster than any other network of its kind. It recognizes that independent creators have taken hold of a slice of the ownership the network once had on the sports fan’s day-to-day. There are more options than SportsCenter to get sports highlights and news. There are more sports debate shows because the barrier to entry has disappeared.

It doesn’t necessarily make the content better than what ESPN puts out. It’s more about whether it’s getting attention. The attention economy is all that matters for the programming at ESPN. Why invest in talent that is unproven and hope for the best when you can go out and sign independent creators to licensing deals?

ESPN is the most valuable megaphone for independent creators to chase for maximum visibility, for now. The network leverages that with creators whose content aligns with the branding of all things sports. Why would ESPN want a Pat McAfee viewer being served by going to YouTube when you can integrate him into every ESPN and onto the megaphone?

That’s not running out of ideas; that’s smart business. It’s the evolution of a network adapting and disrupting the new spaces where sports fans are being served.

I’ve talked to too many former athletes, including Emmanuel Acho and Robert Griffin III, who have started their own independent content. The goal is not to market the content and remain independent; the goal is to get to network.

The new résumé is no longer a sizzle reel. Your worth on a résumé is in subscribers, likes, watch time, reach, and engagement. Quality doesn’t matter if your stat line is overly impressive.

I ask again, is it a bad thing that ESPN has run out of ideas? Does ESPN need ideas for the next generation in the first place? Why get creative when ESPN can be the general manager signing proven entities at less cost and with more room to grow outside their own brand?

At some point, we have to stop grading ESPN on the scale of what it used to be and start evaluating it on what the business demands now. Maybe they’ve run out of traditional ideas. Maybe that era is gone. But in a landscape driven by clicks, creators, and constant disruption, ESPN’s smartest idea might be realizing it doesn’t need any.

Not when the marketplace is overflowing with proven stars who have already done the work themselves. That’s not creative bankruptcy. That’s strategic evolution — and for ESPN, it might just be the idea that keeps them dominant for another 46 years.

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

Why Radio Stations Can’t ‘Tweak’ Their Way to Growth

Keith Cunningham
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Why Radio Stations Can’t ‘Tweak’ Their Way to Growth

The budget has arrived for your radio station. You open the spreadsheet, sip your coffee, and here’s your scenario:

The brand sounds good, the line item for marketing reads zero, but the front office expects Cume growth and a 10% revenue jump. That leaves you with the following options:

  1. Fish for more fish, widen the pool by adjusting the content.
  2. Be patient.

What’s your answer?

If marketing were an option, that would be C and the real answer. In this case though, B gets the chicken dinner. A could be malpractice.

It usually goes like this: If we broaden the library, we’ll get a larger audience.

It’s understandable logic. But that thinking, if not careful and especially with established brands, can trigger an identity crisis. Even worse, it can alienate the core.

Just ask Alternative brands that wanted to youngify and started using TikTok like callout. Or Rockers that thought they’d grow Cume by sprinkling in a few Hot AC hits “with guitars.”

Those movies usually end with the new crowd not moving in and listeners wondering why there’s kale on their burger.

This thinking is common across all sectors:

  • Cracker Barrell
  • CNN+
  • Whatever that Bud Light moment was

If Artery Blasters wants to add a protein shake to their menu that’s fine. It shouldn’t pretend though that burgers and fries aren’t why people come.

Making tweaks — adding one more Recurrent per-hour or going 10% more Gold — are normal. If lucky, maybe it minimally moves a meter. Tweaks aren’t widely noticed or likely to change behavior. Behavior is what drives growth.

Think of it like this: Adjusting clocks or bumping Green Day from Power to Secondary are like straightening the bedspread. It looks a little better but it doesn’t mean Sydney Sweeney is sleeping over.

Fred Jacobs used to remind us: “Don’t expect big results from small tweaks or baby steps.” If a brand wants big results, they’ll have to do something big and bold.

Of course, big and bold can become big and bold. It can also become big and dumb.

I’ve seen radio stations with the best of intentions want to demo down or widen. They alter their target and change the library with several tweaks, hoping to find new friends.

Six months later? They are flat at best, down at worst, and rarely up. It becomes a case of ‘here we go again, back to the never-ending drawing board’.

A brand can’t tweak its way to transformation.

Tweaks may seem small, but if a brand makes a lot of them, they’ll add up quickly. That can become a problem. You’ve heard the phrase, “Death by a thousand paper cuts.”

So, back to the original scenario.

If the product already sounds good but orders have come down from the big house that growth is needed, there are only two reliable doors to choose.

  1. Patience — still scratching and clawing for every inch, but hoping that if it’s built, they will eventually come.
  2. Marketing and promotion — actually let new people know there’s a great product waiting for them.

The other common scenario is when the product isn’t perfect and needs improvements for growth to occur. That’s more complex and deserves another 500 words.

The first step is to understand why the product is off and what bold adjustments will fuel growth. Knowing those correct answers requires at least one of several different types of reliable research. Hey, maybe you’ll find out kale is what the audience wants.

It’s funny what happens after that. Now you’re right back at the beginning.

The product (now) sounds great, but cent-comm wants growth. What should you do?

The correct answer is C — that’s the door that brings people in.

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 Ken Anthony’s Perspective Serves as a Reminder of Rock & Roll Radio Fundamentals

Mike Stern
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How Ken Anthony’s Perspective Serves as a Reminder of Rock & Roll Radio Fundamentals

Many years ago, at the start of my career, I worked as night host and Promotions Director for a station. The Program Director was David Moore, currently the Operations Manager/Brand Content Director at Hubbard’s Phoenix cluster, where he oversees three stations, including Classic Rock KSLX and Alternative KDKB.

Being new in the business, managing multiple jobs, and living alone in a strange city, I sometimes felt overwhelmed. Moore would sit me down in his office. In his always gentle way, he would say, “Stern, get some perspective!” His words would snap me back to reality, and we would press on.

Across the width of his career, Ken Anthony has done just that. He has perspective. The roles he has held give him a unique viewpoint very few people in our business have. He spent more than a decade as the Rock Editor at All Access. He also ran his own consulting company. His on-air and programming experience dates back to playing actual vinyl. He has seen a lot in the industry.

The best part is, unlike so many people in the industry, he isn’t jaded. “My first love is still radio, actually being on the radio.”

Even while he was at All Access, Anthony couldn’t put his headphones down, doing weekends at KLOS in Los Angeles and KSAN in San Francisco. “I was able to get my radio fix and still get the broader worldview that came with All Access. It was best of both worlds,” he said.

That gave him a macro view of the industry, tempered with an understanding of what the people in the studio were experiencing.

Just months after All Access closed, Anthony was quickly picked up by Audacy as he joined Classic Rock KSEG 96.9 The Eagle in Sacramento as Assistant Brand Manager and afternoon drive host.

He likens it to being a former coach who had moved into the broadcast booth. “At the very end of the day, what’s still in their heart is to get back to coaching, back in the game instead of being on the outside,” said Anthony.

Returning to full-time work at a station, many skills came back quickly. The biggest difference was producing content six days a week instead of two.

“That’s a lot of content holes you have to fill.” While he doesn’t pretend to be a personality who transcends the station, he describes his approach as well-rounded. “I’m one of those guys that blend a little bit of pop culture, real life and music,” says Anthony.

That fits well with the Eagle’s overall position in the market. While sister station 98 Rock has always been very personality-forward, the Eagle, which recently celebrated 35 years on the air, has been more about the music.

“There’s nothing over the top in terms of our delivery. We’re just trying to be warm and friendly, and it works. It just blows me away when I see the numbers every week,” says Anthony.

Even after three and a half decades, Anthony says he isn’t worried about the future of Classic Rock like some people in the industry are.

“Classic Rock has its standard 35 to 64 year old audience, but you would not believe how many times I get listeners in their 20s or 30s who are just discovering this music. So, in a way, Classic Rock, because the music is so great, has the ability to grow a new audience,” he noted.

With his vast experience, Anthony’s perspective is not limited to Classic Rock. At All Access, he was also deeply involved in Active Rock. He sees challenges for the format, starting with the lack of a cohesive, impactful music movement.

“There was the British Invasion of the ‘sixties, AOR in the ‘seventies, hair bands in the ‘eighties and Grunge in the ‘90s, but there really hasn’t been a movement since 2000,” said Anthony.

He goes on to explain that a movement is more than just a band or a few songs.

“It’s something that people outside the movement become curious about and want to jump in and be part of. There was a lifestyle component to all those movements, and since 2000, I don’t know if there’s been one,” Anthony explained.

What’s tougher to discern is whether there will ever be another movement that propels Rock forward the way the British Invasion or Grunge did in their times. “There’s so much to consume today,” explains Anthony.

With so many sources for music, plus millions of podcasts and websites, he believes how people find and consume content may hinder another movement from forming.

His recipe for the future of Active Rock radio has two main ingredients. The first is maintaining passion for new music.

“You need to set a new song up like it’s the next great Beatles song. You have to show your excitement for it and then let the audience decide,” says Anthony.

The second part is compelling personalities. “I think if you rely just on the music, when there’s so much new stuff that doesn’t turn on mainstream people, that could get you in trouble.”

While the Eagle is an exception with a stronger music focus, he believes most Classic Rock stations rely on personality. This is even more true for Active Rock stations.

“You have to have either the killer morning show or the guy that’s been on the afternoon forever who moves the ratings needle when the music is not necessarily going to carry you,” he noted.

He believes the industry has a bright future. However, he worries about where the next generation of talent will come from. Many people have lost their jobs due to cutbacks.

“I have been very, very fortunate to have a long career in this business,” Anthony says, but he realizes not everyone has been so lucky and that it can be difficult for people. He explained, “What ends up happening is people lose their job and their identity at the same time.”

His advice is to try and separate the two. “Remember, you didn’t lose yourself, you just lost a job. Don’t beat yourself up. It happens.” Most importantly, he stresses, “You are not Ken Anthony from the Eagle. You’re Ken, whatever your real name is. You have to keep that perspective.”

Just like Moore used to tell me all those years ago.

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 Spotify Wrapped Became the Greatest Marketing Tool in Audio History

Garrett Searight
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How Spotify Wrapped Became the Greatest Marketing Tool in Audio History

Spotify Wrapped has become a cultural event. Every December, timelines explode with neon-soaked graphics, quirky stats, and proud declarations of personal taste.

And every December, it becomes clear that Spotify Wrapped isn’t just a fun year-end tradition. It’s the greatest marketing tool in audio history. Nothing else in radio, streaming, or podcasting comes close.

Users do not simply check their Wrapped stats. They go bananas. They marvel at the hours they spent with their top artists, shake their heads at the songs they looped endlessly, and feel validated when they learn they are among an artist’s most loyal listeners. It turns routine data into a badge of honor.

And then the sharing begins. Wrapped assets spread faster than a political hot take on cable news. You can’t escape them. They’re everywhere. Each graphic comes with bright colors, wild patterns, and bold typography. The branding stands out instantly. Even if you scroll past them without reading a word, your brain registers the same thing over and over — Spotify.

It’s a marketer’s dream. Every user becomes a billboard. Every post becomes free advertising. Competitors can try all they want, but there is only one original. No one else has matched the scale, impact, or cultural gravity of Wrapped.

What makes the campaign so effective is that it pairs two of the biggest engines for consumer growth. It is social proof and FOMO working together in perfect harmony. Social proof is obvious. You cannot go more than a few posts on any platform without someone sharing, bragging about, or marveling at their results.

Wrapped posts flood your feed like clockwork. They tell you what everyone is listening to and why they love it. You may not care about your coworker’s top five artists, but the sheer volume of posts sends a message. Everyone uses Spotify. Everyone is talking about Spotify. And everyone is showing off Spotify.

Then comes the fear of missing out. It is subtle but powerful. When every other person you know is posting their Wrapped, and you are not, you notice. You may wonder what your own stats would look like. You may feel left out of the cultural moment. Or maybe you want the same colorful slides that make your friends look cool and interesting. So you sign up. Or you switch platforms. Or you start using Spotify more often so next year’s results look even better.

That’s the genius. Spotify has created a ritual that rewards engagement, encourages loyalty, and nudges outsiders to join in.

It’s brilliant business. It costs Spotify very little to produce these graphics compared to the value they generate. The campaign boosts user engagement. It strengthens brand perception, it drives new signups, and it also cements Spotify’s image as a fun, innovative, youth-focused platform. All of that comes from leaning into data that the company already has. Wrapped takes something mundane and turns it into a spectacle.

The audio industry dreams of a marketing tool this effective. Radio has loyalty, but it does not have a shareable year-end product that turns listeners into full-time ambassadors. Podcasts have massive reach, but they do not have a universal event that captures attention across age groups. Spotify Wrapped stands alone. It owns the moment every December and does so with style.

The company deserves the praise. Spotify built a marketing machine disguised as a party. They created a product people love to share and crafted a visual identity that stands out in every feed. Wrapped is not luck. It is strategy. And it is a masterclass in how to turn users into evangelists.

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.

As Lebron James’ Era Comes to an End, Who Will Be the Next King of the NBA?

John Lund
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As Lebron James’ Era Comes to an End, Who Will Be the Next King of the NBA?

It’s finally upon us. After twenty seasons and an epic journey through the annals of basketball history, LeBron James’ reign is faltering. Every highlight, every social media post, every echo of “Taco Tuesday” now rings with a sense of finality.

From “Taking My Talents to South Beach” to two reclamations in Cleveland, to the Bubble title and Space Jam 2, the LeBron James era is quickly drawing to a close.

For the first time in two decades, the King looks mortal. The crown sits heavy. For the first time in forty years, the NBA faces an unprecedented crisis: an empty throne with no clear heir to claim it.

The 2025–26 season didn’t open with fanfare or anticipation but with a warning: LeBron James, sidelined by a right-side sciatica flare-up, missed the first fourteen games — the longest opening absence of his storied career. When he returned, the decline was unmistakable. Through his first five games, James averaged 15.2 points, 4 rebounds, and just over 7 assists per game.

Compare those numbers to his career stats — 27.0 points, 7.5 rebounds, 7.4 assists — and last season’s marks — 24.4 points, 7.8 rebounds, 8.2 assists — and the numbers reveal a King at the twilight of his rule.

Yes, LeBron will still be an All-Star because royalty doesn’t lose fan vote elections. But it will feel more like an impersonation: applause for nostalgia, not dominance. Basketball is an empire built on succession. Every era has seen its monarch pass the scepter:

Magic & Bird led to Jordan. MJ transfered to Kobe. Mamba passed the torch to King James.

These weren’t just superstars; they were cultural rulers. They defined the game and transcended it. But now, with LeBron’s rapid decline, the NBA faces a void. No natural successor waits to be crowned. The league is holding open auditions, but no one seems eager or ready to inherit the crown.

Luka Doncic — The Sorcerer

Luka conjures nightly magic: nearly triple-double stat lines, dazzling passes, and effortless scoring. He’s a basketball genius with a mischievous grin. But he doesn’t crave the responsibilities of monarchy. Luka is global royalty, revered in Europe and beyond — but will U.S. fans elevate him to the throne?

Nikola Jokic — The Reluctant Emperor

Jokic is, by any measure, the world’s best player. His MVP resume is sterling, but he’d rather be at his stable than in the spotlight. The King must embrace the spectacle; Jokic shies away from it. He rules the paint, but he won’t rule the culture.

Giannis Antetokounmpo — The Noble Knight

Giannis is beloved, dominant, and universally admired. But the face of the NBA must polarize — a true center of gravity. Giannis’s humility and broad appeal make him an icon but not a monarch who commands controversy and conversation.

Anthony Edwards — The Prince

Edwards has the charisma, swagger, and passion to wear the crown. He wants the throne and might grow into it. But a King needs a kingdom, and Minnesota remains a football and hockey state — not a basketball hotbed. How can you rule the league when you don’t even rule your own city?

Victor Wembanyama — The (Possible) Heir Apparent

Wemby is the prophecy incarnate but not yet the present. He has the raw talent and intrigue, but the coronation is years away. San Antonio, for now, is a humble kingdom — not the global stage required for a King.

Shai Gilgeous-Alexander — The Stylish Duke

Shai is elite, smooth, and plays at an MVP level. But questions remain about his willingness to embrace the spotlight — and Oklahoma City is a workshop, not the palace required for a King.

Five of the six players mentioned above are international stars who could someday ascend to the top of the NBA kingdom. But can an international player wear the crown? In theory, yes. In practice, not yet.

The King’s rule wasn’t just about basketball; it was about culture — sneakers, viral videos, debate shows, barbershop talk, headline drama, and social media storms. LeBron commanded every conversation, on and off the court.

International stars now own the game, but none have claimed the culture. And in the NBA, culture is the true crown.

Then there’s the question: Does the NBA even need a King anymore? Purists might argue the monarchy is archaic. But the NBA’s greatest heights — Magic, Jordan, Kobe, LeBron — have always been built around a central figure, a gravitational force. The league’s national identity is intertwined with personality, drama, and spectacle, not just statistics or strategy.

Casual fans aren’t drawn by pick-and-rolls; they come for the stories, the stars, the controversy. Remove the King, and you remove the sport’s biggest draw.

So every time LeBron sits with sciatica, every time his stat line reads 15 instead of 35, every time he moves at forty-year-old speed, we see a glimpse of a future NBA without its center of gravity.

The numbers are telling. Last season, Lakers national TV games without LeBron saw double-digit viewership drops. ESPN lost momentum. When the King doesn’t appear, the empire doesn’t assemble. Soon, the NBA will face a day when he doesn’t appear at all.

LeBron’s decline marks not just the end of an iconic career but the end of a monarchy. The crown is slipping, and the armor is dented. The true crisis, however, isn’t in the King’s mortality — it’s in the absence of a bold successor. And it’s not just James who is nearing the end of his reign. His generational peers — Stephen Curry, Kevin Durant, Kawhi Leonard, James Harden, and the recently released Chris Paul — will soon turn in their crowns as well.

So, for the first time since Magic and Bird rescued the league, the NBA enters an age of uncertainty. The throne stands empty. The crown is unclaimed. The kingdom waits in silence.

The King is nearly gone.

And unless someone steps forward — defiantly, unapologetically, unmistakably. The next era of the NBA will be defined not by its ruler but by the quiet ratings meeting that follows the fall of a King.

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.

When Old School Command Meets New School Collaboration

Bob Lawrence
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When Old School Command Meets New School Collaboration

I’ve been working since I was 14 years old. My first job was at a Carvel ice-cream shop on Riverdale Avenue in the North Bronx. My family lived in the adjacent apartment building not even 100 yards away. The owner of the store was a scruffy, tough-looking guy from Iraq, but he always treated us well—as long as we did what he said, when he said to do it. I was a little kid just taking orders from the owner/manager, and I was good with it.

If memory serves, I think I made 65 cents an hour, and back then, that really helped develop my strong work ethic and appreciation for the value of a dollar.

While it was on a really small scale, most workplace environments were that way for decades. As we baby boomers navigated through the corporate world, we learned that leadership always followed a simple, predictable “old-school” model. It was built on basic hierarchy with a top-down structure.

The same model at my first job was what I experienced for much of my career. The boss was expected to be decisive, disciplined, and firm. Employees needed to simply follow instructions. Do that and you survived. Push back or ignore the rules?

Well—no one who tried that lasted very long.

They didn’t need a reason in those days. It truly was “their way or the highway.” In truth, that kind of leadership was responsible for creating many successful companies. Especially where efficiency, consistency, and control were critical. But as technology and workplace culture and expectations evolved, so did the definition of “effective leadership.”

There’s a new sheriff in town when it comes to models of leadership, and it represents a dramatic shift in the workplace. There’s far more collaboration instead of command, with a steady movement toward “emotional intelligence” over authority and adaptability versus rigid structure.

Perhaps I should say more “emotional awareness” versus “intelligence.”

With all the rapid change and competition, we’ve started to see a new multi-generational workforce that values purpose, flexibility, and inclusion. This has forced those old-schoolers at the top to evolve as well.

Back in the day (when we walked to school in the snow uphill both ways with no shoes… sorry, I couldn’t resist), senior managers made the decisions and employees carried them out. As I write this, I notice the word “employee” now carries a somewhat subservient tone versus the softer “team members” that just sounds more inclusive.

Back when I was coming up, information flowed in one direction, and “paying your dues” determined how much influence you had. The big-wig mindset was built around stability. The boss set long-term plans and expected the staff to stay the course.

Performance used to be measured primarily by output and compliance. Those in charge often kept professional distance, thinking that any personal engagement blurred the lines of authority. Communication was much more formal and transactional. Heck, in my parents’ day, no one even called the boss by his first name. It was always Mister last name. It was likely my generation who first said, “Call me Bob. Mr. Lawrence is my dad.” (Actually, Dad was a doctor, and heaven forbid anyone called him Mister.)

Conflict back then was usually avoided and rarely explored. Most importantly, those at the top were expected to know the answers, and if they didn’t, they were seen as weak. This approach made its way through the eras of manufacturing that had clear, predictable roles. But as environments demanded innovation and rapid response, the old-school leaders began to struggle.

Today’s leadership model was forced to adjust for people who are motivated differently and who see that innovation thrives when people experience trust, creativity, and shared purpose.

Today’s leaders “guide.” They “build” rather than “command.” They use “alignment” over “compliance.”

If you’re looking to become a new-school leader, you’ll certainly want to become self-aware, empathetic, and not only be capable of giving feedback but also receiving it. Our workplaces are no longer just professional environments—they’re also human environments. People want connection, psychological safety, and meaningful involvement.

It’s a tough thing for some to adopt, but one that you’ll find essential. Remember that people don’t leave bad jobs—they leave bad managers.

The new-school leaders must also learn to be more comfortable with uncertainty. Instead of relying on rigid plans, they will adapt quickly, experiment with new ideas, and be OK with teams that take calculated risks. Continuous evolution and openness over tradition and hierarchy will become the rule of the land.

I also remember when you never really knew what leadership was up to until they called a companywide meeting to let us all know. Today, those in charge have become much more transparent. Employees today want and expect to not only know the “what and how” but also the “why” behind decisions. Effective leaders today empower the team to contribute ideas and grow with the organization.

In reality, the most successful leaders today aren’t old-school or new-school. They’re a blend of both, taking the discipline and accountability of the former and mixing it with the empathy and collaboration of today.

One thing is clear… the companies that thrive will be led by people who understand that being in charge is no longer about authority—it’s about influence and the ability to adapt in a quickly changing world.

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 News/Talk Radio Can Win With Simplicity This Holiday Season

Pete Mundo
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How News/Talk Radio Can Win With Simplicity This Holiday Season

As we approach the holidays, the mindsets and habits of millions of Americans change. Everything is a little out of sorts. Kids are getting set for long breaks. Some are traveling out of town or preparing to welcome travelers. They’re planning their own time off from work, trying to close out the quarter and the year. There’s just a lot happening that isn’t within the normal routine of most Americans this time of year. That doesn’t mean news/talk radio needs to make drastic changes.

Understanding that listeners’ lives are upended during the holidays, often with a more chaotic schedule, is a good reminder, as a radio station, show, or host, not to add more chaos to their lives.

KISS. Keep It Simple, Stupid.

Don’t overcomplicate this time of year on the air with your brand, especially in News/Talk. Many stations will have highly successful fundraisers for great charities. That’s fantastic. Pre-promote, hype like crazy, and bask in the afterglow so everyone at the station, hosts and listeners alike, feels good about what your station accomplished.

Add in some creative, festive imaging if you so choose, but don’t overdo it. Everyone knows what you are. You’re not the music station that flipped to Christmas music through 11:59 p.m. on December 25. Stay in your lane, and don’t get too cute with it.

And as for the content, remember, this is the most stressful time of the year. According to a study done two years ago by the American Psychological Association, “While nearly half of U.S. adults (49%) would describe their stress levels during the traditional U.S. holiday season between November and January as ‘moderate,’ around two in five (41%) said their stress increases during this time compared with other points in the year.”

Know that your audience is stressed, so maybe take the foot off the gas with your 24/7 hot political takes. It’s like those Alex Jones reels you may stumble upon on social media this time of year with the caption, “That one uncle after six beers at Thanksgiving Dinner,” and it’s a 15-second rant of Jones going off about Obama, Trump or aliens. Don’t get me wrong, they’re hysterical — in small doses.

They make for great short-form clips as jokes, but not great long-form content for multi-hour radio shows heading into the holidays, when people want to find a reason to de-stress, not add stress to their plate.

Now, none of this is to say we should stop following the news cycle, President Trump, or any of the other important stories happening in our communities or around the country. But it’s the time of year to have arguably even more balance than usual. Understand the mindset of your audience. They’re stressed. They’re burnt out at the end of the year. They’re figuring out what to get for too many people. They’ve got extended family to worry about.

And while they want your station because they want to know what’s going on, be where they are in your thought process and approach in everything you do this time of year. Share stories with them that make them grateful for what they have. Take the foot off the gas pedal with the hard news once in a while. Find that feel-good story that will stand out, and they’ll want to share it with friends and family over the holidays.

This will separate you, make you stand out and, most importantly, make you human at a time of year when it can be hard to tell what’s genuine and what isn’t.

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.

FOX Sports: Ohio State, Michigan Achieves Highest Viewership of Any College Football Game This Season

BSM Staff
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FOX Sports: Ohio State, Michigan Achieves Highest Viewership of Any College Football Game This Season

FOX Sports’ broadcast of Ohio State’s win over Michigan on Saturday attracted 18.42 million viewers, making it the most-watched regular season college football game on any network this season, according to Nielsen Media Research.

The rivalry game also marked the second-highest viewership for a regular season college football game in FOX history. The previous record, also featuring Ohio State and Michigan in 2023, drew 19.07 million viewers. Peak audience for Saturday’s matchup reached 20.54 million between 2:30 and 2:45 p.m. ET.

The ratings reflect a significant increase over last year’s edition of “The Game,” which drew 12.32 million viewers, representing a 49% boost in audience size.

Ohio State’s victory solidified the Buckeyes’ dominance in the Big Ten, while the ratings success highlighted the enduring appeal of the rivalry. FOX Sports’ coverage featured the network’s top commentary team and in-game analysis, helping drive engagement throughout the broadcast.

The impressive viewership numbers come amid a season where broadcast and streaming competition for college football audiences has intensified. While CBS, ABC and ESPN have all captured large audiences for marquee matchups, FOX’s presentation of Ohio State-Michigan stands out as a benchmark for regular season games this year.

The network captured nearly 18.5 million viewers for a single-game telecast, showing the strength of live sports and big matchups. As college football expands nationally, FOX’s Ohio State-Michigan broadcast highlights the value of historic rivalries and quality production. With viewership peaking above 20 million, the game reaffirmed the enduring power of “The Game” as a marquee college football event.

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Max Kellerman: I Was Supposed To Replace Chris “Mad Dog” Russo at WFAN and Join Mike Francesa

BSM Staff
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Max Kellerman: I Was Supposed To Replace Chris “Mad Dog” Russo at WFAN and Join Mike Francesa

Former ESPN commentator Max Kellerman revealed in a recent appearance on The Bill Simmons Podcast that he was once considered to replace Chris “Mad Dog” Russo at WFAN and co-host alongside Mike Francesa, a move that ultimately never materialized.

Following Russo’s exit from WFAN in August of 2008, Kellerman said he was reached out to fill the void on WFAN’s afternoon drive. Kellerman was currently working for ESPN Radio alongside Brian Kenny, but left the network in March of 2009.

“Yeah, that was the plan. I was supposed to go over and work with Mike,” Kellerman said, recalling discussions from that timeframe about joining the iconic New York sports radio station.

At the time, WFAN was looking to revamp its lineup following Russo’s departure. Kellerman, already known for his incisive sports analysis, appeared to be a natural fit for the position.

Kellerman provided insight into why he felt the collaboration with Francesa never came to fruition.

“My analysis is I think he realized at a certain point they’re [WFAN] not going to make me take a partner. Why should I take a partner? Because I’m beating the hell out of the guys across town by myself. I think when he thought they’re gonna make me take a partner, then it was like, okay. Well, I’d like it to be with that guy [Kellerman]. And then it was like, I don’t need a partner.”

Kellerman’s remarks suggest that Francesa, at the peak of his popularity, may have seen little incentive to adjust his successful solo formula. For Kellerman, the opportunity would have been a significant shift from television to national radio to local radio.

At ESPN, he had already built a reputation as a sharp and sometimes provocative commentator. Moving to WFAN would have meant stepping into a legacy brand with entrenched listenership and a different style of engagement.

Kellerman eventually did return to sports radio. He took over the midday timeslot in December of 2010 at ESPN Radio in Los Angeles with Marcellus Wiley.

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ESPN’s Rece Davis Explains Why He Turned Down Offer From FOX Sports To Stay With College GameDay

BSM Staff
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ESPN’s Rece Davis Explains Why He Turned Down Offer From FOX Sports To Stay With College GameDay

Rece Davis, the longtime host of ESPN’s College GameDay, revealed on The SI Media Podcast with Jimmy Traina that he turned down an offer from FOX Sports this offseason, citing loyalty to ESPN and excitement about the future of the network’s college football flagship program.

“I was very flattered by the opportunity at FOX and really impressed with everybody associated there. The opportunities beyond college football were enticing,” Davis said. “I love this sport so much, and I feel like College GameDay was just starting another chapter with Nick and with Pat.. It just wasn’t time for me to do something else.”

Davis emphasized that the FOX offer was appealing, particularly given the network’s high-profile events, but ultimately his professional and personal ties to GameDay and ESPN outweighed the lure of a new opportunity.

“Those guys [FOX Sports] were great, and they do a great job over there. They do big events very well. I was very flattered at the opportunity. But my heart was there with GameDay,” he said.

The ESPN personality highlighted what he described as a “new era” for College GameDay. He cited recent personnel changes and the program’s ongoing evolution.

“I feel like that we were in a really good spot, and we’re turning chapter. [We’re] doing some exciting things, you know, a new, new era of GameDay with Nick and with Pat. Kirk and Desmond are such great partners. I just didn’t want to leave it yet,” Davis said.

Davis also noted that his long-standing relationships with ESPN management played a role in his decision.

“I’ve been at ESPN a long time, a lot of very deep relationships. I’m extraordinarily appreciative to Burke Magnus and Jimmy Pitaro and all of the people who have helped my career along—Mike McQuaid now. So, I’m very appreciative and loyal to those guys as well. Grateful to be able to continue on in a place that I love,” he said.

Davis, a 30-year veteran of ESPN, has continued to anchor both the College GameDay football and will host men’s basketball franchises, as well as studio coverage for the College Football Playoff, ABC’s NFL Draft presentation, and ESPN’s shows at the NCAA Division I Men’s Final Four.

In addition to his hosting duties, Davis will remain a play-by-play voice for both football and basketball games. The extension solidifies his role at ESPN well into a fourth decade, underscoring his legacy as one of the industry’s most respected and versatile talents.

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