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How ‘The Hardline’ Remains the Gold Standard of DFW Sports Radio on The Ticket

John Mamola
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How ‘The Hardline’ Remains the Gold Standard of DFW Sports Radio on The Ticket

Few brands have become more synonymous with the sports radio stations that house them than The Hardline. For over three decades, The Hardline brand has been the staple that has led The Ticket from a small startup in 1994 to a format-defining sports radio brand. While the talent has changed over time, the value of the brand recognition has remained despite an attempt to move away from it earlier this decade.

“We definitely tried to get away from it at first,” explained Corby Davidson, co-host of The Hardline on 96.7 The Ticket. “I’ve been on the show since 1999. In that regard, I feel like I have as much ownership to The Hardline brand as anyone. The name is the fabric of afternoons in Dallas.”

Davidson is the longest-standing member of the station’s current trio that consists of what has been dubbed Hardline 5.0. The moniker honors the legacy of the original cast, including former hosts Mike Rhyner and Greg Williams. While adapting the branding to the current shape. Alongside co-hosts Bob Sturm and Dave Lane, the mission statement that has guided the Dallas/Fort Worth sports fan in afternoon drive continues to remain the same no matter who the cast consists of.

“It was the marquee show on the station,” noted Lane about the early days of The Hardline on The Ticket. “I was fortunate to be a bit player in those early days, and I feel I do have a part of my DNA in that lineage. The opportunity to be in this iteration of it, we are as strong of a version as there has been with the brand. We’re firing on all cylinders.”

Extending Legacy

After joining Davidson and Sturm in the summer of 2022, Hardline 5.0 was complete. Entertaining listeners with the latest on the local teams, challenging the establishment, and sharing laughs with what has been dubbed the P1. Those dedicated listeners who have stuck with The Hardline brand through every edition of its makeup for so many years.

“It was a little weird in some respects leaving a show that was mine and then moving to a spot where people had a notion of what to expect,” said Sturm of his move from middays to The Hardline in 2020. “More than anything, I just needed to be myself. I’ve been very lucky to work with two guys like Corby and Dave who set such a fun vibe.”

With the standard set many years before, the trio of Davidson, Sturm, and Lane have elevated the game for afternoon drive in DFW. While keeping some items of the past along the way. With the goal of keeping the conversation not too serious and putting a smile on the listener’s face. The vibe overall remains the same as it always has.

“No matter what, this must be the show that makes people exhale after work,” explained Davidson. “That’s the number one goal.”

Balancing Cowboys Chatter

The DFW metroplex is one of the larger sports markets in the country, with star power at the forefront of the discussion. The Dallas Cowboys are a national talking point each and every week of the NFL season.

Dubbed America’s Team, The Hardline’s approach has always been about being true with the audience, no matter the relationship the station has with the team.

“I like not having the [broadcast] rights [to the Dallas Cowboys] on the station,” noted Davidson. “I enjoy not having them on. They’re always the gold medal team around here whether you want to talk about them or not. We probably don’t talk about them enough, but that’s our choice. We just don’t. We’ll talk about the games and whatever big situation is going on, but we will not ever talk about them for the sake of talking about them.”

Despite The Ticket being the broadcast rights holder to the Dallas Cowboys from 2004–2008. Lane echoed Davidson’s thoughts but does understand the role the franchise plays in the market.

“At this juncture, it’s best for us to be independent, not to have all the Cowboys’ programming that they would shove down our throats,” explained Lane. “We know the compelling content our market wants to listen to. There is a fair share of our listeners that get burnt out, and to be honest we get burnt out too. But Jerry Jones, he definitely knows how to keep that marketing machine running.”

Reaching A New Generation

With every new day bringing new storylines, The Hardline knows they face the same challenge many legacy brands face in today’s content climate. The need to appeal to a younger demographic is vital for the survival of traditional sports radio brands like The Ticket.

“You don’t want to mess with what’s working in many respects, but you can’t lose sight that every year humans get older,” noted Sturm. “Your core audience is aging with you, and we should all want to renew that audience with young people. We need to be aware that the 25-year-olds do not find content like we did.”

With consistent advances in podcasting and the inherent nature of programming in afternoon drive having a shorter shelf life. Davidson notes that the legacy of the daypart and the brand of the show carry with them a dedicated live following and a growing audience on demand because of that listener attachment.

“With the way things are with terrestrial radio, we’re really fortunate that we have the history that we do,” said Davidson. “It’s not the easiest job anymore. There’s a billion things for people to listen to. We know that we’re competing with a lot of people, so the content needs to be top-notch. We’re lucky. When history is looking back at this era of communication. We may be the last terrestrial radio station that was a behemoth.”

Davidson’s Future

Through all the changes at The Ticket since he arrived, Davidson has been a part of The Hardline brand for over a quarter century. He’s seen and witnessed how big the behemoth of The Ticket can become.

When he signed a five-year extension with The Ticket last January, he stated via social media that he expects his current contract to be his last with the radio station. Since then, Davidson has wrestled with the concept of sticking to what he stated last year.

“I don’t know. I’m going to play it by ear. I have another three and a half years or so on that, and then we’ll see,” noted Davidson. “I go back and forth all the time.”

While he weighs his options for a potential stay or holds the line on his decision, Davidson is focused solely on the day-to-day instead of what may come in a few years.

“Both of my kids will be out of the house by that point. That was always the plan—to cut it off there,” said Davidson. “We’ll see. Maybe something will change and I’ll do another couple of years, but that was the plan. Right now, I can see it going down that way.”

Remaining On Top

With that decision in the distant future, the focus for Hardline 5.0 remains the same as it always has—enriching the bond between the show and the P1 at every opportunity.

“We do have a high level of talent in this market. There is a high level of competition,” noted Lane. “It is a very relaxed vibe in our room, and we play off each other really well. We support each other because the attitude is always what’s good for the show.”

Success lies in execution. Consistent ratings success is almost a given as the show continues to build a relationship where the brand can continue to grow into a new generation.

“None of us thought we’d work anywhere on the radio. I think the people here haven’t even pondered going across the street, let alone leaving the market,” said Sturm.

Every day serves as a new opportunity for Davidson, Sturm, and Lane to provide their stamp on this legacy brand known as The Hardline.

“From a radio standpoint, the separation of church and state when it comes to the way we do things compared to others is so incredibly different. That’s all credit to the guys that were here in the beginning,” said Davidson, comparing the approach of The Hardline to their contemporaries around the country. “Whatever we’ve done here, I love it. If it means we don’t get more attention compared to others, I’m all for it.”

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

The Industry According To….Heather Luke, General Manager of Big Machine Rock

Keith Cunningham
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The Industry According To….Heather Luke, General Manager of Big Machine Rock

Thank you for checking out ‘The Industry According To’. This series runs each Tuesday, and features radio and record industry executives, managers, programmers, talent, artists, and professionals from all areas of the business world. To be considered as a future guest, email me at keithblackboxgroup@gmail.com.

The music industry is massive. Thousands of jobs, companies, brands, and artists, all chasing different goals. Today we look into the record label side of the business with Heather Luke.

Heather has become one of the more powerful voices in music. She has worn hats in promotion, marketing, management, signing acts, being at the ground levels for some of the industry’s biggest artists, and recently she orchestrated the launch of Big Machine Rock with Gebbia Media.

The New Playbook

Keith: You’ve held major roles at multiple labels. Compared to how labels operated 10-15 years ago, what’s been the biggest structural or strategic change? How have you and your team had to adapt? 

Heather: The biggest shift is that gut instinct isn’t enough anymore. That’s tough since I’ve trusted my gut my entire career.  We’re more data driven now than ever, especially around superfans. I’ve focused on fan engagement for years, but now it’s the North Star.  Everything we do from A&R, promotion, marketing, and release strategy needs to hit that superfan that will ride with that artist for years, not just that viral moment.

Birth of Big Machine Rock

Keith: You’ve long been a catalyst for Rock and Alternative, working artists like Linkin Park and Red Hot Chili Peppers, but launching a Rock label in 2025 is very bold.  What did you and Big Machine Rock see that told you this is the right time to go all-in on Rock? What’s the long game? 

Heather: There’s a new generation of artists cracking the genre wide open. Look at the some of the biggest artists in pop culture right now. Most of them have rock in their DNA. I love to see artists like Yungblud, Halsey, boygenius, and Wetleg pave the way for new rock.

The long game is to create a real home for career artists, not just “projects”. Artist development, lifestyle, identity and community is our focus. We’re building roots and not chasing trends.

What’s the Real Label Value

Keith: Many newer artists have been indoctrinated to think all they need is social media to develop an audience. When you sit down with a young artist you might sign, what’s the label value you emphasize to get them to understand that having a label partner is important and there’s more to building a career than having a moment on TikTok? 

Heather: At Big Machine Rock we say, “Be the Movement not the Moment”.  Moments come and go while movements stick. Artists can build momentum on their own and they should. Our role is to create the plan, build the team, a brand, and a long-term career.  We’re here to amplify the artist’s vision and creativity by building strategy that can move them forward. We all know that it takes a village but the right village matters.

Artist Development in the TikTok Era

Keith: Pros like you used to discover artists in clubs and bars and patiently build them from the ground up. These days, artists can explode overnight without any label help. How has artist development evolved and what’s the key role of today’s label? 

Heather: Artist development is my passion. Many believe that it went away but it just looks different now. You can go viral overnight but it doesn’t set you up to headline a club, tour, or festival. The label’s job is to help build something that survives over time. We help strategize with identity, touring, song writing, and build real relationships with fans.

Rock Labels & Radio

Keith: Radio may not be breaking new artists or records like it once did, but you’ve always been a big supporter. What should the relationship between Rock Radio and Rock Labels look like in 2026 and beyond? 

Heather: Radio isn’t the gate keeper anymore, but it’s still a powerful amplifier. It builds tour markets, reaches real communities, gives artists credibility that you can’t get loading up on playlists. Last I checked, the industry still watches the the radio charts and they move the needle with agents, promoters and press.

All of our artists want to hear their song on the radio. They equate that with success. Making it! So yes, we’ll keep showing up for radio in 2026 and beyond. Our strategy and targets will just be different.

Metrics Mania

Keith: First week spins, streams and playlists adds are still important, but we also know that game can be gamed. With today’s tech, there are endless metrics. What data do you trust most when you’re evaluating an artist’s potential for the long-haul?

Heather: I trust the metrics that you can’t fake. Are the fans saving and sharing the song? Are they listening all the way through and more than once? Are fans buying tickets, merchandise, and coming back? We evaluate fan behavior and passion to help us predict longevity.  Are the numbers holding when the push slows down? Are people still listening on day 10, day 30, and day 90? That tells me if the music actually stuck.

From there, is the audience growing organically? Not just paid boosts or algorithm luck. Are new listeners finding the artist on their own, saving the music, sharing it, making content with it? That’s real momentum. If those behaviors are there and they’re consistent, that’s what tells me an artist has long-term potential. Anyone can create a moment. We’re looking for signs they can sustain a movement.

Is it the Music or the Money

Keith: Let’s excuse Big Machine Rock from this question because I know you’ve always been about music first, but given all your experience, what do most labels really care about — the music or the money?  

Heather: It’s both.  Great music builds great business. The labels that win are the ones that believe and invest in their artists for the long term and don’t take the shortcut. I’m thrilled to see artists thriving that have been at it for years. In some cases artists are having their biggest moments decades later.

Next For Big Machine Rock

Keith: I’m sure you love all your label’s artists like they’re your kids, but which band or artist on Big Machine Rock is the one we’ll soon be hearing a lot more about?  

Heather: We’re building a killer roster at Big Machine Rock for 2026 that will be a diverse one. Wes Parker is our newest signing. We just released his new EP, ‘fantom’ on 10/31. He’s the real deal and I’m excited to see him go the distance. It’s refreshing to hear how people react when they see his show. The music is infectious. I saw Wes Parker at the Basement in Nashville and I was all in on the first song. He’s definitely going to be on the “Ones to Watch” lists top of 2026.

The One Story

Keith: Before you go, what’s your best story: success, nightmare, or pure madness or hilarity.

Heather: My whole career started by accident. I was answering phones for KJEE Santa Barbara, and trying to save money in college to go backpack in Europe. Maybe some of you reading this remember calling on me when I didn’t know that the PD meant program director or what an add was on the radio station. Mortifying. I had no idea what I was doing, but I learned to thrive in the chaos, energy, and discovery of new music. I’m forever grateful to the people who helped me find my path and have supported me along the way. 

To learn more about Big Machine Rock, click here.

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 the Latest Expansion for Fox News is a Safe and Smart Bet

Garrett Searight
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Why the Latest Expansion for Fox News is a Safe and Smart Bet

Fox News is making a bet with FOX Faith, and it looks like a smart one.

The network already owns a large share of the conservative political audience. But it now sees a chance to expand into a part of the culture that remains steady even when political interest dips. That move should pay off. Politics can be hot one year and cold the next. Faith, family, and lifestyle content stay relevant every year. Fox News understands that difference.

The company is building an ecosystem that goes far beyond primetime debates or election nights. It is creating a world where conservative viewers can find shows, movies, commentary, and entertainment that match how they live. That is a powerful shift.

Conservative political content draws engagement, but it also brings spikes and valleys. Some months are full of interest. Other months feel quiet. In contrast, a conservative lifestyle audience shows up daily because the content fits their life, not just the news cycle.

Fox News already leads in cable news. But political media isn’t enough for long-term growth. The audience ages. Elections come and go. Viewers burn out. That is not a secret inside any corporate office. Management teams know that dependence on politics can lock a brand into a cycle that it cannot control. You cannot force the world to stay interesting. You can only respond to what happens. But lifestyle content gives a company a more stable foundation. People seek inspiration, tradition, faith, and values no matter who is in office.

This is where FOX Faith enters the picture. It gives the company a lane that feels natural to its audience. Many Fox News viewers identify with faith-driven values. They want shows and movies that reflect that world. Until now, Fox hasn’t had a major cohesive branded offering in that space. It ceded ground to niche streaming platforms and independent film companies. That choice left money and loyalty on the table. FOX Faith closes that gap.

The financial logic here is clear. A faith-based audience is large. It is loyal. It spends money on books, movies, music, and events, and it also shares content with friends and family. If Fox News can give that audience a place to gather, it builds a base that keeps coming back. And it does so without relying on political conflict to drive views. That is a key win for a media company that wants growth beyond election cycles.

It also gives the network the chance to reach people who are not typical Fox News viewers. Plenty of Americans want faith-based content but do not follow political news. They do not watch nightly panels or extended monologues from the likes of Sean Hannity and Jesse Watters. They may not have cable at all. FOX Faith puts the brand in front of them. That entry point matters. Once viewers trust a network in one part of their life, they often explore more of its offerings. That discovery can push new audiences toward Fox News and other FOX properties without a heavy political sell.

Critics will say this is Fox trying to expand its ideology. But this isn’t about politics, in my estimation. It is about audience behavior. Conservative lifestyle content has a long shelf life. It is not tied to elections, poll numbers, or campaign schedules. It doesn’t rely on crisis or outrage. It relies on the values of the people who already form the company’s core.

The company is also preparing for the future. Younger viewers don’t watch cable news the way older generations do. But if Fox can meet them there, it builds familiarity early. That familiarity can turn into loyalty later. FOX Faith helps protect the brand’s future while broadening what it stands for today.

This strategy will only help Fox News. It expands the audience. It smooths out political peaks and valleys. Plus, it gives Fox News a stronger and more diverse content lineup. Most of all, it shows the company sees where media is headed. Politics is seasonal. Lifestyle is not. FOX Faith leans into the constant. And in this business, the constant is what pays off.

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.

NBC Sports Lost the Ball on Michael Jordan’s Inclusion With the Network

John Mamola
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NBC Sports Lost the Ball on Michael Jordan’s Inclusion With the Network

NBC Sports has done a masterful job of driving viewership back to the NBA through presenting the game as the attraction instead of the ancillary programs that surround it. It’s a measure that other networks are noticing and beginning to mimic for their own benefit. However, there’s one element of NBC Sports’ return to covering the NBA that is sticking out like Shawn Bradley in a pick-up YMCA game: the network’s usage (so far) of Michael Jordan.

By the way, where’s Mike?

It’s been nearly a month since the greatest player to ever lace up a pair of sneakers shared some “Insights to Excellence.” The single biggest announcement that captured the imagination and interest of basketball fans and media has suddenly gone missing in action. Adding an unfortunate layer to everything NBC Sports has done right this season. So far, these insights have gone terribly wrong.

You never want to judge a book by its first cover, but it’s nearly impossible to avoid speculation. Jordan’s inclusion at NBC Sports’ upfront earlier this year kicked off the presentation for the network. His role was heralded by NBC brass and sports media alike. What could Jordan say? Could he be weaving his way toward becoming a bigger personality in media?

The questions are bountiful, driving engagement and interest all summer.

Limiting His Minutes

The debut on opening night of NBC Sports’ return to NBA play-by-play left many unsatisfied. The segment consisted of a short, under-four-minute Q&A with Mike Tirico, pre-taped and edited for clarity. The segment’s name, MJ: Insights to Excellence, shared stories of free throws and Jordan’s reasons for joining NBC Sports’ coverage.

“Pay it forward. I have an obligation to the game of basketball,” said Jordan on his NBC Sports debut. “More or less from as a basketball player is to be able to pass on messages of success and dedication to the game of basketball.”

That was on October 21, over a month ago. Jordan made a second appearance in the same pre-taped format, discussing load management and the obligation of players to perform for “the guy who sits way up top and worked his ass off to get a ticket.”

Again, the segment lasted under four minutes with no changes to the setup. After Jordan’s second appearance, I criticized the concept. The greatest player of all time was showcasing hypocrisy—preaching that million-dollar athletes should play for those in the cheap seats, in an interview spliced into bite-sized clips. Meanwhile, paying fans who subscribe and tune in for these Insights to Excellence were largely ignored.

That second appearance was on October 28. Since then, crickets. Michael Jordan has not appeared on NBC Sports in nearly a month.

Is this how NBC thought it would go? I hope not, because the network risks losing the sizzle factor Jordan brought to its coverage. If NBC isn’t careful, Charles Barkley might start complaining he’s working harder than Michael Jordan on Inside the NBA.

Missing an Easy Layup

Granted, NBC didn’t overhype Jordan’s role all summer. The network allowed speculation to spin while assuring fans that Jordan would be a special contributor. However, NBC leaned into the nostalgia factor the NBA on NBC has always had. The greatest moments for a generation lived on NBC Sports with Jordan at the forefront.

All the promotion, Roundball Rock, and flashbacks to NBC Sports’ glory days continued to feed the hype machine, including Jordan’s role—but without ever naming specifics. Since the launch, he has made two appearances, with nothing current, missing the mark on the interest created.

Nearly a month since Jordan’s last appearance, is anyone asking the question? Where’s Mike? What happened to MJ?

The problem is clear: the plotting, strategy, and execution failed.

Re-Capture the Interest

NBC Sports now needs to reclaim the attractiveness of the segment itself. The concept fell flat because fans expected more. The idea missed the target demo because what aired looked pre-planned and artificial. Since the second appearance, there has been no promotion of Jordan returning to the network to keep viewers engaged.

Why? Did the pre-taped sit-down with Tirico not provide enough content to stretch over a month? Was the topic selection off the mark? Did Jordan run out of Insights to Excellence to share?

NBC Sports has done everything right in putting the game first—but when it comes to Michael Jordan, it’s as if fans have already forgotten he’s part of the coverage. Two brief, pre-taped appearances over a month ago aren’t enough to keep the legend front and center.

Without a steady presence, the hype that once surrounded MJ: Insights to Excellence has faded into background noise. If NBC wants to truly leverage Jordan’s star power, they need to remind viewers why he’s there—before he goes from must-see attraction to a forgotten footnote in their NBA coverage.

So, where’s Mike?

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.

Did Nielsen Overlook Radio in Selection of New Chief Client Officer?

Dr. Ed Cohen
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Did Nielsen Overlook Radio in Selection of New Chief Client Officer?

If you missed the news, Nielsen hired a Chief Client Officer. His name is Peter Naylor, and he arrives at Nielsen with a very strong resumé.

The man was the first VP of Global Ad Sales at Netflix, he led ad sales in the Americas at Snap, and was SVP of ad sales at Hulu.

He’s been on the board of the Interactive Advertising Bureau, including a stint as IAB’s chairman, along with service at the IRTS and the She Runs It Foundation. Sounds like a great hire, and he’ll report directly to Karthik Rao, Nielsen’s CEO.

So far, so good, but if you read Rao’s quote in the release, there’s a troubling side for those of us who toil in the radio industry:

“The key to Nielsen’s continued success is working closely with our clients to build the best marketing intelligence platform in the world,” said Rao. “Peter is the perfect person to help that mission, building on Nielsen’s momentum of Big Data + Panel measurement, live streaming innovation, and our AI transformation. He has led teams across linear TV, streaming, and social media. He knows what consumers and clients want – and need – as behaviors continue to evolve. We can’t wait to keep building with him and our partners.”

Again, this all sounds good on the surface, but if you read the quote through, did you notice something—or more specifically, did you notice something missing? If I take the statement literally, Nielsen has hired a Chief Video Client Officer because the words “radio” and “audio” never appear. Radio? What’s radio? Oh, that’s the money machine that hits up big clients for 36% rate increases, per the Cumulus/Nielsen lawsuit filings.

Admittedly, Nielsen’s biggest issue right now is competition in the national television and streaming business. It’s a big money segment, and there are multiple competitors trying to take a piece of the pie, so it’s understandable that Nielsen would hire someone like Peter Naylor, who likely knows everyone and, I assume, has a good reputation in that space.

However, my view is that a Chief Client Officer should work with all clients. I don’t expect that a standalone, locally owned AM/FM combo that subscribes to Nielsen Audio in a 100+ metro should expect a visit from Mr. Naylor at any time in the future. However, would he appear via Zoom at an NAB COLRAM meeting? Will he attend an MRC Radio Committee meeting when Nielsen is called in to discuss their take on audit findings about the radio service?

Even better, will he appear on a panel at a Barrett Media Summit and be able to speak knowledgeably about our industry?

Maybe radio doesn’t need someone to be a Chief Client Officer for Nielsen. The client-facing people that I know at Nielsen are generally very good at taking care of their customers. The record isn’t perfect, but especially the former Arbitron people that are still there (should that read “somehow survived the last 12 years?”) care very much about client concerns, even if they can’t always deliver good news. They’re honest, and most have been in the radio business at some point in their careers. My statement comes from first-hand experience on that side of the table.

Still, this reminds me of when Nielsen One was first announced back in late 2020. In this column, I noted that Nielsen failed to offer even a crumb to radio. My suggestion would have been to say that radio and audio will be included at some time in the future. That future date could be 2060, but so what? It would have shown that the company remembered their decent-sized profit center called radio audience measurement.

History has repeated itself. Nielsen’s new Chief Client Officer will likely be spending much of his time with national video “publishers”, agencies, and advertisers, and that makes sense in the company’s current competitive position.

However, couldn’t someone in Nielsen’s PR group have said, “Why don’t we mention radio somewhere in Karthik’s quote?” Maybe they thought “AI transformation” included radio in some way, but for me, using the word “radio” or “audio” would have said, “We know that whatever our biggest competitive challenges are, we still love the radio business.”

We’re headed into the holiday season, and perhaps I thought the Sugar Plum Fairy would sprinkle goodness and hope on Nielsen’s executive suite, causing the occupants to remember our business. Humbug!

Speaking of holidays, I hope you and your loved ones have a wonderful Thanksgiving holiday this week.

Let’s meet again next week.

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.

What News/Talk Radio Stations Can Learn from Past Brokered Programming Scandals

Peter Thiele
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What News/Talk Radio Stations Can Learn from Past Brokered Programming Scandals

Likely, your news/talk radio station has some brokered programming, especially on the weekend. Many of our companies include this in the business plan. Perhaps we need to revisit some of the pitfalls and even benefits of these shows.

I categorize these shows into three groups: program content, soft infomercials, and hard-core sales pitches. Your station may have a mix of all three.

The brokered show that provides program content is by far the most preferred. This is the garden show that is paid for by the local garden center, or the home improvement show sponsored by a local hardware store or contractor. Some of these are very good, and the station’s staff love them.

There is program content while letting people know that if they go to ACME Hardware, they can find the materials for their project. In fact, the less selling on these types of shows, the better. The business owner is paying for the ability to be the community expert in their specialty. There is something to be said for being the expert whom people trust. I have seen these shows build these reputations, and it is a terrific marketing strategy.

The soft infomercials have some content that people would like to know more about. The real estate show explains the market and homes for sale. The real estate program’s appeal can be somewhat narrow.

That being said, a live show on a Saturday can explain curb appeal, give advice for listeners preparing a home to be sold, or provide tips for new home buyers. Some financial shows can fit into this category; some, not so much. The local annuity jockey can explain why their products may work if you are about to retire or preparing for retirement in the next decade. The smart annuities show can build a strong relationship with the audience and have clients ready to see them.

What about gold shows? May I remind you of the Superior Gold Group? From 2007 to 2010, this company was on news/talk stations all over the USA. This turned out to be a Ponzi scheme, with the owner, Barry Sands, being sentenced to 11 years in jail.

This is a stark reminder that we have a responsibility to our listeners and ultimately our shareholders to do due diligence on shows like gold and crypto, since there are no guardrails to guarantee that the company or show host is a legitimate businessperson. I’ll give tips on protecting your brand and/or company coming up.

The hard-core infomercial has almost no programming content at all. It is a pure sales pitch. Vitamins, nutrition products, etc., are usually the products sold. Frequently, there is a doctor recommending the vitamins, and almost never is there a disclaimer that the doctor is either an employee or a company officer. Which is fine, but this is the scenario.

Besides being poor programming, these shows have very little commitment to your station. If the shows are not working, they will cancel on as short notice as possible. It is not advantageous to your station if the lineup is not consistent. I have also found that if you cancel these hard-core infomercials, they are usually not happy. It’s funny because they will drop you in a hot second and expect that cancellation to be immediately completed. Hard-core infomercials have no loyalty to you, your station, or your company.

How do you protect yourself from a Ponzi scheme like the Superior Gold Group? It is difficult to do so. I personally believe it must be done before accepting the show to air on your station. Your company may be doing something like this: a background check on the company’s officers and any host of the show.

Sometimes you can find if there is someone with a felony conviction for fraud among the cast members. If you get complaints, follow up with the brokered show immediately. Don’t ignore the complaints. If you are attentive to your station’s listeners, this will lessen the blow to the station’s reputation.

Paid-for broadcasts are a reality. Here are some other things to keep in mind. Your company may be on top of this, but it is a good refresher. Make sure that there is a sponsor ID before and/or after the show. If the show says that it is live but is delayed on your station, use a disclaimer that the show was previously recorded. There have been FCC fines on both of these issues in recent years.

If you have a paid-for show that is sponsored by a political party or political action committee, make sure that the information is in the station’s FCC political file.

Ultimately, the license holder is responsible for whatever airs on the station. The market manager and program director are the people who must evaluate these shows.

I think that wherever you can have programs that fit the audience and have program value, that is always a winner. Developing shows that can get there for the long run is best.

May I suggest a revenue share for shows with program content value? Depending on the agreement, the garden show hosted by the local garden center may allow for commercials from competitors as well.

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

The Time Is Now for AC, Classic Hits Radio To Regain the Attention of the Community

Kevin Robinson
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The Time Is Now for AC, Classic Hits Radio To Regain the Attention of the Community

Evolution is defined as the gradual development of something. Especially from a simple to a more complex form. The Japanese call it Kaizen, a philosophy of continuous improvement carried out by everyone in an organization—a mindset that improvement is an ongoing process rather than a one-time effort. The time to evolve may have left the station for pure music brands, especially gold-based Adult Contemporary and Classic Hit/Rock radio formats.

The next stop on that train will be revolution.

Countless people have successfully revolted against their existing image only to create spectacular ones.

Stefani Joanne Angelina Germanotta was an accomplished classical vocalist and pianist. Stefani toiled at her craft for meager crowds after her studies at the highly regarded New York’s Tisch School of the Arts. She was good. However, being “good” in a deep sea of “good,” Stefani goes largely unnoticed.

She developed an idea—to revolt against her predictable brand. Lady Gaga was born.

Jeff Christie—by his own admission—was a “moderate failure as a DJ.” Jeff bounced around small-market music stations throughout Missouri and the Midwest, fired several times as he honed his radio chops. While working promotions for the Kansas City Royals, he took a part-time public affairs position at a local station. Jeff found his true radio love: talk programming and creating stories for the listener.

He then made the bold move to revolt against his music-radio brand. Rush Limbaugh was born.

The Signs Are There

Music radio stands at a crossroads, as cross-town competition is largely relegated to the back burner. Digital audio offerings, Spotify-style playlist creation, and algorithm-driven new-music discovery litter the audio landscape. Automakers continue pushing terrestrial radio to a second or third screen. Presenting the danger of broadcast radio fading into cultural irrelevance.

In addition, operators struggling with revenue are simply surrendering their licenses. Another 64 frequencies were “lost” in 2024 alone, according to the FCC database. Adding to that, Tesla, BMW, and Polestar (among others) have eliminated the in-car AM band.

To avoid extinction, formats must look beyond the playlist.

Active listener engagement and community events are the growth areas for gold-based stations. In addition, if your investment in digital isn’t a full-court press, you’re losing. It’s not the end of music radio, but it is a call for a revolution.

Here’s a starter kit to develop on-air programs for adult formats that will get the attention of the community without rupturing your brand promise:

Student Radio

The path to getting younger, emerging talent to consider radio is simple: put them on the radio. Fringe times on the weekend are a cume desert.

Give Sunday nights to your local school.

A few high schools have their own non-commercial radio station. Others use carrier current to broadcast inside the building. The vast majority of schools—especially in rural areas—have zero access to developing a radio show.

Work with local schools to create a radio class or club that goes live on the air on a weekend night. While student groups across America may have started podcasts, they won’t ever experience the kinetic buzz of LIVE radio. Nothing compares to being LIVE, and the community will notice.

Community Radio

If you take a minute to step into your local library, you’ll notice many have developed audio creation spaces. People can “check out” the space by the hour to podcast, discuss local issues, or create music. Connect with the library’s Executive Director to host a LIVE show on weekend mornings that features local personalities, artists, and non-profits.

Daily local newspapers are dead or on life support. With a unique name like Neighborhood Notes, Main Street Mixer, or Town Tunes & Talk—especially in smaller markets—it will make an impression while truly serving your community.

Local Music

The local Idol competitions during the infancy of the American Idol phenomenon are (mostly) over. Bring the event back without the competition. Create a local-artist show where songwriters perform their own material in a LIVE setting. Air all entries through an audition process.

This works well for Adult Contemporary formats on a Saturday night. If it catches fire, give the show weekend daylight airspace. Set up each performance with stories, interviews, and an audience in attendance. When it grows, take it LIVE into the community.

The “perfect playlist” era is over. Fragmented platforms that scatter audiences have killed it. Unique audio wins now.

A kid in my neighborhood reminded me of it:

Me: “Do you ever listen to the radio?”
Kid: “Why would I? I can play anything I want, whenever I want, on Spotify.”
Me: “Not even when your parents are in the car?”
Kid: “I watch movies.”

There are dozens of algorithm-based platforms like Spotify, including Sonikit, Soundiiz, and PlaylistAI. That’s your competition. Do the things those platforms can’t do.

One more successful story about revolting against your traditional brand.

Buzz Knight is a legendary programmer with oversight over dozens of brands inside large radio groups like CBS Radio, Greater Media, and Beasley Media Group. When Buzz was ceremoniously cast aside by corporate radio, he didn’t opt to watch from the sidelines.

His journey behind the mic, with any consistency, had ended decades ago. What did Buzz do anyway?

Buzz started a podcast.

The Takin’ a Walk podcast takes consumers of his audio on a “stroll,” having unscripted conversations with real people in media, music, and business, often with outdoor ambience. Buzz is an incredible interviewer. His episodes are similar to a personal walk-and-talk with a friend.

Now, Takin’ A Walk is a top Apple Podcast, one of the top-rated iHeartMedia podcasts, and has spawned three partner podcasts under the Buzz Knight Media umbrella—Music Saved Me, Comedy Saved Me, and Takin’ A Walk – Nashville.

Hence, an audio revolution indeed.

Marketing visionary Seth Godin once said, “One is very skilled at following the recipe. … The other understands how the recipe works, sees patterns and opportunities, and changes the recipe to fit the problem to be solved.”

If you understand your DNA recipe as a gold-based music brand, you understand how it can evolve without tripping up your brand in the listener’s mind.

It’s time for “More Music” gold-based brands to revolt against their traditional DNA. You can change the trajectory of the year ahead.

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.

Elle Duncan Set to Join Netflix, ESPN Future Unclear

BSM Staff
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Elle Duncan Set to Join Netflix, ESPN Future Unclear

Netflix appears ready to take its next major step into the live sports arena. The streamer is reportedly finalizing a deal to hire ESPN’s Elle Duncan as the first full-time face of its sports coverage. The news was first reported by The Athletic’s Andrew Marchand late-Monday afternoon. It marks a significant shift in Netflix’s approach to live sports as it continues building its portfolio of premium events.

Duncan has anchored ESPN’s 6pm ET edition of SportsCenter for the past five years. She has emerged as one of the network’s most prominent and versatile voices. In addition to her nightly anchor duties, she’s become a central figure in ESPN’s women’s basketball coverage. Duncan leads studio shows for the WNBA—including the Finals—and hosts the women’s basketball edition of College GameDay. She also recently expanded her presence on the network’s digital platforms with the launch of Vibe Check.

Marchand says there is growing “pessimism that Duncan continues with ESPN.” Her expected Netflix deal would reportedly allow appearances on outside networks. However, whether that permission extends to ESPN is unclear. Both sides have discussed ways she may remain involved in women’s basketball coverage but no decision has been reached.

The report also notes that Netflix previously targeted ESPN’s Malika Andrews for a similar role. Andrews though agreed to a multiyear extension with ESPN in September.

Netflix has spent the past several years strategically adding to its sports rights inventory. The streamer now holds rights to the next two FIFA Women’s World Cups, MLB’s Opening Night and Home Run Derby, Christmas Day NFL games, and select marquee events including the Jake Paul–Mike Tyson fight. Until now, Netflix has relied on borrowing talent from partner networks for its coverage. That strategy has become harder to execute as competitors hesitate to assist a rising rival.

Duncan’s hiring signals that Netflix is no longer content with a piecemeal approach. Bringing onboard a seasoned, recognizable sports anchor suggests the company is laying an early foundation for a more permanent sports division—one capable of standing alongside traditional networks as the battle for live sports audiences intensifies.

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.

Safety First? Examining the Drop in Concussions and What’s Behind It

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Safety First? Examining the Drop in Concussions and What’s Behind It

A significant reduction in concussions is one of the most notable occurrences that was experienced in the NFL season 2025. Data on league injury statistics indicate that Head injury rates have significantly declined over the last years, and the trend is gradually transforming the way the game is played, coached and viewed. This is a change, making the sport that was formerly associated with hard hits and physical punishment a step forward and at the same time a complication.

In football, there has always been a degree of risk involved, whereas over the past few seasons, the league has begun to show renewed dedication to the safety of its players, and the results can now be seen. Further development of helmets, reduction in tackling, improved medical practices, and a change in team culture have all contributed to a safer playing environment. However, although the data is in a positive direction, there is more to it, as the story behind this data reflects the balancing process of the NFL between keeping the game intense and keeping the participants, who are the athletes, safe.

Innovation on the Helmet Front

Technological innovation is at the heart of the NFL’s concussion reduction efforts. Researchers at the league and helmet manufacturers have been working on new models that can dissipate impact energy more efficiently, thereby diminishing the force transmitted to a player’s head. These are not extra-fat versions of previous designs, but the result of data-driven engineering, in which every piece of material, vent, and lining is adjusted to absorb collisions that could not be avoided in the past.

Position-specific helmets have also made great strides. The linemen, Wide receivers and quarterbacks are now fitted in models that are designed to suit the type of hits they are most likely to be the targets of. An example is that linemen frequently interact with low-speed collisions, whereas receivers are more susceptible to high-speed collisions when they are on the field. These tailor-made designs can provide more specific protection and have helped reduce concussions in each position.

This is a long way off from what used to be the case in the early days of the league, when the main aim of the helmets was to avoid skull fracture, not brain injury. Nowadays, it is not about survival but about sustainability. The NFL player today, who recognises the long-term health risks of head trauma, requires a level of protection that matches the investment that the league has made in safety, as in the billion-dollar investment.

Adjustment of Rules and More Intelligent Play

The decrease in concussions cannot be attributed to technology alone. The changing rulebook of the NFL has also been equally decisive. The league has also restricted high-impact plays, especially those involving the head and neck region, over the last several seasons. The technique of attack has been altered radically – defenders are being trained to hit what they see, putting their foot lower so that they can avoid the dangerous face-to-face confrontation.

Even special teams, which were traditionally regarded as one of the most dangerous aspects of the game, have evolved. The new forms of kickoff and punt returns minimise chances of encountering high-speed collisions, which were a significant cause of concussions. Purists did not immediately welcome these changes as they thought that the NFL was diluting its image. However, as the health outcomes of players have gone up, the degree of doubt has been replaced by acceptance.

Additionally, numerous retired stars, including those who were in their careers before safer regulations were established, admit that they could have benefited from the current measures. Even a brief look at Rob Gronkowski stats during his career, such as those at the beginning of his career, indicates a player who has excelled despite sustaining numerous injuries, including concussions, and has frequently commented on the physical toll associated with the game. The future tight ends and receivers may be able to avoid some of that load due to modern safety innovations.

Coaching, too, has evolved. To avoid recurring head impacts, teams have focused on contactless drills and controlled scrimmages in the practice period. Posts that used to be regarded as a sign of toughness, hitting through, are now considered a weakness. The new mentality focuses on duration, career, and life, rather than the profession.

The Human Side of Safer Football

The helmets and rulebooks are just a few of the tools that have contributed to the current state of safety. Another factor that has contributed to this period of safety is the human factor. Now, players who have been trained to conceal symptoms are given the confidence and medical grounds to prioritise their health. The culture of secrecy over concussions has been significantly eliminated, as a more open culture of honesty and caution is encouraged.

Sideline medical groups also have become more complex. On-site neurologists, real-time biometric monitoring, and novel diagnostic instruments are necessary to ensure that potential head injuries are detected and addressed as urgent cases. With the advent of handheld assessment technology, evaluations can now take place directly, often within seconds of an impact.

Even more motivating is the fact that this culture of safety is being spread to younger athletes. The NFL programs involving youth football have been focused on correct technique and knowledge at the lowest levels. These programs ensure that when players reach the professional level, they are already aware of how to play without compromising competitiveness.

The Balancing Act Ahead

Along with these gains, there are still problems. The element of risk will always exist in football, as it is impossible to avoid the possibility of concussions through any amount of innovation. Physicality is a component of the game and the NFL as a league will have to balance the thin line between entertainment and harm.

What cannot be disputed, though, is the fact that the league has taken a new turn towards accountability. The collective consciousness that has developed among players, coaches and executives is that the brain needs to be safeguarded just like the brand itself. The NFL of today may look and feel different, yet the way the sport has evolved is evidence that it does not imply the loss of its soul; it only guarantees its continued existence.

Ultimately, the reduction in concussions is not merely a figure; it is an assertion. It is an indication that a league is finally prioritizing safety first, demonstrating that the game can still be rough, exhilarating, and human at the same time.

What New Slots Tell Us About Audience Preferences in Digital Entertainment

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What New Slots Tell Us About Audience Preferences in Digital Entertainment

Audiences are leaning into short, satisfying slot sessions on mobile, and in regulated markets they overwhelmingly choose slots when they do play online, which tells us today’s digital habits favor quick loops, clean UX and safe discovery paths. So before you choose the right slot at BonusFinder, keep this trend in mind. 

This article uses regulator and industry datasets to show what new slots signal about consumer preferences and how to build content and partnerships that match the way people actually play.

A quick break that becomes a 15‑minute spin session on your phone is now normal, which is similar to Europe’s Gambling Commission’s operator data showing average online slot sessions around 17–18 minutes through 2024.

In this article we will find out why snackable mechanics win, why compliance is now a discovery channel and why state data shows slots outpacing tables online.

Spin, Snack, Repeat

Consumers prefer short, repeatable slot loops on mobile, reflected in UKGC operator data with typical online slot sessions near 17–18 minutes and millions of monthly sessions at that cadence.

That behavior shows up in the U.S. too, where New Jersey’s Internet Gaming Win reached 2.387 billion dollars in 2024, up 24.1 percent year over year based on monthly operator filings compiled by the Division of Gaming Enforcement.

It’s happening against a backdrop of record commercial gaming revenue nationally, with the American Gaming Association reporting 72.04 billion dollars in 2024 across regulated commercial jurisdictions using state regulator data.

Design signals match the consumption pattern, with U.S. Online Game Performance Report in September 2024 showing multiple LuckyTap titles at the very top, a proxy for rising engagement with low‑friction, tap‑based mechanics.

That combination of short sessions, mobile‑centric access and easy on‑ramps builds a clear mandate for new releases and the content that surrounds them.

In practice, the formats that reduce cognitive load and make progress obvious tend to earn repeat sessions, which matters when most play happens in micro‑moments.

Platform and policy guardrails also shape how audiences find slot content, which elevates licensed, safety‑forward programming as the reliable path to scale and repeat play.

Twitch prohibits streaming unlicensed slots, roulette and dice gambling sites, and its Safety portal outlines the policy that creators and brands must follow to avoid enforcement.

Across the pond in the UK, the government confirmed online slot stake limits at 5 pounds for adults 25 and over and 2 pounds for ages 18–24, a marker of how policy codifies safer, budget‑bounded sessions for digital casino play.

It’s therefore important for you to treat compliance as a programming advantage, not a hurdle, by building content that explains the basics clearly and travels well across owned channels. Short, licensed‑friendly segments that explain RTP categories, stake limits and safer play tools, paired with age‑gating and on‑screen disclaimers aligned to regulator guidance, work well.

It’s clear to see that creators, studios and media partners who align to these rules earn discoverability and trust while insulating themselves from policy whiplash.

Online slots vs Tables

In regulated U.S. markets, online slots materially out‑earn online tables, which should inform programming decisions, promo windows and partner packaging.

Pennsylvania’s May 2025 split shows about 177.18 million dollars from online slots versus roughly 52.92 million dollars from online table games, according to the PGCB’s official release compiled from operator submissions.

The pattern holds across multiple months as the regulator reports record totals, with subsequent updates again emphasizing iGaming growth and a durable slots lead. New Jersey’s record online totals in 2024 reinforce the shift toward at‑home and mobile‑friendly play, even as retail results can vary month to month, signaling that digital channels are capturing more casual sessions.

For content teams, that means slot‑focused creative aligned to short session lengths will likely outperform table‑centric campaigns in acquisition and engagement where iGaming is legal.

If players favor slots online, are your segments and ad creative mirroring the 15‑to‑20‑minute cadence people actually play in?

Design For The Way People Play

The throughline is clear. Audiences prefer quick, repeatable loops on mobile, they find content in licensed spaces that respect guardrails and in regulated states they gravitate toward slots when they do play online.

That opens a wide, positive lane for studios and media brands to build experiences that meet users where they are rather than asking them to change how they behave.

Start by aligning segment length to session length, foreground low‑friction mechanics in creative and publish within policies that keep content accessible over time.

Looking ahead, expect safer design and clearer player journeys to continue, supported by national revenue momentum and regulator datasets that make behavior visible at scale. This is good news for anyone building audience relationships around slots, because habits this stable give you a blueprint for format, tone and pacing.

If the market keeps telling us how people play, why not design to those rhythms?

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