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Mike Greenberg: Earned My “Masters” in Broadcasting at 670 The Score With Terry Boers, Dan McNeil

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Mike Greenberg’s broadcasting career has taken him from Chicago radio studios to the center chair of ESPN’s Get Up, but some of the most formative lessons of his professional life were learned long before the national spotlight.

During a recent appearance on Chicago sports radio station 104.3 The Score, Greenberg reflected on the influence of legendary host Terry Boers, who passed away on Friday, and the lasting impact Boers had on his development. Greenberg joined The Score during its early years, arriving as a young broadcaster surrounded by established voices who already commanded enormous respect in the Chicago market.

“Guys like Terry Boers, Mike North, Dan Jiggetts, Tom Schaer and Dan McNeil. Those guys were like gods to me,” explained Greenberg during the station’s celebration of life broadcast in Boers’ memory. “They were the sun, and we orbited around them. Everything that I know about broadcasting, I started learning there.”

From his perspective at the time, the station’s lineup felt untouchable, filled with personalities he viewed less as colleagues and more as institutions. While Greenberg consumed every show on the station, his education became especially concentrated during his time working on the afternoon program hosted by Dan McNeil and Boers. The experience served as a practical graduate program in broadcasting, offering daily lessons that extended far beyond basic mechanics.

“I got my masters in broadcasting at The Score. Primarily working on the Heavy Fuel Crew show,” said Greenberg. “Dan McNeil was as good at the fundamentals of radio as anyone I’ve ever heard. I learned how to do what I’ve done on the radio for my whole career from Dan and because of the overwhelming magnitude of Terry Boers personality.”

According to Greenberg, Boers’ influence went well beyond on-air performance. What stood out most was Boers’ rare ability to blend intelligence and humor in a way that felt effortless. Greenberg described him as the funniest person he had ever known, noting that the humor wasn’t rooted in shock or silliness, but rather in sharp thinking and quick insight.

“I realized that his [Boers] wit was based primarily in his extraordinary intelligence. Some humor is kind of dumb humor, but his humor was incredibly smart,” noted Greenberg.

Equally important was Boers’ demeanor in the workplace. Despite his stature, Greenberg recalled him as approachable, good-natured, and easy to work with, traits that made learning from him feel natural rather than intimidating. Boers’ professionalism, combined with his personality, created an environment where young broadcasters could grow simply by being around him.

“I learned as much from working for, working with, and being around Terry Boers. Honestly, as I have from anyone in my entire career,” said Greenberg.

Looking back, Greenberg said the time spent working with Boers remains among the most valuable of his career. The lessons were not delivered formally, but absorbed through observation, collaboration, and shared moments both on and off the air. Decades later, those experiences continue to shape Greenberg’s approach to broadcasting, serving as a reminder of the profound influence a single mentor can have.

As tributes to Boers continue across Chicago and beyond, Greenberg’s reflections underscore why his legacy extends far beyond ratings or headlines.

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.

Netflix ‘Skyscraper Live’ Reaches 6.2 Million Views

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Netflix’s move into appointment-based live programming received a meaningful test with Skyscraper Live, and early data suggests the risk paid off. An unexpected weather delay forced a one-day postponement. Despite that setback, the live special generated 6.2 million views across Saturday and Sunday. The performance ranked it among Netflix’s most-watched offerings of the week.

According to Netflix’s internal rankings for the week of January 19, Skyscraper Live finished as the platform’s third most-watched television program. The placement stands out amid heavy competition from scripted series, returning franchises, and global releases vying for viewer attention

The performance highlights Netflix’s ability to mobilize its audience around a live event, even when scheduling adjustments are required.

Only two titles finished ahead of the live special during the week. His & Hers retained the top spot for a third consecutive week, adding 17.2 million views, while Agatha Christie’s Seven Dials secured second place with 8.7 million views.

Still, Skyscraper Live outpaced several established titles, including scripted dramas and long-running franchises, reinforcing its standing as a strong draw in Netflix’s lineup.

The live event also held off competition from Finding Her Edge, a figure skating teen drama that finished fourth with 5.5 million views. Stranger Things Season 5 rounded out the Top 5 with 3.7 million views, marking its ninth straight week on Netflix’s Top 10 English-language chart.

From a programming perspective, the result offers further validation of Netflix’s expanding live-event strategy. While the company has experimented with live comedy, reality finales, and sports-adjacent programming, Skyscraper Live demonstrated that large-scale, real-time events can still cut through in a streaming environment dominated by binge viewing and time-shifted consumption.

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.

Audacy Realigns Leadership Organization To Content Verticals

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Audacy President and CEO Kelli Turner outlined a sweeping operational overhaul in a memo to staff on Tuesday, signaling a shift away from traditional market-based management toward a vertically aligned content and leadership structure designed to better serve the company’s digital-first ambitions.

At the center of the reorganization, Chief Business Officer and New York Market President Chris Oliviero will now oversee Audacy’s Content Organization and report directly to Turner.

In that expanded role, Oliviero will manage the company’s programming and content strategy across platforms and formats, reinforcing a unified approach to audience growth and brand development.

Several key leaders will report to Oliviero as part of the new structure. Leah Reis-Dennis will continue to guide podcast strategy, John Pacino will oversee product, and Jeff Sottolano will remain responsible for programming.

In another notable change, station Brand Managers will no longer report to individual Market Presidents. Instead, they will report directly to their respective Format Vice Presidents, further emphasizing format consistency and cross-market collaboration.

“For decades, radio has been organized by market geography. This legacy model doesn’t best serve our business in today’s digital, multi-market landscape, or leverage the extraordinary talent and scale we have within our formats,” noted Turner via a memo to Audacy staff Tuesday. “Starting this week, we will organize all our programming teams and content by verticals. News, sports, country, alternative, etc – instead of by location. This unlocks greater scale, resources and expertise for our Brand Managers and frees our market leaders to focus intensely on revenue-generating activities.”

Turner also announced that Chief Revenue Officer Bob Phillips and Executive Vice President Liz Mozian will report directly to her. The move underscores the company’s focus on revenue growth and operational efficiency during a pivotal period for the audio industry.

The change takes effect immediately.

Alongside the content realignment, Audacy is also reshaping its regional leadership structure. Regional President and Dallas Market President Brian Purdy will move into a Senior Advisor role. The transition creates room for updated regional oversight.

Under the new configuration, Denver, Las Vegas, Phoenix, Portland, and Seattle will move into Jeff Federman’s West region.

Mark Hannon’s East and Central Region will expand to include Austin, Chicago, Dallas, and Houston. It will also add Kansas City, Madison, Milwaukee, St. Louis, and Wichita.

In the Southeast, Miami and Orlando Market President Claudia Menegus will manage the Southeast region and serve as President. She will oversee Chattanooga, Gainesville, Greensboro, Greenville, Memphis, Miami, New Orleans, and Orlando.

The restructuring reflects Audacy’s ongoing effort to adapt its leadership and content strategies. It responds to a rapidly evolving audio marketplace. Scale, flexibility, and digital alignment increasingly define competitive advantage.

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.

Barrett Media’s Top 20 Sports Digital Shows of 2025

Welcome to Barrett Media’s 2026 Top 20 series based on the performances of 2025. This series is popular across sports radio, news/talk radio and music radio, and for 2026, we’re expanding into other areas of the industry. Each month, we’ll feature different categories voted on by leaders in those respective lanes. Stay tuned to this website, our newsletters or XFacebookLinkedIn and other social channels to learn what’s coming next. We will also provide commentaries on the Barrett Media YouTube page so be sure to subscribe.

Today marks the first time we are presenting the Top 20 Sports Digital Shows with votes supplied by industry decision makers. 36 sports media executives took part in the voting process. They represent many of the industry’s most powerful brands. Among them include ESPN, Fox Sports, Omaha Productions, The Volume, Bleav, Blue Wire, Locked On Podcast Network, Audacy, iHeartMedia, SiriusXM, Yahoo Sports, Outkick, Red Seat Ventures, Silver Tribe Media, Blue Duck Media, Gamut Podcast Network, and VSiN. Executives from other groups were invited to participate too but did not meet our deadline. We hope to catch them next time around.

Of all the categories to be presented, the Sports Digital Shows category is one of the toughest. Allow me to explain why.

Important Information

First, there were 580 shows listed for voting consideration. We could’ve added more to the list too but having run this series long enough I know it’s rare for less popular shows to gain large voting support from decision makers. Just because a show appears on a list, doesn’t mean it will generate votes. The goal is to recognize the industry’s best performing shows not just elevate company projects or shows hosted by friends. Case in point, of the 580 shows listed 430 didn’t receive a single vote.

The second reason this category is difficult is because the industry as a whole struggles to define a podcast or digital show. Shows such as the Pat McAfee Show, Kentucky Sports Radio, The Michael Kay Show, First Take, etc. perform well on YouTube and the Apple and Spotify charts but are live radio and television shows that are also available in digital form. They will likely appear on our radio and television lists in this series. Many of the shows below are digital first with little or no additional distribution. I understand this can be confusing. Depending on how the industry evolves, we may have to redefine this category down the road. Until then, this is how we’re doing it.

Lastly, the voting process we use is similar to how writers cast votes for awards in professional sports. A first-place vote equals twenty (20) points. A 20th place vote equals one (1) point. We do this to try and keep things balanced. Remember, our voters live in different areas, work for different companies, have different tastes, and value certain factors higher than others. This is not a perfect system but it’s one we feel good about using to showcase the industry’s best.

Closing Comments

As you review the results, please remember that they represent the collective input shared by our industry voters. Barrett Media does not vote in this process. Our role is to assemble the voters, collect their feedback, and present the information. These results represent who they feel is best in the category for the year 2025.

Since some shows switched outlets and strategy along the way, we presented them with their current partners to avoid confusion. You’ll see that with shows led by Pablo Torre, Ryen Russillo and Stephen A. Smith. I want to thank Dylan Barrett for creating the artwork, and every voter who participated in the process. Now without further delay, here are Barrett Media’s Top 20 Sports Digital Shows of 2025. Congrats to all who appeared on this year’s list.


Pablo Torre Finds Out
Colin Cowherd Podcast
New Heights
Outkick the Show
Josh Pate
Ryen Russillo
Club 520
Ariel Helwani
Dan Le Batard
Stephen A. Smith
Nick Wright
Fantasy Footballers
Night Cap
Photo Credit: Dylan Barrett, YouTube, ChatGPT, Canva
SVPod
Peter Schrager
Cam Newton

Additional Notes:

  • Pablo Torre Finds Out won this category by finishing six (6) points ahead of the Colin Cowherd Podcast. Torre recorded the most first-place votes among all shows in the category with eight (8).
  • Spots 21-25 belonged to Men in Blazers, Club Shay Shay, Craig Carton Unfiltered, The Right Time w/ Bomani Jones, and The Draymond Green Show.
  • The closest battle was for spots 9 thru 11. Josh Pate, Ryen Russillo and Club 520 were each separated by two points.
  • Of the 580 shows to appear on submitted ballots, ten (10) received at least one 1st place vote.

Barrett Media’s Upcoming Top 20 of 2025 Schedule:

  • Thursday January 29: The Top 20 Sports Television Shows of 2025
  • Friday January 30: The Top 20 Sports Television Talent of 2025

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

The Business of Engagement: Why Players Return to Certain Casino Platforms

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Near midnight, a player opens a familiar app. The screen loads cleanly, the balance appears, and the lobby already reflects last week’s choices. No announcement, just a product doing what it promised the night before.

Across North America’s regulated markets, that quiet reliability sits at the center of the business model. Operators chase sign-ups, but they also track the second session, the third deposit, and the return after a stretch of inactivity.

The American Gaming Association reported U.S. commercial gaming revenue of $71.92 billion in 2024, a fourth straight annual record. It also reported online casino revenue of $8.41 billion that year in the seven states with full-scale legal iGaming, a sector where repeat sessions are measured and taxed like any other consumer business.

Ontario’s regulated market publishes monthly snapshots too. For operators, the totals read like a scoreboard and an early warning when momentum cools.

Trust begins at the cashier

For many customers, loyalty forms at the payment screen, not the roulette wheel. Deposits that clear quickly, withdrawals that arrive when expected, and terms that match the fine print can decide whether a platform feels worth revisiting.

Identity checks, geolocation prompts, and anti-fraud controls add friction, but they also signal that the platform is part of a regulated ecosystem rather than a pop-up website. When those systems misfire, players notice fast.

New Jersey’s Division of Gaming Enforcement reported $253.0 million in internet gaming win for November 2025, up 18.2% from a year earlier, and $2.64 billion year-to-date through November. Figures at that scale, often cited alongside a list of sweepstakes casinos for players, rest on payment systems and compliance processes that have to work every day, because a single failed cash-out can end the relationship.

The Lobby Is Curated, Not Just Stocked

Casino catalogs are large and often built from the same suppliers. The differentiation shows up in presentation: lobby layout, search tools, recommended rows, and seasonal campaigns that make a library feel new.

iGaming Ontario’s monthly Market Performance Report shows $9.333 billion in cash wagers in November 2025, and $406.2 million in non-adjusted gross gaming revenue, with about 1.297 million active player accounts that month.

Inside the product, that activity is nudged by small decisions: what appears above the fold, which live tables look busiest, and how quickly a player can return to a favorite title.

In Ontario’s November snapshot, casino wagers made up the bulk of cash wagers, with betting and peer-to-peer poker taking smaller shares. Platforms tend to treat that mix as merchandising, leaning into products that keep sessions frequent while still presenting variety.

Bonuses, VIP, and the rules around inducements

Rewards are among the most visible retention tools, and among the most regulated. Points, tiers, and personalized offers turn play into status and, at times, into pressure.

Ontario’s framework is unusually explicit. In a March 2025 enforcement announcement, the Alcohol and Gaming Commission of Ontario said operators are prohibited from offering inducements, bonuses, and credits in broad public advertising, and it tied those limits to harm prevention.

In October 2025, AGCO issued a monetary penalty against theScore tied to alleged failures to meet responsible gambling and player protection standards. The regulator described proactive monitoring and intervention as core expectations, and CEO and registrar Dr. Karin Schnarr said failures on that front betray player trust and undermine the integrity of the regulated market.

The commercial effect is that incentives move deeper into the customer lifecycle. Public-facing marketing leans on brand and product identity, while the most specific offers tend to appear after account creation and, in Ontario, after active consent for direct marketing.

Personalization is sold as convenience, but it is built from behavioral inputs: session history, product preferences, and responsiveness to offers. In regulated markets, those inputs can tailor the experience, but the messages attached to them increasingly run through consent gates and compliance review.

Recent-play tiles, tailored suggestions, and reordering the lobby can keep a customer inside the platform without sending an extra message at all.

The line between engagement and overreach has become part of competition. A platform that sends fewer, clearer messages may trade short-term reactivation for long-term trust, while a more aggressive strategy risks complaints and regulatory attention.

Responsible gambling signals inside the product

Regulators increasingly describe safer gambling tools as product features, not add-ons. In Michigan, the Gaming Control Board’s December 2025 revenue release paired monthly performance figures with reminders about help resources and self-exclusion tools, treating consumer protection as a routine context.

Ontario enforcement has framed the legal market as a safer alternative to unregulated sites without comparable safeguards, a theme it repeated in its October 2025 penalty announcement involving theScore.

Operators also describe stability as a retention advantage. The returning customer a platform wants is not only the most active one, but the one who can keep playing without escalating into crisis, because the engagement trail that drives marketing can also become evidence when something goes wrong.

Final Thoughts

Players return for ordinary reasons that add up: fast cash-outs, familiar layouts, offers that feel timely, support that resolves problems instead of looping. Engagement, in that sense, is built through operational details as much as through games.

In North America’s regulated markets, those details now sit under public reporting and public enforcement. The business of engagement increasingly looks like the business of accountability, because the same tools that keep users coming back can also be the tools regulators scrutinize.

How Scott Shapiro Navigates Change at FOX Sports Radio

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There are few radio executives who have witnessed the evolution of sports talk firsthand like Scott Shapiro. From his early days as a producer at 790 The Zone in Atlanta, his drive and passion for the industry have helped elevate him up the corporate ladder. The craft he loves is evident in the lineup he has assembled while working over the past decade with FOX Sports Radio and Premiere Radio Networks.

Three years ago, Shapiro was elevated to the role of senior vice president of FOX Sports Radio & podcasts for Premiere, a position that continues to evolve with time. As the industry changes, so do the responsibilities for Shapiro.

“I love the challenge. I’m growing and still learning. My role now is certainly different than it was three years ago,” explained Shapiro. “The oversight stretches far beyond the radio network. It dives deep into podcasting and digital.”

By many accounts, FOX Sports Radio is considered among the best syndicated sports radio networks in the country. With more than 630 radio stations and 17 million monthly listeners, the brand commands respect across the industry. With heavy hitters like Dan Patrick and Colin Cowherd, Shapiro’s goal remains building on existing strength, while understanding that the audience lives everywhere and at all times.

For much of Shapiro’s tenure, he worked in concert with former iHeartMedia executive Don Martin to grow FOX Sports Radio. A giant in the sports radio industry, Martin spent more than two decades with FOX Sports Radio. When Martin departed his role in November of 2024, he remained available to help continue building what he and Shapiro created together.

“I’m learning from him still every day. He’s [Martin] not a stranger, but a core consultant to what we do,” says Shapiro. “We’re still very much in concert with the big decisions the network is making. I talk to him daily, and he’s been a big part of helping our video strategy and how we’re selling it. Any big picture elements we’re working hand in hand every day. He’s one of the closest mentors I’ve ever had.”

Doug Gottlieb’s Exit

You can learn a lot from a mentor, but the industry always presents challenges no one can prepare for. FOX Sports Radio said goodbye to afternoon drive host Doug Gottlieb at the conclusion of 2025. The longtime sports radio host chose to walk away from his daily role to dedicate more time to his position as head coach of the Wisconsin–Green Bay men’s basketball program.

Shapiro said the effort Gottlieb put into balancing both roles for more than a year was unprecedented, although he admitted he had concerns about whether Gottlieb could sustain the dual responsibilities long term.

“I wouldn’t be honest if there weren’t any concerns. No question. This is something that no one has ever done. It made everyone scratch their heads,” said Shapiro. “How he did it for that long? I give him credit, and the show was still great.”

Gottlieb told Barrett Media earlier this month that he met with Shapiro and Martin when he accepted the Wisconsin–Green Bay role in 2024. The decision was to attempt both jobs for one year and then reassess. Shapiro noted that while concessions were made on both sides, expectations for Gottlieb were clearly defined.

When Gottlieb informed Shapiro of his intention to leave the radio show at the end of 2025, the conversation was not an easy one.

“It was very emotional. You think how much he’s put into this business, and how much he’s putting into coaching. It’s hard to walk away,” said Shapiro. “It was a very real and raw conversation. Frankly, he deserves to be celebrated the way he was on his last show.”

Adding Stugotz & Company LIVE

Although the network fully supported Gottlieb’s decision, the timing allowed Shapiro to prepare for a successor. Just days after Gottlieb’s final program, FOX Sports Radio announced Jon “Stugotz” Weiner as the new host for the two-hour weekday slot.

Shapiro’s relationship with Weiner dates back two decades, including a brief overlap during their time at ESPN Radio. When Weiner stepped away from his longtime role with The Dan Le Batard Show in the spring of 2025, Shapiro reached out to see what his plans were.

“When he made public that he was taking a step back from Meadowlark Media, I called him that day. Just to check in with him and continue an ongoing conversation. Certainly, I didn’t expect anything to materialize like this,” explained Shapiro.

Shapiro followed the independent work Weiner built after leaving Le Batard’s brand, including several podcasts that developed loyal audiences, followed by the launch of a video platform with title sponsors driving revenue. Impressed by the momentum, Shapiro asked about Weiner’s interest once Gottlieb’s plans became clear.

“I asked if he would be interested in going back and doing live radio. I wasn’t sure what his answer was going to be. He’s had a very successful career in radio and beyond it,” noted Shapiro. “He almost fell out of his chair with excitement over the possibility of doing it, which was great.”

Shapiro credits Weiner’s experience cultivating audiences across both terrestrial and digital platforms as the reason for his confidence in the new program. Stugotz & Company LIVE is positioned as an extension of the podcast Weiner founded, featuring strong personalities, a playful tone, and a guest roster that rivals the best in the business.

“If the radio show is anything like the podcast, in terms of opinions, tone, pace, and humor, we have a tremendous radio show here,” explained Shapiro. “To me, there was zero risk in what his [Weiner] capabilities were running point. I’ve heard it for twenty years.”

The Priority Of Digital

The new show represents the latest FOX Sports Radio program included in the brand’s expanded video streaming efforts. Digital growth remains one of the biggest challenges Shapiro is actively working to address, as audiences continue discovering content through new platforms.

With the support of the iHeartRadio app, Shapiro believes FOX Sports Radio has an advantage few national syndicators can match.

“Video is now a major priority [for the company], and that’s been a big part of my role. We’re a full platform provider now,” said Shapiro. “We want to be where we’re at now, but we want to continue to grow. Terrestrial is still our bread and butter, but the digital numbers excite us. It’s not a duplicated audience.”

According to Shapiro, FOX Sports Radio ranks as a top-three destination on the entire iHeartRadio app. That performance aligns with more than 94 million podcast downloads in 2025 and a growing live-streaming cume. The metrics reflect a network keeping pace with a rapidly changing industry.

Change On The Way

Shapiro consistently credits both his team and the creators themselves. FOX Sports Radio currently features two Radio Hall of Famers in Dan Patrick and Colin Cowherd, both of whom have delivered strong results throughout Shapiro’s tenure. However, the lineup will see change in early 2028, as Patrick has announced plans to retire following the Super Bowl in Atlanta, Georgia.

“The great thing about Dan is he’s made no secret what his plans have been. He’s been a great partner in that all along,” said Shapiro. “The good thing is we have plenty of time. Time gives you the luxury to make good decisions and be very thoughtful toward them. We’re very prepared for it.”

Regarding Cowherd, who was inducted into the Radio Hall of Fame this past year, Shapiro said the topic of retirement has never come up. At 62, Cowherd’s creative process has not slowed.

“He just re-signed a new deal. Certainly, no talks of an exit plan. He’s still bringing his fastball,” noted Shapiro. “Who knows, but he’s still performing. He’s still a destination for reaction to the big story of the day and remains very top of mind for sports fans.”

Now three years into his leadership role, Shapiro remains as motivated as ever. His focus centers on improving incrementally and continuing to find new ways to showcase the product he has helped build.

While no one can predict how audiences will consume content tomorrow, the challenge remains evolving alongside sports fans anytime and anywhere.

“We love where we stand now. Ultimately with my role, I try to create a little time every day where I can just learn,” notes Shapiro. “I owe it to the team to put them in the best opportunity to succeed. That’s what I’m trying to do with my commitment to the whole group.”

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.

Did Barstool Sports Pull Off the Greatest ‘Work’ in Sports Media History

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The world of professional wrestling has been built on the success of the work for generations. The concept is simple. Deceive the audience in order to elicit a desired response. That deception can range from an injury that swerves a long-term storyline to “writing off” a key figure, only for their return to become more impactful within the narrative. It’s often difficult to determine what’s real and what’s not, both in professional wrestling and at Barstool Sports. That’s not a shoot, by the way.

The digital content giant is no longer the renegade shock-and-awe operation it once was. Today, the company operates as a major business, collecting checks from Netflix and partnering with network television. Attention for attention’s sake is no longer the objective. Expansion and corporate alignment now drive the strategy.

With the New England Patriots back in the Super Bowl, Dave Portnoy has once again flooded social media feeds. He’s a sharp businessman who understands how to generate headlines in unconventional ways. Using fanboy bravado to fuel business interests has long been his specialty. So when Portnoy recently asked on social media whether Barstool’s ban from official NFL events had ended, it raised an eyebrow. Much like The Rock sizing up an opponent, the moment invited one simple question: was this a work all along?

It had been several years since the Patriots last appeared on the Super Bowl stage. In 2019, Tom Brady led his team to one of the most memorable comebacks of the modern era. Still, the story extended far beyond the field. Barstool’s influence among Patriots fans and its relationship with ownership helped generate headlines that lived well beyond the final whistle.

Barstool’s founder had already established a reputation for spectacle. In 2015, he was arrested after handcuffing himself to the front desk at NFL headquarters during a sit-in protesting the league’s punishment of Brady in the Deflategate scandal.

That moment ignited a run of attention-grabbing stunts as Barstool leaned into owning the moment. It echoed a time when sports radio stations thrived on similar tactics, back when the format held greater cultural weight with fans.

Merchandise featuring Roger Goodell’s face with a clown nose flew off the shelves. Barstool personalities joined league conference calls. Headlines, likes, shares, and engagement ruled the strategy. Barstool executed it exceptionally well, and the brand grew into a national force.

In 2019, following the sit-in years prior and the league pulling credentials, PFT Commenter donning false credentials was escorted off the floor at NFL Opening Night. Shortly afterward, Dave Portnoy himself was escorted out of the Super Bowl, conveniently captured on video for mass consumption.

The timing felt almost too perfect. Someone was already in position to film the entire exchange, with Portnoy sporting a mustache and sunglasses inside the dome.

At the time, Barstool personalities being “banned” from Super Bowl-related events became a significant story. Yet since then, the company hasn’t slowed down. Barstool has continued to cover the NFL while attending the Super Bowl every year, building massive production hubs and churning out content at scale.

That’s what makes Portnoy’s recent question about whether the “ban” has ended so amusing. Was there ever truly a ban, or did it only matter when his team was involved that year? That’s the essence of content creation.

Over time, Barstool Sports has proven that access means little without execution. The credentials and proximity other outlets depend on for Super Bowl success have never been essential to Barstool’s model. They operate differently and have for quite some time.

Rather than chasing relevance, Barstool became the destination. The company grew its audience, revenue, and reach while creating its own events, podcast tapings, and watch parties. It leaned on the Super Bowl without relying on the NFL. Celebrities came to Barstool instead of the company chasing the stars of the weekend.

Today, Barstool Sports partners with FOX Sports. The NFL also maintains a major relationship with FOX Sports. Barstool partners with Netflix. The NFL does as well. You often see Barstool personalities attending NFL games each and every year since. Cheering on their favorite hometown teams from seats to suites for all to see.

So did anyone seriously believe a ban realistically existed for a rapidly emerging promotional engine driving NFL interest and hype? Could Barstool have been present at league events like any other sports media outlet over the past five years? It’s hard to argue otherwise.

This may stand as the single greatest work in the history of sports media, and I count myself among those who bought into it.

That’s the brilliance of the entire approach. In professional wrestling, the best work feels just believable enough to spark debate long after the bell rings. Barstool Sports has mastered that same craft within modern sports media.

Their blueprint wins, whether the controversy was real, exaggerated, or manufactured.

If a ban ever existed, it didn’t matter. If it never existed, it mattered even less. The narrative still drove attention, fueled conversation, and reinforced Barstool’s ability to thrive without permission, credentials, or traditional access.

That’s no longer rebellion. That’s leverage.

In an era where access is often mistaken for relevance, Barstool proved the opposite. The company didn’t need the NFL’s blessing to remain in the spotlight. It only needed a believable narrative, a willing audience, and the confidence to sell the work.

And like the best wrestling angles, the only thing that truly matters is this: it worked.

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 Should Always Believe In The Song, Not The Algorithm

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Every Friday, millions of music fans wake up and immediately head to their favorite streaming platform to listen to the latest releases. By Monday, many of those same tracks already feel old in today’s fast-paced world.

For music radio programmers, this unfortunate trend feels all too familiar. It’s taken over not only the music industry, but society in general. Thanks largely to personalized algorithms suggesting, or outright dictating, what audiences should be interested in. Soon after, social media jumps on the trend before eventually peer-pressuring listeners to move on from the very same thing that was just considered a “must-listen.”

In a world dominated by algorithms and viral trends that move faster than a 56K dial-up modem connecting to AOL, famed producer and Goldfinger frontman John Feldmann believes the music itself is what matters in the end.

“The song is king,” said Feldmann, who has produced albums that collectively have sold over 35 million worldwide. “If you’re chasing the latest sound these days, it’s never going to work.”

The Panic! at the Disco and Blink-182 producer’s words ring true for both artists and programmers. They attempt to determine which songs have lasting power versus those that are merely the “hit of the day.”

Algorithm Reliance

Feldmann stresses a Do It Yourself (DIY) mentality. A mindset that he referenced several times during our conversation at Jelly Roll’s Goodnight Nashville location.

“We got in a van and we played shows when Goldfinger first started. I’ve probably played over 10,000 shows in my life,” he said. “If you’re in a band and you’re a new artist, go to every single show and just stand outside and busk — it’s not brain surgery, just busk!”

He mentioned the true way to growth was by earning one fan at a time. Feldman experienced that during his entire career from coast to coast.

“We played 385 shows in 1996, we kept touring,” he continued, while also shouting out KROQ-FM in Los Angeles for being the first to play the band’s 1996 single, Here In Your Bedroom. “That moment when KROQ played the song was huge, but I also had to continually grind after that if I wanted it to last.”

Feldmann believes that same hustle and mentality gives artists their best chance to thrive. Rather than experiencing only a short-lived viral moment. Going viral isn’t necessarily bad, but an artist needs a foundation to maximize and build upon it when, if ever, that viral moment comes.

New Becomes Old Quickly

The DIY philosophy becomes even more important in today’s digital age, as artists compete every week for New Music Friday placement.

“When you listen to New Music Friday. You have the best writers and producers competing against each other song after song. Taylor Swift, Turnstile, Bring Me The Horizon and Megan Moroney all releasing songs on the same day,” noted Feldmann.

With such a competitive field of artists and producers, I asked Feldmann how he approaches creativity in these algorithm-driven times.

“I just make music that I love,” he said. “I don’t make music to chase a trend, or try to get viral on TikTok. I just make music that I love. It takes a lot of other variants, but I still believe that song is king.”

A Winning Formula

One artist Feldmann credited is British singer and songwriter YungBlud, who has grown a massive following. Not only for his pop-punk and alternative music, but also for how he presents and promotes himself to his fanbase.

“I worked a lot with YungBlud and he’s taking over [the industry right now]. He’s hitting everything that an artist needs to. He’s never stopped touring and never stopped writing music,” explained Feldmann. “No matter what the naysayers may say, Dom [YungBlud] is winning. He is absolutely winning.”

Feldmann credits the British musician for using his social media presence to explain to fans the music and songs he is creating. Ultimately, that openness builds a connection listeners appreciate and are willing to support beyond a short-lived viral TikTok moment.

The Programming Lens

Feldmann’s advice applies to music programmers as well. You can’t consistently rely on what is viral at the moment to help your station or brand thrive. Instead, the industry should focus on artists releasing songs with emotional impact, even if they do not strictly follow popular trends.

If they do follow trends, they should elevate the music to another level.

“People in general, but especially creatives are so scared to be judged,” said Feldmann. “If you feel it in your heart and you know it’s what you want to do. Put it out.”

The crowd responded in Nashville with a massive ovation following those words. If you’re a music programmer, artist, or producer, that same ovation could be yours if you believe in yourself.

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 Needs to Embrace the Fractional Workforce

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Radio loves tradition. It’s one of our superpowers. That — and naming stations after animals.

It’s also, at times, the thing that keeps us stuck defending structures that no longer match the reality of business.

As January comes to a close, most operators face the same familiar pressure: revenue softening, tighter budgets, fewer people wearing more hats, and they aren’t free hats from the promo closet. You haven’t had those since 2014.

That pressure usually leads to one of two outcomes: freeze spending and hope, or make cuts and pray. Both of which, by the way, sound like excellent album titles.

There’s a third option radio hasn’t fully embraced yet, despite the fact that nearly every other category already has.

It’s the fractionalized business model.

Fractional Is Already Everywhere

Outside of radio, fractional contributors are commonplace.

Creative agencies. Marketing strategists. Designers. Social media managers. Account executives. Legal counsel. CFOs. CTOs. CMOs. C3POs (just seeing if you’re really reading or skimming. Hey, Mark Adams!).

Entire companies now operate with elite, part-time specialists over slow-moving, full-time myopic traditionalists.

One of my long-standing Phil-Osophies from managing several thousand people is: It’s better to have an A-player for part of the week than a C-player all week long.

Radio still tends to frame staffing as binary: on or off staff. Inside the building or not invested. Me? I’m more nonbinary.

Rob Base Was Wrong

In many large and major markets today, it’s not unusual to see stations operating with two people covering enormous operational ground. It takes more than two.

PDs are now doing what I call the 7 Transmitter Challenge. Sounds like a TikTok trend, but we’ll get to that.

  • Monitor what’s on air
  • Monitor what’s on the app
  • Monitor what’s on the stream
  • What’s on Instagram
  • What’s on TikTok
  • What’s on Facebook
  • What’s on the website

And this is if your PD is only programming one station. Yes, there are still a few people who have that luxury. Wild, I know. I don’t mean the station is named Wild (hey, Dan Hunt!).

It’s almost impossible to deliver 24 hours of on-air and online content with 50% fewer resources. Maybe it’s time we move to a 12-hour content clock. More on that in a future article.

Enter the Three Wise Kens

Yes, the PD is ultimately responsible for the product. That doesn’t mean the PD has to do every task personally.

Once your station architecture is built—your strategy, your sound, your rules—music scheduling becomes a data entry job. Important, yes, but still a data entry job. Making sure Sabrina Carpenter doesn’t play back-to-back and sound-coding Harry Styles’ “Aperture” is not the highest and best use of a PD’s time. Also, how would you sound-code that song? Do you have a lo-fi Berlin disco category?

That’s where fractional expertise comes in.

Kenny J, widely regarded as Country’s most trusted ear, can be accessed fractionally. Not as a full-time line item, but as a specialist who brings pattern recognition from multiple markets and deep format fluency without the overhead. Plus, he might be related to Juicy J or was that Jessie J, I don’t remember.

Kent Phillips, through Timeless Cool, provides scheduling and music strategy support. Some readers may ask, “Shouldn’t the PD be doing the log?” To me, that sounds like traditional PD thinking (pretty dumb).

Your PD should be coaching talent, shaping brand, building culture, finding the local content that matters, building trust with their staff, creating memorable audio moments that aren’t music, watching those seven transmitters listed above, and helping sellers drive revenue.

Then there’s Ken Jennings. He seems to know a lot — maybe worth an interview (zoom).

Three Kens. Three specialists. No payroll tax.

“But Won’t Fractional People Care Less?”

Let’s address the objections head-on.

“They won’t care like the staff does.” Caring isn’t measured by hours clocked; it’s measured by outcomes. Fractional experts build their reputations on results not through hitting reply all to your SuperBowl squares email.

“You can’t outsource culture.” Correct. Fractional doesn’t develop culture—you do. Fractional team members support what you drive.

“This is just consulting with a new name.” No. Consulting is an aircheck, a market visit, and a Mediabase report. Fractional partnerships are ongoing, operational, and embedded in real day-to-day work.

“Our market is too unique.” Every market believes this. The truth is that pattern recognition across multiple markets reveals blind spots insiders can’t see.

“We tried consultants before and it didn’t work.” Then you hired advisors,not executors. Fractional works because it stays in the system long enough to adjust, learn, and deliver.

“Coordination in the station outweighs it.” Only if leadership isn’t clear. Fractional thrives under strong internal direction and collapses under none.That’s not a full time staff or fractional problem. That’s a management one.

Big-Company Horsepower Without Big-Company Headcount

Jimmy Steal—whose experience spans New York, Los Angeles, Chicago and more is available to coach talent, develop marketing plans, and ideate promotions that smaller or mid-size stations could never have afforded in the past.

Paired with former iHeart and Entercom winning programmer Tim Richards at Collective Heads, they deliver some of the most effective audience analyses available—turning data into actionable decisions, not TL;DR reports with a JPG of your logo.

Larger broadcast corporations have in-house analytics teams and in-house marketing teams to act on that analysis. Fractional partners like Timmy and Jimmy put that same firepower into the hands of operators who previously had neither.

Plus, Tim and Jim rhyme—and it’s okay to use people not named Ken.

The 24/7 Advantage

There’s another advantage radio hasn’t leveraged: time zones.

Fractional team members don’t sit in the same building or at times even the same country. With qualified specialists across multiple regions, stations can effectively become 24/7 content machines again. While one market sleeps, another is building, editing, scheduling, analyzing, or planning.

Content can’t stop, won’t stop. Man… Diddy really ruined that phrase for me.

Nothing Lasts Forever

Fractional is part-time. It’s not payroll. No benefits burden. No contracts.

If your quarter turns around and you want to go back to “the way we’ve always done things,” you can. That phrase can be read as good and bad and that’s kind of the point.

Fractionalism is about replacing people. It’s about giving the people you do have the resources they don’t. It frees them to focus on what’s happening inside the building and what’s coming through a screen or a speaker, while others help handle the work that if we’re being honest was probably being overlooked.

The Phil-Osophy

Cost control keeps you alive.

Excellence gets you growing again.

And for stations willing to rethink structure, this might be the smartest move of the year. Or at least the smartest move of the year so far.

It is only January

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 Hard Questions About ICE and Cell Phone Video Changed Everything

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The wall-to-wall coverage by cable and broadcast networks, day after agonizing day, showed the country erupting in outrage over the killing — and the administration’s explosive response — to the death of ICU nurse Alex Pretti at the hands of ICE agents in Minneapolis.

For the first time in the ICE saga, the administration buckled in the face of relentless, hard-hitting questioning by top anchors, including Kristen Welker, Dana Bash, and Fox’s Griff Jenkins, among others. It was the kind of confrontational journalism that made its mark and drew blood.

With anchors repeatedly cross-examining top administration officials, the message became clear: the story wasn’t holding up. Videos surfaced, and the narrative cracked.

Dana Bash, co-host of CNN’s State of the Union, came out swinging, grilling Border Patrol Commander-at-Large Greg Bovino in a fiery, no-holds-barred interview, demanding answers as to why Pretti was killed in cold blood. The next day, Bovino was banished from the city along with a handful of agents, and Border Czar Tom Homan was dispatched to the scene. Co-host of Fox & Friends Brian Kilmeade had suggested bringing in Homan three times on the show.

Pretti was pinned to the ground by several agents, one of whom took his gun — which he had a legal right to carry and conceal — and it was then, as cellphone video makes clear, that he was shot 10 times. They could have handcuffed him at that point; instead, the agents opened fire.

“Dana, first he was there in the scene. He was in the scene actively impeding and assaulting law enforcement to the point…,” Bovino said.

Bash retorted, “He wasn’t impeding it. He was filming it, which is a legal thing to do in the United States of America.” Bovino countered, “Dana, let’s don’t freeze-frame adjudicate this now. He was there for a reason. And that reason was to impede law enforcement, to the point…”

She kept going. “What evidence do you have of that?” Bash didn’t let Bovino hide behind talking points, and viewers — including the Commander in Chief — noticed.

On NBC’s Meet the Press, Kristen Welker went for the jugular, tearing into the administration’s narrative that Pretti was “brandishing a weapon” at ICE agents and acting as a “domestic terrorist,” as Secretary of Homeland Security Kristi Noem proclaimed right after the shooting.

Welker’s prosecutorial style forced Deputy Attorney General Todd Blanche to go on the defensive. Welker asked, “Did you see him at any point brandish a gun?” Blanche replied, “You can’t see everything that’s happening. There are a lot of angles we don’t see.”

She then pressed him on the actions of the agents more broadly. “Are they acting humanely?” Blanche answered, “Yes, our agents are acting humanely.”

Even on Fox News, Griff Jenkins, co-host of Fox & Friends, turned up the heat in what is normally friendly territory for the administration. He interrogated Blanche, asking why video evidence painted a dramatically different picture than the official line.

“With all due respect, sir, my question is more pointed… it doesn’t appear to most of the country that have watched the available video… it does not appear to have met that definition of domestic terrorism.”

Blanche acquiesced. “Look, I don’t think anybody thinks that they were comparing what happened on Saturday to the legal definition of domestic terrorism.” Blanche blinked, and Jenkins’ questions reflected a growing discomfort, even among conservative viewers.

The administration’s spinners took a beating, and it led President Trump to do what he hates to do: back down. He thinks it gives the media — who he calls the “enemy of the people” — a major victory.

But he really had no choice, with even hyper-partisan Republican lawmakers like James Comer, head of the Oversight Committee, encouraging Trump on Maria Bartiromo’s show on Fox to consider pulling ICE from Minnesota.

Under the glare of TV spotlights, and as protests swept Minneapolis and the country, the coverage continued to flood every hour of cable news, especially on MS NOW. The administration’s claims, confronted with stark video evidence that most people have seen, unraveled.

The intense questioning by top anchors left the public wondering why a 37-year-old ICU nurse, who worked with veterans, could die at the hands of those sworn to protect him. He’s the second American citizen to die, following the killing of mother of three Renee Good, who had just dropped off her child at school. Across the media landscape, critics rejected the administration’s attempt to blame the victims — even if they made mistakes — as a prime example of trigger-happy, badly trained federal agents.

Imagine what would have happened if there hadn’t been cellphone video and viewers were left to rely solely on the administration’s insistence on blaming the victims, branding the dead nurse a “domestic terrorist” who was allegedly brandishing a weapon.

For the most part, this was exceptional journalism done by highly trained professionals who chiseled away at administration efforts to deny what so many of us could see with our own eyes.

That constant refusal to accept false claims, declaring them flatly contradicted by video evidence and replaying it again and again, was not only good for the profession. It was good for a country that remains badly shaken by the fatal and unnecessary killing of two American citizens.

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.