Charles Barkley forcefully pushed back against speculation that ESPN or the NBA is limiting Inside the NBA’s appearances because of its outspoken commentary, dismissing the theory as uninformed and inaccurate.
Speaking during Friday’s episode of Inside the NBA on ESPN, Barkley addressed recent remarks made by Colin Cowherd, who suggested the show’s reduced schedule could reflect a behind-the-scenes understanding between the network and the league. Barkley rejected that notion outright, saying the schedule for the studio show was established well in advance. He expressed frustration with commentary suggesting the program had been sidelined because of criticism aimed at players or the league.
“There’s some fools at home that we’re on the internet. They’re at home now. Saying that we were talking bad about the players today, so they made us work less. Shut hell up,” said Barkley.
Last week, Cowherd questioned on The Herd why Inside the NBA has aired sparingly in its first season under ESPN. He stressed the comments were conjecture. Cowherd suggested the reduced visibility may reflect NBA sensitivity to the show’s historically irreverent tone.
Cowherd also suggested that informal understandings, rather than contractual mandates, often shape modern media partnerships. He cited what he described as long-standing discomfort from league executives regarding how the show has mocked players and league narratives.
Barkley appeared visibly irritated by the implication. He said the idea that ESPN intentionally kept the show off the air to appease the NBA simply does not match reality.
“There was no reason for us to be out for two months,” Barkley said, adding that the absence had nothing to do with criticism or pressure from the league. “This was already scheduled months and months ago.”
The Hall of Famer also took aim at social media commentary surrounding the situation. He criticized what he described as baseless assumptions spreading online. He said viewers were mischaracterizing both the show’s content and its relationship with ESPN.
Since joining ESPN’s programming lineup, Inside the NBA has aired five times during the 2025–26 season. Several additional episodes are scheduled to air later this month.
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.
MediaCo has named veteran broadcast executive Maire Mason as Vice President and General Manager of Local MediaCo Markets, a move that reshapes leadership across several of the company’s most prominent radio and television properties in New York and beyond.
MediaCo Holding Inc. said Mason will oversee local radio and television operations in New York City, Chicago, and Denver. This places her in charge of some of the most recognizable brands in urban audio and multicultural television. Her portfolio includes HOT 97 (WQHT-FM), WBLS-FM, Luna 107.5 (WBLS-HD2), La Buena (WQHT-HD2), and EstrellaTV’s WMBC-TV serving the New York tri-state area. Company executives indicated Mason’s responsibilities are expected to expand as MediaCo continues to scale its national footprint.
“Maire is an extraordinary executive and one of the top leaders in audio,” said Albert Rodriguez, CEO of MediaCo Holding Inc. “Her experience, market insight, and leadership make her the ideal person to lead our local operations as we continue to grow.”
Mason brings decades of experience across major broadcast groups and a reputation for guiding legacy brands through change. She has adapted to shifting audience behaviors and evolving revenue dynamics. Her role will include operational oversight, strategic growth initiatives, and market-level leadership. MediaCo aims to strengthen its local presence across platforms.
Mason joins MediaCo from Spanish Broadcasting System, where she served as Vice President and General Manager for the New York market. In that role, she led Mega 97.9 and Amor 93.1 before adding Chicago’s La Ley 107.9 to her responsibilities. Her tenure there coincided with continued competition for Hispanic audiences and advertisers in major urban markets.
“This opportunity doesn’t come around often,” said Mason. “I’m excited to lead iconic brands like HOT 97 and WBLS alongside La Luna, La Buena, and WMBC, and to work with a leadership team that is building something special.”
Earlier in her career, Mason spent more than 20 years with CBS Radio and Infinity Broadcasting. She held leadership roles during significant consolidation and format experimentation. She later held senior positions at Univision New York and Cumulus Media. There, she helped launch New York City’s first FM news station and the market’s first country station. Those initiatives underscored her ability to identify format opportunities and execute complex launches in crowded dial positions.
From a revenue perspective, MediaCo executives see Mason’s arrival as a catalyst for deeper integration between audio and television operations. Chief Revenue Officer Brian Fisher said her leadership strengthens the company’s commercial strategy. Senior Vice President of Audio Sales Danny Lowrey called the hire a significant step forward for partners and advertisers.
In a related move, MediaCo announced the appointment of Liz Paulino as Director of Sales, reporting to Mason.
Barrett Media produces daily content on the music, news, and sports media industries.Sign upfor our newsletters to stay updated and get the latest informed right in your inbox.
Podtrac has announced it is modernizing the data used for its podcast rankings to include video views on YouTube, TikTok, and Instagram.
The company has launched what it is calling its “Multi-Channel Rankings”, placing the top 200 shows based on data from Spotify, Apple Podcasts, and other RSS feeds, along with full episode video metrics from Spotify and YouTube. It will also include data from podcast clips posted on YouTube, Instagram, and TikTok.
Included in the December 2025 rankings is a visual identifier to see how popular each of the top 20 programs was based on their respective platforms.
The MeidasTouch Podcast took the top spot in the Multi-Channel Podcast rankings, propelled by its popularity on YouTube and with clips posted to TikTok and YouTube.
Meanwhile, The Joe Rogan Experience was second with just under 50% of its exposure coming from the audio podcast realm on Apple Podcasts and Spotify.
The visualization of which platform is biggest for each podcast from Podtrac reveals interesting information. For instance, shows like Up First from NPR (13th) and The Daily (7th) see almost 100% of their usage through strictly audio channels on Apple Podcasts and Spotify. While, shows like Dr. Insanity (8th), The Adam Mockler Show (8th), and The Mel Robbins Podcast (18th) see almost all of their usage from either video podcasting, or by posting clips on social media.
Of the 200 podcasts ranked in the Multi-Channel Rankings, 52 are from the news format, while Comedy (35), Society & Culture (20), True Crime (19), Business (17), & Sports (11) rounded out the most popular genres.
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.
Former WFAN host Brandon Tierney is set to return to national television next weekend. The longtime sports media personality revealed he’s set to contribute to an upcoming youth sports feature airing on One Nation with Brian Kilmeade on FOX News.
Tierney shared the news in a Facebook post, announcing that he’s taping a segment examining the current youth sports landscape, with a focus on the financial, emotional, and societal pressures increasingly placed on young athletes and their families.
The feature will air next Sunday as part of the network’s weekend programming slate.
“Really excited to contribute to One Nation,’ Tierney posted on Facebook. “The perils, cost, misinformation and pressures facing youth athletes and the impact on families and society in general. Going to be great!”
Best known to New York audiences for his years as a host at WFAN, Tierney has remained active in media and public discourse since departing the station in December. Tierney has built his own digital platform via YouTube and has been making frequent contributions to other programs.
According to Tierney’s post, the segment will address several issues shaping youth athletics today. These include rising participation costs, misinformation around player development, and pressure to specialize early. The topics have drawn increasing attention from parents, educators, and media outlets. Youth sports continue to evolve into a high-stakes environment for many families.
Tierney’s perspective is shaped by decades in sports media and firsthand observations of how youth athletics have changed. While sports radio traditionally focuses on professional leagues, youth sports discussions have moved into mainstream news coverage. The shift reflects their broader societal impact.
Barrett Media produces daily content on the music, news, and sports media industries.Sign upfor our newsletters to stay updated and get the latest informed right in your inbox.
“We’re going to keep your informed, entertained, and have a laugh or two along the way.” What better way to set the stage for a sports radio listener? It was a welcome to the program that explained expectations without chasing a trending topic or forcing a hot take meant to make the listener choose to immediately lean in or tune out. Terry Boers and Dan Bernstein were never conventional, and that was precisely the point.
When news broke Friday that Terry Boers had passed away, sports radio became less fun. Many outside of Chicago may not fully understand his legacy in the market, but his influence stretches far beyond city limits. I know that personally, having been a former Boers & Bernstein intern and colleague to Boers for six years in Chicago.
When I saw the news, my mind went immediately to the good times. I remember being part of a station filled with generational talent in one of the most competitive sports markets in the country. When pressure to perform was at its highest, the laugh of Terry Boers served as a calming influence. That was his magic, and it remains an example worth following for everyone.
Curt Cignetti once told people to “Google” him to understand his coaching resume. For anyone unfamiliar with Boers’ approach, execution of his craft, or the magic and hilarity he brought to radio, YouTube him.
Boers was a founding member of The Score. Before radio, he built his reputation as a sports columnist at the Chicago Sun-Times. He was the guiding but challenging voice during the rise of Michael Jordan and the Hollywood spotlight surrounding the 1985 Chicago Bears. His words carried weight in print, and in 1992 they gained a megaphone when The Score signed on.
I first became aware of Terry Boers in 2002 when I moved back to my hometown of Chicago. By then, he had already carved out his own lane as part of the Heavy Fuel Crew with Dan McNeil. A lineup shift in 1999 paired Boers with Dan Bernstein, and from 1999 through 2017, Boers & Bernstein became the longest-running sports radio show in Chicago history for the time.
The show was different. It created its own footprint in how Chicago sports connected with fans. Bernstein’s sharp, inquisitive mind paired seamlessly with Boers’ wit and humor, producing an authentic and intelligent conversation. You were never talked down to. You were welcomed in.
In 2002, I was still figuring out my career path. As the idea of pharmacy school faded like the White Sox playoff hopes each year, I became increasingly drawn to Boers & Bernstein. During a difficult period in my personal life, being informed, entertained, and sharing a laugh or two mattered more than I realized at the time.
The show felt inviting. It gave listeners a sense of belonging, like being part of a group they I may not have had elsewhere. You learned the inside language of your teams and rediscovered the fun in games you watched together.
Terry Boers was an entertainer, mentor, and friend to many. He knew when seriousness was required, but he also understood that sports are, at their core, wonderfully ridiculous. Boers was the ringmaster of the Chicago sports circus, guiding audiences through the good, the bad, and the uniquely bizarre.
He questioned authority and held teams accountable without interrogating. Instead, he conversed. Drawing from his background in sportswriting, Boers asked hard questions with a soft tone, leaving listeners with something unique every time.
That was his gift, and it kept audiences coming back.
More than anything, Boers stood out for how he treated people on and off the air. The rarest and most respected trait in broadcasting is authenticity, being the same person away from the microphone as you are behind it. Terry Boers embodied that.
He possessed natural gifts many spend a lifetime chasing. He was comfortable in his own skin and could take a joke as easily as he delivered one.
I take immense pride in my eight years rising from intern to teammate at 670 The Score. From being dubbed “Johnny Muldoon” by Boers to leaving the station in 2011 for Tampa Bay, those years shaped me. Even long after our day-to-day work ended, Terry was among the first to offer congratulations on my next steps in Florida. He genuinely celebrated seeing others move forward, especially when it came from contributing to the station he helped build.
After my departure, Boers continued to add to his already remarkable legacy. He worked six more years before retiring in 2017 as he battled with cancer. His post-retirement appearances on The Score became must-listen moments, blending insight on modern sports with stories from the past, always punctuated by that unmistakable laugh.
He also authored a book in 2017 chronicling his Chicago sports talk journey. It captured the story of a man, a career, and a radio station few believed would endure. He witnessed giants, traveled widely, and approached it all with a smile, a wink, and a laugh.
You can learn a lot about a man by his laugh. If you like a man’s laugh before knowing anything else about him, you can be confident he’s a good man. Terry Boers was a good man, a father, husband, grandfather, friend, writer, broadcaster, and proud Chicagoan, even if he hailed from Steger, Illinois.
“We’re going to keep you informed, entertained, and have a laugh or two along the way.” Terry Boers didn’t just say it. He lived it. For decades, he made sports feel smaller, life feel lighter, and radio feel like home.
Sports radio is less fun today, but it is far better for having had Terry Boers at all.
It’s with a heavy heart that we share the sad news that the great Terry Boers passed away today.
He was a one-of-a-kind Score original who we’ll remember forever.
Barrett Media produces daily content on the music, news, and sports media industries.Sign upfor our newsletters to stay updated and get the latest informed right in your inbox.
Rock in the 90’s. Simply amazing. It was special the first time I played Nirvana, Pearl Jam, Soundgarden, Alice In Chains, Stone Temple Pilots, and Bush on the radio. I was also lucky enough to experience those bands performing live in their heyday.
Living and working so close to New York City afforded me the opportunity to attend many of the MTV Unplugged events as well. An evening with Nirvana included. Remember signature shows like Lollapalooza, H.O.R.D.E., Vans Warped Tour, and Ozzfest? It was a glorious time in rock radio.
Did I ever imagine that the band Bush would go the distance? 32 years later, Bush is a band that is going all the way and putting on better shows in 2025 (the last time I saw them) than in 1994. Truth be told, I didn’t see that coming. I didn’t imagine that all these years later, Gavin Rossdale would still be crafting such impactful music and delivering an even more dynamic stage show.
Over three decades since their multi-platinum debut “Sixteen Stone” was released, Bush is on fire. The band has just announced their “Land Of Milk And Honey” tour with special guests Mammoth and James and The Cold Gun.
Their tenth release, “I Beat Loneliness,” features 11 tracks with a familiar feel and a fresh coat of melancholy.
Recently, I caught up with Bush’s charismatic leader Gavin Rossdale on my Carr Stereo Podcast. He discussed creating modern-day Bush classics. Also his admiration for singer-songwriter Charlie Puth, and why strong openers on tour are important, and taking Bush “The Distance.”
*Editor’s Note: Answers have been edited for clarity and length.*
Terrie Carr – You’re making some of the most impactful music of your career now. It’s very interesting because they’re Bush songs, but they’re not the same Bush songs.
Gavin Rossdale – Thank you, I love that phrase.
TC- When you’re writing these songs, are you thinking about them appealing to a new generation? Or does it sort of naturally, organically become a sign of the times and just sort of happen?
GR- It’s everything you just said. It’s trying to be as mindful as possible. Mindful of myself. I’ve gotten to be a better editor. I used to think I was better when I was younger.
Sometimes I would write things and be like, Jack Kerouac, who thought “the first thought is the best thought.” That’s not always right, though sometimes you can’t edit yourself.
I’ve just tried to be honest with myself and be like, “You’re not as good as Radiohead yet. You know, this isn’t as good as Radiohead.” “How good is this?” “Compared to a System of a Down track?”
Socrates said it, which is not to bring the interview down too far. “The more you know, the more you get to understand.” You realize “the less you know,” the smarter you are. I’ve always been kind of cursed with it. I’m smart enough to know I could be smarter!
The brilliant thing about being dumb is that you don’t know it and everyone else gets to suffer it. I’m in the position where I’m not “really smart,” but I’m smart enough to be like, “man, I wish I was smarter.”
TC- You’re crafting a sound that is your sound and continuing to take it decade after decade. Not that many people are smart enough to be able to do that. To have the feel, to know when it’s yours. To know when it’s not yours, and to continue to do it successfully without chasing trends.
There was a point in your career where all of a sudden everything kind of clicked. Was there a period for you where you said, “you know what, I think we can take this band the distance?”
GR- When I came back after a little hiatus in 2002, a couple of years away from Bush, we made Sea of Memories, which had the [song] “Sound Of Winter.” I noticed that there were a couple of songs, one in particular, which I won’t name because it’s unfair to the song, where I think I was guilty of slightly treading water. I was like, “where am I going?” “I’m not really pushing myself.” “I’m doing what I know.”
Someone like Charlie Puth. He’s an absolute genius musician. He’s phenomenal and really intriguing. I follow him and watch him. He’s so good that he could sit down and be like, “I’m doing a song only using fours. I want to be very technical,” and he does.
However, someone like me is more feral. I find the sound I like, and it’s more instinctive, more instinctual than a learned classical musician. So for me, this has been an incredible journey of pushing the music and trying to learn and understand more.
At the same time, I keep mindful of editing myself better. Keeping in mind what’s going on out there in the world. That’s important. You don’t want to be in a bubble. It’s putting all those pieces into the pot and seeing what comes out.
And you know what comes out? “I Beat Loneliness.” That’s what comes out for me. Our new album.
TC- You are taking Mammoth and James and The Cold Gun out on tour this time. I loved watching Wolfgang interview you. You could tell he was thinking, “I’m interviewing Gavin Rossdale!” And James and The Cold Gun are amazing. How important is it for you to have these great touring mates?
GR- It’s everything. I want people to have an amazing night. Truly, I don’t want to get into it, but what it costs people to go out is disproportionate and unfair. I just don’t like it.
I know I’m part of the system, so it feels hypocritical. Honestly, I should be jumping up and saying “keep prices down.” But a lot of the prices have nothing to do with me, parking, beverages, food, all that stuff.
It’s such an expensive night that you have to respect that people had many choices of what to do. If they choose to see us, it’s incumbent on us to provide a great night of music.
Bush never disappoints. In the past ten years, I’ve easily seen them five times, and they always deliver a great night of music. Bush begins their headlining tour in April and is also playing major festivals this year, including Sonic Temple, Bottlerock, and Download.
Their tenth album, “I Beat Loneliness,” is out now. It’s a personal, melodic force that delivers the mid-tempo Bush bangers we love while tackling heavy themes like mental health and current affairs.
Bush in 2026 is on fire. Nineties soul for those of us who loved those songs, with a sound for a new generation. I’m glad they went the distance. You can listen to the full interview below, and follow the Carr Stereo Podcast with Terrie Carr here.
This is a big week for Barrett Media. For months we’ve been planning to launch two new digital shows in 2026. We’ve also been working on expanding our popular Top 20 series. Unlike past years, the Top 20 is extending beyond sports, news and music radio. More to come on that later in this column.
Let’s start first with some background on our forthcoming digital shows.
The 4Cast
Beginning this Wednesday, we are launching the first episode of The 4Cast. Four participants will take part in this show. John Mamola and Garrett Searight will co-anchor it. The other two spots will feature a Barrett Media contributor and a special guest from inside the media industry. I am appearing on the first episode, but this will become John and Garrett’s show. I’ll appear when needs arise or when there’s something important to get into.
The concept for The 4Cast is simple. 4 topics discussed in 25-minutes or less with 4 different people leading different segments. Those subjects will include sports media, music radio, news media, business, and anything else the group feels is important for the audience. Each episode will premiere on Wednesday’s at Noon ET across our social media platforms. Video clips from the show will hit social media platforms in the days that follow. Dylan Barrett is serving as producer and social media director for the show.
The Jason Barrett Podcast
The second video project we’re working on is the relaunch of The Jason Barrett Podcast. I’ll be in San Francisco next week with Dylan and John to record Top 20 reactions, and tape upcoming episodes of the show. Unlike the prior version of this show which focused exclusively on sports media, I plan to broaden my horizons. I’m looking forward to conversations with professionals from news media, sports media, music radio, the music industry, advertising, technology, research and anything else I’m passionate about.
The plan is to relaunch the JBP on March 2nd. The show will be thirty minutes or less unless something requires expanded discussion. It will be released each Monday at 9am ET. Most of the show will be a two-way conversation with professionals from inside the industry. I’ll also deliver a short monologue at the start of each episode. Dylan Barrett is handling producing and video/social duties for the show.
Guest Appearances
For guest consideration on either show, email Jason@BarrettMedia.com. John, Garrett and Dylan will handle all 4Cast matters. Dylan and I will set the direction for the JBP.
To avoid missing future episodes, please subscribe to the Barrett Media YouTube Channel. Also, if you’re not doing this already, follow us on X, Facebook, TikTok, Instagram, Threads, and LinkedIn.
Quick Takes
Another video project we’re excited to launch after the Super Bowl is something we’re calling Barrett Media Quick Takes. These will be video commentaries delivered in a minute or less by Garrett Searight, John Mamola and myself. As breaking news unfolds, it’s an easy way for us to chime in on stories that may not be the focus of our next column. Once again, if you’re following us across social media, you’ll see these appear on your timeline in mid-February.
Barrett Media’s Top 20 Series
I’ve spent the past few weeks tracking down votes and adding up feedback across the sports television, radio and podcasting spaces. On Wednesday, we’ll present our first results for this year’s Top 20 series. We’ll start with the Top 20 Sports Digital Shows of 2025. Then on Thursday and Friday, we’ll follow up with the Top 20 Sports Television Shows and Sports Television Talent of 2025. All feedback is provided by sports media industry executives and decisions makers.
After the Top 20 in Sports Digital and TV are released, we shift next to the Top 20 in sports radio. That series begins on Monday February 2nd. It concludes on Monday February 9th. However, we get no break after that because the very next day is when we begin rolling out the Top 20 in News/Talk radio. That series runs February 10-13 and February 16-17 followed by the Top 20 News Television Shows, Talent and Podcasts from February 18-20. We then bring it all home with the results of the Top 20 in Music Radio from February 23-27 and March 2-4.
As we move throughout the year, you’ll see this series gain a lot of steam. Top 20’s are planned for Agents, Media Companies, Advertising Professionals and Advertisers, Market Managers, Broadcast Executives, Record Labels, Sports Betting Talent, and much more. Each category will have voting involvement from professionals with deep knowledge of the space. It’s one of the hardest projects we’ve ever created, but we know how valuable this series is for the radio industry and want to provide similar value for many others.
We do have opportunities on the sponsorship end for brands to own some of these special projects. If interested, email me at Jason@BarrettMedia.com and I can share additional details.
Barrett Media Audio Summit
We’ll announce our next speakers update for the 2026 Barrett Media Audio Summit tomorrow. I’m excited to welcome another high profile talent and a couple of outstanding programming leaders to the show. I’ve got a few more programming panels to finalize before I turn my attention to local talent and other areas. Those interested in speaking can inquire at Jason@BarrettMedia.com. Due to high demand, it will take a bit before I follow up.
If you plan to attend the Summit, secure your tickets and reserve your hotel room asap. Details are available on the Summit page up top or by clicking here. This year’s show features one-day of sports media, one-day of news media, and one-day of music radio. It happens i NYC at the SVA Theatre June 30-July 2, 2026. We look forward to an awesome three-days with the media industry’s best and brightest.
Barrett Media produces daily content on the music, news, and sports media industries.Sign upfor our newsletters to stay updated and get the latest information right in your inbox.
Last week, I offered thoughts on Judge Vargas’ decision in the Southern District Court of New York to grant Cumulus an injunction against Nielsen, which is being appealed.
The discussion surrounded a comment in Rich Tunkel’s declaration to the court that Nielsen might have to retire Nationwide if the company’s “tying policy” can’t be enforced, which I suggested was both unlikely and would be harmful to the radio industry and Nielsen’s private equity overlords. This week, let’s consider another aspect of the case and Judge Vargas’ decision, specifically competition in the local market space.
Much as I’m not an attorney, I’m also not an economist, and I am grateful for both conditions. However, I’m always thankful for the courses we were required to take during my Ph.D. program at Michigan State. My first term included a First Amendment class during which Professor Murray required that we read Supreme Court cases. Later, as I wrote papers about broadcast policy, law review articles helped greatly. Some of these articles had more verbiage in the footnotes than in the body of the article, but you learned how to read legalese.
We also took Media Economics with the late Dr. Barry Litman, a brilliant if quirky media economist. Barry was always happy to talk economics, but we students also knew not to put him on our dissertation committees because he was tough. In other words, I can muddle my way through court decisions and economics. Paraphrasing Yogi Berra, “I’m smarter than the average radio person” in these areas, but there are experts who know far more than I do.
To start your week off on the right foot, let’s talk about antitrust law. I’m a capitalist, but without some sort of regulation, some capitalists will inevitably go too far in the pursuit of profits. As a result, Congress has passed laws to protect consumers — and the definition of “consumer” can include businesses as well — starting with the Sherman Antitrust Act of 1890.
The Sherman Act didn’t outlaw monopolies but instead stopped companies from engaging in behavior that prevented other companies from competing. Sometimes, the market can support just one company. An often-used example is buggy whips. In the 19th century, people got around by horseback, and some had buggies. One needed a buggy whip to keep the horse or horses going where you wanted them to go, although I have zero buggy experience. I doubt any readers have a horse-drawn buggy at home today, but if you do, there is exactly one buggy whip manufacturer left from the good old days: the Westfield Whip Manufacturing Company of Westfield, Massachusetts, which traces its roots to 1884.
While a few other companies may manufacture something akin to a buggy whip, Westfield has a legal monopoly, a result of surviving a shrinking market, not by trying to force out competition.
The next law to pass was the Clayton Antitrust Act of 1914, which is the basis of Cumulus’ suit against Nielsen. One aspect of the Clayton Act is a prohibition on “tying” when this will lessen competition. Here’s the relevant text:
SEC. 3. That it shall be unlawful for any person engaged in commerce, in the course of such commerce, to lease or make a sale or contract for sale of goods, wares, merchandise, machinery, supplies or other commodities, whether patented or unpatented, for use, consumption or resale within the United States or any Territory thereof or the District of Columbia or any insular possession or other place under the jurisdiction of the United States, or fix a price charged therefor, or discount from, or rebate upon, such price, on the condition, agreement or understanding that the lessee or purchaser thereof shall not use or deal in the goods, wares, merchandise, machinery, supplies or other commodities of a competitor or competitors of the lessor or seller, where the effect of such lease, sale, or contract for sale or such condition, agreement or understanding may be to substantially lessen competition or tend to create a monopoly in any line of commerce.
If you read through that passage from 112 years ago, you’ll see the basis of Cumulus’ argument against Nielsen. By tying Nationwide, which Cumulus must have for Westwood One, to the purchase of local market data — even in markets where Cumulus does not want any data or wishes to use a competitor (Eastlan) — Cumulus believes Nielsen is in violation of the Clayton Act. Judge Vargas’ initial decision was that Cumulus has a solid case and may win on the merits when an actual trial takes place, assuming no settlement in the interim.
Further, Cumulus is claiming that if it does use Eastlan in some of its markets, then Nielsen’s “Subscriber First” policy — a practice that shows only Nielsen subscriber data to agencies — means that Eastlan subscribers, along with stations that don’t subscribe to any ratings service, will be at a major disadvantage.
Nielsen has a monopoly in national radio ratings, as it has the only product nationwide. It’s not an illegal one. Another company could challenge Nielsen in this market, but no entity has chosen to do so. However, Nielsen stands accused of using its monopoly power in Nationwide, a service that Cumulus believes it must purchase, to force Cumulus to buy Nielsen services it doesn’t want.
Nielsen’s claim is that this is a business negotiation. Nielsen wants to charge more, and Cumulus doesn’t want to pay more. The two sides could negotiate a mutually agreeable price, as has happened for decades, and the company believes this dispute should not end up in a court of law.
Antitrust is hard to prove and win. If you’ve been around a while, you may remember when AT&T was split into seven “Baby Bells” back in 1982 as part of an antitrust settlement. Microsoft changed some practices in 2010 because of an antitrust case brought against the company.
The radio industry is facing enough problems, some a result of so many options for the time and attention of consumers and others self-inflicted. In my view, for the sake of the industry and its future, Nielsen needs to relent, but I can’t see this happening while the company is owned by private equity.
Private equity’s typical modus operandi is to raise prices, cut costs to a minimum, and after some number of years, either sell the firm to another buyer or take it public, reaping a nice profit as well as rewarding those who put up a large percentage of the money to buy the company in the first place. Given those conditions, I can’t imagine the PE folks backing down unless they lose in court.
One other option: the industry needs to tell Nielsen Audio that they’re done with these practices and pricing and will support an alternative. Keep your fingers crossed.
Let’s meet again next week.
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.
Here’s a random thought for you to consider: maybe the oldest tricks in the book are there because they work best. Other, newer tricks might come and go, but the ones that accomplish what you need probably stay in the book and become part of the oldest-tricks list. Ed Sheeran might be proving that right now.
For example, let’s talk about requests. A time-honored tradition in radio that dates to the earliest days of the medium. It’s fun for the person making the request, and it humanizes the station for everyone else who is listening by letting them know the next song was picked by someone like them.
But over the years, with tighter playlists, reluctance to play anything that isn’t a bona fide smash hit, and reductions in the number of live talent in studios available to take requests, it seems like this trick has fallen out of the book.
Unless you ask Ed Sheeran. According to an article in Hypebot, Sheeran is launching a tour of New Zealand and Australia, and he is allowing fans to curate five songs in each night’s playlist. Prior to the show, there will be a number on screens in the venue that attendees can use to text in suggestions for songs they want to hear. The votes will be tallied, and the top five will be added to Sheeran’s set that night.
Even more interesting is that the requests don’t have to be Sheeran’s songs. According to his social media post announcing this wrinkle in his setlist, “whatever the song is, I will learn it before the show. So, surprise me.”
Now, I could easily run down the value of finding a way to integrate audience requests into your radio station, but Jeremy Young, who wrote the Hypebot article, did a lot of the heavy lifting for me. He listed a set of six reasons other artists should endeavor to do something like what Sheeran is doing. Here are a few that seem germane to our world:
Keeping Shows Dynamic: More than most, I know the argument for playing a tight list of hits. But I also know that finding ways to change it up, like taking some requests, can make a station sound much more vibrant.
Respect for the Audience: Taking requests is a way to subtly tell listeners that their voices do matter and increase their level of passion for the station. It also localizes your station when many others are running syndicated programming.
Creating Shareable Moments: Today, when everyone is a content creator, having your listeners post on their social channels about getting their request played is an excellent form of marketing.
Before the eyes roll or the hands are thrown up in frustration because there are limited people at the station who are already busy wearing four hats each, I would submit that taking requests is a light lift, especially considering the benefits you can reap in return.
In today’s world, there are so many ways to get song suggestions from listeners — text, email, mobile app, website, social media, and probably five more I’m not thinking of — that it’s hardly difficult. Nothing says they must be filled the moment they come in. Schedule the songs ahead of time and send a note back to the listener telling them when their song is coming up to create an appointment-setting opportunity for the requester and their friends and family.
So, whether it’s a daily feature at a certain time, a specialty weekend, or just something you integrate into your regular programming, it’s a good time to follow Ed Sheeran’s lead and pull out one of the oldest tricks in the book. It’s still in there for a reason.
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The FCC doesn’t often wander into the late-night monologue or the daytime couch. At least it, used to not be a topic frequently discussed.
When it does, reactions tend to be louder than the actual policy shift. That’s exactly what happened after Chair Brendan Carr reminded broadcasters that equal time rules still apply when political candidates are interviewed.
At its core, the reminder was simple. If a program invites an active political candidate to appear, opposing candidates are entitled to comparable access. This isn’t a crackdown. It’s a restatement of rules that have existed for decades.
As long as late-night and daytime talk shows avoid booking active candidates, there’s very little to fear. Most of these programs already operate that way. Celebrities, authors, and cultural figures dominate bookings, not people running for statewide office.
So how prevalent is this issue, really? Are late-night and daytime shows routinely interviewing candidates in competitive races? Outside of a few high-profile Senate contests or presidential cycles, the answer is no.
That reality makes the current outrage feel disconnected from actual programming habits. These shows are not acting as weekly campaign stops. They’re entertainment franchises that occasionally brush up against politics through commentary.
Jimmy Kimmel framed the reminder as another attempt by Carr to silence him. Kimmel has plenty of reasons to be frustrated with the FCC chair. He’s also within his rights to believe political pressure is involved.
Still, this particular reminder isn’t aimed at one host. Equal time rules don’t care about punchlines or party affiliation. They apply based on candidate status, not tone or intent.
Sean Hannity approached the issue from the opposite direction. He argued that the equal time rule should be scrapped entirely. In his view, Americans should decide for themselves what is true or fair.
That position is understandable from a talk host’s perspective. Editorial freedom matters. But broadcast access for candidates is a different question.
Is it really against the public interest for candidates from both parties to reach millions of voters? If one side is given that platform, fairness demands the same opportunity for opponents. The answer there feels undeniably yes.
This also isn’t a new debate. The original waiver allowing The Tonight Show with Jay Leno more flexibility dates back to 2006. Broadcasters have enjoyed wide latitude ever since.
What the FCC is effectively saying now is straightforward. You’ve been operating with a lot of freedom. Just remember that it isn’t unlimited.
That’s not censorship. It’s regulatory housekeeping.
There’s also a tendency to overstate how often this rule would even be triggered. Most late-night appearances involve former officials, activists, or pundits. Those guests don’t qualify as candidates under the rule.
Daytime talk shows follow a similar pattern. Lifestyle segments and human-interest stories rarely collide with active campaigns. The theoretical risk far outweighs the practical one.
The reaction suggests a chilling effect that doesn’t match reality. No one is being forced off the air. No monologues are being pre-screened by regulators.
There are plenty of reasons to believe the FCC is incompetent. This isn’t one of them.
If anything, the reminder reinforces a basic principle. Broadcast licenses come with obligations. Equal access during elections is one of them.
Much of the current consternation feels like political theater. The rules haven’t changed. The landscape hasn’t shifted. Only the volume of the conversation has increased.
In the end, this looks like much ado about nothing. Late-night hosts can keep telling jokes. Daytime shows can keep booking guests. Just don’t turn the couch into a campaign stop.
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