FOX Sports hit a home run Monday night as more than 9 million viewers tuned in to watch the Toronto Blue Jays punch their ticket to the World Series. Across FOX, FS1, FOX Deportes, and FOX Sports streaming platforms, Game 7 of the American League Championship Series averaged 9,028,000 viewers, marking a massive audience win for the network.
According to Nielsen data, 8.91 million viewers watched the game on FOX and FS1 alone. The most-watched ALCS game on any network since 2017, when the New York Yankees and Houston Astros drew 9.96 million for their own decisive Game 7. The broadcast also delivered FOX’s best Monday night performance since last year’s World Series Game 3. Underscoring the strong appetite for postseason baseball.
The matchup between Toronto and Seattle represented a dramatic ratings rebound for Major League Baseball’s championship round. Compared to last year’s ALCS Game 7 between the Texas Rangers and Astros, which averaged 6.77 million viewers. This year’s finale was up 32 percent. That kind of year-over-year growth is a welcome sign for FOX executives who have been looking to capitalize on competitive series.
The audience surge was fueled in part by high stakes and high drama. The Blue Jays, appearing in their first ALCS since 1993, battled a Mariners squad chasing its first pennant in franchise history. That intrigue translated into big numbers during the game’s final innings. Viewership peaked at 12.35 million between 10:45 and 11:00 p.m. ET, when Toronto secured the victory.
More historic figures, however, were posted north of the border. Canada’s Sportsnet averaged 6 million viewers for the Blue Jays’ clinching Game 7 win on Monday. The figure marked the network’s largest telecast of the team ever. It surpassed a record that had stood since the 2015 ALCS.
That audience represented about 15% of the entire Canadian population. When combining the two countries, the blended average of 9.39 million viewers of the ALCS beat last year’s figure by 60%. Even though the Blue Jays were not involved then.
The World Series on FOX Sports begins Friday night as the Los Angeles Dodgers defend their championship against the Toronto Blue Jays.
As the @BlueJays punched their ticket to the World Series, FOX Sports posted the most-watched #ALCS game on any network since 2017 – and @MLBONFOX's most-streamed Championship Series game ever. 📈 pic.twitter.com/ZL5GSAcYA7
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The NBA on NBC is back. For the first time in over two decades, the network delivered a smashing debut, leaning into nostalgia while presenting a new look for a new generation of basketball fans. Instead of Marv Albert, Mike Fratello, and Ahmad Rashad, we had Mike Tirico, Reggie Miller, and Jamal Crawford—a mix of call-backs, call-outs, and even a Michael Jordan appearance.
The biggest buzz, of course, was the return of the greatest player to ever play the game. For those who remember the days when NBC Sports dominated NBA coverage, it was all about Jordan. His greatness demanded attention, the audience watched, and memories lasting a lifetime were made.
Yet NBC remained remarkably quiet all summer about Jordan’s role in the coverage. Many speculated—including myself—about what could be a home run for a network eager to hold viewers’ attention beyond opening night. Jordan could have been that. After the inaugural broadcast, I have my doubts.
At NBC Sports’ upfront earlier this year, the biggest headline wasn’t the return of Roundball Rock or the assembled broadcast team. It was Jordan appearing in a short clip announcing his role as a special contributor. It was the cherry on top of a “back to the future”–style presentation of what viewers could expect from NBA on NBC.
Michael Snore-Dan
But Jordan’s under-four-minute debut at halftime of the Oklahoma City Thunder–Houston Rockets game left me confused. Sitting across from Tirico at his home, Jordan didn’t speak about the current NBA. He didn’t discuss NBC’s return to broadcasting. He didn’t even mention a single current player.
Instead, the Hall of Famer spoke about spending time with family, shooting a free throw, and “paying it forward” as a way to give back to the game he loves. He still loves the sport—and wishes he could still play.
And scene.
What NBC delivered on opening night, despite all the hype, was little more than a teaser clip for a podcast. The conversation had nothing to do with the current NBA, nor with what NBC was presenting throughout the evening.
Now, questions need answers. Was this the plan all along? Will Jordan’s appearances on NBC Sports (and Peacock) consist only of general reflections about his career, offering a 30,000-foot view of the NBA rather than insight into the season or current players?
Moving Forward With The G.O.A.T.
There was debate leading up to the launch about whether NBC was leaning too heavily on nostalgia. The network played John Tesh, highlighted Jordan’s Bulls, Kobe’s Lakers, and other legends like Patrick Ewing and Magic Johnson. Jordan, however, was the centerpiece—supposedly the star who would set NBC apart from Inside the NBA on ESPN.
As well as the broadcast went otherwise, Jordan’s segment was a dud. It was a dead spot that killed momentum heading into a double-overtime thriller, and a busy night that switched from cable to Peacock for the second game.
NBC cannot move forward by leaning on its past. Appearances by network legends must serve a purpose: to showcase the stars of today. The league, its platform, and its audience exist to market current players—even with a touch of retro flair.
If NBC plans to play clips of Jordan moving forward, that would be a waste of time. The Last Dance succeeded because it offered everything NBA fans wanted to know about the behind-the-scenes story. If Jordan truly wants to “pay it back,” he should do so by highlighting today’s stars—not recounting luxury golf trips.
NBC can be selective with Jordan. He doesn’t need a weekly segment. But his insights on current topics are far more valuable than a fireside chat about the old days, with Tirico and himself wearing near-matching shoes.
Learn From Your Teammates
The best way NBC Sports can collaborate with Michael Jordan is modeled after what his former colleagues have already done. Inside the NBA features three former players who were never able to beat Jordan to a title when he reigned in Chicago. All three have a head start on knowing where NBA fans would like Jordan to go in his “contributions” to NBC Sports.
The question is: will he? Or will this simply be “whatever Mike wants, Mike gets”?
NBC Sports’ return to the NBA is a promising step forward, but nostalgia alone cannot carry it. The network has the platform, the audience, and the stars of today to capture attention. Jordan should enhance that, not distract from it.
If NBC truly wants to reclaim its place in basketball broadcasting, it needs contributions that inform, excite, and connect with the current game. Legends belong—but only if their presence elevates what’s happening now.
Otherwise, even the greatest of all time risks being little more than a halftime footnote.
Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.
There are two things about Curtis Sliwa that I think are undeniably true: he’s a news/talk radio legend in New York, and he’s not going to win the city’s election for mayor.
The longtime radio personality and one of the city’s most recognizable voices declared he will never return to 77 WABC after owner John Catsimatidis and several station hosts suggested he step aside from the mayoral race.
For a figure who has spent more than 30 years dominating multiple dayparts across several stations, this is a seismic shift.
Sliwa has long been a news/talk radio legend in New York, a rare talent capable of filling late-night, midday, and morning slots while drawing large, loyal audiences. His style — a mix of outspoken opinions, controversial takes, and raw energy — resonated with listeners because it felt genuine.
At WABC, he thrived in an environment where local ownership allowed him to speak freely without the looming threat of shareholder pressure or advertiser boycotts. That freedom made 77 WABC feel like home for Sliwa, a station where his voice could remain unfiltered and unafraid.
The question now becomes what comes next for Curtis Sliwa if he truly stays away from WABC. His name alone carries weight in New York radio, but the politics of his mayoral candidacy could complicate his return.
If his decision to stay in the race indirectly helps Zohran Mamdani, the Democratic Socialist candidate, capture the election, there may be serious consequences for Sliwa’s audience base. Many of the listeners who have followed him for decades are politically conservative. They may see Sliwa’s refusal to step aside as a betrayal of their values, potentially turning their backs on him, even if they still respect his radio career.
This isn’t just hypothetical. News/talk radio in New York has always been unforgiving. The market is brutally competitive, and audiences have short memories when it comes to political controversy. A single misstep — or the perception of one — can cost ratings, advertiser support, and ultimately, a show’s longevity. Sliwa’s decades of success could be tested by the very race he insisted on pursuing, no matter how principled his reasons for running.
Yet it’s important to note that if Mamdani wins, Curtis Sliwa is hardly the sole reason. The mayoral field itself has been underwhelming. Candidates like Eric Adams and Andrew Cuomo, for all their experience and name recognition, failed to excite or unite voters due to their various scandals.
In a race dominated by underperforming frontrunners, Sliwa’s candidacy became an unexpected variable, but not the only one. Political outcomes rarely hinge on a single individual. Still, the public tends to look for someone to blame when things go wrong, and in a city like New York, scapegoats are often made of high-profile figures like Sliwa.
That reality creates a difficult landscape for any return to radio. Curtis Sliwa has built a career on authenticity and courage, yet those same traits could now make him a liability in the eyes of listeners and advertisers alike. Returning to WABC — or any other station, like 710 WOR or AM 970 The Answer — may require rebuilding trust with an audience that could feel betrayed.
And even if he finds a home on another platform, the shadow of the mayoral race will loom large over every show he hosts.
In the end, Sliwa’s situation highlights the harsh truths of New York news/talk radio. It’s a cutthroat business where audience loyalty is earned daily and easily lost, and where public perception often matters more than years of proven success. Curtis Sliwa has spent more than three decades on the air in multiple dayparts across multiple stations. His experience is undeniable, and his talent is unquestioned.
But even legends are not immune to the consequences of their choices.
If Mamdani wins, it won’t be solely Curtis Sliwa’s fault. It will be as much about the lackluster candidates on the ballot as it is about Sliwa’s decision to remain in the race. Yet in a world that craves scapegoats, Sliwa could still bear the brunt of the fallout. And in the cutthroat world of New York news/talk radio, scapegoats don’t often enjoy a long, bright future.
Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.
Meet The Leaders is a special 8-week series created in partnership with Point to Point Marketing. Our third feature is on the Chief Executive Officer at Red Seat Ventures, Chris Balfe. Follow along with the series and revisit former conversations by checking out the entire category.
With over 23 years of experience working with creators in the digital media space, Chris Balfe has helped pioneer the direct-to-consumer model for talent looking to make immediate impact. He co-founded Red Seat Ventures in 2015 alongside his brother, Kevin. Chris has worked with some of the most influential creators in the world across all formats, helping them launch, grow, and monetize their independent media businesses.
In this edition of “Meet The Leaders,” we dive into the strategy of Red Seat Ventures as a partner, including the decision to never be involved in editorial with creators. We touch on the success of building the Red Seat Ventures talent roster, Fox acquiring the company earlier this year, and the company’s push into the sports content space partnering with Craig Carton, Robert Griffin III, and others.
Balfe spoke with Barrett Media from his office in New York City.
*Editor’s Note: Answers have been edited for clarity and length.*
John Mamola: The business model of Red Seat Ventures is interesting because it’s built around serving the creator as opposed to focusing on content. Let’s start with the decision to stray away from the actual content creation side and prioritize everything in the background. Why do you believe in that approach?
Chris Balfe: At scale, that’s the only way we can do it. If you’re working closely with one talent, being engaged in every aspect of it from content to editorial strategy is the only way to do it. You really need to be engaged on every level.
When you switch hats and become a little bit more focused on the network side, that’s when you must take a step back from the editorial and say, ‘I’m not living this every day’.
I’m not driving to work, sitting in the prep meetings or sitting at the dinner table with this talent. That’s what it takes to be able to provide useful content strategy and editorial-type suggestions. You have to live and breathe the content.
From our perch, doing 20 shows and hopefully doing 200 shows, we could never have that level of connectivity to each of the shows. It’s better for us to say, you’ve got your content, you’ve got your editorial. Our job is to help you grow it and monetize it.
John Mamola: When it comes to working with or scouting creators you want to work with, are there minimum guidelines that you look for as far as metrics? Or is the preferred method for business that the creator approaches you?
Chris Balfe: Most come to us through word of mouth. Either they’ve talked to an existing client, and they’ve referred them. We’ve been so fortunate to have so many of our clients send us other folks, which is awesome. It’s always the best way to do it.
We’re sitting here in a time period where the barrier to entry on podcasting and YouTube is zero. Your computer comes with a microphone and a webcam. To me, it’s less I have this idea; it’s more, here’s what we are doing. Here’s what the viewership or download numbers are like. Do you think you can help us get it to the next level or improve monetization, strategy, distribution, or whatever?
There are obviously things that we can do, given our role in the industry, that are helpful. But we can’t help you turn the camera on. I guess we can, but they don’t need our help with that.
It’s much more interesting to us to look at people who are doing—saying, wow! They’ve taken the initiative, and they’ve found an audience. We can help them take it to the next level instead of someone who says, I’d like to start a podcast. Then why haven’t you?
John Mamola: Looking at your roster of creators, there’s a mix of high profile personalities across all genres. Sports appears to be a key part of your business plan, but there’s an intersection with news talk programming too. Is the business strategy to lean on the success model from high profile creators to attract new creators? Are there any challenges with creators not wanting to explore relationships due to talent being involved with opposite political leanings?
Chris Balfe: We want to be in business with great creators. Politics is not the driving factor. Particularly now, as we look to expand aggressively across all genres, including sports, comedy, and lifestyle. We’re not sitting here saying we’re only interested in folks who are one persuasion or another.
To the second part of your question: certainly, it will take some guts for someone who’s looking at our roster and saying, do I want to be the first, second, or third one in the boat that’s not fully aligned with the existing roster?
We’re getting those folks. Robert Griffin III, Craig Carton are both with us. So, I think people are starting to realize these guys are serious about broadening their client list. They’ve obviously been successful up till now, so let’s take that risk.
I don’t think it’s much of a risk, to be honest. Ultimately, we’re part of a big company. We’re part of the Tubi media group, which deals with everybody on all sides. We’re part of Fox, which has Fox Sports and Fox Entertainment.
Realistically, I don’t think it’s a huge risk. I do appreciate any brave folks who are willing to be among the first to come to us in that regard.
John Mamola: Going back to not being involved in the editorial or the creation process. Is there a risk with that potentially? Certain creators may go a little bit too far on certain topics regardless of format. How do you balance that with Red Seat Ventures?
Chris Balfe: Red Seat Ventures is a service provider. You must really start thinking about these associations that people create in their own minds around service providers.
If someone I don’t like uses Verizon, is that Verizon’s fault? The content is representative of the people who are producing the content. We’re a partner, a network, and a business associate for these folks. It’s our job to do the best that we can for them from the perspective of growth, marketing, and all the other services that they may choose to use us for.
I’m very much not in the censorship business.
John Mamola: From a sports perspective, Red Seat Ventures recently paired up with Craig Carton. How did the idea come about to work with Carton on a sports podcast?
Chris Balfe: It’s sort of our re-entry into the sports space more than anything. We were anxious to work with Craig Carton. I’ve lived in New York since 2006. One of my great friends is maybe the biggest WFAN fan in the world. WFAN is a core part of my growing up listening to the [Don] Imus in the morning.
Radio is certainly in my blood, and Craig is the ultimate sports radio host. The opportunity to work with Craig [Carton] was easy. I couldn’t say yes fast enough.
John Mamola: You’re a long-time FAN guy. Were you stunned that the success that he had on WFAN didn’t necessarily translate to television?
Chris Balfe: Not really, because linear TV is so regimented. It’s so different from what we do. It’s completely the opposite in a lot of ways.
We’re all about talent control. We work for them. They don’t work for us. They wake up in the morning and do the show they want to do. Then that show’s success either succeeds or fails based on its own merits.
In TV, it’s almost the opposite in many cases. Here’s the format, the co-hosts, and what time it’s on. All these other things that are the world that you have to live in in order to make this show.
Craig is a radio guy. They want to do the show they want to do. That’s what we’re able to do with the new show. This is Craig Unfiltered. I don’t get into the editorial, and that’s true in news and it’s true in sports too. We let him pick every component of this show, and we’re here to help it grow, distribute it, and monetize it.
John Mamola: How has the response been so far?
Chris Balfe: Really strong. We’re starting off great out of the gate again. Whenever you have somebody that’s got proven success as Craig has had, you’re kind of starting with an unfair advantage versus an unknown that may be incredibly talented.
Our sales team is on the phone with advertisers saying, you got to buy The Joe Blow Show, and they’re like, who’s Joe Blow? Craig has demonstrated success to audiences. He’s demonstrated success to advertisers. One of the advantages that we have in working with radio people versus people from TV is radio people know that part of their job is to sell product. Craig totally gets that.
John Mamola: Is the plan to use Carton’s example to lure other sports creators?
Chris Balfe: Sports is an area where Fox gives us a huge leg up in partnering with FOX Sports on FS1, also in partnering with the broader Fox broadcast network and the rights that they have for college games, car racing, and these sports rights that they have on the network itself.
There’s an opportunity for us to work with creators who are experts in that space, but then to turn around and allow them access to the biggest platform in the world, which is broadcast television. That’s another place where we have an unfair advantage in partnering with Fox. Ultimately, you’re going to see us becoming a very big player in the sports space.
John Mamola: In February, Fox Corporation acquired Red Seat Ventures. That is a huge success for you and the company. How did the acquisition come about?
Chris Balfe: There’s a senior executive with Fox named Paul Cheesbrough. He reached out to me on Twitter.
We had been talking to Piers Morgan, who had a long relationship with News Corp. Piers was thinking about going independently and sharing that view internally. That piqued the kind of curiosity of folks there, but also they had already been monitoring the space—thinking about how does Fox make a bigger play in the creator economy. I think those two things aligned, and Paul reached out.
We had an amazing first conversation, and several conversations after that. Fox demonstrated who they are and how aggressive they can be. From the first moment we spoke to the deal being closed was two months or something.
It was an insanely fast process, and both sides kind of knew that there was an amazing match here. An opportunity to do something together that’s much bigger.
John Mamola: With the acquisition by Fox, how does that help your role of going out and collaborating with or attracting creators to work with Red Seat Ventures?
Chris Balfe: I think there’s a real opportunity for us here because I think the creator economy is thriving. Podcasting is thriving. The role that we can play in thinking about the next steps from here.
Great creators have had an amazing run. YouTube is on fire, but now let’s think about monetization across other platforms. Let’s think about distribution so that maybe we’re not completely dependent just on YouTube and podcasting.
In those ways, being part of Fox and having access to our friends at Tubi and Fox One, all of the resources of the various Fox networks including FOX Sports, there’s just a lot of potential synergy for us to bring to the table for talent to say to them, do you want to play a bigger role in some of these platforms that might be giving you additional visibility, eyeballs, monetization, and other things that you couldn’t otherwise get?
I think Red Seat really has a chance of being the next-generation network or next-generation provider for A-list talent. That’s certainly our goal.
John Mamola: Since the acquisition, what’s been your personal biggest change to your day-to-day?
Chris Balfe: The biggest change is going from a business that was effectively owned by me and Kevin [Balfe], therefore sort of thinking about things from the perspective of if we make this decision or that decision, how does it impact our personal economics and the economics of the business.
Over the next six months, if we make this hire, are we going to have enough money to do these other things that we might want to do?
The biggest change is the ask from Fox to think big—to say, how do we make this the number one company in the creator economy, not just sort of scale it linearly based on what you and Kevin [Balfe] can afford to do?
That means I wake up every day and start thinking about how do we grow much more quickly than was our previous plan? How do we provide even better service to our current clients, while also being aggressive about our new clients?
We announced that we hired Rena Ayer from SiriusXM, who had been in charge of podcast acquisition for them. She had been one of their premium podcast acquisition people. Now she’s our leading content person.
We’re going to be really aggressive in signing new talent. Rena is going to be a big part of that. That’s a major change. Not that we weren’t thinking about new talent before, but now we’re thinking about it every moment of the day.
John Mamola: FOX Sports struck a partnership recently with Barstool Sports. I don’t know if this applies at all, but does that new partnership between the two brands open up any possibilities for Red Seat to work with Barstool Sports on future projects?
Chris Balfe: We’d love to do more with Barstool [Sports]. We’re big fans of everything they’ve built so far. We haven’t gone down that road. They’ve built such an amazing growth and monetization engine themselves. Certainly, always hopeful that there’s an opportunity for us to work more closely with them.
John Mamola: With FOX One, what possibilities exist for Red Seat Ventures there?
Chris Balfe: Great example. We’ve already operationalized one deal, which is Nancy Grace. Nancy’s our first client, and I love working with Nancy. She’s amazing, and I think that we were able to bring to Fox One an exclusive window. When you watch Crime Stories, the only place to watch Crime Stories for the first 24 hours was on Fox One.
Creative ways for us to be a place for Fox One and for Tubi to go to get top creators and get access to top creators. Also being a place for us to be able to bring top creators those additional distribution opportunities.
That’s something that works both ways to everybody’s advantage. It’s a unique component of the type of business that we can create that I think others can’t.
John Mamola: You manage a lot of high-profile personalities and shows with Red Seat Ventures. How do you continue to expand when you have this massive roster that you’re trying to ensure every one of them is taken care of while attempting to expand?
Chris Balfe: I say it all the time, we’re in the talent business. If we don’t do a good job, they’ll find someone who will. It’s up to them to make that decision on a regular basis to say, is Red Seat Ventures the best place for me? It’s my job to make sure the answer is yes. To me, it doesn’t come down as much to egos as it comes down to doing an amazing job for our clients.
John Mamola: What’s the most fun part of your job as CEO of Red Seat Ventures?
Chris Balfe: I love doing new things. One of the reasons that we’re a good partner for creators is because we’ve done a lot of this a number of times. That’s all fun, and we love doing that.
What’s really fun is somebody who comes to us and says, I want to do something completely different, try something that no one’s ever tried, and we’re negotiating a deal that’s outside the bounds of the things that I’ve been doing for the last 23 years.
In my new job at Fox, I’m doing a lot of that. Doing a lot of deals that are much more cross-medium, including different parts of the company that take advantage of the strengths of Fox overall. These are the types of things that, again, when it’s just me and a few folks, we can’t even dream of doing. New stuff is fun.
John Mamola: Red Seat Ventures was named after the red seat at Fenway Park where Ted Williams hit the longest home run in Fenway Park history. What do you want to see more from Red Seat Ventures in the next six months to a year, as far as expanding into the sports content space?
Chris Balfe: We have an opportunity again to say, how do we improve a creator’s reach and revenue? You’re hiring us to improve your reach and revenue, and we have to be able to do that.
As we look at the whole life cycle of creator monetization and say, what are the other ways that we can help you grow your business—from subscription to social media, sales to live events, and licensing the show to third parties.
I think we look at this holistically and say, reach and revenue, yes.
Ultimately, being the best partner for creators means being able to solve their problems or bring them opportunities across all of the areas where they can be successful. That’s the way. That’s the part that I’m excited about building—being the best partner for these folks.
To learn more about Point-To-Point Marketing’s Podcast and Broadcast Audience Development Marketing strategies, contact Tim Bronsil at tim@ptpmarketing.com or 513-702-5072.
Behind the brush and deep through the waters of the Rio Grande, journalists unearth some of the most difficult stories the North American continent has to offer: the life-and-death struggles at the border. Jennie Taer covers the border for The Daily Wire, and says it’s something she never planned on.
“I never really chose this [career]. It chose me,” she told Barrett Media.
The University of Arizona graduate was expecting to work in politics upon graduation, but after an internship with Laura Ingraham’s radio show and a job offer from then-Fox News contributor Sara Carter, there was no looking back.
Her first ride-along with Customs and Border Protection agents was with Carter, who is now President Donald Trump’s “Drug Czar” (aka Director of the Office of National Drug Control Policy). She took Taer under her wing.
“She was really, and still is, a mentor to me,” Taer proudly said of her friend.
Taer recalled her “intense reaction” from her first late-night tour of the border. “It was when we were starting to see that big rush [of people coming over during the Biden administration],” she said.
“It was dark, we were in the brush, and I will never forget all of a sudden, you just see a group of people emerge. Women, children, babies, men crying [for help],” Taer attested. “Just the sounds, the feelings, the everything. It just took me out of my comfort zone.”
The desperate cries were “a real manifestation” of desperation. While the cries can be cajoling, it is the silent cries from agents on the border that often go unnoticed by the mainstream media. It’s these silent cries that Taer highlights in her work.
While working for Carter, Taer says she learned “how you gain the trust of sources [and] how you peel back the layers of the onion on any story.”
Soon, sources were coming to Taer as the Biden COVID-19 vaccine crackdown began. “When the Biden administration was really cracking down on [Border Patrol agents] for not getting the COVID vaccine.” What many Americans didn’t know, and what Taer uncovered, is the staggering number of other deadly diseases these agents are exposed to.
“If you go into Border Patrol processing centers, there are isolation rooms for people who have scabies and other illnesses that aren’t so common here,” Taer noted. COVID was the least of these agents’ worries.
Her reporting also underscored how many people were coming from outside of Central and South America. “We were seeing people from Mauritania, we were seeing people from Africa, and Arab countries, and China,” Taer declared.
The emotional toll open border policies had on agents was staggering. Taer became an outlet for these agents and their families so the American people could see the strain open border policies had placed on them. It was her digital-first approach that made Taer a key reporter.
Today, the Daily Wire reporter is still of a digital-first mindset. “I go on TikTok, and I [can] make short breakdowns of what’s happening in Chicago, what’s happening in Portland. So people who get their news there can see it,” Taer said.
The key to her digital success is “just meeting them where they are” because younger generations are not getting their news from traditional media outlets. It’s a societal shift which Taer is “actually very grateful for.”
“We can really touch every, you know, part of society, and get them up to speed on what’s happening, just by making, you know, a concise, quick video,” she emphasized. It also makes for a very competitive marketplace.
But that doesn’t matter to Taer, as her sources help her break exclusive stories. One of the bigger stories Taer is working on is way north of the border in Chicago. It’s also a story the mainstream media isn’t really focused on.
“Chicago, for so long, has been the story that the mainstream media has gotten totally wrong,” she lamented. “They haven’t reported on the amount of illegal immigrants and the different stories of the ones that have been let go by those authorities there, because of the sanctuary laws, and just because of lax prosecution.”
“To give you an example of that, I uncovered the story of the apartment complexes in Aurora, Colorado, that were being taken over by the Venezuelan prison gang Tren de Aragua,” she recalled.
Digging into the leader operating out of the complex, Taer found one of his associates was not only let go by a judge in Chicago for stashing a gun and bullets (which is a felony), but the person in question was also tied to a violent heist of a jewelry store in Denver. “This had a multi-state impact,” Taer declared. It all could have been stopped if the Chicago judge had cooperated with ICE.
She also railed against the mainstream media for criticizing ICE for the arrest of U.S. citizens. “When a U.S. citizen is actively impeding their operations, they absolutely have authority under federal law to go out and arrest them, and they’re not putting them in detention cells with illegal immigrants. The media is not taking the time to really show the whole of this issue.”
According to Taer, U.S. citizens who are arrested by ICE can be taken back to a processing center until the U.S. Marshals can come and get them. “Then their charges can be pursued by the DOJ. But the mainstream media doesn’t show this.”
Frustrated with how mainstream outlets work, she ridiculed them, saying, “They just sensationalize that a U.S. citizen got arrested by ICE. And people think from that, of course, that ICE is deporting American citizens, which is not the case.” She later added that the murky reporting from other outlets is “such a disservice to readers and to the American people, and it’s not journalism.”
For those looking to follow in Taer’s footsteps, she believes an important thing for young people to do is “always be open to any opportunity that comes your way and say yes and do the best you can at everything you try.”
She also noted it helps to do it all with a smile and a positive attitude. Most importantly, Taer believes young people should seek out mentorship because, for her, “[it] has been the most valuable in my career, because I’m still growing, I’m still learning.”
“I didn’t go to journalism school, and I think, in a way, that gave me an advantage, because I was just this sponge. I just had an open mind, and went into it, and [continue to have] this amazing experience and journey.”
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For Rob Roberts, radio has never been “just a job.” It’s been a lifelong passion—one that began when he was a kid, glued to WMPS/WHBQ listening to Rick Dees in the morning and WLS with John Records Landecker at night.
That early fascination grew into a 50-year journey filled with big markets, legendary stations, and unforgettable wins. Today, Roberts serves as Operations Manager for Cox Media Group in San Antonio, overseeing KSMG, KONO-FM, and CMG’s Top 40 and Hot AC brands—a role he calls the dream job he was hoping for.
“There’s a lack of passion and excitement in some corners of the industry,” says Roberts. “But I still think I have the greatest job in the world. My friends can’t believe I get paid to do what I do, and they’d trade jobs in a second.”
Roberts’ career began in 1974, when he walked into WBAQ-FM in Greenville, Mississippi, and offered to work for free in exchange for learning radio.
“I spent a few months loading cokes in the machine, pulling records for the jocks, and writing bad copy for commercials and PSAs,” he recalled.
Then one afternoon, fate intervened in Roberts’ path toward his future.
“The PM Drive jock quit that morning, and they told me I was on the air at 3 p.m. After calling my parents, I proceeded to do the worst show in the history of radio. But they let me stay on, and I am forever grateful,” said Roberts.
From there, his career took flight. In Lubbock, Texas, at KRLB-FM, he worked his way up from midday jock to Program Director under the mentorship of consultant Lee Randall.
His biggest leap came in 1992, when Mike McVay introduced him to Miami market manager David Ross.
“We immediately connected,” Roberts says. “Ninety days into programming WAXY-FM, he asked if I wanted to add PD duties for Y-100. After confirming I wasn’t being punked, I jumped in with both feet.”
Their first ratings book jumped from a 2.2 to a 4.4—what Roberts considers a defining moment in his career.
Roberts went on to turn Atlanta’s Q100 from a low-power signal into a market leader with The Bert Show and later led WRQX-FM in Washington, D.C., to the #1 spot with Women 25-54 in just over two years. When the station was sold to EMF shortly after, Roberts made a conscious choice to focus on quality of life.
“I wanted to go to a city where my wife and I wanted to live and work with people I liked,” he says. “Market size had no bearing on the decision. That decision was San Antonio.”
The Alamo City proved to be more than just a great place to live. It’s a market with a distinct cultural heartbeat. “San Antonio is about 70% Hispanic, which makes it a completely different city from Austin, just 90 minutes away,” Roberts explains. “What works in Austin won’t work in San Antonio. You have to change hats, your clothes, and how you view life.”
That community connection is at the core of his success.
After the tragic flooding at Camp Mystic and Kerrville, Roberts and his team spent the Fourth of July weekend on Teams organizing a cluster-wide relief effort.
“We were on the air that Monday and broadcasting live Tuesday,” he says. “We raised tens of thousands of pounds of goods for people who lost everything. San Antonio wanted to help its neighbors, and they responded like we knew they would.”
He credits teammates like Marketing Maven Tori Finch, Joe Calgaro (KISS and Eagle PD), and Christi Brooks (Y100 PD) for bringing it to life.
That same spirit runs through the entire CMG San Antonio cluster—from HITS 105.3’s annual Thanksgiving Food Drive, which collects over two million pounds of food, to Y100’s 8 Man Jam event, which donates front-row seats to first responders and raises thousands for charity.
“If there was ever a moment where you could point to and say, ‘that’s the difference in those clusters,’ that would be it,” Roberts says.
When it comes to leadership, Roberts looks for one essential skill: storytelling.
“Whether it’s morning talent or a midday person, the ability to engage the audience with something that matters is key,” he says. His favorite job interview question is simple: ‘Tell me your life story.’ “I’ll know in the first minute if the person can tell a story or not. Let’s just say the person who asked me what I meant didn’t get the job.”
As for what keeps him motivated after all these years—it’s the listeners and the art of connection. “We can fall into the trap of telling people what happened,” Roberts says. “But the audience already gets that from so many sources. What matters is how you tell the story, your take, your spin, your ability to make it fun or shareable. Just telling people the news is easy. Making it memorable is the skill.”
Roberts’ secret sauce might be simple, but it’s timeless: passion, curiosity, and a genuine love for the people on both sides of the mic.
“We have to remember how lucky we are,” he says. “Radio still matters. It always has.”
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Tuesday, October 21, was indeed a historic night, both on the hardcourt and on the air, as the NBA returned to NBC. The network aired its first NBA game in 1954 and was the home of the league for parts of the 1980s and 1990s, showcasing some of the greatest moments in hoops history.
The renewal of the collaboration began with two excellent Western Conference matchups: Houston at Oklahoma City and Golden State at the Lakers.
Before the games, however, was the pregame, and NBA Showtime returned with the familiar music composed by none other than John Tesh. The program opened with video of Shai Gilgeous-Alexander of the Thunder. Followed by Kevin Durant of the Rockets making their respective ways into Paycom Center. Houston and OKC might just end up being the two best teams in the league this season.
NBA Showtime host Maria Taylor picked up right where she left off as host of NBC’s Football Night in America, preceding the Sunday Night Football broadcast. With Taylor now also the lead host on the NBA on NBC. It cements her as a foundational talent at the network.
On NBA Showtime, Taylor was joined by a trio of former NBA superstars: Carmelo Anthony, Vince Carter, and Tracy McGrady.
The lower third graphics on the program are excellent. As the panel was speaking, we learned that this was Kevin Durant’s seventh career game as a visitor at OKC. In those previous six games, he has a 4-2 record and is averaging 30.5 points per game against his former club. Another graphic showed that Houston’s starting lineup has an average height of 6‘10” — quite an imposing quintet of players.
Getting back to the three Hall of Famers who joined Taylor, Carmelo Anthony certainly has the name recognition, but his lack of on-air experience showed.
His resume is terrific as a member of the NBA 75th Anniversary Team. A three-time Olympic gold medalist, and a 2025 Naismith Basketball Hall of Fame inductee. This hardcourt acumen did not show itself in his commentary. It’s hard to judge a guy in his first stint on big-time national television, but my immediate reaction is that he needs to pick up the energy level. In essence, be himself, but better.
If an analyst is not enthusiastic about what he is saying, the viewers won’t be enthusiastic about listening. Of course, Anthony knows basketball, but this is the NBA on NBC. It is just as much about presentation as it is about knowledge.
Carter, a 2024 Basketball Hall of Fame inductee, played 22 NBA seasons. He catapulted from his 1998-99 Rookie of the Year campaign to an incredible career highlighted by some memorable and even mythical dunks. He is the most seasoned TV veteran of NBC’s trio and definitely brings the enthusiasm.
When asked about the biggest storylines in the NBA this season, you could see Carter’s eyes and hear his voice light up as he talked about Durant going to Houston. Carter said that Durant has a chance to change the narrative on his career. Namely that he has never led a team to a title. I disagree. Durant is a two-time champion and two-time NBA Finals MVP with Golden State. While Stephen Curry was and is the face of the Warriors, Golden State would not have become a legendary team without Durant.
I understand Carter’s version of the narrative; I just disagree with the narrative itself. Durant was a 2013-14 NBA MVP and an 11-time All-NBA performer. He is entering his 18th season, having previously played for Seattle/OKC, Golden State, Brooklyn, and Phoenix.
The third member of the NBA Showtime analyst crew is McGrady. The 2017 Basketball Hall of Fame inductee was a seven-time All-NBA selection and a two-time NBA scoring champion. On the TV skill range, I would put McGrady ahead of Anthony and a bit behind Carter. McGrady’s main storyline involved Durant, Curry, and LeBron James, the three graybeards of the league still performing at a high level when healthy. As he spoke about this legendary triumvirate, a graphic showed that Curry scored 37 points or more in three of four games against the Lakers last season.
To be honest, none of these three gents overly impressed me. Anthony, Carter, and McGrady are no strangers to the spotlight, for sure. They all enjoyed long careers and have done countless interviews on multimedia platforms.
This is different, however, and all three seemed a little jittery, uneasy, and nervous. Taylor tried her best to put her three cohorts at ease, but NBC really challenged her with three relative newcomers on such a giant stage.
The quartet did do a decent job of analyzing OKC’s chances to repeat as NBA champions. They focused on the fact that the team is extremely young but also experienced, having gone through a full playoff run. It was good work again from the graphics crew, showing that the Thunder return 14 of 15 players from the 2024-25 playoff roster. Another graphic showed that the future is bright in OKC, with Gilgeous-Alexander, Chet Holmgren, and Jalen Williams locked up contractually for the next few years.
Taylor filed a nice but brief interview with these three OKC stars, talking about the character of the team, winning a title, and the upcoming season.
Coming back from the interview, Anthony, Carter, and McGrady agreed on the positive makeup of this Thunder team. Anthony commented on the club’s attitude and how they welcome the pressure of being repeat champions, while McGrady talked about the cohesion that the Thunder Big 3 possess.
As the discussion moved back to Houston, Jabari Smith Jr. joined Taylor and company on court for an interview. Smith recently signed a five-year, $122 million contract extension with the Rockets and is viewed as one of the real talents on a team that has title hopes this season. Anthony was actually better in asking Smith if the game has slowed down for him as he has matured.
He seemed much more relaxed asking Smith questions than responding to Taylor’s queries. Perhaps as he gains more experience, Anthony can do some pre-recorded interviews to be used as interstitials on the broadcast.
NBA Showtime also featured a quick exchange between Houston vs. OKC play-by-play announcer Mike Tirico and game analysts Jamal Crawford and Reggie Miller. Similar to Anthony, Carter, and McGrady, Crawford seemed a bit nervous, speaking far too quickly with his brief blurb. Conversely, Miller is truly one of the bright lights in basketball television, and with the aforementioned neophytes on the broadcast, NBC is fortunate to have him.
I like that NBA Showtimetelevised the full ring ceremony and banner raising for the Thunder’s 2024-25 NBA Championship banner. Following the ceremony, OKC star Jaylen Williams hit the court and talked with Taylor, Carter, Anthony, and McGrady.
It was fitting that NBA Showtime featured past NBA legends, current stars, two of the youngest teams in the league — the Thunder and Rockets — and two of the oldest teams — the Warriors and Lakers. This night was indeed all about the NBA on NBC’s epic past, exhilarating present, and exciting future.
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With the loss last week of R&B singer D’Angelo, it was great to hear radio stations step up and embrace the moment. I had the opportunity to appear on a local TV station to talk about D’Angelo — what he meant to R&B music and what he did for urban radio.
In his relatively short time in the spotlight, he had a tremendous impact — one that radio should not pass on honoring.
While I have my opinions about the term neo-soul, D’Angelo was instrumental in keeping R&B prominently on the radio. Not that my approval is needed, but neo-soul was the box that helped R&B break through what was then the dominant genre: rap.
If you recall, the artists dominating the charts at that time were the ones who helped put rap on the map. Don’t act like you didn’t catch that. Just a year before D’Angelo’s Brown Sugar debuted, artists like Slick Rick, Keith Murray, Public Enemy, Da Brat, Redman, Method Man, Warren G — and a couple of other cats out of New York, Nas and The Notorious B.I.G. — were heating things up.
Following D’Angelo’s debut came a wave of artists with a similar sound and vibe. Erykah Badu, Maxwell, Jill Scott, Musiq Soulchild, and Angie Stone — the mother of D’Angelo’s son.
Heritage urban radio stations across the country owe a great deal to D’Angelo. It was good to hear the tributes continue even a week after his passing. Even more satisfying were the creative ways stations found to celebrate him. From concerts and local events to giveaways, on-air music blocks, and tribute promos.
During those discussions about D’Angelo’s passing, I was reminded of his deep passion for music. He was a real student of the genre. But I was also reminded of the darker side of fame. The pressures of being labeled a star, or more accurately, a sex symbol. That label came mostly, if not entirely, after the success of his single “Untitled (How Does It Feel)” — or more specifically, the video.
That image didn’t sit well with him, and the pressures that followed did what they often do. Reports of substance abuse and depression soon followed. What makes D’Angelo’s loss even more tragic is that he had to endure that kind of struggle. I don’t know the extent of his handlers’ efforts to help him. I suspect it’s what young Black men are often affected by historically. Hangers-on in the form of friends and family looking for a payday or just to ride the star.
My hope is that today’s artists — especially those who rise quickly because of social media — will hear D’Angelo’s story beyond the success and avoid similar pitfalls.
Hats off to urban radio for celebrating someone who did so much for the format. These are the moments that build esteem for urban brands. The things that set us apart from other stations in the market.
Unfortunately, these opportunities come all too frequently. So far in 2025, we’ve lost Sam Moore of Sam & Dave, Gwen McCrae, Roberta Flack, D’Wayne Wiggins of Tony! Toni! Toné!, and Angie Stone.
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Barstool Sports founder Dave Portnoy is telling his story his way — unapologetic, unfiltered, and true to form — in his new book Cancel Me If You Can. Portnoy announced the upcoming publication for sale in June of 2026 as he tells his story, only the way he can tell it.
Known for building one of the most polarizing media brands in modern sports, Portnoy details the journey from handing out a homemade sports newspaper on the streets of Boston in 2004 to leading a nine-figure digital empire that has reshaped how fans consume sports and pop culture. Portnoy announced the release via his social media platforms.
“22 years ago I started a paper route. Turned it into empire. Created a lot of fans and enemies along the way. Sold it for 600 milly. Bought it back for a buck,” wrote Portnoy on X. “Sometimes life is actually stranger than fiction.”
The book dives into how he created Barstool Sports by rejecting the traditional, polished coverage from sports television and instead giving fans the irreverent, local voice they didn’t know they were missing.
According to a release by the publisher, Portnoy’s story covers both the evolution of Barstool and his own rise as one of the most recognizable — and controversial — figures in digital media.
True to his reputation, Portnoy doesn’t shy away from confrontation or criticism. He addresses the backlash, the controversies, and the constant scrutiny that come with being one of the internet’s most polarizing personalities.
In Cancel Me If You Can, he makes clear that his approach hasn’t changed: he’ll bet on himself every time.
The book also highlights the expansion of the Barstool brand beyond sports talk. Portnoy’s ventures into sports betting, viral pizza reviews, and philanthropic efforts — including donations to small businesses and dog shelters inspired by his rescue dog, Miss Peaches — have made him a cultural figure far beyond the sports world.
Cancel Me If You Can explores the mix of timing, risk-taking, and relentless self-belief that fueled Barstool’s rise, while pulling back the curtain on the personal and professional struggles that came with it. The book is set to release on June 30, 2026 through publisher Simon & Schuster.
1st things 1st. This cover fucks.
Anyway 22 years ago I started a paper route. Turned it into empire. Created a lot of fans and enemies along the way. Sold it for 600 milly. Bought it back for a buck. Sometimes life is actually stranger than fictionhttps://t.co/5dM4FteEWMpic.twitter.com/PLBPVTEzkn
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After owner John Catsimatidis said the future of Curtis Sliwa at 77 WABC was up to the longtime radio host, it appears as if we know what that future will entail.
Catsimatidis, along with various other WABC Radio hosts, have called for Sliwa to drop out of the race for mayor of New York City in an effort to enhance the chances Andrew Cuomo beats Zohran Mamdani.
Sliwa didn’t respond kindly to those calls.
During an appearance with 77 WABC morning host Sid Rosenberg, Sliwa said that he will never return to the station after the way it has treated him during his campaign.
“Let me just say, Sid, I am directing my comments to everybody at WABC,” Sliwa said. “They have said I’m selfish. Selfish? Are you out of your mind? … But that’s why you will never see me at the studios of WABC again, never, no matter how this election turns out.”
Sliwa added that he feels attacked by his colleagues.
“I feel personally offended by what my friends and colleagues, many of whom I trained at WABC, many of whom wouldn’t have a job at WABC without me, have done,” Sliwa said.
His comments come after Catsimatidis called for Curtis Sliwa to exit the race, adding that his future with the station is “up to him.” It had been previously reported that Sliwa had taken a leave of absence from the station in order to run for the office. However, his campaign has recently insinuated that he actually resigned his position with 77 WABC to seek the office.
In the most recent polling, Sliwa only holds roughly 20% of the vote in the election. Mamdani currently holds a double-digit lead over both Sliwa and Cuomo. However, other data shows that if he were to drop out of the race, Mamdani’s lead over Cuomo drops to only 4%.
“Look, I love Curtis,” Catsimatidis said. “But Curtis has to realize that he should love New York more than anything else. And it certainly looks like Curtis should pull out right now.”
The New York City mayoral election is scheduled for Tuesday, November 4th.
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