Reports are swirling that Clay Travis may be considering leaving Fox News and Premiere Networks at the end of his contract later this year.
If true, it would mark the end of one of the more remarkable media runs of the last decade. But if you’ve followed Travis’ career closely, it’s hard not to approach this latest chatter with a healthy dose of skepticism.
Clay Travis spent ten years building OutKick into one of the most recognizable sports and cultural commentary brands in America before selling it Fox.
From a single blog post to a multi-platform media company, he cultivated an audience that was loyal, opinionated, and massive. That success led to Fox acquiring OutKick in 2021, a move that helped elevate Travis to a national platform beyond sports and into the broader news and opinion world.
At the same time, he was tapped to co-host The Clay Travis & Buck Sexton Show, the national radio program that took over the Noon to 3 PM ET slot once held by the legendary Rush Limbaugh. In just four years, that show has become one of the largest in the country, airing on more than 550 affiliates nationwide.
So, is Clay Travis really ready to walk away from all of that?
It’s hard to see how that makes sense.
He’s worked for a decade and a half to build multiple massive platforms — a digital empire in OutKick, a national talk radio franchise (following a five-year run in national syndication with FOX Sports Radio), and a prominent on-air presence at Fox News. He’s arguably at the peak of his media influence, occupying rare air where sports, politics, and pop culture intersect. If he leaves Fox and Premiere, he’d be giving up a lot of infrastructure, reach, and support to go…where, exactly?
To launch his own podcast network? To build “OutKick 2.0”? Thoughts of joining the ever-growing ranks of media entrepreneurs hoping to convert personal brands into independent empires?
Sure, the allure of building something from scratch can be enticing. Every creative person feels that pull at some point — to own 100% of something rather than 10% of something huge. But let’s be honest: Clay Travis has already done that. He’s proven he can build, scale, and sell. He’s proven he can win. The bigger question now isn’t can he do it again — it’s why would he?
Travis seems to thrive on relevance. That’s not a criticism. It’s a compliment and simply reality. He likes being part of the conversation. He likes influencing how people see the world. Walking away from Fox and Premiere means stepping away from the biggest stages available to him. Would he really trade that for the uncertainty of starting from zero again?
He may look at someone like Dan Patrick, Pat McAfee, or Rich Eisen and think, “They did it, why not me?” But those examples come with important context. Patrick left ESPN after years of tension and later licensed his show back to NBC, Fox, and Premiere Networks. McAfee’s deal with ESPN came after building his show independently — and it still tied him back to a major network. Rich Eisen built his own show, but like McAfee, returned to ESPN, while also utilizing NFL Network to help build his brand. In each case, the hosts didn’t truly go it alone — they just changed the business model.
If Clay Travis were to go that route, what does he actually gain? More ownership, yes. Maybe more creative control. But at what cost? The infrastructure and distribution that come with Fox and Premiere aren’t easily replaced. Building new relationships with affiliates, advertisers, and streaming partners takes time. And time is one thing Travis hasn’t had to waste in years — because he’s always been part of the main event.
That’s why this feels more like a negotiating posture than a genuine exit strategy. Travis knows his value. He knows Fox and Premiere know it, too. Floating the idea of leaving is a smart play if he’s looking to increase the price of his next contract. It signals to both companies that he’s confident enough — and perhaps independent enough — to walk away, even if he doesn’t intend to.
There’s also something to be said about timing. With a mid-term election year approaching, The Clay Travis & Buck Sexton Show will play a massive role in shaping conversation on the right. Fox News will be equally invested in voices that move the needle and drive engagement. Both outlets need Clay Travis just as much as he benefits from their platforms. That gives him leverage — and he seems savvy enough to know it.
So, while the idea of Clay Travis starting his own venture is intriguing, it doesn’t quite add up when you look at the totality of what he’s built and where he stands today. He’s not an underdog trying to prove he belongs anymore. He’s one of the biggest names in media. That’s not the kind of position most people walk away from — unless they’re holding out for a bigger payday.
If I had to bet, I’d say this is less about leaving and more about negotiating. Travis may be bluffing to push the value of his next contract higher. And honestly, that’s a wise move.
But Fox and Premiere have a card of their own to play: the “We wish him well in his future endeavors” card. Whether either side decides to play it will be fascinating to watch.
Because if there’s one thing Clay Travis has mastered over the years, it’s keeping himself right in the middle of the story.
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.
Would you pay to listen to a podcast? We all have our favorite podcast categories and go-to shows when we need a break from reality. The podcast space consistently offers audiences of every micro-niche a wide selection of titles for both listening and viewing. More recently, video platforms such as YouTube and Twitch have become havens for podcast content, while audio companies are playing catch-up to the video trend of consumption. Yesterday, Netflix joined the podcast party as they announced a deal with Spotify to bring a selection of shows to the streaming service.
Netflix is the same place where WWE fans now must pay to watch Monday Night Raw, and NFL fans pay for access to content on Christmas Day. The streaming platform has not been shy about how aggressive it wants to be in the live-content business, moving away from feature films and documentaries that we’ve all grown to love.
While many details have yet to be announced, one thing is for certain: Netflix is a paid service. I recall getting a recent notification on my phone about that. Despite Netflix’s hunger to enter the podcast landscape, is there enough of an appetite for consumers to pay for something they’ve always gotten for free?
Let’s lay out what we know. Beginning in 2026, Netflix says it will offer video podcasts produced by Spotify Studios and The Ringer, covering a range of genres including sports (The Ringer was founded by Bill Simmons), culture, true crime and lifestyle. The streaming platform said the move is part of its mission to give subscribers new ways to watch content wherever and however they want.
The keyword there is subscribers — meaning paying customers. You’ll have to pay for this content to be viewed on the Netflix platform.
Would anyone actually do that?
Paying For Free Content
The sports titles reportedly include The Bill Simmons Podcast, The Lowe Post (Zach Lowe), The McShay Show (Todd McShay), Fairway Rollin’, The Mismatch, The Ringer F1 Show, The Ringer Fantasy Football Show, The Ringer NFL Show, and The Ringer NBA Show.
All these titles are available on free streaming platforms that fit the line “wherever you can get your podcasts.” Lauren Smith, Netflix’s VP of content licensing and programming strategy, told Variety, “Bringing a selection of video podcasts adds fresh voices and new perspectives to Netflix, making our entertainment lineup more exciting than ever.”
While I understand Netflix’s focus on adding proven titles to its podcast slate, is this truly benefiting Netflix in terms of increasing subscribers? Does Netflix want to be a destination in the podcast game — or just another player?
Maybe I’m mistaken, but I’ve never known the phrase “Netflix and chill” to mean watching Bill Simmons ramble about the Boston Celtics. Nor does it suggest Todd McShay putting viewers to sleep with his latest NFL mock draft.
Does This Benefit Podcasters?
For the podcasts themselves, what new audience are they going to reach behind a paywall? Every podcast with a brain is already producing video content of their episodes and housing them on YouTube, which is run by Google. According to a recent study by Cumulus Media, 72% of podcast listeners said they prefer shows with video.
Starting in early 2026, a curated selection of Spotify’s top video podcasts — including shows from Spotify Studios and The Ringer Network — are coming to Netflix!
The Bill Simmons Podcast, The Zach Lowe Show, The McShay Show, The Rewatchables, Serial Killers, and The Dave Chang… pic.twitter.com/oHWYwuXHt2
Is the world’s largest search engine not already reaching a global audience with podcast content on YouTube?
What’s the point of paying for content that already has built-in audiences consuming it for free?
Of course, the spin from both companies will be positive. Spotify’s vice president and head of podcasts, Roman Wasenmüller, called the partnership a “new chapter for podcasting.” He said being on Netflix expands discovery, helps creators reach new audiences and allows fans to experience stories they love while uncovering new favorites.
Sure — but you still have to pay for access.
For generations, ubiquity has been the new exclusivity. For a podcast to thrive and survive, it must be made available everywhere for all to consume.
Netflix CAN Get Serious
If Netflix truly wants to make a dent in YouTube’s growing share of podcast viewership, it needs to get unique. Instead of forming partnerships that simply repackage content already available for free elsewhere, Netflix should chase exclusivity — reel in a big fish and make it a Netflix-only experience.
Netflix has enough money in its coffers to buy the best of the best, creating exclusive content with proven voices in the space. It could build a network of creators under its own banner and make them the faces of a global content movement for the platform.
That’s something subscribers might actually pay for, and grow subscribers for the platform itself.
Otherwise, Netflix risks being just another player in an already crowded space — another distributor paying just enough to gain access without adding anything special.
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.
With the abrupt departure of Molly Qerim from ESPN’s First Take in September, the productive, explosive, and highly successful daytime sports program has been left with a void. Qerim was more than just a host; she had become a fixture on the program. Moreover, her chemistry with superstar Stephen A. Smith was the best on television.
Qerim fit the host role perfectly. Her timing was always on point. She knew when to move topics from one to another. She expertly interjected her own opinions while setting up the many different panelists on the multifaceted program.
Qerim took no flak from the sometimes-bombastic Smith. She could take it, dish it out, create it, and make it better. With Qerim’s abrupt departure, ESPN has been shuffling an array of different cohosts, perhaps hoping to find the next Qerim—but perhaps not. Since Max Kellerman left the program in 2021, there has been a revolving door of panelists sitting alongside Smith, and it has worked.
On Monday, October 13, one of ESPN’s newest stars, Amina Smith, got her first chance to sit at the glass desk and host First Take.
What Amina Smith Brings to First Take
Smith brought an exciting and fresh perspective to the program and showed that she could potentially snag the slot vacated by Qerim. She displayed the personality, effervescence, and boldness to go toe-to-toe with Stephen A., Cam Newton, and Ryan Clark, her cohorts on this particular edition of First Take. She also has style and flash.
Let’s face it: television is a visual medium. What you wear and how you present yourself matters regardless of gender. First Take has always been as much about style as it is about substance. Stephen A. regularly gets his attire critiqued and dishes out his thoughts on guests’ fashions.
Smith took control of the show from the jump. Running through highlights of the Sunday night Lions vs. Chiefs NFL matchup. She expertly doled out questions and airtime to Clark, Stephen A., and Newton.
While still somewhat new to ESPN, Smith is hardly a television neophyte. She worked as a multi-platform host at NBC Sports Boston. Where she covered the gamut of sports, including flagship programming for the Boston Celtics. In 2022, she earned a New England Emmy for Outstanding Sports Programming – Live as the host of Patriots Pregame Live. Since moving to ESPN, Smith has made her mark on SportsCenter as one of the most vibrant and talented anchors.
Understanding the Role
On First Take, in the classic mode of Qerim, Smith knew when to stand back and let Clark, Stephen A., and Newton go back-and-forth with blustery debate. When cameras went to a wide shot, you could see Smith smiling as she listened. But also see that she was prepared to jump in with her own opinions on a particular topic. She commanded the screen and did not just blend into the set with three huge personalities like Stephen A., Clark, and Newton.
When Smith sensed that they had exhausted the Lions-Chiefs topic, she quickly moved the conversation to the now 1-5 Miami Dolphins. I understand that First Take is scripted in terms of debate subjects. The onus is still on the host to keep things interesting. Smith did just that in her stint in the host chair. She was able to control the flow of the show and move it in the direction it needed to go.
"Mike McDaniel needs to go. … He's not a leader of men."
Coming back from a break, Smith did a nice job leading into a discussion on Penn State firing its head football coach, James Franklin. While she spoke, clips of Penn State game action aired, followed by a graphic showing that Franklin was 4-21 at Penn State against AP top 10 opponents. Smith detailed that Franklin is now owed a $49 million buyout—the second largest in CFB history behind Jimbo Fisher’s $76 million from Texas A&M.
From the graphics and numbers, Smith smoothly segued into an introduction of ESPN college football analyst Paul Finebaum. She also jumped into the discussion, basically saying that Franklin was provided with everything he needed to succeed at Penn State but simply did not get the job done. This is exactly what I look for in a First Take host. Can he or she sit and wait, then, when called upon, interject or move a topic in a different direction?
Keep It Entertaining
Another necessity in a First Take host is the ability to react to Stephen A.’s endless bashing of the Dallas Cowboys.
Coming back from a break, Stephen A. was on the other side of it, having actually picked the Cowboys to beat the Panthers. When he insulted the Carolina organization, Newton, a former Panther, jumped into the fray. Smith enjoyed the back-and-forth as much as the viewers and just let them go—a great decision.
Of all the rotating hosts since Qerim’s departure, I feel like Smith got the best out of Newton. The ex-NFL QB has slid into the regular First Take slot vacated by Shannon Sharpe and, in my view, it has been a rocky transition.
As host, Smith did a nice job bringing Newton into the conversation at the right times. She tapped into his areas of expertise, resulting in Newton being as glib and relaxed as I have seen him.
Large Shoes To Fill
During the NFL season, the Monday morning edition of First Take is challenging, with a bevy of NFL games to dissect as well as college games and other weekend news. Smith did a great job navigating this packed program.
With several potential hosting candidates, such as MJ Acosta-Ruiz, Shae Peppler Cornette, Courtney Cronin, and others, choosing one specific person to take over Qerim’s slot will not be easy for ESPN. The truth is that all of the recent fill-in hosts have talent. What it may come down to is chemistry with Stephen A. and the recurring panelists.
Can Amina Smith establish that terrifically casual and unrehearsed banter that Qerim and Stephen A. cultivated over time? My answer is yes.
Smith not only meshed well with Stephen A. but also with Clark and Newton. She ran with that trio of gabbers wonderfully, presenting highlights and information, asking the right questions, and making timely comments. As a First Take host, it would be easy to just sit back and be a spectator, letting Stephen A. run entertainingly wild. Smith clearly had fun with her hosting experience but never lost sight of herself, her persona, and her role on the program.
Qerim was an absolute star at ESPN—as important a part of First Take as Stephen A. himself. I’m not sure anyone can take her place and be as good, but based on Monday’s show, Amina Smith deserves a good long look and has all the TV tools to do the job.
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 second feature is on the Chief Business Officer and Market President for Audacy New York City, Chris Oliviero. Follow along with the series and revisit former conversations by checking out the entire category.
Chris Oliviero has built a career as one of the sharpest executives in the radio industry. Following leaving the business in 2018 after serving in several key roles with CBS Radio and Audacy (formerly Entercom) based in New York City, Oliviero returned to his home during the COVID-19 pandemic as the brand’s market president. Since rejoining Audacy, he has been elevated to the position of Chief Business Officer. His role includes serving as market president over the company’s New York City cluster.
In this edition of ‘Meet The Leaders,’ we explore how Oliviero juggles both roles, Audacy’s new distribution partnership with iHeartMedia, Ryan Hurley’s tenure as program director of WFAN, what continues to motivate him, and how he views the health and future of the radio industry.
Chris Oliviero spoke with Barrett Media from the Audacy offices in New York City, NY.
*Editor’s Note: Answers have been edited for clarity and length.*
John Mamola: In March, you were elevated to the role of Chief Business Officer with Audacy. What does that entail, and how does it affect your typical day-to-day as market manager with Audacy in New York?
Chris Oliviero: I always joke with people about the CBO title; my middle name is not Brian or Brandon. It is an interesting new job and didn’t exist previously. As you mentioned, it’s now my second job while still remaining the New York market president.
Overall, from just an operational standpoint, my role as CBO oversees both our revenue and our content operations. You might notice I didn’t say our broadcast content or our digital content, because those distinctions are gone. We are one organization, one content org and one revenue org, so overseeing both that.
Spiritually, part of the job is strategic to have one eye on today, but also one eye on tomorrow. To make sure that Audacy is positioned to be a dominant, relevant player in the media space as it moves forward. That comes down to making sure that Audacy, in any incarnation moving forward, is a must-have for both audiences, and then obviously a must-have for marketing partners.
That’s kind of how I look at the CBO role, in addition to that New York market president job.
John Mamola: Is there anybody within the entire industry you look to as an example of a skill set or trait that you steal and apply to your day-to-day with the CBO role?
Chris Oliviero: Regardless of the position I had from the very beginning of my career, all the way through being the head of programming at CBS [Radio] to being the market president to now being CBO, I’ve always had people that I’ve admired. Either I directly worked with them or competed against, and tried to take some of their best attributes and make them my own.
A lot of them were not even necessarily based on business, but how they handled themselves. How they carried themselves, treated people, and helped build culture.
I look back at my career; there are too many to name. Trust me, I’m a thief. I steal from talented people around me.
MAJOR Radio Industry News: @Audacy has announced David Field is stepping down as President and CEO and as a member of the Board of Directors. The Company’s Board has appointed Kelli Turner, a current Audacy Board member, as interim President and CEO, effective immediately. pic.twitter.com/GjfYjkD7Ie
John Mamola: Audacy senior leadership within the company has shuffled a bit this year. With David Field stepping down and Kelli Turner taking over as the new president and CEO. How would you say that transition has gone so far?
Chris Oliviero: It’s been really smooth. All that credit goes to the employees of the company, not just centrally, but locally in the 45 markets that we operate.
There was a significant amount of change in the spring, a significant number of departures of longtime colleagues at the senior level. When that quantity of change usually happens, human nature is people get nervous. They start to get siloed, and they lose focus. That did not happen this year.
I’d like to say that’s a result of me or Kelli [Turner]. Honestly, it’s a result of the everyday employees who picked themselves up and said change is inevitable in the business, got to move forward, and stay focused on what I own.
That doesn’t mean they didn’t have a relationship with the people that left, but they were able to separate that. There was a job to do, and we moved ahead. So, kudos to them.
John Mamola: You’re currently serving both in local management and on a national scale. For you, what’s the difference in approach between the two? Can you separate the two, and are there differences or similarities in your approach with both?
Chris Oliviero: This has always been something that I’ve been able to point to throughout my career when I’ve had either a corporate or central job versus a local job. The biggest difference is in the local job, you’re able to see your impact, good or bad, quicker. You’re on the ground and face-to-face with your direct reports. You get dirtier in a local job, and I say that in a good way.
Sometimes in a central job, you’re one layer removed. It’s a lot of trying to make sure that people hear the strategy and then hope that the execution takes place.
In the local market, you feel it and you see it on an everyday basis. That’s kind of why I think I benefit from doing both right now. I can see what goes on in the local market, like New York. I can then extrapolate the same feeling that my colleague might have in the local market in Houston or San Francisco, then bring that point of view to the central corporate table.
That’s a benefit. Physically and health-wise, how long can I do both? We’ll see, but I’m enjoying doing both.
John Mamola: One of the more interesting announcements Audacy made this year was in June when you announced the content distribution partnership with iHeartMedia.
Give us a peek behind the curtain. Explain the thought process behind that announcement when you’re approaching a content agreement with a direct competitor.
Chris Oliviero: I’m glad you recognize that because I think that deal early on set the tone and sent the message of what we want the new Audacy to be.
We’re going to be aggressive and be opportunistic. We’re going to throw the old hangups out the door in terms of, ‘oh, this is competition, we can’t do a deal with that person.’
Why can’t we? If it’s good for Audacy, so what if it’s also good for iHeart? Is that so bad if it’s beneficial for both? I view iHeart as colleagues; they’re friends. Of course, we compete, but we compete with a lot more companies outside of radio than just iHeart.
This was our way to say to people, we’re open for business. We’re going to be aggressive, and we’re going to be smart. That deal sends that message, and I think that deal has also been a win for us and for iHeart.
To me, that’s not a bad thing.
John Mamola: How does that announcement shift focus from continuing to build up the Audacy app, if any?
Chris Oliviero: The Audacy app is always going to be our primary destination, our home. When you look at how consumers experience content and how they choose to spend their time during the day, it’s kind of egotistical and selfish on our part to think that we can keep them just to ourselves, that they don’t shop or travel in other places.
If we know that they’re going to be spending time potentially with iHeart or potentially with TuneIn, why not partake in that? That doesn’t devalue our primary platform; this is all additive.
The more data we get back on people’s habits—how they use platforms, both video and audio—it proves that point. Try to be everywhere, as long as the business terms make sense. These business terms make sense.
John Mamola: Audacy hired Ryan Hurley last year as the new programmer for WFAN. How have you seen his role impact the current state of what WFAN is while building for the future?
Chris Oliviero: Ryan also has two jobs. That’s becoming a theme; everybody in radio in 2025 has multiple jobs. He also oversees the Infinity Sports Network, but obviously WFAN is the mothership. It’s the number one sports station in the country and gets a ton of attention.
Ryan had a very challenging job to try to come in and replace Spike Eskin. Even though Spike was here for a very short amount of time, he made a major impact. Spike is now crushing it in afternoon drive on the air. He turned in his management credentials and went back on the air at 94WIP.
Those were big shoes to fill, and Ryan has done a really good job.
One of the things that Ryan is challenged with is what all programmers and brand managers need to be challenged with: How do you make sure that this iconic brand is relevant moving forward on all platforms?
You’re seeing WFAN daily increase its social content and short-form video. We also have a dedicated digital manager in Tom Izzo, who spends an enormous amount of time doing that.
When you experience WFAN now, it’s not just AM, it’s not just FM—it’s truly multi-platform. That’s just going to ramp up more. That’s where Ryan has to have his focus. He’s got to broaden that view, and that’s what he’s doing.
John Mamola: Audacy also announced this summer a partnership between WFAN and Jomboy Media. With the shifts in television with licensing content agreements with creators now bleeding over into radio, as somebody that’s leading a company at your level, how do you grow your own talent pool in the traditional sense and digital realm, balancing that with potential licensing deals which take away opportunity from internal staff at radio brands?
Chris Oliviero: In a perfect world, you would love to incubate and cultivate from the very beginning all of your talent. You would love to have an entire 25-man roster where you wish that all 25 had come up through the farm system from rookie ball all the way through.
That’s unrealistic, but if you can have a significant portion of your talent base come through that system, then be strategic in how you make these partnerships and sign free agents. That’s a more holistic approach.
The Jomboy Media relationship is similar to how we judge the prism of the iHeart deal.
In theory, could someone say we compete with Jomboy Media? They’re Yankee-focused, sports, audio, podcasting compared to what WFAN does. Yes, on paper. We viewed it differently.
We have something to offer them. They have something to offer us. Maybe we’re reaching different audiences right now, so maybe there’s an opportunity for both of us to introduce our brand and their brand to different audiences. We share a relationship with the New York Yankees, so it was an opportunity for us to increase our Yankees coverage.
It’s only been about two months, but the early response is it’s doing exactly what we hoped—which is that there are people who consume Jomboy Media that might not have consumed WFAN. Now we’re open to that, and vice versa.
John Mamola: I recently had conversations with both Boomer Esiason and Craig Carton. I asked Craig [Carton] about a potential return to WFAN if he would answer the call. He said absolutely 100 percent.
I asked Boomer [Esiason] about it as well. He said that he’s 100 percent behind a potential return of Carton to WFAN.
With the way the WFAN lineup is arranged currently, there’s not really a gap to insert a talent like a Carton. I’m assuming from your end of the spectrum, the door is open if there is a possibility, if it’s something that Carton may be interested in doing.
Chris Oliviero: Absolutely. Craig worked here two different times. When he left to go to FOX Sports, he left completely with our blessing. There was no bad blood. He didn’t leave us; we supported it. We understood what that opportunity presented for him and his family.
I do have his phone number, so I do know where to find him.
You are right. WFAN is in a healthy place, but if the opportunity presented itself—again, going back to that sports analogy—if there’s a marquee free agent on the market, you always have to consider that. We view ourselves as the New York Yankees of radio.
If there’s a marquee free agent available, of course we’re going to look at it. The DNA of WFAN is big personalities.
John Mamola: With the understanding Ryan [Hurley] oversees the Infinity Sports Network, for clarification, the broadcasting agreement with Rich Eisen and his program—does that run up at the end of the current year?
Chris Oliviero: The agreement with Rich Eisen is through Westwood One, who is our partner on Infinity Sports Radio. They would be able to officially give you that date, but I believe you’re correct.
John Mamola: Let’s just say that that is the date, since Rich Eisen moved his programming to ESPN Radio in September. As far as finding a replacement for the daypart on the Infinity Sports Network, is that a decision that falls with you, Ryan Hurley, a collaboration of the two of you, and does it include Westwood One?
Chris Oliviero: It’s a complete partnership with Westwood One. Bruce Gilbert, who runs sports for Westwood One, obviously Ryan [Hurley], myself, and Jeff Sottolano, who is head of programming for Audacy. It’s a true partnership with Westwood One. We launched the network in 2012 as CBS Sports Radio. It’s been a long, productive partnership, so we’ll do it together.
John Mamola: We’re now in mid-October. Is that process currently underway?
Chris Oliviero: Yes. I can’t share anything. It is underway because on January 1 there will be programming 24 hours a day, seven days a week on Infinity Sports Network.
John Mamola: In your role as CBO and market president, which metrics matter the most to you?
Chris Oliviero: There are several. Revenue is probably the most important because revenue is what you pay your bills with. This is a business. You don’t pay your bills on ratings.
Sometimes you could have the highest ratings in a market, but if you don’t have a product that clients are interested in supporting with their ad dollars, what good does that do you at the end of the day?
Of course, we love to have big ratings, but revenue is what pays the bills. Revenue is the ultimate metric, but underneath that, ratings are important. Social engagement is important. Can a talent contribute on multiple platforms—meaning can they do audio and video? Are they good at experiential live events in public?
All of those things come together, but at the end of the day, it’s a revenue-driven business.
John Mamola: You’ve been in this industry a long time. This time of year, a lot of people on the ground floor of radio are looking over their shoulder. iHeartMedia just went through a reduction in force last week.
From your perspective, what keeps you motivated and encouraged about the future of the industry, where it seems so bleak for so many people but seems brighter for people in your position and higher?
This will be a big story today. @Audacy is undergoing layoffs. As more information becomes available we will update the piece.
Chris Oliviero: I’m definitely excited about our future. If I wasn’t, I wouldn’t have come back. I left briefly in 2019 and then ultimately came back in 2020.
Part of the reason to come back was I actually believe in a viable long-term future for the business itself. That said, I don’t have earmuffs on where I’m naive to what’s going on in the larger marketplace.
I know our employees recognize that, but we’ve got to focus on the positives that we have.
Right off the top of my mind, the positives that get me excited—the caliber of the content that we create is something that excites me. The brands that we have, especially with clear dominance in sports and news.
You’re going to hear the CBO in me: the size of our sales force. Audacy has hundreds of salespeople coast to coast who are smart and savvy, who solve problems for brands and clients.
What I would say to people is the industry, in some shape or form, has been around since the early 1920s. Think about how much change and innovation has happened over the last hundred years. We’re in a period again of change and innovation. I am sure in the previous changes in the 1950s and the 1960s, or even in the 2000s when streaming really came through, there was similar uneasiness—but people identified an opportunity and evolved to move forward. As we look forward, we should look back and learn from that. The industry has been resilient for over a hundred years. There’s a reason for that.
John Mamola: Over my career in radio, I chose to move away from the on-air path and elevate into the management side of the radio industry. I wanted to become a program director, a potential senior vice president of programming. There’s not many that share that same kind of passion for that type of path in the industry today.
What would you say to people to encourage them to continue on that path, or begin to investigate that type of path as something that they can advance their career into?
Chris Oliviero: People should be open to change and open to learning new skills. It doesn’t matter how long you’ve been in this business or the age on your birth certificate—you can always still learn new skills and new traits.
Most people aren’t open to that. Most people shut down at a certain point and say, I know what I know. Those people are going to have an issue moving forward, but if you’re open to learning and to reinventing yourself, I think there are plenty of opportunities.
You must make yourself indispensable and make yourself someone that adds value to a company.
Also, to your metrics point, make sure it’s in a way that can be measured. If it’s ratings or revenue, make that pitch. Make that story or that argument of what you contributed.
John Mamola: It’s been five years since you returned to the world of radio management. What are your aspirations for the next steps in your career?
Chris Oliviero: This might be career suicide if I put it this way, but I’ve honestly achieved what I was looking to achieve. I started as an intern for The Howard Stern Show in the mid-’90s, but I was rejected for an internship at WFAN a couple of days before I got that internship.
Growing up, the most influential moment in my young life that got me to fall in love with radio was July 1, 1987, when WFAN signed on—the first all-sports station in America. I was in grammar school at that time, and fell in love with the format, the medium, and the station.
I became a fan boy and would write letters to Steve Somers. I’d call into Mike and the Mad Dog.
So, if you asked that kid if one day he would have been the general manager of WFAN, I would have said, that’s good enough for me. Anything that occurs past that or after that is house money.
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.
Recently, on a drive and punching around the radio dial, I couldn’t find anything musically that held my attention. Back in the day, that was rarely the case in most major urban markets. And yes, I know music has changed. While I may not be in the target demo for a lot of new music, as a programmer, I believe my taste has adapted somewhat with the times.
That said, the song that sparked this writing was one from the ’80s — so this is less about the music and more about the station.
Now, before you get too excited, this isn’t about the GOAT debate in basketball. For the record, it’s Jordan No. 1, Kobe No. 2, and LeBron No. 3. This is about which city could be considered the GOAT for R&B radio. While I’ll admit this could be a bit subjective, since I haven’t lived or programmed in every city that I list in consideration, it’s still a fun debate.
Before I get to the top three, let’s start with the cities that round out the Top 10, and I’ll let you debate their order: Houston, Memphis, Boston, Chicago, Atlanta, Dallas, and Charlotte.
I know Boston’s presence on that list might raise a few eyebrows, but having lived and worked there, I assure you the city deserves its spot. WILD was the little station that could, and plenty of artists benefited from the exposure they received there. Most notably, Boston is the birthplace of one of the best R&B groups in music: New Edition.
Now, on to the Top 3.
At No. 3 is Philadelphia. Philly’s position on the list could start and stop with two of the most notable R&B stations in the country — Power 99 and WDAS. Plenty of artists and producers who form the foundation of urban music came out of that city. What those stations have done for R&B music and radio is only matched, and maybe bested, by the stations in the top two cities.
The No. 2 city for R&B radio is none other than my hometown — Washington, D.C. My personal connection to the city aside, what D.C. stations have done to promote R&B music and artists is undeniable. From WHUR, where artists’ careers were born, to being the home of the largest urban radio group in the country, D.C. has shaped the sound of R&B for decades.
The competition between WPGC and WKYS alone made radio in the nation’s capital sharper, more dynamic, and more compelling than most markets, and that’s why it ranks No. 2 on my list.
Finally, I’m sure few are surprised that the No. 1 city for R&B radio is New York City. For all the reasons the No. 2 and No. 3 cities earned their positions, New York perfected them all. New York became the standard. If you could make it there, you could make it anywhere.
It’s been the mecca for artists, radio personalities, and record executives for generations. Just the call letters WRKS and WBLS resonate with artists, the record industry, and broadcasters alike.
So, what city do you think is the GOAT for R&B radio? I’d love to hear your thoughts — email me or connect with me on LinkedIn.
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.
He’s says he’s on a mission from God, and no, he is not one of the Blues Brothers. Dubbed “the funniest man on television” by President Donald Trump, Newsmax TV and radio host Rob Carson says of his career, “I became an overnight success in… 30 years.”
More importantly, he believes “my miracle of overcoming alcoholism, in a night” is a contributing factor.
An alumnus of Northwest Missouri State University, he started in radio upon his 1989 graduation. “I was making very little money, and I started writing comedy for comedy networks for radio [and later TV],” Carson said of his early days in the industry.
Carson’s comedy writing has passed through the lips of many big-time stars, including Rush Limbaugh and Jay Leno. He also had a successful music radio career, but in his 40s, he felt, “I was a little too old to care about Lady Gaga and Hollywood Dish. Honestly, at what point in your life do you go?”
So when MIX 107.3 in D.C. let the radio star go, “I built a studio on my own in my basement, and I didn’t just start doing talk radio,” Carson recalled. He filled in for a lot of hosts before getting a full-time gig at KCMO in Kansas City. “They fired me two years into a three-year deal. That was my first talk radio gig.”
He built another studio, but on the brink of losing his home, Carson took a gig selling cars. “I drank every day. I drank 34 glasses of wine every two days,” Carson said of his life before meeting Newsmax CEO Chris Ruddy. “Five years ago, I was a hopeless drunk, [I] wanted to die, asking God every night, ‘Maybe you should just let me die so the kids can get $2 million in life insurance, because I will never make that kind of money on my own.’”
Carson, who is not related to the famous funny man Johnny Carson, was hospitalized several times while he tried to quit drinking.
“One day, January the 10th, four years ago, my son demanded that I take a breathalyzer in the middle of the afternoon. I blew a .27,” Carson recalled.
“I had just found out a few weeks or months earlier that I was given up for adoption because my [birth] mother was raped. That was great. My mother died, my brother died. I was just drinking myself to death.”
Carson believes a “Battle Royale” happened in his brain. When he woke up the next morning, on January 11, “I was not able to remember the taste of alcohol and had no withdrawal. It left me,” Carson said of the urge to drink.
Today, the radio and TV funnyman doesn’t drink or do drugs, but he does compare his brain to “a hamster on cocaine between my ears.” His conservative comedy is organic and comes naturally.
However, natural talent is not enough to become a success. “You have to be relentless, you have to be creative, and you have to connect and increase the value of your currency.”
“In a world of AI, in a world of everything, you are the only thing that makes you unique,” the radio host affirmed. “What you have to do in your career is increase the value of your currency. You have to do more than just be one thing.”
Using his own career as an example, he noted, “I am a radio personality, TV personality, comedy writer. I’m a cook who’s hosted lifestyle videos. I’ve always tried to increase the value of my currency.”
“If I can add value to my currency, make myself more valuable to an employer, other than just having an opinion [that’s good],” Carson then effused, “Opinions are like a-holes. Everybody’s got one, and the last thing talk radio needs is another a-hole.”
Most importantly, Carson believes that to be successful, you have to have faith.
“[You need] a faith and a belief that there’s something higher than you. If you want to call it God, whatever you want to call it. It really is important,” he said, later adding, “Get on the good side of good and have a spiritual element in your life, or you’re not gonna make it.”
While Carson jokes he was an overnight success 30 years in the making, he will tell you, “It’s been a long effing road for me.” Carson elaborated, saying, “Because I have a hate-hate relationship with myself. You know what they say? They say a love-hate relationship? I have a hate-hate relationship with myself, and it’s taken me a long damn time to get here to this point of joy.”
“It has taken me a long time to get here, and I am unapologetic,” Carson added. “I’m not going to stop. I’m not gonna let people take away my joy.”
Rob Carson’s road to success, joy, and pursuit of the American Dream will be celebrated in his upcoming book, Homeboys, Hebrews, and Hillbillies: How We Came Together to Save America.
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The Locked On Podcast Network capped off a record-breaking September, achieving six of its ten biggest days ever across listens and views. The network’s strong cross-platform presence powered unprecedented audience engagement, including back-to-back record days to close out the month.
According to the network, September 29 and 30 ranked among the three biggest days in Locked On history, as the company hit new highs across both audio and video platforms.
In total, Locked On recorded 45,691,452 listens and views in the record-setting month—its best performance since launching in 2016.
Locked On’s success underscores the growing demand for team-focused, daily sports content. Fans are increasingly consuming sports coverage not only during peak moments but throughout the year, reflecting a broader shift toward consistent, day-to-day engagement.
The network’s “Your Team. Every Day.” model continues to resonate with audiences seeking reliable, local-driven analysis across the major sports leagues.
In a competitive digital landscape, Locked On’s cross-platform strategy has been central to its growth. By emphasizing both traditional podcast audio and video-driven content, the network has cultivated a loyal audience across listening and viewing platforms. The surge in engagement at the end of September demonstrates how its dual-format approach continues to attract fans where they already consume content.
Since its launch, the Locked On Podcast Network has grown into one of the leading voices in sports podcasting, producing more than 275 daily podcasts that cover every NFL, NBA, MLB, and NHL team, plus major college sports teams and conferences. The network’s daily shows have become a trusted destination for fans seeking consistent updates and insight from hosts who live and breathe their local teams.
Locked On’s growth remains impressive. The network now generates more than 40 million listens and views each month, and its podcasts were streamed 358 million times in 2024 across the leading podcast platforms, YouTube, and OTT services. Its diverse programming lineup also includes daily shows focused on fantasy sports, league drafts, and league-wide discussions featuring respected journalists, reporters, and analysts.
Owned by TEGNA Inc.—which operates 64 broadcast stations in 51 U.S. markets—Locked On continues to expand its reach by combining local expertise with a national brand identity.
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Beginning November 1, the Black Information Network (BIN) All News format will be available to all broadcasters on a market-exclusive basis, opening a new chapter for one of the nation’s most trusted and fastest-growing news brands serving Black audiences.
Previously available only on iHeartMedia-owned stations, the BIN format will now be accessible to any station looking to deliver credible, community-centered news programming. Broadcasters will be able to integrate BIN content in multiple ways — from short hourly newscasts to select dayparts or as a full 24/7 turnkey format.
The expansion gives local operators flexibility to align BIN programming with their individual market needs while maintaining the network’s consistent focus on reliable, culturally relevant journalism.
Launched five years ago, BIN has developed into a leading voice in Black news coverage, providing listeners with national and local stories from a distinctly Black perspective. Based in Atlanta with reporters across the country, the 24/7 audio news service currently airs on AM and FM stations in 34 markets and is also available nationwide on the iHeartRadio app.
From the outset, BIN’s mission has centered on informing, engaging, and uplifting the Black community. The network has backed that mission through strategic partnerships that amplify its reach and deepen its connection to local audiences.
Now, by making its news service available to all broadcasters, BIN is taking its next step in that mission — extending an invitation to stations nationwide to join in providing credible, relevant news that reflects and empowers their audiences.
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MSNBC President Rebecca Kutler has revealed she has been diagnosed with breast cancer.
Kutler shared the news with company employees on the editorial call on Wednesday morning after previously disclosing the information to other MSNBC executives and top NBCUniversal brass.
After sharing that she had been diagnosed with breast cancer, Rebecca Kutler stated that her prognosis for recovery was promising, and that she would only expect to be away from the network for a short period of time as she sought treatment.
MSNBC is currently in the midst of separating from NBC News as part of a spin-off featuring the cable brands of NBCUniversal being placed in their own company, Versant.
On October 6th, MSNBC and CNBC stopped utilizing NBC News for domestic and international coverage from its correspondents and production crews. Beginning on Monday, October 20th, MSNBC will be completely independent and separated from NBC News. MSNBC will also transition away from the branding it has used for nearly three decades, switching to MS NOW in November.
Versant and its full complement of cable channels — which includes CNBC — expects to be officially independent from Comcast and NBCUniversal on January 1st.
Rebecca Kutler was named President of the network in February, succeeding Rashida Jones, who had led the network since 2021. She joined MSNBC in 2022 as Senior Vice President of Content Strategy before ascending to the network’s top role.
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Cumulus Media has tapped one of New Mexico’s most recognizable sports figures to anchor afternoons on 95.9 FM & 610The Sports Animal. Former University of New Mexico basketball standout and 11-year NBA veteran Kenny Thomas will debut his new weekday show this week, airing Monday through Friday from 4 to 6 p.m.
For Thomas, the move represents a full-circle moment in the same city where his basketball journey began. The UNM legend remains one of the most beloved athletes in Lobo history. Plus, he continues to be an influential figure in Albuquerque’s sports and business community.
“Albuquerque made me,” Thomas said. “I’ve played here, raised my family here, and I’ve never stopped talking hoops here. Taking afternoons on The Sports Animal means more time with Lobos fans and more honest conversations with the 505.”
Thomas, already a familiar voice to listeners across Albuquerque. The new program will feature a mix of insider interviews, player development analysis. Also local high school and UNM coverage, and listener interaction. His conversational approach and deep ties to the community aim to make the show a daily must-listen for sports fans throughout the state.
“Kenny is authentic, competitive, and connected—the perfect fit for afternoons,” said Brandon Vogt, Program Director for Cumulus Albuquerque. “He knows this market, he knows our teams, and he knows how to carry a locker room-level conversation on the radio. In this new role, Kenny will make a huge impact in the community and on the airwaves. Continuing the tradition of great local sports talk in Albuquerque on New Mexico’s heritage sports station, The Sports Animal. We couldn’t be more excited.”
The new show expands Thomas’s presence across the Cumulus Albuquerque cluster. He currently hosts Unfiltered with Kenny Thomas on Saturdays on The Sports Animal and Lobos Live on sister station News Radio KKOB 96.3.
His weekend programs have earned strong local engagement and helped build a foundation for this weekday opportunity.
A first-round pick in the 1999 NBA Draft (No. 22 overall), Thomas spent 11 seasons in the league, including stints with the Houston Rockets, Philadelphia 76ers, and Sacramento Kings. He was inducted into the New Mexico Sports Hall of Fame and has maintained close ties to the university and local athletic scene.
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