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Why Tony Romo Deserves A Second Chance, Not A Career Death Sentence From CBS Sports

John Mamola
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Why Tony Romo Deserves A Second Chance, Not A Career Death Sentence From CBS Sports

Tony Romo made a mistake. We all make them. However, being a celebrity comes with heightened responsibility. It’s not necessarily fair, but public figures are judged differently than the average person. You could say if Tony Romo were a mechanic, he’d already be back at work. Nothing against being a mechanic. It’s a trade I wish I knew more about, and one that has tremendous value as a profession.

But Tony Romo must play by a different set of rules because of his chosen profession. Being a highly paid NFL analyst is a career unlike that of 99.9% of the working public. However, many are already calling for the end of Romo’s tenure at CBS following his recent arrest on suspicion of operating while intoxicated. Judgment is being handed down before anyone considers whether he deserves a second chance. In all honesty, he should.

None of this excuses the decision that Romo made to put himself in this position. Driving while impaired can have devastating consequences, and anyone accused of it should be held accountable. Accountability, however, isn’t the same as ending someone’s career before the legal process has run its course.

The incident itself was embarrassing. The video doesn’t lie. Romo’s behavior wasn’t confrontational, but it was evident he was overcautious with every request and exercise. He likely knew the moment he was pulled over that the spotlight was on him. He had to perform well, ask the right questions, and do his best to make the situation easier for CBS executives to manage after the fact.

Romo didn’t resist, fight back, or even truly complain. In fact, his actions made it just another day at the office for the officers involved.

If you’re CBS Sports, that’s exactly the outcome you would hope for if an incident like that occurred. Now comes the business side of it all. What should CBS Sports do?

Results Over Noise

Placing Romo on leave until further notice was the right move. Acknowledge that your top analyst made a mistake, keep the public statement simple, and allow the legal process to unfold. There is just over a month before the start of the regular season, giving CBS Sports time to navigate the situation with Romo.

Has some of Tony Romo’s shine worn off since signing his 10-year, $180 million contract in 2020? Sure. Most analysts who come out of the gate red hot eventually regress. Romo’s style was different, and it was celebrated because of it.

As that style becomes more familiar, the appetite for criticism naturally grows.

Romo is no longer the fresh face. He’s now viewed more as the grizzled veteran. Some observers believe his ability to predict plays has become less impressive over time, his enthusiasm isn’t quite what it once was, and he spends too much time praising star players rather than providing deeper analysis.

The results say otherwise.

This past season, the NFL on CBS remained television’s highest-rated NFL package, averaging 25.8 million viewers. It marked the third straight year at the top of the NFL broadcast landscape. The Thanksgiving broadcast featuring Jim Nantz and Romo attracted 57.2 million viewers, making it the most-watched regular-season NFL game ever.

Romo is also no longer the highest-paid NFL analyst. Troy Aikman earns the same salary at ESPN, while Tom Brady makes more than twice as much at FOX Sports. Yet Romo continues to deliver when it comes to audience performance. Detractors will always have something to say, but 25 million viewers each week suggest CBS is doing just fine with Romo.

J.J. Watt has quickly shown the potential to become an outstanding television analyst. This fill-in opportunity benefits Watt, CBS Sports, and Romo himself. Athletes are fiercely competitive and hate losing their spot, even when circumstances are beyond their control. Just ask Greg Olsen, who lost the top chair when Tom Brady arrived at FOX Sports.

Sometimes, though, difficult situations create opportunities to reinforce the importance of accountability and improvement.

The Answer Is Simple

So, should a first-time arrest on suspicion of OWI in Wisconsin erase everything Romo has accomplished at CBS Sports?

He’s been a model hire. He rarely creates headlines, stays off social media, and wasn’t a nuisance to the officers performing their duties during the arrest. You know it, and I know it. The answer is no.

Like most employment contracts, I’m sure Romo’s includes language addressing termination for cause if an employee damages the company’s reputation. I had similar language in my own contracts. But what, specifically, was so damaging in the video that would trigger that clause?

Public embarrassment? Trolls on X? Media critics who have always enjoyed taking shots at Romo?

Tony Romo deserves the same second chance that most of us would hope to receive in a similar situation.

CBS Sports doesn’t need to make a permanent decision based on a temporary moment. Let the legal process play out. Let Romo own his mistake, and allow him the opportunity to regain the trust he’s lost. Then let him get back to calling football games.

Because if one lapse in judgment is enough to erase an otherwise successful career, we’re setting a standard that very few people—inside or outside of sports media—could ever hope to meet.

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

Sean Roberts Details The Emotional Closing of KXnO Following iHeartMedia Layoffs

John Mamola
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Sean Roberts Details The Emotional Closing of KXnO Following iHeartMedia Layoffs

It was a normal Tuesday in June for KXnO program director Sean Roberts. The day began in the office before a live broadcast that afternoon at a new Qdoba location in west Des Moines, Iowa, with co-host Lucas Strain. The station Roberts had overseen since becoming program director the previous June was in a strong position. The fall ratings book had every program at or near the top of its target demographics.

Everything appeared on track for another successful football season. Then came a Tuesday Roberts won’t soon forget. Another round of layoffs at iHeartMedia would affect not only him, but every live and local program on the KXnO roster.

“To be honest, I was shocked by the timing of it all,” says Roberts. “It all started happening while we were on the air live on location. I got a text from somebody that they got let go. Then another text and another. That’s when I knew what was happening. I knew the last hour of the show. As soon as we’re off the air we’d be getting the phone call and that’s what happened.”

Roberts and his entire on-air staff became casualties of iHeartMedia’s latest round of layoffs. The cuts came as the station celebrated its 25th anniversary while continuing to promote live, local programming centered on Iowa’s college sports teams rather than major professional franchises.

A Second Time Around

The journey for Roberts at KXnO began in 2012 as an intern. Over the years, he filled nearly every role at the station, where, he said, every cubicle and studio was occupied by people eager to serve Des Moines listeners. Today, Roberts said, that building sits nearly empty.

“I love that radio station. The call letters didn’t cause this. KXnO has nothing to do with this,” said Roberts. “The second I got the phone call, I knew this chapter of my life is done. I went back to the building and cleaned out my office and walked out knowing that walking out was my last time walking out of the building that I grew to love.”

This wasn’t the first time Roberts had been laid off from KXnO. In 2020, iHeartMedia included him in another round of job cuts. Following an immediate and vocal response from listeners, the company reversed course and allowed local management to rehire Roberts and five other KXnO personalities.

Following the layoffs in June, Roberts never believed another reversal was coming.

“This was a nail in the coffin. Honestly, if there was an offer to re-hire, I wouldn’t have gone back,” said Roberts. “I was at peace with it and made that decision pretty quickly… I was part of 2020 and felt that if that were to happen again, I would turn it down. I’m not going to go through all that again. It wasn’t worth it for me.”

As the news began filtering in through text messages from staff members and colleagues, Roberts and Strain maintained their composure on the air. Roberts said the final hour of the show was incredibly difficult as they worked to manage their emotions while delivering the same level of content listeners expected.

Roberts said he never saw the layoffs coming and wasn’t part of the meetings that determined the scope of the cuts.

The Day After….

The following day should have been a celebration. Ken Miller was preparing to host his final show on KXnO while commemorating the 30th anniversary of helping bring sports talk radio to Iowa. Instead, Miller chose to sit out his final show in solidarity with the KXnO employees who had lost their jobs the previous day.

“I encouraged Ken [Miller] to do his final show. It’s a tough spot because I’m telling him to do the show. I’m not even his boss anymore,” said Roberts. “I’m so appreciative for how he handled that situation. That’s not an easy thing to do. He helped launch sports talk radio in the state of Iowa… In a way, it’s kind of a blessing he didn’t come in. I have no idea what he would have said.”

Miller co-hosted Condon & Miller with Trent Condon. The lone locally owned program on KXnO, operated independently by Condon. The show went on as scheduled the following day, without Miller and without a full celebration of his legacy.

Instead, Condon opened the program by sharing his heartfelt feelings about the layoffs, what they meant for listeners of local teams and how thankful he was to remain a teammate while so many others were no longer part of the station. That commentary ultimately led to Condon leaving the station after iHeartMedia considered his comments “controversial.”

“No one encouraged TC [Condon] to do that. That was all Trent. I personally don’t think there was anything controversial in what he said, but I don’t make those decisions. If that’s what iHeart thought, who am I to argue with them. It’s not my deal anymore,” noted Roberts. “I appreciated everything he said.”

Local Still Matters

Roberts’ biggest concern for the future of the KXnO brand is the loss of locality. The station built its identity around local sports conversations focused on the teams that matter most to listeners across central Iowa. Now, with national syndication replacing local programming throughout the schedule, he believes those conversations will largely disappear.

“For a sports format to work in Des Moines, you need local voices talking about the local teams. I don’t think you’ll get that support nationally because people aren’t hearing what they want to listen to,” said Roberts. “From a format standpoint, iHeart tends to invest in the bigger markets. I don’t think from a sports standpoint, you’re going to see that in markets like Des Moines.”

Instead of dwelling on what they lost, Roberts and Strain quickly turned their attention to building something new. The duo recently reunited with the launch of Beyond The Bench on the Rush Radio Network, a two-hour daily show designed to deliver the same local conversations that helped make them successful at KXnO. The program is available on YouTube, social media and the TuneIn Radio app.

“For me and Lucas, we wanted to something we could do every day. I still want to be behind a microphone, and the more messages we got from listeners is what led to this,” said Roberts. “We built something, let’s not stop this thing.”

The show joins a network founded by former KXnO hosts Travis Justice and Ross Peterson, who also host a daily morning show on the Rush Radio Network. For Roberts, the opportunity was a no-brainer, allowing him to join other former KXnO personalities who have successfully transitioned into the independent media space.

While Roberts said his immediate focus is getting the show established, he has also found a renewed sense of happiness despite the emotional toll of losing his job.

“This may sound crazy. Yes, I’m sad my job was cut because I love the radio station and business. But my happiness is rooted knowing that the thought in the back of my head of being laid off is now gone,” said Roberts. “I always knew that no matter how great things were, what happened to me and the rest of us at the radio station was going to end in layoffs. It’s just the business of radio… I don’t have that dark cloud hanging over me that everyone in the business knows what I’m talking about.”

Roberts doesn’t pretend losing KXnO was easy. It was the station where he grew from intern to program director, built lasting relationships and envisioned spending much of his career. Walking away meant leaving behind more than a job. It meant saying goodbye to a place that helped shape his professional identity.

But as painful as that chapter was, it also opened another one. Instead of waiting for another opportunity to come along, Roberts and Strain created one themselves. The audience will follow, proving the connection wasn’t tied to a set of call letters. Moreover, because of the voices behind the microphones.

In an industry where layoffs have become an accepted reality, Roberts has found something many broadcasters spend years searching for: peace with what happened and excitement for what comes next.

KXnO may have marked the end of one dream, but Beyond The Bench serves as a reminder that in today’s media landscape, losing a radio station doesn’t have to mean losing an audience. Sometimes it simply means finding them somewhere new.

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

20 Brands In 20 Days: Carlota, X107.5 Las Vegas

David Hill
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20 Brands In 20 Days: Carlota, X107.5 Las Vegas

Editor’s Note: This interview was conducted before Beasley Media Group announced the sale of X107.5 to Educational Media Foundation (EMF). Carlota and the entire X107.5 team had no idea the station was being sold when we spoke. Now that the deal is public, her conviction about staying true to alternative radio becomes even more meaningful.

There’s a radio station in Las Vegas that has been telling the same story for 30 years. Nobody is buying the safe version anymore. KXTE X107.5 — Xtreme Radio — is having a reckoning. What does it mean to actually be alternative in 2026? If you’re wondering why that matters, sit down with Carlota. She’s the station’s Program Director and midday anchor. She’ll tell you exactly why the format got lost. More importantly, she’ll explain how she’s bringing it back.

Carlota has been doing middays in Vegas since 1998. That’s 28 years of spinning records and running her mouth in the desert. She worked KOMP 92.3 for 18 years. She bounced through a couple of other gigs. Finally, she came back to Xtreme in 2023. That tenure matters significantly. She remembers what alternative actually was. She remembers when it meant something dangerous.

“This station is celebrating its Dirty 30 this year,” she tells me. “It’s been through the ringer. It’s a highly loved and revered brand, but we gave our listeners quite the ride.”

The Origins of Edge

The ride started in the mid-90s when alternative was a format that scared people. Rage Against the Machine, Korn, Limp Bizkit — all the bands that sent parents into committee meetings. Mike Stern built something real here. But then — like it always does — the business got nervous. People got comfortable. The edge got rounded off. Subsequently, one by one, alternative stations started playing it safe.

“A lot of alternative radio stations now — and maybe it works for them — but I don’t know that it’s going to work for us,” Carlota says. “Is too AAA, too Hot AC. That’s not what I feel alternative is.”

So she is making a bet. She is going back to what built the format. That means REM, Missing Persons, The Smiths, Depeche Mode, The Cure, and Psychedelic Furs. But she is also bringing it into 2026 by mixing in current music. The current music must actually have texture and edge. Not safe pop that happens to be indie, but music with genuine alternative DNA. For instance, consider Imagine Dragons, Dirty Heads, Pierce the Veil, and Temper Pedals.

“I look for the stuff that has edge and texture,” she says. “I avoid the safe-sounding, pop, Hot AC-sounding AAA stuff.”

That is not a small decision in radio. That is a bet against the tide.

Finding Validation

She got validation from an unlikely place. Todd Nuke ‘Em, who does the same thing at a rock station in Salt Lake, wrote about staying true to what built your format. Active Rock does not play it safe — they still hammer Black Sabbath 50 years later. So why are alternative stations abandoning the foundation? Carlota read that article. She felt like someone finally got it.

“He gave me validation without even realizing he was doing that,” she says. “Why did we forget? Why are we ignoring what built us?”

The dayparts tell the story too. Dave & Mahoney own the mornings. They are syndicated out of Phoenix now. However, they were born at X107.5. They get it. They fall right into the brand without anyone having to pull their leash. Carlota does middays. Meanwhile, Pauly Kover anchors afternoons. It is not a stacked lineup that cost a fortune. Rather, it is a lineup that believes.

The Audience That Never Left

But here is the real story. It explains why this station has survived 30 years of format chasing and ownership changes. The real story is the audience.

“This listener is more of a lifestyle listener,” Carlota explains. “These people have been through stuff. They probably come from broken families. They are highly educated. They have been well-versed in the streets and difficult times.”

This is not hyperbole. The alternative audience has always been the people who did not fit anywhere else. These are the kids who found salvation in music. The music spoke to dysfunction instead of smoothing it over. X107.5 has never tried to change that. Instead, Carlota leans into it.

“We are broken too, and we have been through it as well,” she says. “There is this relationship where the listener is like, ‘You are not talking down to us. You are not talking at us. You are sharing your life with us.’ We are not a smooth format. We are crunchy and broken and rocky and dysfunctional, just like everybody else. We are a very truthful, honest radio station, and that really speaks to our people.”

Living the Las Vegas Difference

That honesty extends beyond the music. Las Vegas is a city designed to separate people from their money on the Strip. Water costs $50. Parking charges feel like a mugging in a tuxedo. Most radio stations would love to do events at the high-roller properties. X107.5 tells them to take a hike.

“We flip our middle finger to those lights,” Carlota laughs. “People who live in Las Vegas — we do not go to the Strip. We do not like paying for parking. We are dead against it. When we do events for listeners, we do them off-strip where people actually want to be.”

It is a small thing, but it matters. It says: we are one of you. We are not selling something to you. We are living this with you.

The Future of Alternative

When you ask her what X107.5 should change, she says they are already doing it. They are doing it slowly and deliberately. They are not chasing what is happening elsewhere. They are not going to play Mumford and Sons just because it is popular. But they might play New Order. They might play Stereo MCs. Because it is not about the genre — it is about the truth.

“It just has to have an edge and a truth to it that can coincide with the other truths that we hold,” she says.

Five years from now, Carlota sees the station doing one thing. She sees them staying true to their core. They will not capitulate to trends. They will not chase the format of the month. Instead, they will be a genuinely alternative radio station in 2026. That is the way it was in 1992.

A Station That Defines the Market

Here is the thing about broadcasting that non-radio people do not understand. There are stations that change with the market. More importantly, there are stations that define the market. X107.5 has decided to be the latter. After 30 years, in a town built on reinvention, Carlota is betting big. She believes the most radical thing a radio station can do is simply not sell out.

For people who live in Las Vegas — and for anyone who tunes in online because they miss that city — that commitment matters. That commitment to honesty, edge, and texture is exactly what they cannot find anywhere else.

That is not just alternative radio. That is true alternative radio. And it still matters.

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

Why A 60 Minutes Rival Won’t Ever Be Successful

Garrett Searight
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Why A 60 Minutes Rival Won’t Ever Be Successful

60 Minutes has a would-be rival on the way, according to a report from the New York Post. Former Executive Producer Bill Owens is reportedly pitching investors on a new investigative newsmagazine, seeking roughly $50 million to get it off the ground. The reported roster includes Scott Pelley, who exited CBS News after a heated meeting with new 60 Minutes boss Nick Bilton went sideways. Owens’ representatives have since denied the report, but the sourcing behind it looks credible.

I understand the appeal. This isn’t a rookie lineup. Sharyn Alfonsi, Cecilia Vega, Tanya Simon, Draggan Mihailovich — these are people who spent careers building the very product Owens now wants to rebuild from scratch. They know how to report a story, shoot it, and cut it so it lands. Talent isn’t the issue here.

Still, I don’t think this works. Not in the long run, anyway. And it isn’t for the reasons you’d expect.

It’s Never Been About the Talent

60 Minutes doesn’t work because it airs on CBS. It doesn’t work because it employs the industry’s best storytellers, though it does. It doesn’t work because a Sunday NFL lead-in dumps millions of eyeballs into its first segment. Those things help, sure, but they’re not the engine.

60 Minutes works because of the brand. Six decades of consistency built that name into something viewers trust instinctively, before a single second of footage plays. When that stopwatch starts ticking, audiences already assume credibility, quality, and weight. That assumption didn’t happen overnight, and no amount of funding recreates it on a launch date.

Plenty of shows have tried to bottle that formula. Dateline, 20/20, even CBS’s own late, low-rated spinoffs have chased it. Some found modest success. None matched the original, and none ever will, because they’re missing the one ingredient money can’t buy: decades of earned trust.

This is the “it’s the economy, stupid” of television news. Strip away every distraction, and the fundamental truth remains the same — brand equity, not talent or budget, decides whether a newsmagazine survives.

The Streaming Problem Makes It Worse

Even if Owens raises his $50 million, he’s not launching on a broadcast network with seven decades of built-in audience habit behind it. Reports suggest he’s shopping this to streamers like Netflix, Apple TV, and YouTube instead. That’s a fundamentally different distribution model, and it comes with a fundamentally different discovery problem.

Streaming viewers don’t stumble into a show the way linear audiences do. They have to seek it out, and seeking requires a reason. Right now, that reason is a batch of familiar bylines rather than an institution people already trust. Bylines matter, but they fade fast once viewers realize the show doesn’t carry the weight of the name they miss.

Meanwhile, the actual 60 Minutes keeps airing, however diminished it might look under Bilton’s leadership. As long as it exists, it owns the brand this new venture is chasing. A rival can borrow the format. It can even borrow the people. What it can’t borrow is the name on the door, and that’s ultimately what audiences are buying.

So yes, I think Owens’ idea is valiant. Building something from the wreckage of a broken newsroom takes real conviction, and the people involved deserve credit for trying. But conviction alone doesn’t build a brand, and neither does talent, funding, or a slick pitch deck. This isn’t late-night TV, where you just pick a host, write a 10-minute monologue, do two celebrity interviews, have a musical guest, and call it a night with the hopes that you can compete. It’s a whole different ballgame.

It’s genuinely a shame to watch 60 Minutes get dismantled from the inside — that’s a separate column for a separate day. For now, though, the lesson stands: you can hire away the team, but you can’t hire away the name. And in this business, the name is everything.

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

The Industry According To: Chip Ruggieri, Chipster PR

Keith Cunningham
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The Industry According To: Chip Ruggieri, Chipster PR

Thank you for checking out The Industry According To. Every Tuesday we speak with a different expert or leader from somewhere in the vast music industry — label executives, artist managers, programmers, talent, artists, consultants, and beyond. To be considered as a future guest, email me at keithblackboxgroup@gmail.com.

Today we welcome in a prominent music industry executive, publicist, and marketing expert who has literally seen it all: Chip Ruggieri. Chip spent the early part of his career doing publicity and A&R for major labels in New York and Los Angeles before launching his own internationally recognized firm in 1996, Chipster PR, where he serves as President and Senior Publicist.

While multi-genre, Chip is best known for his work in rock, with a client base that has amassed over 70 gold and platinum records. If you’ve ever been to a big rock festival — Ozzfest, Warped Tour, or Rolling Rock — chances are a Chipster PR client was on the bill. Furthermore, his work has tied him and his artist clients to major movie releases including Zoolander, Rock Star, and more.

So, let’s dive in.

*Editor’s Note: Answers have been edited for clarity and length.*

THE PR REALITY CHECK

Keith: You’ve been doing PR, marketing, and artist development for decades. What’s the biggest misconception artists and the music industry in general have about PR? What do they think it does versus what it really does?

Chip: The biggest misconception is that PR can carry an entire campaign on its own. It can’t. Publicity is one part of marketing, and it works best when it’s integrated into a broader strategy around a song, an album release, or a tour. In today’s music business, PR alone isn’t enough to drive a successful campaign. It needs to work alongside digital marketing, social media, advertising, fan engagement, and the rest of the marketing ecosystem. When all of those pieces are aligned, publicity becomes much more effective.

Keith: If you were hired to launch a brand-new artist today with no fanbase, no label, and no momentum, but you love the music — what’s your first move?

Chip: I’d engage the tastemakers and the people across the media and radio landscape who can truly move the needle with their support.

STREAMING’S DOUBLE-EDGED SWORD

Keith: Streaming guarantees an artist’s music is available everywhere, that’s the good news. The bad news is they’re now available everywhere with 100 billion other artists, so standing out can feel like winning the Power Ball lottery. Has ubiquitous streaming truly helped artists and the music industry, or has it made it even harder to survive?

Chip: I’ve always looked at it this way: if the songs are strong enough, they’ll find an audience. I think streaming has absolutely helped — as long as the music is good enough.

SMART BUDGET ALLOCATION

Keith: Artist development budgets have shrunk dramatically over the past 20 years. If an artist has $20,000 to spend on marketing, where should it go? And where is that money most likely to be wasted?

Chip: It depends. If you’re not touring, I’d invest heavily in social media, viral marketing, and publicity. I’d avoid spending money on radio promotion or traditional advertising until you’ve built enough awareness — through streaming numbers and audience engagement — to generate a real return.

THE PR AND SOCIAL MEDIA BALANCE

Keith: Social media changed everything. Getting the word out is easier, but the marketplace is more crowded than ever. What does PR do today that social can’t?

Chip: The best PR campaigns incorporate social media as part of the overall strategy to expand awareness and reach. PR reinforces an artist’s visibility, especially around touring, and creates credibility that social media alone can’t always deliver.

FINDING THE REAL MOMENTUM STARTER

Keith: Artists chase influencer playlists, radio, TikTok, podcasts, satellite, press — everything. What’s the real momentum starter?

Chip: A human being who genuinely believes in the project and has trusted relationships with an audience that can help people discover the music.

MUSIC FIRST, THEN THE BRAND

Keith: Artists used to focus on writing, releasing music, and touring. Today, they’re building brands, stories, aesthetics, partnerships, and multi-platform identities. For newer artists, how important is it for them to develop a personal brand — or does it really just come down to the music?

Chip: It still starts with the music. Great songs are the commercial that introduces people to the artist. Once that connection is made, branding reinforces who the artist is.

CRISIS MANAGEMENT

Keith: Many people think PR is just generating press — but often it’s keeping artists OUT of the press when a crisis is brewing. What’s the toughest crisis you’ve ever had to manage (Chip, it’s okay if you need to keep names anonymous)?

Chip: The hardest situations are when an artist passes away and you’re responsible for helping deliver that news with dignity, accuracy, and respect.

RADIO’S ESSENTIAL MESSAGE

Keith: Radio faces considerable pressure for attention and revenue. Some defend radio’s mass reach; others say the problem is perception — that radio is misunderstood, especially its digital evolution and community impact. If you were hired to do PR for the entire Radio Industry, what’s the message you’d want both listeners and advertisers to hear?

Chip: Radio is still incredibly important. For certain demographics, it’s still the most effective and valuable way to connect artists with their fans.

THE STATE OF ROCK MUSIC TODAY

Keith: People have been saying “rock is dead” for decades, yet it keeps standing and in many ways, thriving. You’re in the trenches. Give us your no-fluff take on the real state of rock music today: sales, touring, quality of new music, and media interest.

Chip: I think rock is amazing and stronger than ever. What we need now is one or two true breakout artists to raise the bar again — for ticket sales, merchandising, radio airplay, and the overall profile of the genre.

A STORY WORTH TELLING

Keith: You’ve seen it all — successes, scandals, flops, debauchery, arrests. Give us one story you love to tell.

Chip: Seeing Judas Priest inducted into the Rock & Roll Hall of Fame. I have been closely associated with the band for over 25 years, so witnessing that recognition — and helping them navigate all the changes the music industry went through over those decades — was incredibly rewarding.

THE FINAL WORD

Keith: Last question — blank slate. Say anything you want to any sector of the music industry. What do you want them to hear?

Chip: Rock and roll is alive and well. I’m excited to see where it goes next, and I’m looking forward to discovering the next generation of arena-sized rock acts.

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

How News/Talk Radio Can Address America’s Growing Loneliness Epidemic

Peter Thiele
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How News/Talk Radio Can Address America’s Growing Loneliness Epidemic

News/talk radio brings community to our society. Now, our audience is not completely filled with Grizzled Geezers on the Spectrum. We live in an increasingly isolated society. This is not good for our society’s physical and mental health.

So, what is our role in this problem? Should we just ignore it or lean into this issue? How does this fact lean into your station’s ratings and revenue?

According to U.S. Census Bureau data, in 2024, 29% of all U.S. households have only a single occupant. Twenty-five percent of households have at least one adult with children 18 and under. It was reported that nearly 30% of adult children are still living at home. Twenty-five million Americans between the ages of 18 and 35 are still living at home. Every one of these statistics is disturbing. Our society is creating either loners with terrible social skills or individuals who are totally dependent on their families.

I am really concerned about these statistics because they are alarming for our society. Individuals between the ages of 18 and 35 should be starting a career, enjoying romantic relationships, and perhaps having babies. It’s abusive to them, or to their parents, for these individuals to be at home. These statistics should be a warning about our society’s failure to create adults.

I loved my parents and enjoyed being with them, but I was raised to make my own road. At the beginning of my radio career, I worked for a hotel for a few years. I put myself through school and worked sometimes three jobs at a time to make ends meet. My dad had a fraternity brother who owned a hotel, and he suggested I reach out to his buddy.

I felt that would be icky. I wanted to do this on my own. Certainly, I made mistakes and had successes, but these were on my terms. I did this on my own. We live in a society where some parents are raising their children to be their friends. Yes, this is a terrible idea. Not that you should hate your children or parents, but it is important to make your own way.

The Role of News/Talk Radio

So, what is the role of news/talk radio in this mess? Well, we get to shed light on our society’s ills. We are the radio format that deals with real life. When we speak with elected officials, we can ask about the housing shortage. The National Association of Realtors says the U.S. is 4 million homes or apartments short. This has led to artificially high prices for homes and for rental units. What’s going on with your community? Some places realize this issue and are creating an environment where construction is easy. Then there are places where it is ridiculously difficult and expensive to build.

I recently spoke with a contractor who is an electrician. He told me he was required, in new construction, to add light switches that automatically turn off.

Apparently, the light switches mandated by the city he was building in cost over $100 each, instead of the $2 for the old-school manual light switch. We now have light bulbs that use under 10 watts of electricity. So, think this through — that fancy $100+ light switch will likely wear out before $100 worth of electricity is ever used. Our local regulatory people are truly insane. We can address these issues.

Grizzled Geezers on the Spectrum would make an amazing reality show on Netflix or TLC. Here is the pitch: older people in a group home have only each other, Legos, Pop-Tarts, Wheel of Fortune, and their exhausted caretakers. I can write a treatment for this if you are interested.

Leaning Into Belonging

There is no debate that we as a society have become more and more isolated. Civic groups used to be the glue that held our society together. Loneliness leads to early death and unhappiness unless you are divorced — then it’s peace! News/talk radio is the original social media. Adventures and meetups with listeners are glue.

It doesn’t have to be something formal. Meet at a restaurant for politics and pints, or get a group of listeners together to clean up a local park.

You have better ideas on this than I do. Create belonging within your show and brand. Don’t sit on your high horse; interact with the people. I get it — many radio people are insecure introverts unless there is a microphone in front of their pie hole.

Station events are a great way to connect and have a great time. Perhaps your cluster can have an event for singles. It’s a huge part of your community. Again, this doesn’t need to be too formal. Just the basics, some icebreaker games, and let the romance begin!

Turning Connection Into Ratings

More connectivity to your audience and community ultimately creates ratings and revenue. Get people to serve the community together with their favorite radio performers. This is a total win.

A day of public service — a Saturday morning. Spend a day serving with your audience — a two- to three-hour event doing something cool for a local nonprofit, such as helping the homeless or painting a playground. (Remember, lead paint ain’t that good for the kiddos.)

How can we connect? How can we make a difference in people’s lives? It is more than just bitching about the democrats and taxes. We can do something great. I think Disney+ would be great for Grizzled Geezers on the Spectrum.

There is a significant portion of your audience that gets home on a Friday night and has no real human contact until they arrive at work on Monday. There is an opportunity for radio.

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

Radio Air Talent Workload: Are Jobs Getting Easier?

Kevin Robinson
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Radio Air Talent Workload: Are Jobs Getting Easier?

Every once in a while, it’s healthy to step outside our own industry and ask a simple question: How hard is our job as an air talent – really?

Creating audio content doesn’t task the body like the demands of a construction worker. Nor does it require the life-or-death pressure of a heart surgeon. Certainly not the exhaustion of a first responder. While it requires unending creativity and the ability to grab attention in 7 seconds or less, it’s not “rocket surgery”. The entire environment is built to be fun.

Perspective from the Past

So when Barrett Media founder Jason Barrett wrote last month about radio’s PR problem, it got me reflecting on just how much easier it is to entertain today – versus what many would consider archaic even 25 years ago.

Jason argued that radio needs builders rather than critics. He wrote that the business needs “people with talent and passion who are focused on solutions, not individuals…doing damage from the inside out.” Why so much rancor within our ranks?

Consider this: What were we saddled with before all these wonderful digital and automated tools arrived on the scene? Those of us who came through pre-1990s radio know hard work. We hauled our own heavy equipment to remotes. And loaded our own carts with magnetic tape. We produced our commercials using razor blades and two-track reel-to-reel tape. Also, we worked overnights, holidays and weekends. Took hourly transmitter readings. And prepared our music logs with flash cards and copy paper. We waited by the phone for Arbitron to call with “early” ratings before the printed book would arrive a week later. We cleared the Associated Press wire when it jammed, missing important stories for our newscasts. My first radio job included taking out the building trash and cleaning the studio. Clearly, the physical grind has vanished, replaced by laptops, automation, A.I. and digital platforms.

The act of creating something memorable and valuable to the listener has never been easier.

What Really Constitutes Hard Work

I was sitting in an airport recently, watching travelers rush from gate to gate. Notably, I noticed a woman reviewing engineering diagrams on her laptop. She was preparing for what appeared to be a bridge inspection, flipping through pages of structural calculations and safety reports. My eyes glazed over after about thirty seconds. That’s a hard job.

A few weeks later, severe storms tore through the Midwest, leaving hundreds of thousands without electricity. Meanwhile, most of us were posting pictures of the damage or complaining that our Wi-Fi was down. In contrast, utility crews were working sixteen-hour shifts in sweltering heat, climbing poles, replacing transformers and restoring power under dangerous conditions. They slept in hotels when they could, ate whenever they had a minute and marched forward until every neighborhood had the lights on. That’s a really hard job.

Defining True Difficulty

Furthermore, consider the nurses finishing a twelve-hour Covid-fueled overnight shift, firefighters entering burning buildings, police officers responding to domestic violence calls, construction workers laying asphalt in 95-degree heat, truck drivers navigating America’s highways through snowstorms, and military personnel serving thousands of miles from home. Those are hard jobs.

Back inside an air-conditioned radio or home studio, complaints range from voice-tracking an extra market to scheduling consistent social media posts. Additionally, there’s writing for the website and producing local commercials – which are easier and quicker than ever. In fact, there was a time when we’d have to wait for the delivery of national and agency spots from the UPS driver.

The Evolving Landscape of Radio Work

Yes – workloads have increased. Downsizing has blurred job descriptions, and programmers drive content across multiple stations. Consequently, air talent now wear more hats than ever before. Everyone is time-starved and tasked with the work of two – or more – people.

Let’s take a fresh perspective of what we’re blessed to do. We work in one of the few businesses where we get paid to entertain, inform, connect and make people smile. We introduce listeners to new music. We celebrate local heroes. We help businesses grow. We raise millions for charities. Indeed, our entertainment becomes the DNA of people’s routines during their AM commute, lunch break and drive home. The podcasts that come from our shows entertain listeners while they cook, mow the grass and head to the beach.

Technology has made countless parts of the job easier. The tools have never been better.

The Reality of Our Role

It’s true that radio can be stressful. Deadlines are real. Ratings matter. Budgets are tight.

However, we’re not repairing power lines during an ice storm. We’re not performing emergency surgery. We’re not carrying eighty pounds of gear through a combat zone. We’re not pouring concrete in ninety-eight-degree heat. We’re not crawling under houses to repair broken water lines.

We create content.

We tell stories.

We play music.

We make people laugh.

So many things to appreciate.

One more thing? Radio station coffee is far better than it used to be. Trust me. That’s progress.

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

How The Hill’s Robby Soave Juggles Multiple TV Platforms

Krystina Alarcon Carroll
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How The Hill’s Robby Soave Juggles Multiple TV Platforms

Ahead of tonight’s South Carolina Senate debate hosted by Nexstar Media Group, which will be simulcast on The Hill, Barrett Media sat down with The Hill‘s Robby Soave about the coverage and this pivotal race.

“Lindsey Graham was such an iconic figure for the Republican Party [and] has been such a key ally of President Donald Trump,” Soave said. Noting how important Graham was to Trump’s foreign policy goals, Soave believes, “It will be very interesting to see who his successor is.”

“Obviously, there’s the potential that his successor is his sister, whom Trump supports, but voters get to decide that.” He added, “It will be really important to see what the other candidates have to say for themselves to make sure it’s not simply a coronation.”

Juggling Multiple Platforms

Soave is excited for his role: “I will be reacting to what [the candidates] say, learning from them, and then discussing and debating it on [my show] ‘Rising.'”

Rising is not the only show Soave hosts. He also works full-time at Reason Magazine, making their YouTube content, as well as hosting a show on 2Way. “I have no shortage of television shows and podcasts,” Soave joked.

While politics is his game, he strives to make each show different. “I try to say to myself, maybe there’s 16 people out there who are Robby Soave completionists who watch me all day, every day on all the platforms. I have to make sure I’m not making it boring for them by repeating myself, but the reality is there’s just so much news. There’s so much happening that it never feels stale.”

His wide range of guests also keeps the conversations different and exciting. “I’m constantly surprised, sometimes, by the things I hear from co-hosts, guests, and people I’m interviewing, and so the conversations go in really unexpected directions.”

From Writer to Broadcaster

With all the content Soave is putting out, he is aware of what all his viewers and subscribers expect. “They want personality along with their news and opinions. They want to know something about the people who are sharing their political impressions with them.”

For Soave, people initially got a taste of his personality through his incredible writing ability. “I always wanted to be a writer. I didn’t know I would necessarily get into journalism until college.”

Known for his work at the intersection of free speech, civil liberties, and culture, he has been published in countless notable outlets, including The New York Times, The Daily Beast, and U.S. News & World Report. He has also penned two books: “Panic Attack: Young Radicals in the Age of Trump” and “Tech Panic: Why We Shouldn’t Fear Facebook and the Future,” the latter of which has gotten significant praise from members of the Trump administration.

“What I’ve found is that over time people [have] ask me to come on their TV show and talk about politics, and you do enough of that, [and] you don’t screw it up. Eventually, you get the opportunity to post your own thing.” For the last five years, he’s been with The Hill hosting Rising.

The Case for Spirited Debate

He believes there is one “really great thing” about Rising that keeps viewers coming back: “It’s a left, right debate show, and we have guests, and we really represent all sides of the political spectrum, or at least try to have conversations with all sides of the political spectrum, and it’s a debate often and sometimes a very spirited debate.”

“My perspective is, if you’re having a conversation and you’re providing pushback, you can let people hear an extreme perspective and then let them hear from someone who disagrees with that extreme perspective about why it’s wrong.” Soave added, “I think it’s a difference between being, um, you know, just down the middle or being balanced, because a lot of Americans have strong or even extreme feelings about a range of issues.”

The coverage of the debate begins at 6:30 PM ET. It will feature Sen. Darline Graham (R), while challengers Rep. Ralph Norman (R-SC), Rep. Russell Fry (R-SC), former Gov. Mark Sanford (R-SC), and businessman Mark Lynch will debate each other. The special election is set to be held on August 11th, If no candidate secures a majority, there will be a run-off election on August 25th.

Advice for Aspiring Journalists

For those looking to follow in Soave’s footsteps, he suggests, “First learn something, specialize in something. Establish something you’re an expert on before you become a generalist.”

It is the exact same process he went through before being asked to weigh in on everything. He believes this base knowledge makes a huge difference. “I’m now asked to weigh in on all sorts of things, but I started mostly just covering free speech on college campuses and writing about it. And then I covered tech and social media regulation because I was interested in free speech. I think you should pick something to be interested in, learn more about it.”

Soave ended by saying, “Then you’ll find you have something to say about it, rather than sitting down and saying, ‘I’m going to be a general commentator.’ People will appreciate your opinions more.”

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

Kayla Hanley Exits WCOL Columbus After Fourteen Years

David Hill
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Kayla Hanley Exits WCOL Columbus After Fourteen Years

Kayla Hanley ends fourteen years at iHeartMedia’s WCOL in Columbus, Ohio. She departs the morning show this Friday.

What We Know
Hanley started as an intern in 2013 and systematically climbed the ranks. She transitioned to producer before becoming co-host of “Zuko & Kayla” with Program Director Dan Zuko in 2022. The morning show currently ranks atop the Columbus market. Her exit represents a seismic shift for one of radio’s most established programs.

What They Said
Hanley confirmed her decision through a candid statement about her priorities. “This wasn’t an easy decision to make especially since we are on top of the world here on ‘Zuko and Kayla,'” she shared, “but I’ve been given a job opportunity to be home with my girls (especially the mornings), and be more present for them, myself and my family and friends.” She praised her co-host’s influence considerably: “I am forever grateful to Zuko because 5-10am IS a highlight of my day. You’ve taught me so much these last few years especially, that’s helped me through so much and I can never say thank you enough for what we built and have done together.”

What Remains Unclear
The statement doesn’t reveal Hanley’s next professional destination. Additionally, she hasn’t clarified whether she’ll remain in radio or pursue other industries entirely. Consequently, iHeartMedia hasn’t announced a timeline for the replacement. Finally, Zuko’s next co-hosting arrangement remains unconfirmed.

What It Means
Hanley’s exit reflects a growing industry pattern of on-air talent prioritizing family and flexibility. Moreover, Columbus radio enters a critical transition period for its ratings leader. The market will observe how iHeartMedia repositions this vital daypart moving forward. Ultimately, her departure underscores radio’s persistent challenge retaining veteran talent.

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

Aaron Rodgers Critical of ‘Network’ Coverage Of Dianna Russini, Vaccination Controversies During Pat McAfee Show Appearance

John Mamola
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Aaron Rodgers Critical of ‘Network’ Coverage Of Dianna Russini, Vaccination Controversies During Pat McAfee Show Appearance

Aaron Rodgers went on the attack Monday during an appearance on The Pat McAfee Show. The Steelers quarterback ripped ESPN and other networks for staying quiet on two storylines he says matter.

What We Know: Rodgers appeared on The Pat McAfee Show and challenged ESPN’s coverage choices. He questioned why the network gave little attention to Dianna Russini’s reported situation involving Patriots coach Mike Vrabel, including her role as an MVP and Coach of the Year voter. In addition, he pivoted to Dr. Anthony Fauci, reviving a fight over COVID-19 vaccine policy that fueled his most controversial McAfee appearances. Still, Rodgers found room for some praise, crediting Stephen A. Smith for apologizing to Kyrie Irving.

What They Said: (All quotes from The Pat McAfee Show)

Aaron Rodgers questions why ESPN didn’t cover Dianna Russini’s saga with Mike Vrabel: “There was another scandal this off-season too involving a voter for MVP for Coach of the Year. How much time did your network [ESPN] spend on that?”

Aaron Rodgers believes networks should have covered Dianna Russini more: “What are the networks doing? You have literally an individual that maybe used to work at ESPN that covers our league at the highest level. And there’s a major scandal, and it’s just like nobody can fu**ing talk about it. What are we doing? If it’s affecting certain things. If there’s leaks going on, if there’s tampering going on, or if that person is also an MVP voter and a coach of the year voter, remember when I won MVP in 2021? Yeah, that’s real life. Like, how are we allowing these people to have an impact?”

Aaron Rodgers critical of ESPN’s approach to subjects being discussed: “There’s been a lot of silence. I feel like 19 seconds about one subject. Oh, don’t talk about that. We can talk about Rex Ryan’s foot fetish, but please don’t talk about anything else right now. Don’t talk about you know any scandals involved. Talk about pop culture. Talk about Taylor and Travis’s wedding. Yeah, what do the insiders know about that? But don’t talk about you know s**t that actually has to do with our business. Or righting wrongs from the past.”

Aaron Rodgers questions why ESPN didn’t cover Anthony Fauci’s recent testimony: “You got a pardon. You pleaded over 100 times at the White House. What are you scared of, Tony? I thought you were the science. I thought you were ‘I am science,’ and you get up there and you can’t answer a question. How much time did the network [ESPN] spend on that? How much time did they spend on my responses every week on my vaccination status. Did they do even a minute? Did they do even a minute on Tony Fauci? I bet they didn’t.”

Aaron Rodgers compliments Stephen A. Smith for apologizing to Kyrie Irving: “I got to give flowers to Stephen A. Smith, my old friend Stephen A.. He was man enough to actually admit and apologize to Kyrie Irving. So, I got to give a shout out to my guy Stephen A.. You are not a coward. I appreciate you.”

Aaron Rodgers challenging ESPN to criticize him now: “Seriously, what are you gonna say about me now? Now, you can’t talk about the COVID stuff because obviously it was made in a lab in China. That’s like not even questionable anymore. Tony Fauci is an absolute criminal. I’m on good terms with my family. What are you going to say now?”

What Remains Unclear: ESPN hasn’t responded publicly to Rodgers’ airtime complaints. Whether or not Rodgers will make any future appearances is unknown.

What It Means: Should ESPN and McAfee have known that Rodgers would use the moment on the network to call out the network? Possibly. Rodgers obviously still is hurting from the criticisms lobbied his way from old wounds with ESPN. Additionally, this likely will be Rodgers’ final appearance this season on ESPN programming. Moreover, his criticisms put fresh scrutiny on Russini’s reporting relationships and how networks vet potential conflicts. For McAfee’s show, it’s another polarizing moment that keeps Rodgers appointment viewing. Ultimately, ESPN’s response — or silence — will shape what comes next.

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

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