Former WFAN personality Craig Carton declared on The Craig Carton Show that “nobody cares about women’s basketball,” a remark that quickly spread across sports media circles just as the WNBA Finals posted some of its strongest numbers in decades.
During Tuesday’s episode, Carton argued that public interest in women’s basketball revolves almost entirely around individual stars such as Caitlin Clark rather than the sport itself.
“We cared about Caitlin Clark and maybe you care about Paige [Bueckers],” Carton said. “There’s a small segment of the woke American community that wants to guilt you into feeling like you have to acknowledge or pay attention to women playing basketball… We’re trying to fool ourselves into thinking the American sports public enjoys or wants to see professional women’s basketball. We don’t. We never have and we never will.”
Carton insisted his take was not an attack on the athletes themselves.
“They’re great at what they do, but no one cares about what they do,” he continued. “We fell in love with one person, Caitlin Clark, and the WNBA and most of its players have gone out of their way to trash her and make her unlikable. Which makes no sense to me, but we’re never going to care about professional women’s sports in this country.”
His comments arrived the same week Nielsen data showed that this year’s WNBA Finals averaged 1.5 million viewers across ESPN and ABC — the second-highest Finals audience since 2000. Though down slightly from last year’s series, this year’s four-game Aces-Mercury sweep marked the ninth straight Finals game to top one million viewers, an unprecedented streak for the league.
The WNBA Playoffs overall averaged 1.2 million viewers, a modest 5% rise that industry analysts partly attribute to Nielsen’s expanded methodology and sustained interest from Clark’s arrival in the league.
For all the controversy, Carton’s remarks underscore the long-running divide in sports media over how women’s leagues are covered — and how their progress is measured.
“Let’s be clear, nobody cares about women’s basketball…”
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Pittsburgh Penguins television play-by-play announcer Josh Getzoff was taken to a hospital in the Anaheim area Tuesday night after fainting inside the Honda Center press box during the team’s game against the Anaheim Ducks. According to The Pittsburgh Post-Gazette, the incident occurred during the second intermission of Pittsburgh’s 4-3 loss, catching both the SportsNet Pittsburgh crew and arena staff by surprise.
The report states that Getzoff had stepped away from the broadcast booth between periods — a normal routine — and was in conversation with another broadcaster when he suddenly collapsed. He was reportedly awake and responsive soon after.
Medical personnel attended to Getzoff before he was transported to a local hospital for further evaluation.
The Penguins have not released an official statement on the incident.
With Getzoff unavailable to finish the broadcast, both the television and radio crews quickly adjusted. Joe Brand, who was working the radio side, moved over to the TV booth to call the third period alongside Colby Armstrong.
On radio, Penguins director of team operations Jason Seidling joined Phil Bourque to complete the coverage.
Bourque shared on-air during the third period that he had received word Getzoff was “alright.” Offering some reassurance to listeners and viewers following the situation.
Getzoff recently marked his 10-year anniversary with the organization. He is currently in his third season as the team’s television play-by-play announcer for SportsNet Pittsburgh. Before transitioning to TV, he served as the radio voice of the Penguins and built a strong reputation for his professionalism, energy, and chemistry with broadcast partners.
The Penguins’ next game is set for Thursday night in Los Angeles against the Kings. It remains unclear whether Getzoff will return to the booth for that broadcast.
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Erik Johnson isn’t wasting any time transitioning from the ice to the broadcast booth. The former Colorado Avalanche defenseman, who announced his retirement earlier this month, has officially joined ESPN as an analyst for the 2025–26 NHL season.
The move marks another major step in Johnson’s fast-moving post-playing career. The 2022 Stanley Cup champion has already made guest appearances on the Avalanche’s local television broadcasts, drawing praise for his insight and engaging on-air presence. His addition to ESPN signals that his media career is poised to take off just as quickly as his NHL one began nearly two decades ago.
“As a kid I idolized Thorne, Clement, Melrose, Levy & Buccigross,” shared Johnson on social media. “To call games with some of them on ESPN is going to be surreal. Can’t wait, let’s go!”
For longtime Avalanche followers, Johnson’s emergence in media comes as little surprise. Over his 13 NHL seasons, teammates and coaches often pointed to his leadership, sharp hockey IQ, and approachable demeanor as key traits that would serve him well in broadcasting.
Drafted No. 1 overall by the St. Louis Blues in 2006, Johnson’s path to ESPN mirrors the perseverance that defined his playing career. After a midseason trade to Colorado in 2011, he became a cornerstone of the Avalanche blue line for more than a decade. He played a pivotal role during the team’s 2022 Stanley Cup run, providing veteran stability to a young, dynamic roster.
Johnson briefly left Colorado before returning ahead of the 2025 trade deadline, capping his career where he made his biggest mark. Following the season, he weighed professional tryout offers from several clubs before opting to retire.
Now, as part of ESPN’s national NHL coverage, Johnson will have the chance to share his perspective with a broader audience. His combination of humor, authenticity, and firsthand experience in high-pressure situations could make him one of the network’s most relatable new voices.
ESPN announces Stanley Cup Champion, Olympic medalist & '06 No. 1 #NHL Draft pick Erik Johnson as an NHL analyst for the '25-'26 season pic.twitter.com/UPVX4QRZPj
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SonicTrek.ai, a new AI-powered audio syndication company, has officially launched, promising hyper-localized, 24/7 audio content for brands worldwide. The company combines Futuri Media’s advanced AI technology with a proprietary process that blends professional voice talent, curated music, and dynamic writing. To deliver fully localized audio formats tailored to diverse audiences.
The company is led by media veterans Joel Denver and Mike Agovino. Their experience in broadcasting and digital media underpins SonicTrek.ai’s mission to redefine audio syndication.
“SonicTrek.ai is about creating authentic, localized experiences that resonate with listeners while leveraging the power of AI to deliver unmatched creativity and efficiency,” said Denver, partner and CEO. “We’re not just building brands; we’re crafting immersive audio worlds.”
SonicTrek.ai is launching its flagship AI brand, Phoebe.fm Curiously Alternative. The female-leaning alternative station, developed by Dennis Constantine, features Phoebe, a virtual host voiced by real talent. The station is now available for streaming on SonicTrek.ai.
In addition to Phoebe.fm, SonicTrek.ai is rolling out three other 24/7 AI-driven brands, each with unique virtual voices:
MyCountry.fm: A country music experience developed by Charlie Cook, featuring storytelling tailored to local markets.
Starship.fm: A classic rock station crafted by Lee Abrams, offering a mix of anthems, deep tracks, and cinematic production elements.
CoolClassics.ai: A classic hits format created by Brian Kelly, delivering familiar tunes with a contemporary edge.
The company emphasizes that its proprietary process leverages Futuri Media’s AI suite to continuously adapt content based on listener preferences and market context.
Agovino, partner and chief revenue officer, highlighted the innovation: “SonicTrek delivers on the long-failed promise of localized syndication and conversational AI. It’s real—or maybe it isn’t—but it’s here today.”
Futuri CEO Daniel Anstandig added, “SonicTrek and Futuri technologies are coming together to make it possible for every station to have live and local content in every daypart, based on what audiences care about right now. Why shouldn’t audiences expect that their local station should be just as current as their social media feed? Now, Futuri and SonicTrek are making that possible in a plug-and-play format for broadcasters.”
SonicTrek.ai’s launch signals a new approach to radio and branded audio content, blending human creativity with AI to offer fully localized experiences at scale.
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If you’ve checked a streaming chart anytime since this summer, you’ve seen the same data on repeat: Demon Huntersowns consumption.
Even now, seven of the ten most-streamed songs in the United States come from the movie’s soundtrack. That’s not a one-week fluke; it’s been that way for months.
And yet, American pop programmers are acting like the soundtrack doesn’t exist. They’re spinning one single—the “label-worked” track—while the rest of the album quietly eats away at their AQH.
Streaming told radio what time it is. Radio just rolled over, hit snooze, and mumbled something about “add week.”
The On-Track Soundtrack
Since its release in June, the K-pop Demon Hunters soundtrack has scored seven of the top ten most-streamed songs globally and in the U.S. for multiple weeks.
Four months after release, it roared back to become the No. 1 album (again) on the Billboard, proof that streaming doesn’t forget what radio ignores. It produced four simultaneous Top 10 hits on the Billboard Hot 100—something even Barbie and Frozen couldn’t accomplish.
(But Phil, it’s K-pop. Let it go. Let it go.)
If your kids haven’t made you watch the movie yet (mine did—twice, not to be confused with the K-pop group TWICE), every song comes from a fictional K-pop group but is written and produced by very real hitmakers: Teddy Park, Jenna Andrews, Lindgren, and others behind hits for BLACKPINK, Drake, BTS, Dua Lipa, Cardi B, Ava Max, and Jessie Murph. This soundtrack was destined to K-pop off.
Songs That Rule Streaming Barely Spin
Here’s what the audience has already hunted down:
“Golden” – The label’s chosen single and the only one radio recognizes. It’s No. 1 on the Hot 100 and poised to reach the top of Mediabase this week, assuming Alex Warren has an ordinary week and promo teams can convince PDs to prioritize “Golden” over Bieber’s “Daisies”—just in time for the Taylor takeover.
“Your Idol” – A darker, villain-coded anthem that out-streamed Golden multiple times but only saw one U.S. add.
“Soda Pop” – Pure K-pop sugar rush with 375 million+ streams and crossover potential. Labeled a “promotional single,” but no PDs took the bait. That bites.
“How It’s Done” – The film’s opening song with over 330 million streams, bigger than more than half of today’s Top 40 currents.
“Takedown,” “Free,” and “What It Sounds Like” – All clock hundreds of millions of plays, outpacing many of this year’s certified gold singles.
Seven songs. Seven legitimate off-air hits. (Also, how is Off-Air Hits not an album title?)
Numbers Don’t Lie, Focus Groups Do
Streaming is a meritocracy: brutal, transparent, and immediate. You don’t get to whisper or promo your way onto a playlist. Either people press play, or they don’t.
When 70 million people do it in a week, that’s not noise—it’s data. And there’s no weekly callout or M-Score with a 70-million-person sample size.
But radio is still running the 1980s playbook. A label chooses a single, puts out a video, fires up the promo team, and works it until the callout data comes in or they’re down triple digits on the chart.
In the case of Demon Hunters, “Golden” was the plan. Everything else—the six other stream-slaying monsters—was left lurking in the shadows.
Ride The Waves
Every rule has its rebel, and this one’s in paradise: iHeart’s KUCD-FM Honolulu. The station is spinning six songs from the Demon Hunters soundtrack—three in power and three in secondary rotation. KUCD isn’t just on island time; they’re on listener time, and that’s why they’re miles ahead of the mainland.
Radio Missed The Moment, How To Own The Next
Single-cycle inertia: Radio is comfortable with a clear start, peak, and decline. Labels spoon-feed one track at a time, and programmers rarely deviate. They haven’t been taught to look at the model or ask if there’s a better way—maybe even a fork.
Fear of the unfamiliar: If the artist doesn’t have a face or a tour, programmers assume there’s no story. But fictional K-pop groups clearly don’t need meet-and-greets to move millions. (Heck, I still don’t know what Marshmello looks like—or if he has a gelatinous texture.)
Data disconnect: Streaming, sync, and commerce teams see the spikes first. The radio promo arm often gets the memo after the moment fades. Not their fault, but it makes the job harder when you’re chasing what’s already cooled off.
Cultural lag: The pop audience is faster, younger, and more global than ever (see my previous Bad Bunny article). Radio still schedules music for minivan-driving soccer moms. PS: those soccer moms are in Teslas and Rivians now.
It’s not just a programming issue—it’s a relevance issue. Every time radio ignores a massive song, artist, or even genre, it trains another generation to never check back in.
Soundtracks Are The New Supergroup
Demon Hunters isn’t an outlier; it’s a rebooted template. Saturday Night Fever, Purple Rain, The Bodyguard, Titanic, and more recently Barbie and Spider-Verse all proved that whether on the big screen or the stream, soundtracks can make music magic. (Nice alliteration. Yes, this is a compliment from me to me.)
Here’s Your Gameplan
If you’re a Pop PD reading this, here’s free consulting:
Add “Soda Pop” or “Your Idol.” They’re already hits. They’ll help break up all the new Taylor Swift you should be playing—and maybe replace that slot you gave to “Manchild” (which really should’ve gone to “When Did You Get Hot?”).
Create a “Streaming Spotlight” category. Your listeners are already playlisting this stuff. Give them the credit. And whatever you do, stop running “new music” sweepers into songs that aren’t new just because you added them. (Side note: what about “old music” sweepers? Who’s with me?)
Get over the fear of fiction. If a song streams 300 million times, it doesn’t matter if the artist is animated, algorithmic, or from another planet.
Reclaim your legacy. Great programmers don’t wait for hits; they create them. The next moment begins when you take a chance and give your audience something worthy of their attention.
Streaming Is The Truth Machine
Zoom out, and Demon Hunters is more than a soundtrack. It’s a stress test for the entire music ecosystem. It proves that the audience has moved on from being told what the hit is.
Radio should’ve owned this musical, pop-culture moment—celebrated it, hosted streaming parties, given away merch, maybe even a trip to South Korea (North Korea during the fall book?). It should’ve played songs with more texture and global diversity.
At some point, broadcasters have to stop blaming algorithms and start blaming arrogance.
Because the real demon hunting radio right now isn’t from the movie—it’s choice, it’s options, it’s fragmentation.
So give the audience what they want… or you’ll be the one talking about your “Golden” years.
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.
Sean Salisbury was the morning voice for Houston sports talk radio listeners for the past six years on SportsTalk 790. Last week, Salisbury’s time with the radio station came to an abrupt end as he was one of many who were laid off by iHeartMedia nationwide. The week prior to Salisbury’s exit at SportsTalk 790, he took part in an interview with Barrett Media chronicling his success in Houston while also building a new digital program entitledUnpaved.
“I didn’t go into creating Unpaved thinking about my brand,” said Salisbury. “On the national stage, my goal was to give people something that was passionate. That wasn’t race baiting or chasing ghosts. I’m not a hot take guy; I’m a passionate guy. I’ve never said anything on any of these shows that I don’t believe.”
Embracing his Twitter/X handle of “Sean Unfiltered,” Salisbury launched Unpaved in February of this year. It was a project that aims to provide entertainment with passion and fun, but with a national scope on sports. A departure from his former morning show on SportsTalk 790, where the focus was on Houston sports.
Salisbury is a known commodity in the sports media landscape. Following a ten-year career in the NFL and CFL. He found his calling at ESPN as an NFL analyst for eleven years. After his time with the network, Salisbury began to grow his profile in Houston, Texas. He hosted shows for Yahoo Sports Network and beIN Sports before landing at iHeartMedia in 2019.
Launching Unpaved While At iHeartMedia
About three years ago, he was approached by Rumble, at the suggestion of his good friend Dan Bongino, about hosting a national show. However, the timing wasn’t right.
“We’ve been talking for three years, but at that time I wasn’t ready. I was getting my master’s [degree] and I couldn’t commit to doing a national show on Rumble with all the stuff I had going on. I didn’t want to do it half-assed and seem like a throwaway,” explained Salisbury. “They called me back in the fall of 2024, and I was ready.”
Following approval from iHeartMedia market manager Eddie Martiny, the path to Unpaved was underway.
“I’m always a team player. I always asked, but they had no problem at all with doing it,” said Salisbury.
Salisbury credited the mutual respect during his entire tenure with local iHeartMedia management. From current program director Chris Gordy to Martiny. He considered their local leadership “phenomenal” because of their ability to let talent do their work and chase their passion.
“I’ve never had a better boss in my life, and I’ve had some great ones. Eddie Martiny is Mount Rushmore for me,” Salisbury said in our interview the week prior to his company departure. “Do good radio, create revenue, and be respectful in the building and the room. Everything else will take care of itself.”
In August of this year, Salisbury came to an agreement on another multi-year contract extension to continue hosting morning drive on SportsTalk 790. His extension came five months after his former co-host Brian LaLima left the station for financial reasons, as he stated in his announcement in March.
“I knew where my range was going to be,” said Salisbury about his recent contract negotiations with iHeartMedia. “When I got guys, I’m always pining for them [his show staff] because it matters. Whether it’s me leaving or him [former co-host Brian LaLima]. If someone is leaving, it disrupts what we have going on. They knew how special the chemistry was [between LaLima and Salisbury on air]. Their hands get tied because if corporate says this is the limit, then you just got to deal with it and hope the next guy can do that job.”
Less than two months after signing his extension, Salisbury was laid off from iHeartMedia during another company financial reduction in force.
Reflecting on his time working with LaLima, Salisbury said their companionship revitalized his interest in staying in radio. He stated the chemistry between the two was the best he’s had in his career.
“It’s the best chemistry I’ve ever had with a guy for a continued amount of time in my life,” said Salisbury. “I never enjoyed work more on a day-to-day basis. I hated that he had to leave, and I’m grateful for Dan [Matthews, former co-host SportsTalk 790]. But I never felt the same chemistry before.”
Delivering What An Audience Wants
Now with a sole focus on continuing to build Unpaved, which launched officially in February, Salisbury sees this as an opportunity to deliver something audiences are clamoring for.
“I didn’t come into this with any selfish expectations. It’s about doing good stuff, great content, a little different because I think we’re fatigued by the stuff you turn on radio,” said Salisbury. “I’m not willing to give up my credibility in the business for a bigger paycheck or to say something I don’t believe. I just won’t do it.”
The show launched on Rumble, with every episode streamed live and clips produced for social media consumption. Salisbury said the goal is not to produce a show to be picked up by a network or distributor, but he wouldn’t reject a call if made. He considers Unpaved an extension of his passion for talking sports, entertaining people, and showcasing content for a national audience.
“We’re nowhere near where we’re going to be. The show is critiquing every day, you’re supposed to do that,” noted Salisbury. “We’re playing our hits that people like, and the ones that don’t will come over… Passion, disagreement, getting after it but doing it the way we’re doing it. On my show, I demand it that way. Good work will always eventually win.”
Expanding The Unpaved Road
With plans to expand his program’s talent roster by the beginning of next year, Salisbury’s approach to Unpaved continues to be all gas, no brakes. With plans to build a unique studio for the program before the beginning of the year, he believes the audience wants content to go back to something a little different.
“When I watch Pat [McAfee] or Dan [Patrick], I just like the feel,” remarked Salisbury about the studio design for their individual presentations. “The studio will be old-school, vintage, and classic, kind of like the name Unpaved. You get off on a dirt road here, because most people here live on an unpaved road. We’re all trying to get back to a paved road, but you have to fight through it all.”
Salisbury’s former co-host and producer from SportsTalk 790, Adam Sager, will continue to co-host Unpaved from his location in Chicago. Salisbury brought on Sager in September, crediting his great bandwidth and sports knowledge to provide a sense of calm while bringing his own intelligence to the table.
Even though he has departed his role with iHeartMedia, Salisbury remains a servant to his audience and eager to learn from them. With recent instances of current or former athletes dismissing opinions of non-athletes, Salisbury approaches it as an opportunity to gain knowledge and a better understanding of the conversation instead of delivering a lecture or simply yelling to gain clicks and engagement.
“I’m never going to demean or shrink anyone [who hasn’t played] who has an opinion. If that’s the case, Joe Buck should never call games,” explained Salisbury. “I respect it till you prove to me you don’t deserve it… I’m taking classes on finance, and I got a master’s degree. But do you think I’m going to teach Warren Buffett about money?”
Unpaved continues to be a work in progress for Salisbury, but an outlet he sorely missed during his time with iHeartMedia. He looks forward to sharing in a conversation and providing content that is trustworthy, entertaining, and meets a need that audiences are left without today. With less than a year into the digital venture, Salisbury remains excited about the growth of the program and where it could be headed.
“For me, it was to entertain and do great work. Whatever comes of it will come, because I still love doing this. I don’t want to retire,” said Salisbury. “I come in here with a fresh slate knowing what we want to talk about and what our listeners want to hear. If hot takes are what you want, we’re not the show for you. If passionate takes with preparation are, you might like us.”
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.
For years now, the running joke about MTV has been, “Do they even play music anymore?” With MTV UK announcing this past week that they are shutting down five of their six music channels, with the remaining MTV HD channel shifting toward reality series programming, apparently we finally have our answer: “No, they don’t.”
The massive, although seemingly inevitable, programming change has brought a slew of reactions. As well as one major question: What does this mean for the U.S. MTV channels and affiliates?
I’d argue that just because MTV wants to go in a reality-focused direction does not mean that they can’t do so while also staying within the music realm.
In an “adapt or die” media world. Pivoting rather than an all-out change could very well be the best strategy for MTV within the United States.
Through collaborations with top music podcasts, behind-the-scenes docuseries, exclusive artist tour coverage, and watch-along events, MTV’s reality programming can still keep and bring in viewers who otherwise would be turning away due to the channel currently playing Ridiculousness 14+ hours a day. (Yes, that’s really happening.)
The End of an Era
NEWS: MTV is shutting down its music channels after four decades
I remember when MTV actually played music and didn't suck.
MTV’s parent company, Paramount Skydance Corporation, is expected to pull the MTV Music, MTV 80s, MTV 90s, Club MTV, and MTV Live channels on December 31. The channel’s flagship, MTV HD, will remain on the air. Although it will continue with its reality-show-heavy programming, according to Newsweek and the BBC. The decision comes as the company seeks to cut costs by as much as $500 million across its global portfolio. As more viewers shift away from linear programming.
Former MTV VJ Simone Angel told BBC News that she was “in disbelief” over the news despite the fact that “it’s been a long time coming.”
“To this day, it’s one of the most recognizable brands in the world. Why on Earth [would they] throw that away? It’s not thrown away, but it’s just reality TV. That’s not what MTV is or should be,” the longtime former ‘90s MTV Europe and MTV UK VJ continued.
Paramount has not publicly commented on the channel closures. However, the MTV U.S. stations are not expected to be affected by the decision… not yet, at least.
How MTV Can Avoid Being a Leftover
Just because MTV wants to get rid of their music video programming doesn’t mean that they need to get rid of their MUSIC programming.
The success of Amazon Music, VEEPS, and other music-centric lifestyle platforms shows that there is an intense desire by music fans to watch reality music programming.
Music-Adjacent Documentaries – Recent documentaries about Taylor Swift, Lady Gaga, Lilith Fair, Billy Joel, Britney Spears, Woodstock ‘94, Led Zeppelin, and other artists have brought in big numbers for Netflix, HBO Max, Hulu, and Amazon Prime.
Fans absolutely love to hear the stories and drama regarding artist journeys. As well as the behind-the-scenes coverage, as if “they are right there.” Think the early 2000s MTV Diaries series but in modern ways. The show’s iconic tagline, “You think you know, but you have no idea…” is more relevant now than ever.
Podcast Crossover – MTV should take a page out of the sports broadcasting playbook and begin incorporating top music podcasts into their daily rollout. Think Travis and Jason Kielce’s New Heights podcast but music, entertainment, and trending news-focused.
I can tell you firsthand that my music live show and podcast, The Gunz Show, has been actively having discussions with a number of major streaming platforms about simulcasting it. MTV has not been one of them.
Simulcasting audio and video podcasts allows MTV to bring in additional viewers, especially when guests are included. Think ESPN’s The Pat McAfee Show. Which thrives not only on YouTube and digital platforms but also on main broadcast channels. It also allows shows to be replayed throughout the channel. So that we aren’t getting hours upon hours of the same programming.
Curated Video and Video Playlists– Make no mistake, for years many viewers have despised the reality-programming direction that MTV has focused on. Although much of the audience has turned toward YouTube for their latest music videos. There is still an opportunity for curated playlists to bring in an audience.
MTV or its Paramount+ platform should have blocks of music video programming. Think The Emo Hour, hosted by an artist, or The Alt-Country Revolution, hosted by Hardy or Jelly Roll, etc.
Many music genres are seeing a massive resurgence in nostalgia-driven bands and content. MTV should lean INTO this by incorporating a timeline of music videos of artists throughout the years or rolling out old episodes of MTV Unplugged!
Events and Watch-alongs – I have been tweeting this for years. Why in the world are we not seeing MTV do watch-along viewing parties like the sports world is doing? Whereas Peyton and Eli Manning are doing their Manningcast during Monday Night Football, why does MTV2 not have one for the MTV VMAs?
Peyton Manning just gave the look of a dad who says “I’m not mad, I’m just disappointed” face at Zach Wilson and Jets receiver Allen Lazard. Anyone playing sports growing up knows exactly what I’m talking about. 😂#manningcast#SNF#Jetspic.twitter.com/oF61NYwSn9
Imagine getting a popular rapper, country star, rocker, and pop star all on the same couch together commenting and sharing stories, gossip, and drama. That’s how you bring in an audience and dish out clipped content across all MTV verticals.
Keep the ‘M’ in MTV– I recently hosted the return of the Warped Tour livestream this past summer in Washington, D.C., for Amazon Music as well as in Los Angeles for Insomniac Events, and the feedback exceeded many people’s expectations.
Interviews and content with Machine Gun Kelly, The All-American Rejects, Avril Lavigne, A Day to Remember, and more proved that fans will tune in wherever their favorite artists are—especially on a visual medium.
Believe it or not, the letters “MTV” still mean a lot and boost credibility. Despite some actively trying to prove otherwise.
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.
It’s been a week since iHeartMedia began its latest round of cuts in another reduction of force. Layoffs are never easy. From the biggest corporations to the smallest businesses, they affect all involved — and nearly every time, not for the better. When 97.3 The Game in Milwaukee fell victim to the chopping block last week, the same emotions ran high as the radio flagship of the Green Bay Packers signed off in Wisconsin’s largest market.
Make no mistake about it: sports radio brands are expensive to run. The content local sports radio provides isn’t recorded or set to a tune. It’s people, live on the air, connecting with fans through conversation. It’s what iHeartMedia CEO Bob Pittman has long valued in his messaging — live and local companionship on the radio.
That companionship ended Monday at high noon local time, as 97.3 The Game officially flipped its signal from sports talk to adult contemporary. It was a moment that left lessons to be learned for the next time this happens.
There’s no art to a format flip; I’ve been in the building for some. The practice has existed as long as radio itself — switching from talk to music, music to talk, or one music format to another. The moment of the flip always leaves questions and concerns for not only listeners, but also the staff involved.
Again, it’s never easy.
Profits Over Presence
What happened this past week with 97.3 The Game showcased lessons on how to be better for the next time — and without question, there will be a next time.
Absolutely jaw dropping. In the middle of the Brewers historic feel good World Series run, and a possible Super Bowl season for the Packers. Wow. My heart hearts for everyone. Thank you to all of our listeners. We’re sorry.
While I empathize with local markets and the costs of running a live and local sports radio brand, success isn’t impossible. Milwaukee-Racine ranks as the 43rd-largest radio market in the United States, just below Nashville.
“The Music City” has two FM sports stations that both capture a good portion of the target demographics, making the investment worth the cost.
In Milwaukee, 97.3 The Game partnered with the biggest brands in the state — the Green Bay Packers Radio Network and the Wisconsin Badgers. They also competed with, and often beat, their two FM sports radio contemporaries in key demos.
97.3 The Game had media rights, homegrown talent, and nationally recognized personalities driving its success. Yet iHeartMedia did what many radio companies have done recently — switching from a format that costs money to one that doesn’t (at least not as much), while still raking in profits.
Many sports and talk radio stations have been through this exercise before.
What To Learn From
The real lessons come from how messaging is handled with talent. When iHeart began its cuts, live shows still had to air. As reports surfaced about layoffs and an impending format flip, on-air talent was left blindsided and uncertain.
The timing couldn’t have been worse. The Milwaukee Brewers were preparing for their first NLCS appearance since 2018, and the Green Bay Packers were gearing up for a weekend matchup. There’s always pressure to perform when the stakes are high and the stories are big — but adding confusion inside your own building only compounds it.
To their credit, the staff at 97.3 The Game stayed focused on the air, even as colleagues were being let go and plans were shifting behind the scenes.
While hindsight is 20/20, leaving your talent in limbo is never a good practice.
Could management have switched to syndication for the afternoon to inform staff internally about the changes? Of course — and that would have been the better play. Instead, they left their people to face the firing squad with their own well-being still unknown.
The following day, during a new lineup rollout, the morning show opened by telling listeners their program would air “for the foreseeable future” and “as long as we can” in the new time slot. Is that a sign of strong leadership, or evidence that the message never came across properly?
Strong leadership is shown when management empowers staff to guide listeners through transitions. The staff of 97.3 The Game — from the time cuts were made last week through noon Monday — were left in limbo about their futures and the future of the station.
That’s not strong leadership, and it’s a moment managers across the industry can learn from.
Playing The Game
The “why” behind the flip is clear. iHeartMedia saw an opportunity to cut costs and move into a format being vacated in the market with the sale of B93.3 by the Milwaukee Radio Alliance. Save money on talent, reduce expenses, and chase revenue with a cheaper format. Playing music is cheaper than talking Packers.
But the execution was clumsy, flawed, and unfortunate. It left staff and listeners in the dark and created a poor representation of iHeartMedia as a Green Bay Packers partner. Fans will eventually find the broadcasts on a new signal within the iHeart umbrella, but longtime listeners will have to find another home.
There’s no art to a format flip, but the rule of thumb has always been to limit your change. Too much change risks losing listeners you may never get back. It’s a gamble for iHeartMedia in Milwaukee to make such sweeping moves — dumping sports talk, flipping to AC, and shifting the Packers and Badgers broadcasts elsewhere.
The example of what happened to 97.3 The Game in Milwaukee was less a Picasso and more a finger painting — one the industry should study closely and learn from.
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The historic Gaza ceasefire deal brought kudos from virtually all media anchors and correspondents from networks like CNN, Fox News, and ABC News covering it — with crucial caveats. These words echoed across the media landscape: “Emotional,” “incredible,” “historic,” and even “miraculous.”
President Trump took notice, singling out Fox News’ Trey Yingst, who scored the only one-on-one interview with him in Israel. “I watched your coverage, and I really appreciate it. You are a real professional.”
“This is an incredible day for the world, let alone the Middle East. So I just wanted to thank the media. They really treated it with respect.” He praised “everybody” in “fake news,” saying “it was so pleasant to watch.”
And he was right.
For the first time, Trump dominated the public stage with praise from almost all facets of the media. It was a welcome change from the constant barrage of criticism bashing the administration and its policies, not to mention corrosive personal attacks against Trump. But the press also raised uncomfortable questions after praising the deal. Hardly anyone failed to acknowledge what was a monumental deal first before turning to these legitimate points.
Israeli videos of some of the 20 freed hostages falling into the arms of loved ones brought tears to my eyes and became a constant staple of television coverage. Praise for the dealmaker who brokered their release poured in.
Even those from The View, which has been relentlessly critical of the president, weighed in.
Co-host Whoopi Goldberg didn’t praise Trump directly but acknowledged the positives of the deal. “The winners are now all the families.”
The lone Republican, co-host and onetime Mike Pence aide Alyssa Farah Griffin, applauded Trump and those involved. “I think everyone should be able to celebrate it. And listen, whether you like Trump or not, I think he, Steve Witkoff, and I think Jared Kushner do deserve credit for this deal.”
MSNBC’s Jon Meacham, a historian who quietly served as a speechwriter for President Biden, praised the broker-in-chief for the release of the hostages. “It’s a terrific day for President Trump, for our national interests,” Meacham said on MSNBC’s Morning Joe.
Also on MSNBC, Richard Stengel, a State Department official under Barack Obama, criticized Trump’s style of negotiation, saying he says the “hell with the details,” and his strategy is to “wildly overpromise and force people to deliver.” He added that “we saw a lot of showbiz,” cautioning that next steps will be “behind-the-scenes hard work.”
CNN’s Wolf Blitzer noted there are still “lots of questions” remaining, especially around what comes after Phase 1 of the agreement. He also treated the optimistic tone of Trump’s remarks with caution.
On Fox News, Bret Baier praised the president, saying that “his version of peace through strength” had worked. Martha MacCallum said it was impossible for people to believe that “President Biden could pull this off.”
Prominent Democrats gave credit where credit was due. On CBS News, Hillary Clinton, who famously lost to Trump, not only praised the deal but lauded what will come next. “I really commend President Trump and his administration—as well as Arab leaders in the region—for making the commitment to the 20-point plan and seeing a path forward for what’s often called the day after.”
Former President Bill Clinton praised Trump and his administration, saying they deserve “great credit” for the ceasefire and for “keeping everyone engaged until the agreement was reached.”
So did Pennsylvania Senator John Fetterman, who posted: “Credit to @POTUS for a breakthrough ceasefire of this awful war.” Other politicians, such as Democratic representatives Jared Moskowitz of Florida and Don Davis of North Carolina, followed suit.
Not every politician praised the president. On Chris Hayes’ MSNBC show, California’s Rep. Ro Khanna said, “I mean, I really don’t care, frankly, whether Trump gets credit, whether we get credit.”
While the media portrayal included widespread relief and praise for what has been achieved so far, questions on all the networks addressed deeper issues like statehood, governance, financial aid, and what the disarmament of Hamas looks like. What’s more, doubts surfaced about whether it will happen at all. Those are valid points that deserve intense scrutiny in the weeks and months to come.
President Trump didn’t address the future, saying, “The first steps to peace are always the hardest.” He believes this deal marks the end of conflict in the Middle East. “It will soon be a truly magnificent region.”
The terrorist group Hamas attacked Israel two years ago in a massacre that killed 1,200 people and took more than 200 hostages. In retaliation, Israel has killed more than 67,000 Palestinians. There’s a reason why the media are framing the last couple of days as “bittersweet” and questioning whether this moment was simply a symbolic, temporary milestone.
I’m one of the skeptics, although I wish I wasn’t. In 1998, I covered the Wye River summit in Maryland between Benjamin Netanyahu and PLO Chairman Yasser Arafat. An interim agreement was signed to stop fighting. Four years earlier, Palestinians had bombed and killed hundreds of Israelis. This, sadly, has been the bloody history of the region.
More than a dozen U.S.-based journalists were sent to Jerusalem or Tel Aviv for wall-to-wall coverage Sunday evening into Monday, including ABC’s David Muir, CBS’ Tony Dokoupil, CNN’s Blitzer and Kaitlan Collins, and NBC’s Tom Llamas. By mid-afternoon, coverage started to include other stories, including National Guard deployments, the government shutdown, and the January 6th insurrection.
CNN’s Christiane Amanpour felt compelled to apologize for her insensitive comments about Israeli hostages who were “probably being treated better than the average Gazan” after a major backlash.
It’s audacious and risky to declare peace, especially because previous efforts eventually fell apart. This will be a long road. In six months or a year, Trump’s accomplishments, as important as they are, may look very different.
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If you look at the list of Marconi Radio Award nominations, you’ll see few stations garnering multiple nominations. But 102.3 KRMG in Tulsa — led by Director of Branding and Programming Levi May — earned two nods in separate categories.
102.3 KRMG is one of five finalists for the Medium Market Station of the Year award, going up against other news/talk stations like KBOI-AM (Boise), WTIB (Greenville, NC), and WBEN-AM (Buffalo.
Skyler Cooper, the afternoon news anchor for the brand, is also a finalist for Medium Market Personality of the Year.
When asked what emotions he felt when finding out about the nominations, Levi May couldn’t have been more excited.
“It’s just exhilarating, because your team worked so hard, day in and day out, around the clock, severe weather, breaking news, and traffic incidents,” he shared. “We go out at night and on weekends. So to be recognized as one of the nation’s best in whatever category, every single station should be extremely proud to be one of the top five in any of the categories that they are nominated for.”
He shared he was particularly excited about the nomination for Cooper, whose father, Bob, was a Tulsa radio legend, helping launch K95.5 in the city.
“I am extremely excited for him. This is his first nomination. You can go your entire career and never even be nominated for one, let alone win one,” May said. “He’s been a part of our team for 14 years. And to be nominated for a personality award, as his counterpart, Dan Potter has won two himself — our morning host for the KRMG Morning News is — I’m just extremely proud of him.”
The news/talk brand has won both the Medium Market Station of the Year and News/Talk Station of the Year in the past. May joked that it’s hard to pick which one is more impressive.
“In news/talk, when we were able to take that award home in 2022 as the news talk station of the year, that is our format. That’s what we specialize in, and with that there’s no market size,” he said. “So we beat out markets that are size number two in Los Angeles, all the way down to Tulsa, which we’re market number 63. It does not matter what the market size is. It’s just how good you are at doing your unique skill set.
“So that, in itself, is an accomplishment, which we’re very proud of, because that’s the format that we specialize in. But when you say there’s no format with a medium market station of the year nomination, that’s all formats,” he continued. “I can’t really put one above the other.”
Marconi Radio Award nominations are hard to come by. But the reason 102.3 KRMG keeps securing nominations is because of the team chemistry built by the brand, May believes.
“We’re all very different, and what we like to do in our personal lives, but we all have a commonality, and that is to serve the Tulsa community,” he stated. “It doesn’t matter what our target demographic is. It doesn’t matter what is happening in the community. We like to focus on Tulsa and what really matters to us here, what affects us in our daily lives, and we are able to translate that to our audience. And we’re very candid about it. We’re very open about it. We interact with our audience quite frequently.
“We want feedback from our audience, because we don’t know how to get better if we don’t listen to them,” May added. “We do our market research, and that’s always been our North Star. So it’s things of that nature that we like to really just dig our heels into and really focus on where we work, where we live, and where we play.”
May also said he believes that programming strategy transcends market size.
“If you focus on your local community, those are the folks that really matter. And even when we have our syndicated host, we build great relationships with them at KRMG. We will bring them in on market visits, and love our audience to interact with them. We want to show off Tulsa,” May said, calling the Oklahoma city a “hidden gem.”
Earlier this year, Cox Media Group sold 102.3 KRMG — and its three other stations in the market — to a local ownership group led by optometrist Dr. Robert Zoellner.
May, who worked for Cox Media Group for 25 years in both Orlando and Tulsa, had nothing but good things to say about the former ownership group.
But local ownership has its perks.
“It’s local radio again, where Tulsa is the crown jewel,” May said. “Our four radio stations are the main focus of this media company. And for anybody out there that might be part of a larger broadcast company that think that local media might be dead, it is far from it. This just shot a surge of excitement into the building, because now, when we need something, we need to talk to somebody, or we need decisions made, we can walk down the hallway and whether it’s a yay or nay, we have a person and the decision makers right here.
“It’s very different from the corporate structure,” he continued. “We can pivot, we can be nimble, and we can put the focus right here in our community. That’s what’s really exciting, to be able to grow that from the ground up … I could open my door right now, yell down the hallway, and have decisions made. I really like that. I like that aspect of local ownership.”
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