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Why AI Shouldn’t Be an Option for the Radio Industry Right Now

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Don’t do it. I know I won’t win this argument, but please don’t use AI as a research and show prep tool. This is not going to end well, the dangers should be obvious, and there’s nothing I can do to stop this bus from flying off a cliff… but I’ll give it a go anyway.

My history of fighting lost causes in radio isn’t promising. Several decades ago, I was dead set against junking up radio and TV stations’ schedules with infomercials. To me, they were at best not worth the revenue to drive the audience away and, at worst, as when the old WWDB-FM in Philadelphia had paid “guests” on its regular talk shows, dishonest.

I still think they’re terrible, and I’m not alone. Admit it: you cringe when you’re shuffling through the TV guide grid and you see something like that Larry King “Special Prostate Report.” You certainly don’t watch it. (Or maybe you do. Not judging.)

Anyway, my bosses at the time were radio people at heart, and they agreed with me, but I could see the handwriting on the wall. You can’t turn down the revenue if your owners are demanding that your cluster generate otherwise unattainable margins. The investors don’t care about creative integrity or, really, anything other than money. You do as you’re told.

Today, it’s AI, and broadcasting — like every other industry — is feverishly trying to get in on the action. There’s a lot of money riding on AI, and the AI companies are looking for ways to sell their technology to businesses before the bubble bursts or the AI platforms decide to kill all humans and take over the world — at which point Elon Musk and his billionaire compatriots expect to be living on Mars.

So AI is being adapted for radio as a back-office tool to automate certain procedures, as a programming tool to generate fake liner-card reader hosts, and as the ultimate show prep platform — able to pull up and summarize news stories, create jokes, and give you convenient access to sports scores, weather reports, and conversation starters. What could possibly be the problem with that?

Here’s one problem: AI isn’t ready for it. It gets facts wrong, sometimes spectacularly so. Remember when ChatGPT first opened for public use and people tried to get it to write their biographies, which turned out to be hilariously wrong? You’re gonna trust that?

Sure, it’s improving as time goes on and the AI platforms suck up other people’s work without compensation, but I keep seeing AI output that is very incorrect or insufficiently detailed, and it’s going to continue to be a (human) chore to train these engines to distinguish between trustworthy and accurate sources and garbage.

So far, it’s a mixed bag. And if you go on the air with AI-generated material, you’re bound to get some things wrong.

Oh, yeah, AI can generate voices. It can do a rough approximation of people’s voices saying things the real people never said. You can interview AI Donald Trump, or AI Taylor Swift, or AI Saquon Barkley — no need to call press offices or PR flacks.

But if you don’t make it clear that the voice is an impersonation, you’re being dishonest with the audience, and if you do say it’s AI, it kind of defeats the purpose of doing the bit in the first place. Besides, isn’t there too much misinformation and fakery already? You know that your fake Kash Patel will end up in a clip posted as fact to social media. Let’s not contribute to the downfall of society any more than we already have.

AI also doesn’t know your audience. You do. You know what works and what doesn’t, and you don’t want to delegate that duty to a computer platform. It’s a matter of nuance: AI is not (yet) capable of knowing — nor can it be expected to know — how humans (your audience, I assume) respond, or don’t, to programming elements.

I mean, you could let AI program everything, from talk topics to music selection, and the technology is in place, but will the result be good or just “good enough,” as in “it sounds like a radio station, close enough for rock ‘n’ roll”? Do you have any pride in what you create, or are you more interested in saving money for your bosses so you can keep your job? Because if it’s the latter, your bosses really don’t care about you, and the moment they feel confident in replacing you with AI, they will.

Anyway, don’t use AI for creating content. It’s exploitative, it’s lame, and whatever time you save using it isn’t worth trashing your shows. Also, those AI-generated cartoon memes everyone’s posting to Facebook suck. Now, off to tilting at some more windmills….

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How Music Radio Celebrated the Release of Taylor Swift’s ‘The Life of a Showgirl’

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When Taylor Swift drops a new album, it’s the equivalent of Christmas for many music radio stations. ‘The Life of a Showgirl‘, Swift’s new record became available on Friday. She said in a post on social media that it’s an album that just feels so right.

Music radio stations everywhere leaped into action to capitalize on the excitement with their listeners. Brands and personalities carved out hours of airtime to play new songs from the record. They also built on-air conversations around Swift’s transformation and growth as an artist and human being, and her relationship with Kansas City Chiefs Tight End Travis Kelce.

iHeartRadio made the new record a big part of its programming strategy, playing each track in exact order. Pop and Hot AC stations across the company began broadcasting The Life of a Showgirl in its entirety at 9pm PT/midnight ET Thursday night, accompanied by custom track-by-track recorded audio from the singer herself. It allowed listeners to hear exclusive insight into the making of each song. Swift also called in to Elvis Duran and the Morning Show to discuss the meaning behind the record.

SiriusXM launched Channel 13, featuring 24/7 airplay of Swift’s music to help support the new record. On the 13th day of the channel (Friday, October 3), when “The Life of a Showgirl” came out, Channel 13 began playing the full album from beginning to end every other hour starting at midnight ET. Taylor’s Channel 13 is available until October 19th. Swift is also expected to appear on The Morning Mashup on SiriusXM Hits 1 Monday October 6th.

Audacy created a cool piece of programming too in addition to featuring the new album across many of its radio stations. Taylor Swift: On The Record, takes listeners inside the making of The Life of a Showgirl. The program hosted by Bru features Taylor Swift taking fans track-by-track through her twelfth studio album. It’s available on the Audacy app on Friday, October 3rd at 7PM.

In addition to hearing the record on radio stations nationwide, Apple Music, Spotify, Amazon Music, fans can find it on YouTube as well. As expected, views of each track are already surging into the millions in its first day of availability.

Local radio stations in the Hot AC and Pop/Top 40 formats got in on the action too.

Los Angeles’ 102.7 KIIS-FM re-branded as 102.7 SWFT FM to meet the moment. The station’s positioned itself as Los Angeles’ #1 Taylor Swift Station, and held an album release listening party on Thursday night at 9pm PT. Written content is also available on the station’s website and social media pages.

101.9 The Mix in Chicago went all-in on Taylor Swift mania as well. The Mix launched a Taylor Taykover, playing Swift’s music from midnight on October 3rd through 11:30pm on Sunday October 5th. Chris and McCabe are also hosting an exclusive, private screening of Taylor Swift: Release Party of a Show Girl—featuring the world premiere of “The Fate of Ophelia” music video. The event is set for Saturday October 4th at 10am at AMC movie theater in Naperville, IL. Keywords are being given out at 8am, 10am, Noon, 2pm, and 5pm to give listeners opportunities to win.

Long Island’s 106.1 BLI seized the moment, re-branding as 106.1 TLI. The radio station’s Taylor Takeover can be seen and heard everywhere. The website was full of content about the new album, social pages were filled with posts about it, and on-air conversations led by The Skye Morning Show with Ally Ali treated it like a big deal. Regardless of which platform listeners turned to, they knew Taylor had a new record, and 106.1 BLI was fully supporting it.

Photo Courtesy of 106.1 BLI on Facebook

WALK 97.5 in Long Island, NY also threw its support behind the new album. The station kicked off a ‘Two For Taylor Weekend‘. New songs from the album are airing every hour, all day, along with hits from Taylor’s other eras.

Cincinnati’s Q102 launched a themed giveaway prize for six lucky listeners in celebration of the new album. The promotion is called Tap That Track and rewards listeners via the Q102’s mobile app or desktop stream player. Fans are receiving opportunities to win “The Life of a Showgirl” Vinyl — Lakeside Beach Blue Sparkle, “The Life of a Showgirl” Vinyl — Lovely Bouquet Golden, “The Life of a Showgirl” Sweat and Vanilla Perfume Portofino Orange Glitter Vinyl, “The Life of a Showgirl” Cardigan Box Set + $100 VISA gift card courtesy of Cincinnati Mini, “The Life of a Showgirl” Sweat and Vanilla Perfume Cassette, and “The Life of a Showgirl” Sweat and Vanilla Perfume CD with Poster. Most items are already sold out online.

KOST 103.5 in Los Angeles celebrated the release by playing a fun game. The Ellen K Morning Show created a great video featuring staff members having to finish the lyric of some of Taylor Swift’s most popular songs. The album and Taylor’s media interviews were a topic of conversation throughout the morning show. Ellen also gave listeners opportunities to win tickets to Taylor’s release party over the weekend. The premiere is running in 3600 movie theaters nationwide.

97.9 WRMF in West Palm Beach, FL celebrated with a “Tay Tay Double Play” weekend on the radio station. New tracks from the album, and songs from Taylor’s other eras are running back-to-back 13 times a day today, tomorrow and Sunday!

98.5 KISS FM in Cookeville, TN used the opportunity to excite listeners, have some fun, and turn a profit in the process. The radio station re-branded to Swiftie 98.5 and tied in a local business as the presenting sponsor.

Billy & Lisa on Kiss 108 in Boston spent a good amount of time on their morning show talking about Taylor’s new record including the diss track. They also analyzed some of Swift’s spicier lyrics on the record.

106.7 Lite FM in New York celebrated the release of the album too. Christine Nagy and Paul Bryant headed down to the Sound Exchange record shop where listeners could win prizes after buying a copy of the album.

Taylor Swift supported the release of the record in the US and UK, doing a number of interviews on both radio and television. One of the more memorable conversations came on BBC Radio 1 with host Greg James. During the conversation, Swift spoke with James about her relationship with Travis Kelce, making bread, the new album, and more. She then surprised James by inviting him to her wedding. The friendship between the UK radio host and Swift has spanned years.

Many radio professionals across the flocked to social media to offer reviews of the record, and express excitement about it.

https://www.facebook.com/share/p/16xSkZppXx

Advertising leaders understood the importance of the situation too. Gary Sarner of ROI360+ shared on LinkedIn a reminder that when culture shifts, radio shines brightest.

Even Barrett Media’s Stephanie Eads started her day consuming Taylor’s new album. Apparently CEO Jason Barrett did too. He has yet to confirm this with the Barrett Media team. We’re still working on it.

Steph FB Post

Given the massive interest in Taylor Swift’s music, relationship, and life, radio stations everywhere treated the release of her new album like the major event that it is. There are countless other examples available across local radio airwaves and station social media pages worth highlighting. To those in charge of leading radio brands and connecting with listeners through the joy of music, job well done!

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Keith Hernandez Faces Free Agency After 20 Seasons in SNY Mets TV Booth

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Keith Hernandez, a cornerstone of the New York Mets’ broadcast team, is once again navigating free agency.

The longtime SNY analyst and former Mets first baseman confirmed that his contract with the network has expired following his 20th season in the booth. Hernandez told The New York Post’s Mike Puma he wants to continue alongside play-by-play voice Gary Cohen and fellow analyst Ron Darling.

“My contract has run out, but I would love to continue in the booth,” Hernandez said in a Q&A published Friday. “I enjoy what I do.”

The trio—affectionately known as “Gary, Keith and Ron”—has become synonymous with Mets baseball. Their 20-year run is the longest stretch of any announcing crew in franchise histor. They are often cited among the best television broadcast teams in Major League Baseball.

Hernandez, 71, signed his most recent three-year deal before the 2023 season. While his future at the network remains uncertain, his contributions have been significant.

He has earned three New York Emmy Awards for “Sports Analyst” (2009, 2012, 2015) during his tenure. He played an integral role in helping SNY establish itself as the Mets’ flagship broadcaster when it launched in 2006. Prior to that, he worked Mets games on MSG.

Known for his sharp analysis, dry humor, and unique focus on “fundies”—his shorthand for baseball fundamentals—Hernandez has carved out a second career that complements his decorated playing days. The 1979 National League MVP, two-time World Series champion, and 11-time Gold Glove winner was inducted into the Mets Hall of Fame in 1997. The team retired his No. 17 jersey in 2022.

On the field, Hernandez was a central figure in the Mets’ last championship run in 1986. He spent seven seasons with New York after a trade from the St. Louis Cardinals, where he debuted in 1974 and became one of the National League’s premier hitters and defenders. His 17-year career concluded with a brief stint in Cleveland in 1990.

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WCBM 680 Morning Host Bruce Elliott Departs

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WCBM 680 has announced that morning co-host Bruce Elliott is departing the station.

Elliott has been with the station’s morning show since 2019, after former co-host Frank Luber exited. Elliott had been paired with longtime morning host and WCBM Program Director Sean Casey in the daypart. Casey has spent the past 33 years helming mornings for the Baltimore news/talk radio station.

Bruce Elliott originally joined WCBM 680 in 2015 as a fill-in host before joining in a full-time capacity in 2016 following the death of Tom Mars.

According to a release from the brand, the morning show will be rebranded as Casey & Company, featuring Casey and a rotating cast, including newscaster Maggie Hunter, traffic anchor Chuck Whitarker, sportscaster Gary Stein, and producer Kristen Haegerich.

Casey & Company will air from 6-9 AM each weekday morning.

Elliott’s final day with the station was Friday.

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ESPN Welcomes Back Michael Malone as Analyst on NBA Countdown

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ESPN is turning to a familiar face as it prepares for another season of NBA Countdown. The network announced that former Denver Nuggets head coach Michael Malone is rejoining the show as an analyst, expanding a role he briefly held last spring.

Malone made his ESPN debut during the 2025 Western Conference Finals, when NBA Countdown took the studio show on the road for the matchup between the Minnesota Timberwolves and Oklahoma City Thunder. His presence drew strong reviews, with viewers praising the championship-winning coach’s blend of insight and personality.

Now, Malone will be a regular part of the team, joining host Malika Andrews and analyst Kendrick Perkins on the panel. The addition bolsters ESPN’s NBA coverage with a coach who has been in the trenches, offering a perspective that resonates with both players and fans.

Malone most recently served as head coach of the Denver Nuggets, leading the franchise to its first NBA championship in 2023. He spent nine seasons in Denver before parting ways with the organization following the 2024–25 campaign. Prior to that, Malone was the head coach of the Sacramento Kings from 2013–14 and held multiple assistant coaching roles across the league.

By adding Malone, ESPN continues to blend entertainment with expertise on NBA Countdown. Andrews has established herself as the face of the program, balancing playmaking ability with journalistic authority. Perkins, a former NBA champion with the Boston Celtics, has carved out a reputation as a strong, opinionated voice on the desk. Malone’s experience adds another layer to the panel, giving the show the credibility that comes from someone who has drawn up plays in huddles and made critical decisions under playoff pressure.

For Malone, the move represents a new chapter. After two decades of coaching, including stints as an assistant with Golden State, New Orleans, and Cleveland, he transitions into a national media role with a high-profile platform. Whether his time on NBA Countdown turns into a full-time broadcasting career or a bridge back to the sidelines remains to be seen, but ESPN is banking on his voice making an impact this season.

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NPR Politics Podcast Adds Miles Parks as Co-Host

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NPR has announced it is adding reporter Miles Parks to the NPR Politics Podcast as a regular co-host for the popular program.

Parks will join Tamara Keith and Sarah McCammon for the show. Currently, Parks serves as a reporter for the network’s Washington Desk, where he covers election security and voting-related issues. He’ll continue in that role, in addition to his work with the podcast.

“I love being on this show for the same reasons I fell in love with it as a listener 10 years ago,” said Parks. “Our format allows a level of detail and nuance that feels refreshing in the era of social media politics. The current moment often feels impossible to fully understand, but I’m honored and excited to get to the bottom of it with our listeners.”

Miles Parks has been with the network since 2014, after previously working at The Washington Post and The Lakeland Ledger in Florida.

Parks joins the NPR Politics Podcast as it gets set to celebrate its 10th anniversary. Launching in 2015, the program routinely finishes in the top 50 most-listened to podcasts in rankings from Triton Digital and Podtrac. The show is set to record a live show at the network’s Washington, D.C. headquarters on Thursday, October 30th.

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CNN Live Stream to Depart HBO Max on November 17th

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CNN Max, the news network’s live stream, will be pulled from the HBO Max streaming platform on November 17th ahead of it launching its own channel.

The live stream of the cable news network launched in 2023, but the network has planned its own streaming platform which is scheduled to debut later this year, with no concrete details yet announced.

“CNN has benefitted tremendously from its two years of offering a live 24/7 feed of news to HBO Max customers,” said CNN Executive Vice President of Digital Products and Services Alex MacCallum. “We learned from HBO Max’s large base of subscribers what people want and enjoy the most from CNN, and with the launch of our own new streaming subscription offering coming later this fall, we look forward to building off that and growing our audience with this unique, new offering.”

HBO Max will continue to feature original programming from CNN on its platform, like shows hosted by Anderson Cooper, Anthony Bourdain, and Stanley Tucci, among others. Those lifestyle and culture shows will remain, while the more news-focused content that airs live on the network will be placed on the new service.

Warner Bros. Discovery recently changed the name of the service back to its previous HBO Max branding, stating that the premium offerings on the service more closely aligned with the HBO brand.

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930 WFMD PD/Morning Host Chris Michaels to Exit

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930 WFMD Program Director and morning co-host Chris Michaels has announced his intention to step away from the news/talk station later this month.

Michaels has been with the Frederick, Maryland, station for two-and-a-half years.

In a post on social media, Michaels shared his admiration for those who have helped him join the station and remain with the brand during his tenure.

“I’m grateful to Connoisseur Media, a fantastic company that, at the time, owned WFMD, and to Frank Mitchell, who hired me and trained me, for the opportunity to be part of this legendary station, and to my close friend and mentor, Bob Miller,” Michaels wrote on Facebook. “My passion for radio is strong, and I look forward to returning to the airwaves as soon as my time at WFMD comes to an end.”

He added that he is not leaving the medium.

“I love the radio industry; who knows where this journey will take me next, but I hope it will still be in this area,” Michaels wrote. “You will hear me on the air again one day, because my radio career is NOT over.”

Michaels has past experience in the market, working at 106.9 The Eagle, and COOL Oldies 1450 WTH, in addition to spending time at WRGG in Greencastle, Pennsylvania.

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Bari Weiss Set to Be Named Editor-in-Chief of CBS News After ‘The Free Press’ Acquired

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Paramount Skydance is closing in on officially completing an acquisition of The Free Press, and is hiring its founder, Bari Weiss, in a senior executive role.

Weiss previously served as an editor and writer at The New York Times before her high-profile 2020 exit. In the wake of her departure, she launched The Free Press.

The addition of Weiss — who many have viewed as shifting her political views from center-left to the right — comes after CBS News settled a lawsuit brought forth by President Donald Trump over its editing of a 60 Minutes interview with Vice President Kamala Harris.

Bari Weiss will join the outlet that has seen plenty of changes in its executive ranks over the past year. Former CBS News President Wendy McMahon exited, as did longtime 60 Minutes Executive Producer Bill Owens. Tom Cibrowkski now serves as president of CBS News. However, Weiss will reportedly report directly to Paramount Skydance CEO David Ellison, and not Cibrowski, when she begins her new role.

Meanwhile, Tanya Simon has been named the new Executive Producer of 60 Minutes. The network also made an executive producer change on CBS Evening News amid slumping ratings. Kim Harvey replaced Guy Campanile in the position in late August.

According to a report from Puck’s Dylan Byers, the announcement that Weiss will join CBS News will be made official on Monday. He adds that the purchase price for Paramount Skydance is believed to be around $150 million, with a mix of cash and stock options.

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FanDuel Sports Network Centralizing Some Production Roles In Denver

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FanDuel Sports Network is shifting several of its production jobs to a new hub in Denver, a move that has stirred pushback from crews who fear it could diminish the quality of nightly game broadcasts.

The relocation affects broadcast roles for five NBA teams — the Atlanta Hawks, Memphis Grizzlies, Minnesota Timberwolves, Oklahoma City Thunder and San Antonio Spurs — and three NHL clubs: the Minnesota Wild, Carolina Hurricanes and Nashville Predators. Six of those markets will see as many as three positions moved, including replay, graphics and score bug operations.

The restructuring is part of what parent company Main Street Sports Group calls a modernization plan, according to a report in The Athletic. Norby Williamson, president of production and programming, argued the Denver hub will enhance the telecasts by providing more technology, staff and live cut-in capabilities.

“We’re trying to make a modernization hub,” Williamson said to The Athletic. “More technology, more personnel, more bells and whistles, more live cut-ins right through the new facility in Denver which they didn’t have before. Everything about it, you’re absolutely right: they’re going to change. And they’re going to be improved.”

Some staff members see it differently. Nine workers, who were granted anonymity to speak freely to The Athletic, described the decision as cost-cutting that could hurt broadcasts and sideline freelance specialists with years of experience working closely with announcers and teams.

The changes come less than a year after the former Bally Sports regional networks emerged from bankruptcy and rebranded as FanDuel Sports Network. The company had been saddled with $9 billion in debt under Diamond Sports Group before reorganizing and negotiating new rights deals with leagues.

Despite the skepticism, Williamson said the Denver approach can create opportunities. Roles that were previously freelance are being offered as full-time positions — if candidates are willing to relocate. “It’s not for everybody, but it’s a great opportunity,” he said.

Union leaders remain unconvinced. The International Alliance of Theatrical Stage Employees (IATSE), which represents many FanDuel Sports Network workers, noted the Denver jobs are being offered through Mobile TV Group, a third-party vendor that does not provide union protections.

Executives maintain the network is investing, not retreating. Williamson pointed to new hires, more cameras and expanded programming as evidence. He also cited other broadcasters, including ESPN, where he spent four decades, as proof a centralized model can succeed.

“This has been going on because technology allows it to,” Williamson said. “This is not like a new FanDuel Sports Network phenomenon.”

For some freelance crew members, however, the uncertainty looms larger than the technology. “Sometimes change is good,” one recently terminated worker said. “But change like this — not only are you coming in with sweeping changes, but you’re not doing it in a manner that seems respectful of the people who have been there.”

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