Former ESPN college football insider Todd McShay has finally publicly detailed his long-simmering frustration with former ESPN teammate Paul Finebaum, centering on the handling of the Jalen Carter situation during the 2023 NFL draft buildup.
Speaking candidly on his The McShay Show podcast, McShay described the incident as the “final straw” in a professional relationship he had long respected.
“The final straw was the Jaylen Carter situation,” McShay said. “I’ll never forget. I don’t even know why, but it was on in the background, and someone called in [on the Paul Finebaum Show] about Jalen. I watched him sit there and talk about me like he didn’t even know me.”
McShay’s discontent stemmed not only from Finebaum’s commentary but from the lack of direct communication. He described a missed opportunity to clear the air, which he felt could have mitigated the public backlash.
“Paul could have texted me. Paul’s producer could have texted me. In fact, I was waiting for someone from that show to call me and say, ‘Hey, the show just ended. We realize this is a bigger thing. Can you come on the show tomorrow?’ And I probably would have gone on and blasted him,” McShay explained.
He added that Finebaum’s approach left him exposed to criticism across Athens, media outlets, social platforms, and message boards.
“It didn’t feel good knowing that all of Athens was after me, and that people around the media landscape were blasting me,” McShay said. “I was all over message boards and social media. Some of it unfairly disparaging Jalen Carter and the proof situation.”
Highlighting a perceived lack of loyalty, McShay criticized Finebaum’s handling of the situation and questioned his integrity.
“Paul knew nothing about this situation. He made a call maybe to two people who were going to help protect their guy, and he stirs more s**t up,” he said. “When I say he’s an all-time coward, that’s why I say it. When I say he has no loyalty, that’s why I say it. To be honest with you, I think the guy’s a rat. And so he’s perfect to be a politician.”
Despite his frustration, McShay noted that he had previously tried to maintain professionalism, even involving ESPN executives to express his concerns.
“It was bad enough the first time around, and I texted and called executives. I was pissed. They talked me off the ledge like, ‘That’s just Paul. He shouldn’t have done it, but next play.’ And so I did. I moved on,” McShay said.
He also acknowledged that disagreements and personality conflicts are common in large organizations. “There were some things I didn’t like at ESPN, and it wasn’t a corporate thing, and it wasn’t the top executive. But there were some people there that I didn’t like, and I think that’s common for anyone with experience in a corporation,” he explained.
With McShay’s contract officially over as of October 1, McShay’s comments provide a rare inside look at the dynamics behind ESPN’s on-air interactions and the challenges faced by analysts navigating high-profile controversies. For McShay, the Jalen Carter situation crystallized longstanding issues, culminating in a blunt assessment of one of college football’s most influential media voices.
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93XRT has turned to a Chicago native to guide one of the city’s most iconic radio brands into its next chapter. The Audacy station announced that Michelle Rutkowski has been named Brand Manager, effective October 13.
Rutkowski, who succeeds Laura Duncan, will oversee content strategy, talent, operations and branding for the station. Duncan, who has led the station since 2020, will depart November 3.
In announcing the move, Audacy Chicago Senior Vice President and Market Manager Kevin Cassidy praised both women for their work.
“We are excited to welcome Michelle to the WXRT family,” Cassidy said. “Her deep knowledge of the format, along with the strength of her relationships across the region were the drivers of her consistent success in Milwaukee. We look forward to her replicating that performance on behalf of WXRT. I would also like to recognize the immense contribution that Laura Duncan made during her tenure. She hands Michelle the keys to a finely tuned muscle car.”
For Rutkowski, the position marks both a career milestone and a homecoming.
“This iconic station has influenced me so much as a listener and shaped my deep love of music, and as a programmer who strives for the level of excellence that WXRT has delivered for decades,” she said. “It’s an absolutely euphoric experience to be welcomed back to my beloved hometown to continue the legacies of those who made WXRT the revered Chicago treasure that it is. I would like to thank Jeff Sottolano, Dave Richards and Kevin Cassidy for the opportunity of a lifetime.”
Rutkowski arrives with more than 20 years of radio experience. She began her career in Chicago at WKQX and WLUP before heading north to Milwaukee in 2006, where she joined WLUM. She quickly moved from nighttime personality to Music Director and Programmer, before expanding her responsibilities in 2016 to oversee multiple stations, including WLDB and FONZ.
Most recently, Rutkowski served as Vice President of Programming and Operations for Milwaukee Radio Alliance. In that role, she oversaw several formats and was instrumental in the 2024 launch of Froggy, a new country outlet highlighting emerging artists.
Her track record in Milwaukee, combined with her Chicago roots, made her a strong candidate to succeed Duncan at WXRT. The station has long been a cornerstone of the city’s alternative and rock identity, and Rutkowski now steps into a role that blends heritage with innovation.
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The MLB postseason is underway, and with the NHL regular season starting next week, ESPN attempted to use its national baseball coverage to build some early momentum for its Oct. 7 opening-night tripleheader. But the cross-promotional effort fell flat when one of the network’s own analysts, Ben McDonald, admitted on-air that he had no plans to tune in.
During ABC’s October 1 broadcast of the San Diego Padres-Chicago Cubs game, play-by-play announcer Kevin Brown introduced a promotional read for the NHL’s Opening Night slate. The package includes the defending Stanley Cup champion Florida Panthers raising their banner against the Chicago Blackhawks, followed by Penguins-Rangers and Avalanche-Kings.
Brown asked his broadcast partner Ben McDonald if he was ready for the Panthers to pursue a “three-peat.” The former pitcher — who works Orioles games for MASN and was enlisted by ESPN for postseason coverage — gave an answer that startled many.
“If you say so, I mean good luck to them. Are you asking if I’m going to be watching?” McDonald replied. When Brown suggested that, as an ESPN employee, he would surely be tuning in, McDonald doubled down: “There is zero chance I’ll be watching. I’m just going to be honest with you.”
The exchange, which was met with laughter in the booth, didn’t land quite as ESPN executives might have hoped. Brown closed the segment by joking, “OK, thanks man. We’ll be watching. Thanks for the ratings boost.”
By Thursday morning, McDonald was already doing damage control. Appearing on FS1’s Wake Up Barstool, he explained that his comments weren’t meant to disparage hockey or ESPN’s rights package. Instead, he admitted he simply wasn’t aware of the network’s NHL deal and would naturally prioritize playoff baseball over early-season hockey.
“As far as the hockey stuff goes, when that thing popped up on the screen, I didn’t even know ESPN had the hockey contract,” McDonald said. “If I have a choice between the beginning of hockey season and October baseball, I’m probably leaning slightly towards playoff baseball to be honest with you.”
It didn’t take long for reaction to surface elsewhere following McDonald’s comments. John Buccigross, one of ESPN’s top NHL voices, fired back on X with a pointed reminder of McDonald’s baseball résumé: “Zero is also how many postseason innings Ben McDonald pitched in his MLB career.”
Later in the broadcast on Wednesday, ESPN’s baseball crew again read the same NHL promo during the Red Sox-Yankees broadcast. This time, the commentary ended in silence.
Ben McDonald addresses the comments he made about the NHL playoffs on yesterday’s Cubs-Padres broadcast pic.twitter.com/IJD6yLtYDT
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There’s no denying it: news/talk radio hosts today are standing at a crossroads, and the path forward involves AI.
Artificial intelligence has become an insanely powerful tool to create content, not by cloning a host’s voice, but by replicating the voices of others.
Imagine Rush Limbaugh in 1998, with the Bill Clinton/Monica Lewinsky scandal dominating headlines, having access to this technology. The possibilities would have been staggering — reading transcripts, simulating statements, creating mock interviews with anyone involved in the scandal, and crafting segments that brought context and entertainment in ways that were previously impossible. AI can’t replace the host. But it can amplify the show’s ability to entertain, provoke, and engage.
For decades, news/talk radio has thrived on immediacy and originality. Hosts who excel are those who can react to the news in real time, injecting insight, humor, and personality. AI, used intelligently, can expand those strengths.
The first obvious application is content research and preparation. Imagine an AI that can instantly summarize a 60-page congressional report, highlight the most controversial quotes, and suggest ways to discuss them on-air. This is more than convenience, it’s a game-changer. Hosts can focus less on digging through minutiae and more on crafting sharp commentary, and producers can create tighter, more compelling shows without sacrificing accuracy.
Second, AI can simulate the voices of public figures, historical figures, or virtually anyone you want for illustrative purposes. For instance, I voice the Barrett Media Minute on our social platforms each day (shameless plug.) And everyone once in a while, Jason Barrett will send me the script for the day, with an AI version of Snoop Dogg reading the script to get a good laugh.
Using AI isn’t about cloning the host — it’s about creating compelling segments that bring discussions to life. Picture a segment where the host juxtaposes modern political statements with historical speeches, using AI to recreate the cadence and tone of leaders from the past. Or, in the spirit of our Limbaugh example, imagine AI recreating statements or behind-the-scenes moments from Bill Clinton or other key figures during the scandal. The audience experiences content in a vivid, almost cinematic way, while the host remains the guiding voice. It’s an interactive, immersive storytelling tool that adds layers to discussion, not replaces it.
Some skeptics argue AI is a gimmick or a shortcut. They worry about authenticity and the risk of alienating listeners. But the truth is, every technological advancement in news/talk radio — from satellite feeds to digital editing and automation to syndication — was once seen with suspicion. The hosts who embraced innovation thrived. Those who resisted watched their audiences drift toward competitors willing to experiment. AI is no different.
It’s not about replacing insight or gut instinct, because those will always be supremely unique abilities held by the most talented voices in the field. It’s about supercharging the show with new capabilities, giving hosts more freedom to explore ideas, craft sharper arguments, and entertain audiences in ways that were unimaginable just a few years ago.
There’s also a competitive reality to consider. If a host isn’t using AI, someone else is. A station across town could leverage the technology to create content that’s more compelling, faster, and more shareable. That matters in a media environment where attention is currency, and listeners have endless options. Every minute a show lags in relevance is a minute listeners may spend elsewhere.
By integrating AI intelligently, hosts can maintain their edge, surprise and delight audiences, and create a brand that’s not just informative, but memorable.
In the end, refusing to use AI in news/talk radio is a choice — a punt that hands creative opportunity to competitors. Those who embrace it don’t lose their voice. They multiply their impact. AI allows hosts to research faster, create immersive segments, and engage or entertain audiences in unprecedented ways. The tools are here.
The only question is whether hosts will use them to keep their shows vibrant, innovative, and essential — or watch someone else do it first. In a world where content wins listeners, the stakes are clear: be creative, entertaining, and engaging, or risk losing the audience before the show even begins.
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Sometimes all one has to do is, “Trust the process.” That’s especially true with Billboard 200 latest #1 band, Twenty One Pilots. They find themselves atop the chart with their latest “Breach” album, a decade after the band’s 2015’s Blurryface album took the top spot.
What makes this one feel so much different, however?
Pilots’ impressive debut signifies a stage dive of a reminder to those within the music broadcasting industry that yes, an Alt-Rock band can debut #1 in 2025, with record-breaking numbers to justify their cause, even without initial radio support.
Breach not only took the top spot, but they did so in stunning fashion. 200,000 album-equivalent sales (169K of which were pure album sales) makes it the biggest Rock Album debut on the charts since Tool’s 2019 Inoculum. Pilots pathway to #1 also included a record-breaking 72K of vinyl sold in their debut week. That’s the most for a rock band since Billboard began recording the figure.
Yet, their single “City Walls” currently sits at #83 on the Hot 100 and hasn’t cracked Top 20 on Rock Radio nor Top 15 on Alternative Airplay. Alternative Airplay has been very supportive of TØP throughout the years and I predict will be in the weeks ahead.
Is Radio Serving the Future or Preserving the Past?
“You guys showed up bigger than ever. You did this. Buying vinyl, or a box set, or going to listening events, or streaming and telling other people. thank you so much,” said Tyler Joseph of Twenty One Pilots on X.
Joseph continued, “This is the most proud I’ve ever been to be a part of this band. If you only knew how many industry people are confused might now. Wait, what? Yeah. We did.”
Twenty One Pilots’ duo of of lead singer Tyler Joseph and drummer Josh Dun were not only able to take the #1 spot in impressive fashion with Breach, but they did so in a way that other bands within the Alt-Rock/Rock/Pop Rock genres can learn from.
Mike Easterlin, former President of Fueled by Ramen praised TØP’s album debut while telling me “it is a true testament to their evolution, resilience and the deep bond they’ve built with fans around the world. Even more than a decade in, they continue to grow and redefine themselves. It’s proof that their story is still very much being written.”
With Breaches being a much more rock-heavy album than their previous works, and the exceptional first-week success, former Billboard music journalist Chris Payne explains that we may be seeing a contradiction that may need correction when it comes to the rock ecosystem.
“Rock has enjoyed a really nice cultural resurgence in the 2020s, without much help from radio. Streaming, social media, digital storytelling so to speak, that’s more what drives this stuff now, and Twenty One Pilots have always been really good at those things,” Payne explained.
“So have Sleep Token and Ghost, the other rock bands who had #1 albums on the Billboard 200 this year. People just glance at the first few spots on the Hot 100 or Billboard 200 and don’t see rock bands, so they’re only getting part of the story.”
No Hit Single, No Problem?
I’d argue that now is as good of time as ever for rock radio to embrace the new movement that Gen-Z and millennial fans have created. They are literally screaming that they want more of it, as three #1 rock albums this year alone proves. Perhaps even more importantly, rock fans are one of the few genres that are showing up not only digitally but with physical sales as well.
Sumerian Records President Shawn Keith told me what this new era of rock music means for both bands and radio.
“I always tell bands to not change [your] authenticity to fit on any format that doesn’t want you. Make music that is so undeniable that they’re forced to play you to remain relevant. In music, the artists that are not changing themselves to become popular are the ones that are leading the genres. Rock music is one of the only genres that is largely driven by passionate fans. If it’s real, the world will feel [it].”
Sumerian Records President Shawn Keith
Turnstile Has Been Turning Heads
One band that is setting the genre’s new standard is Turnstile. The viral-band known for their unbelievably energetic live show have single-handedly had a direct impact on rock music’s resurgence. Not only are they enjoying a sold out headlining tour that music fans are raving about, but their previous album “BLACKOUT” earned them a Grammy nod and 75+ million streams and headlining festival stages. They are accomplishing all of it with minimal radio airplay.
Multiple industry sources told me that they don’t understand why Rock radio isn’t leaning into Turnstile and “making it theirs.”
Rock Radio’s Opportunity to Lead Again
This isn’t a knock on radio. As someone who has spent years championing new music on the air, I don’t take this lightly.
Instead, I believe this is a monumental and historic time for Rock and Alternative Radio.
For the first time in decades the rock genre is back on a mainstream front. It’s not only scalable, but allows for an opportunity for radio to educate newer listeners about the rock genre which only enhances the station’s brand and identity.
For their part, Alternative Airplay has been much more willing to play newer bands. The result has been a rating increase in many markets, such as Chicago’s WKQX-FM.
Genre-Blending and Overlap Isn’t An Excuse Anymore
There will always be the debate about whether “Rock” is “ROCK.” That will never go away. Just ask the Emo/Pop Punk music scene.
Does Gen-Z have any any idea how to define what “Rock” music is? Absolutely not. Have you seen the viral videos of them trying to figure out how a cassette goes in a tape player?
But the fact of the matter is, although Gen-Z’s definition of Rock may not be up to some programmers’ standards, it’s time to put aside what some view as rock radio’s gatekeeping. Leave the debating to the next time you’re at the bar with your music buddies.
A snapshot of Gen Z Media Habits courtesy of Edison Research’s ‘Gen Z Audio Report‘
“The future of rock is not trying to recapture the past, but in adapting to the present and influencing the future,” writes OurMusicWorld.com‘s Barbara Green.
For my radio programmer friends out there, I absolutely understand that there are limitations and constraints you have to deal with, along with the “Unknown.”
Well, Gunz is here to tell you that the Unknown isn’t UNKNOWN anymore.
Imagine what could happen if radio took the lead on bands like these, not just followed them. That’s an exciting future I’d love to be a part of both within the industry and as a music fan.
The success stories of Turnstile, Sleep Token and yes, Twenty One Pilots, are presenting the opportunity. The only question is – will radio run with it?
Wake Up Barstool is FS1’s latest attempt to capture the morning sports fan audience, and for this maiden voyage, they brought in a renowned captain—or should I say El Presidente. That man is Dave Portnoy, the fabled, famous, notorious, and notable El Presidente of the conglomerate that is Barstool Sports.
Barstool has become as synonymous with sports as ESPN or any other worldwide brand. It has overtaken the sports landscape with regular-guy commentary, down-to-earth sports talk, and hard-nosed, in-your-face opinions, products, and marketing.
To say that Portnoy is a sports marketing genius is not an exaggeration. He created a multi-pronged portfolio that has completely redefined success in the world of media, merchandising, and business. Whether you agree with his opinions and style or not. You have to admire what he has done with his brand. This cat has permeated the psyche of America. From pizza reviews to politics and now as a regular on FOX’s Big Noon Kickoff and his Wake Up Barstool show on FS1.
Barstool is a mindset that appeals to the dyed-in-the-wool, meat-and-potatoes, nitty-gritty sports fan psyche. And it works. Portnoy and crew have captured the imagination and consternation of an entire nation.
Wake Up Barstool is an extension of this theme, with headlines, guests, and a philosophy on morning sports that is unique. The Barstool brand is both spastic and iconoclastic, and Wake Up Barstool is no exception.
Staying True to the Barstool Sports Brand
T-Bob Hebert opened the September 30 edition of the show wearing his Cubs jersey and previewing the content of that day’s show. I liked this cold open and the ensuing video montage that captures the morning theme with clips of toast, bacon, orange juice, pancakes, and eggs.
This day’s edition was stacked with potential content, including a review of weekend and Monday Night Football (MNF) games and a preview of the first batch of MLB Wild Card games.
Joining Hebert were show regulars Nick Turani, Eddie Farrer, and Dan “Barstool Big Cat” Katz. The set of the program is vintage Barstool. Leather chairs, sports memorabilia on the walls, and a basic coffee table in front of four dudes talking sports. They are all dressed casually, which is what the Barstool ethos is all about—no frills, no glitz, just solid sports talk.
It is the foundation on which Portnoy has built his empire.
This particular program emanated from Chicago, with a tough and gruff Windy City mindset for sure. The quartet jumped right in, saying that the doubleheader Monday Night Football telecasts this past week, in their own words, “stunk.” Big Cat stated, “It locked you into two absolutely terrible football games.”
While the show commentary rolls on, a lower-third graphic encourages fans to jump into the conversation and send social media thoughts and comments to @wakeupbarstool. Like anything Barstool, this is a fans’ show—run by fans, produced by fans, hosted by fans, and directed toward fans.
The foursome blasted through commentary on the Dolphins versus Jets game. Going over performances and stats, and talking about the season-ending injury to Miami wide receiver Tyreek Hill.
The essence of Wake Up Barstool is getting into the mindset of what a lot of fans think. This past week, in fact, I was talking to a buddy and lamenting the fact that ABC/ESPN now feels obligated to air two Monday Night Football games. When the historic essence and allure of MNF is that it is the only game on the schedule that night. That’s what made the brand so special. Talking about this type of sports angst is what makes the Barstool brand so special today. Both of these brands broke the accepted mold of sports and took criticism.
Portnoy himself might just be the Howard Cosell of his generation, although on a greater multimedia scale. He may have as many detractors as he has fans, but you absolutely, positively are drawn to what he has to say and the programming that he and his crew create. Real sports talk is about breaking free from the mold and, in fact, establishing a whole new mold.
Wake Up Barstool is doing that in the morning sports world. Although the show has yet to draw huge ratings, it is totally worth your time and eyes.
Staying Fun With Positive Vibes Only
From the set, Hebert threw to “Junior Football Analyst” Steven Cheah. With the show emanating from Chicago, Cheah had me with his vintage powder-blue and white-pinstriped Cubs jersey a la Dave Kingman. Some of the best parts of Wake Up Barstool are when the guys get away from talking about games and just chat amongst themselves. Coming back from the first break, Farrer talked about his own recent sports journey as a Chicago sports fan. With the Bears beating the Raiders this past weekend and the Cubs in the playoffs versus San Diego.
The Wake Up Barstool set features a slogan that reads Positive Vibes Only. While the panelists definitely engage in critical sports talk, there is an overall positive vibe to the show. It’s just a cool way to ease into your sports day, hanging with four chaps who love the games as much as you do. Farrer is like that guy you strike up a conversation with at the airport bar while waiting for your flight.
The Chicago flair of this particular edition brought back happy memories of the Da Bears segment on Saturday Night Live and of the original The Sportswriters on TV program, which also had a Chicago feel.
Coming back from a break, Big Cat and Cheah presented their computer power rankings of NFL teams, headed by what they called the juggernauts of the Eagles, Bills, and Lions. Wake Up Barstool incorporates graphics and game footage into the program, and on this edition. They were also joined by FOX baseball analyst and former MLB catcher A.J. Pierzynski—a fitting Barstool guest known for his fiery and candid commentary. Pierzynski was also donning his old White Sox jersey, adding to the Chicago theme.
While the panel spent a lot of time talking about the Monday night NFL games to open the show, the Supreme Debate segment was just the opposite, as they ripped through a bevy of topics.
This was my favorite part of the show, especially the section that featured a graphic reading, “Kickers should be kept in soundproof, dark rooms with blindfolds.” It is in this segment that the trademark ribald humor of Barstool came to the forefront.
One of the debate topics was, “Who you got: Bruce Pearl versus Paul Finebaum for Alabama Senate?” The quartet also touched on Bad Bunny’s upcoming Super Bowl halftime show. Also which non-football athlete could play quarterback in the NFL. These are the types of things that sports fans talk about while hanging out in the backyard or on the porch, tipping back a couple. Such is the heart of Wake Up Barstool.
As the show wound down, the group hit on a little college football talk and showed a telling graphic detailing Penn State head coach James Franklin’s poor records versus top 5 opponents, top 10 opponents, top 25 opponents, and versus Michigan and Ohio State since 2014—stats that I did not know before watching this show.
During the discussion, a funny graphic read, “Who do you trust more? James Franklin in a big game or your dog left alone with a rotisserie chicken?”
Real talk here: if you’re looking for slick sets, perfectly coiffed commentators, cutting-edge fashion, glitter, and rhinestones, this show is not for you. However, if you want straight-up, bare-bones, all-in sports chat, get your coffee, your donut, and settle in on your couch or your office chair at 8:00 AM EST for Wake Up Barstool.
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Call me old, but I remember the days of just watching a game on television. A full screen of action as you peered in from your home with no concern about missing a moment of the play. Then came the adoption of the score bug—a digital on-screen graphic that kept viewers aware of the score in real time. That was 31 years ago, when the score bug was first introduced during ESPN and ABC’s coverage of the 1994 FIFA World Cup.
All these years later, the score bug remains. Every network that carries live play-by-play has adapted some way of presenting time and score—the two most important things when it comes to keeping up with a live game.
With the NBA set to kick off its 11-year rights agreement with Prime Video this year. Amazon rolled out an announcement this week that could change the game of the score bug. A first-of-its-kind betting feature (for those who opt in, of course) that includes personalized bet tracking and real-time odds information during games. Is this the new age of the sports bug, and should it be concerning?
With yesterday’s announcement from Prime Video, it’s important to note a couple of key items.
First, the personalized bet-tracking experience is in partnership with FanDuel. Which means the feature is not currently available with other popular apps such as DraftKings or Hard Rock Bet.
Currently, 39 states and Washington, D.C., have legalized sports betting. Not every state permits the use of FanDuel, however; only 23 states currently have access to the FanDuel sportsbook app.
It’s also important to note that this feature is opt-in. You must choose to link your FanDuel account to your Prime Video profile to access the tool. It’s not being forced on the viewing experience, yet.
FanDuel Bet Tracking (Courtesy: Amazon Press)
In short, the tool presents a score bug that showcases your active NBA bets along with relevant progress on win/loss status. It also provides an “Odds View” experience. A rotating feed of live odds, lines, and probabilities associated with popular bets. From props to totals to parlays and more.
So much for the health of the score bug.
Is This a Good Thing?
I’m a believer that the future belongs to those who try new things.
The score bug was deemed “annoying” at first, but can you imagine a broadcast without it today? You would feel lost. Today, the score bug has morphed from a simple information graphic into a promotional tool. Time and score are often replaced by branded advertisements and network promos, then switched back to time and score for the next play. New things are introduced, they adapt, and then they become irreplaceable.
That’s the concern I have for the innovation announced this week by FanDuel and Prime Video. Could this be the start of a new norm in our television viewing experience?
I’m not blind to the fact that sports gambling will only continue to grow. With every new state voting to legalize, the revenue will only increase. Sportsbook advertising has become the lifeblood of many sports radio stations and regional sports networks that carry local play-by-play.
Can you go one commercial break during a sporting event without seeing an ad for DraftKings, FanDuel, BetMGM, or another sportsbook? When you listen to your local broadcast. Can you go an inning, quarter, or period without being made aware of a new “bonus bet” deal you can’t pass up?
Sports betting was already a significant presence during NBA games. Accounting for 2.46% of household TV ad impressions during live NBA action last year, according to data from iSpot – No. 11 among all industries.
The Guardianquoted a study from the University of Bristol that found viewers of the Stanley Cup Final encountered an average of 3.5 marketing messages from betting firms every minute.
Networks Always Copy What Works
If the future belongs to those who try new things. Is this what networks desire to set themselves apart from the rest? Could there be a day when live betting lines replace time and score? Are we on the verge of normalizing the money line over the stat line?
FanDuel Odds View (Courtesy: Amazon Press)
The New York Times recently published an article noting that in-game betting on DraftKings grew twice as fast as pregame betting from 2023 to 2024. In terms of bets placed, total money wagered, and revenue. With AI now being used to automate and accelerate the creation of more betting markets. In-game betting is expected to continue its rapid growth.
Revenues from in-game betting alone are estimated to triple by the end of the decade, reaching more than $14 billion, according to a report from the investment bank Citizens. The innovation presented this week will only help that number grow—which means more money for sportsbooks and networks, with little consideration for the well-being of the fan.
In the famous words of Dr. Ian Malcolm, “You were so preoccupied with whether they could, they didn’t stop to think if they should.”
If this new feature from FanDuel and Prime Video becomes popular, other networks will copy it. They’ll find ways to add to it. Then they’ll find ways to make money on it. Eventually it will become irreplaceable for the viewing experience.
Just like the score bug over three decades ago.
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Trying to be all things to all people never works out. There is a difference between being “family friendly” and family friendly. Especially for rock and alternative radio stations.
If you know how Nielsen ratings work, you know everyone in the home has to play along. Parents, kids, and even Uncle Barry in the basement. If you’re living under the roof, crank it up and rip off the knob.
This is one reason why brands pay close attention to school drop-off and pick-up. It’s also why you might hear stations promoting giveaways for all you can eat popcorn and a family 4-pack of tickets to the Circus.
In theory, everyone wins. Adults get their music, kids get clowns and popcorn, and the station racks up quarter-hours.
It’s not dumb logic. When many from the same household listen to the same station, those listening hours pile up. They can, at least temporarily, change rankers and make or break in-format battles.
We’ve all seen brands play it safe:
A movie edits a shower scene to avoid an R rating.
Radio rolls out the “Is Your Kid Smarter Than the DJ” game at 7:45am.
NFL rules that now bring a flag just for breathing on the QB.
Some call those credibility killers, but they’re not. It’s sensible programming. But there’s a fine line between being too safe too often — and being reckless.
Blasting “Closer” or calling for the “Threesome of the Day” topic at school drop-off isn’t smart. But neither is masking-up to the point of making sure little ears don’t ever hear something spicy.
Led Zeppelin, Sex Pistols, GNR, and Nirvana didn’t write songs for the carpool lane. Counterculture, volume, rebellion, angst — that’s the foundation. It’s what made the music famous and it’s what the audience expects.
Threading the needle between spice and smart is what separates good programming from great programming. It’s where the game is really played.
Think of it like a weekend at the movies.
At the Pop theater, imagine a Steven Spielberg Rom-Com starring Jennifer Aniston.
Over at RockTernative, it’s Quinton Tarantino’s freak-fest with Sydney Sweeney.
Now apply it to Radio Speak.
“Up next, I have your chance to win a 4-pack of tickets for you and the whole family.” That’s fine — but it’s Spielberg, it’s the Pop station.
RockTernative can deliver the same message with an edge. “Happy Hour beers, the Sunday Ticket AND Circus tickets — all in the SAME month? Brutal. I’ll spot you 4 Circus tickets at 4pm.”
Not perfect, but it’s same message with a different filter. Both are family friendly.
The same applies for marketing copy, liners, promos, website, social, sales decks. Yes, sales decks should echo the brand’s on-air swagger, too. If your sales department is sending out watered down, vanilla decks that 103.5 The Breeze would use, step in and help them out so the client knows what they’re getting.
A little PG-13, especially in the right spots, is gold. Just play the odds. It’s like dayparting a song for mood, volume, length, lyrical content.
Football does it every week:
Fourth and 1 isn’t the time for a deep pass. Play it safe, keep the chains moving. That’s the morning school run.
Second and 2 is when to drop the double reverse. That’s cranking the loud stuff and talking to listeners about things the little ones can’t (or shouldn’t) understand.
With Nielsen throwing the flags and keeping score, the whole household matters. But RockTernative doesn’t have to be family friendly to win families.
Find the balance. It’s not vanilla. It’s not reckless. Dude, it’s just RockTernative.
For Kristen Kurtis, radio has always been about more than just playing music. “It’s about connection,” she says. From her first student shifts at Emerson College’s WERS-FM to her current role as Morning Show Host and Assistant Music Director at WXPN in Philadelphia, where she’s celebrating ten years this month, she’s built a career on authenticity, adaptability, and a passion for helping artists and audiences find each other.
Kurtis got her start in 2003 hosting a world music show at WERS. She quickly moved to mornings before landing her first paid gig at WBOS-FM in Boston at just 20 years old. Honing her craft across multiple formats and markets is how she spent her next decade. She worked in Top 40 in Spokane, and AAA in Austin, before returning home to Philadelphia in 2015. “Frankly, making it back home, and to a top 10 market, is something I’m extremely proud of,” she says.
The spark that set her on this path came years earlier. At 13 years old, Kurtis scored passes from her favorite DJ to see a private show with her then favorite band Fuel “Don’t judge!” she interjects. “While I sat there at my first concert, I realized, this is what I wanted to do,” she recalls. “I want to help deserving artists get airplay, and help people who need music to survive this life discover it.”
At WXPN, Kurtis wears multiple hats. She’s not only the Morning Show Host, but also her own producer. That includes prepping, scheduling music, recording interviews, and managing the flow of the show with her co-host Bob Bumbera. As Assistant Music Director, she reviews new music, contributes to weekly programming decisions, and communicates with colleagues across the industry.
Her listeners often tell her that she and Bumbera give them the energy they need to start their day. That community connection is central to her approach. “It means a great deal to me that we can provide some sense of normalcy in 2025. It gives our audience a smile alongside the latest music and information.”
Of course, live radio always brings its share of challenges. Kurtis recalls times when the station’s digital system crashed and she had to improvise with long songs from CDs, or the moment she accidentally coughed hot tea onto the touchscreen, sending sounders into chaos. Through it all, she’s leaned on quick thinking, humor, and a calm presence to keep the audience engaged.
Philadelphia, she says, has been a perfect fit for her. “No one likes us, we don’t care,” Kurtis laughs, referencing the city’s well-known mantra. “This city is VERY loyal to its local media stars. I’ve been all over this country. I never found another city that lets their TV and radio hosts stay on the air for decades and celebrates those milestones.”
Among her proudest career moments: historic ratings success in three different markets and interviewing her musical idol, Tori Amos. Among her biggest challenges: navigating a polarized political climate while maintaining a welcoming space for listeners. “I let the music do the talking for us and try to be attentive to our audience’s need for a friendly voice.”
Kurtis is equally passionate about the future of radio, especially when it comes to representation. “Be aware you are entering a male-dominated field,” she advises young women looking to break in. “Find other women: mentors to guide you through it, colleagues to go through it with. They will keep you sane.”
She believes the industry can do better by hiring more women and rethinking how radio integrates with changing listening habits. “I think we are too stuck in old-school modes of operating sometimes. The way people consume music has changed, it continues to evolve alongside technology. It may behoove us to examine how their current habits could be incorporated more into radio programming.”
When she’s not on the air, Kurtis pursues creative outlets like songwriting, stand-up comedy, and voiceover work, or she simply enjoys baking, traveling, and taking care of her cat and fish.
Two decades into her career, she’s still guided by that 13-year-old’s revelation: that radio has the power to change lives. And every morning at WXPN, Kristen Kurtis makes sure it does.
Taylor Swift is set to debut a new album — TheLife of a Showgirl — next week, and 106.1 BLI is making plans to showcase the new music.
The station has temporarily rebranded as 106.1 TLI “Long Island’s #1 for All The Swifties.” The “Taylor Takeover” will feature plenty of new and old Taylor Swift music.
On Friday, the station will air the new album in full from 10 AM to 4:30 PM. It will feature commercial-free, uninterrupted listening for listeners.
“Our audience lives and breathes pop culture, and no one moves the needle like Taylor Swift,” said 106.1 BLI Operations Manager and Program Director Chris Lloyd. “We wanted to create a moment that honors the fan culture, drives excitement, and makes Long Island feel like the epicenter of this global release. It’s a full takeover in every sense.”
Additionally, the station is hosting a private, invitation-only screening of The Official Release Party of a Showgirl feature film, with morning host Ally Ali giving away tickets on the station’s morning show.
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